h's best pictures--a landscape in which the fresh light of
morning is apparent--is in the National Gallery.

Karil du Jardin, born in 1625, died in 1678, is a third great Dutch
landscape painter, whose fancy Italy laid hold of, so that he settled in
the country, dying at Venice. He was, it is said, a pupil of Berchem's,
from whom he may have first drawn his Italian proclivities. He has more
truth and feeling for animated nature than Berchem. Indeed, in this
respect Du Jardin followed Paul Potter. According to contemporary
accounts, Du Jardin, who had his share of the national humour, wasted
his time in the pursuit of pleasure, and did not leave more pictures
behind him than Both left. Du Jardin's best works are in the Louvre, but
there are also many of his pictures in England. Among his masterpieces,
'Cattle of all kinds in a meadow surrounded by rocks, and watered by a
cascade; a horseman giving alms to a peasant boy;' and his celebrated
'Charlatan,' full of observation and humour, are in the Louvre. A fine
picture, 'Figures of Animals under the shade of a Tree,' is in the
National Gallery.

Adrian Van de Velde, born in 1639, died in 1672, the younger brother of
a great marine painter, ranks almost as high as Paul Potter in cattle
painting. If 'inferior in modelling and solidity' to his rival, Adrian
Van de Velde is superior in variety, taste, and feeling. Like the great
English animal painter, Landseer, Van de Velde was a distinguished
artist when a mere boy of fourteen. Like his compatriot, Paul Potter,
Van de Velde died young, at the age of thirty-two. He generally disposed
of his cattle among broken ground with trees and pools of water.
Sometimes he has a herdsman or a shepherdess, sometimes there is a
hunting party passing. His scenery is reckoned masterly. It is mostly
taken from the coast of Scheveningen. He often painted in men, horses,
and dogs for other painters. He must have been very industrious, with
great facility in his work, since, in spite of his premature death, he
had painted nearly two hundred pictures. 'A brown cow grazing and a
grey cow resting,' which is in the Berlin Museum, was done at the age of
sixteen, yet it is full of observation, delicacy, and execution. 'Cattle
grazing before a peasant's cottage,' which is in the Dresden Gallery, is
considered very fine. A fine 'Winter Landscape,' and a 'Farm Cottage,'
are in the National Gallery. Some of Adrian Van de Velde's best work, as
well as his