DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0050
6
THE QUEEN’S GALLERY.
had been given to the national taste and genius by the
influence and example of Rubens. They were dis-
tinguished generally by two characteristics—1st, the most
lively and intense perception of natural forms and effects,
and 2dly, the development of the faculty of colour. Some
finished more, and some less, but all were exquisite imi-
tators and colourists. The degree of intellectual power and
moral sentiment which each brought to bear upon and direct
this wonderful mechanical skill, varies considerably. In
Gerard Douw and Franz Mieris we have mind as well as
mechanism; and in Wilhelm Mieris and Slingelandt, we
have the mechanism without the mind. The observer
admitted into this beautiful gallery, will find here excellent
opportunities for immediate comparison : he will feel these
characteristic differences, and will do well to note the
causes and results.
A descriptive catalogue of a gallery of Dutch pictures
must needs be dry and full of repetitions, for the reasons
given by Sir Joshua Reynolds, who has summed up their
merits in his usual masterly style. “ One would wish,”
he says, “to be able to convey to the reader some idea
of that excellence, the sight of which has afforded so
much pleasure; but as their merit often consists in the
truth of representation alone, whatever praise they de-
serve, whatever pleasure they give when under the eye,
they make but a poor figure in description. It is to the
eye only that the works of this school are addressed; it
is not, therefore, to be wondered at, that what was intended
solely for the gratification of one sense, succeeds but ill
when applied to another. A market woman with a hare
in her hand, a man blowing a trumpet, or a boy blow-
ing bubbles, a view of the inside or outside of a church,
are the subjects of some of their most valuable pictures;
but there is still entertainment, even in such pictures;
however uninteresting their subjects, there is some plea-
THE QUEEN’S GALLERY.
had been given to the national taste and genius by the
influence and example of Rubens. They were dis-
tinguished generally by two characteristics—1st, the most
lively and intense perception of natural forms and effects,
and 2dly, the development of the faculty of colour. Some
finished more, and some less, but all were exquisite imi-
tators and colourists. The degree of intellectual power and
moral sentiment which each brought to bear upon and direct
this wonderful mechanical skill, varies considerably. In
Gerard Douw and Franz Mieris we have mind as well as
mechanism; and in Wilhelm Mieris and Slingelandt, we
have the mechanism without the mind. The observer
admitted into this beautiful gallery, will find here excellent
opportunities for immediate comparison : he will feel these
characteristic differences, and will do well to note the
causes and results.
A descriptive catalogue of a gallery of Dutch pictures
must needs be dry and full of repetitions, for the reasons
given by Sir Joshua Reynolds, who has summed up their
merits in his usual masterly style. “ One would wish,”
he says, “to be able to convey to the reader some idea
of that excellence, the sight of which has afforded so
much pleasure; but as their merit often consists in the
truth of representation alone, whatever praise they de-
serve, whatever pleasure they give when under the eye,
they make but a poor figure in description. It is to the
eye only that the works of this school are addressed; it
is not, therefore, to be wondered at, that what was intended
solely for the gratification of one sense, succeeds but ill
when applied to another. A market woman with a hare
in her hand, a man blowing a trumpet, or a boy blow-
ing bubbles, a view of the inside or outside of a church,
are the subjects of some of their most valuable pictures;
but there is still entertainment, even in such pictures;
however uninteresting their subjects, there is some plea-