urchased at liberal prices. Several of his drawings were sold
at 100 florins each. This success induced him to paint marine subjects.
His first essays were successful, and his pictures universally admired.
While painting, he would not admit his most intimate friends to his
studio, lest his fancy might be disturbed. He hired fishermen to take
him out to sea in the most tremendous gales, and on landing, he would
run impatiently to his palette to secure the grand impressions of the
views he had just witnessed. He has represented that element in its most
terrible agitation, with a fidelity that intimidates the beholder. His
pictures on these subjects have raised his reputation even higher than
that of W. van de Velde; although the works of the later, which
represent the sea at rest, or in light breezes, are much superior, and
indeed inimitable. His pictures are distinguished for their admirable
perspective, correct drawing, neatness and freedom of touch, and
remarkable facility of execution. For the burgomasters of Amsterdam, he
painted a large picture with a multitude of vessels, and a view of the
city in the distance; for which they gave him 1,300 guilders, and a
handsome present. This picture was presented to the King of France, who
placed it in the Louvre. The King of Prussia visited Backhuysen, and the
Czar Peter took delight in seeing him paint, and often endeavored to
make drawings after vessels which the artist had designed.

JOHN BAPTIST WEENIX, THE ELDER.

This eminent Dutch painter was born at Amsterdam in 1621. He possessed
extraordinary and varied talents. He painted history, portraits,
landscapes, sea-ports, animals, and dead game, in all which branches he
showed uncommon ability; but his greatest excellence lay in painting
Italian sea-ports, of a large size, enriched with noble edifices, and
decorated with figures representing embarkations and all the activity of
commercial industry. In these subjects he has scarcely been surpassed
except by his pupil, Nicholas Berghem.

WEENIX'S FACILITY OF HAND.

Houbraken relates several instances of his remarkable facility of hand.
He frequently painted a large landscape and inserted all the figures in
a single day--feats so much admired in Salvator Rosa, and Gaspar
Ponssin. On one occasion he commenced and finished three portraits, on
canvass, of three-quarters size, with heads as large as life, from
sun-rise to sun-set, on a summer's day. Lanzi warns