violent indignation of the individuals against whom
Salvator's wit was aimed, and their efforts at revenge, together with
his own turbulent spirit, drove him from place to place.

Salvator Rosa was at Naples 1647, and took part in the riots, so famous
in song and story, which made Masaniello, the young fisherman, for a
time Captain-General and Master of Naples, when it was, according to
law, a Spanish dependency governed by a viceroy. Salvator was in the
Compagnia della Morte commanded by Falcone, a battle painter, during the
troubles, a wild enough post to please the wild painter, even had he not
been in addition a personal adherent of the ruling spirit Masaniello,
whom Salvator Rosa painted more than once. After so eventful a life,
the painter died peaceably enough in his fifty-ninth year, of dropsy, at
Rome, and left a considerable fortune to his only son.

Salvator Rosa was the incarnation of the arrogant, fickle, fierce
Neapolitan spirit, and he carried it out sufficiently in an
undisciplined, stormy life, without the addition of the popular legend
that he had at one time joined a troop of banditti, and indulged in
their excesses. The legend seems to have a familiarity with mountain
passes, and his love of peopling them appropriately with banditti in
action. Salvator Rosa was a dashing battle painter, a mediocre
historical painter, and an excellent portrait painter as well as
landscape painter. But it is chiefly by the savage grandeur of his
mountain or forest landscapes, with their fitting _dramatis personae_,
that he has won his renown. Mr Ruskin, while he allows Salvator's gift
of imagination, denounces him for the reckless carelessness and
untruthfulness to nature of his painting. Many of Salvator Rosa's
pictures are in the Pitti Palace in Florence, and many are in England.

CHAPTER VIII.

RUBENS, 1577-1640--REMBRANDT, 1606 OR 1608-1669--TENIERS, FATHER AND
SON, 1582-1694--WOUVERMAN, 1620-1668--CUYP, 1605; STILL LIVING,
1638--PAUL POTTER, 1625-1654--CORNELIUS DE HEEM, 1630.

A long interval elapsed between the Van Eycks and Quintin Matsys, and
Rubens; but if Flemish art was slow of growth and was only developed
after long pauses, it made up for its slowness and delays by the burst
of triumph into which Flemish and Dutch art broke forth in Rubens and
his school, in Rembrandt and Cuyp and Ruysdael.

Peter Paul Rubens was born at Siegen in Westphalia, on the day of St
Peter and St Paul, 1577. But tho