d
marvellously) washing her hands in a basin held before her by a
maid-servant,' in the Dresden Gallery; an 'Officer in confidential talk
with a Young Girl, and a Trumpeter who has brought him a Letter,' in the
Hague Gallery; a 'Young Lady in white satin sitting playing the Lute,'
in the Chateau of Wilhelmshoee, at Cassell. There are twenty-three
Terburgs in England and Scotland.

Caspar Netcher, born in 1639, died in 1684. He formed himself upon Metzu
and Terburg. He is the great Dutch painter of childhood. His finest
works are in the Dresden Gallery. In the National Gallery is his
'Children blowing Bubbles.'

Ferdinand Bol was born at Dordrecht in 1611, and died at Amsterdam in
1680. He was a student of Rembrandt's, and distinguished himself in
sacred and historical pictures, and especially in portraits. He followed
his master in his youth, fell off in his art in middle life, but became
again excellent in his later years. Among his fine pictures are 'David's
Charge to Solomon,' in the Dublin National Gallery; and 'Joseph
presenting his father Jacob to Pharaoh,' in the Dresden Gallery. His
last portraits are considered very fine. They are taken in the fullest
light, and have a surprising amount of animation. Such a portrait,
called 'The Astronomer,' is in the National Gallery.[54]

Jacob Ruysdael was born in 1625(?) at Haarlem. In 1668 he was in
Amsterdam, and acted as witness to the marriage of Hobbema, whose lack
of worldly prosperity Ruysdael shared. He himself was unmarried, and
maintained his father in his old age. In the prime of life Jacob
Ruysdael in turn fell into extreme poverty, and died an inmate of the
Haarlem Almshouse in 1682--a sad record of Holland's greatest landscape
painter, for 'beyond dispute' Ruysdael is the first of the famous Dutch
landscape painters.

'In no other is there the feeling for the poetry of Northern nature
united with perfect execution, admirable drawing, great knowledge of
chiaroscuro, powerful colouring, and a mastery of the brush which ranged
from the minutest touch to broad, free execution.' His prevailing tone
of colour is a full, decided green, though age has given many of his
pictures a brown tone. A considerable number of his pictures are in a
greyish, clear, cool tone (good examples of the last are to be seen in
the Dresden Gallery). He generally painted the flat Dutch country in
tranquil repose. He dealt usually in heavy clouded skies which told of
showers past and c