DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0047
Letter XXIII. COL. WYNDHAM'S COLLECTION.
35
respect to the great masterpieces of Vandyck. The noble and
melancholy features tell the tragic history of a whole life, and
the spectator hardly needs to be told that this nobleman was
confined for 16 years in the Tower. The arrangement is also as
easy as it is conformable to style. The modelling of the head is
very delicate, in a yellowish warm tone.
9. William Prince of Orange as a child, with a cap and feather,
and a yellow silk dress; next him a greyhound. Whole-length :
4 ft. 4 in. high, 3 ft. 9 in. wide. Carefully executed, but unusually
insipid and heavy in tone of colour.
Hogarth.—1. A music-master directing his pupils to perform
before their parents. Very characteristic, and carefully executed
in a warm, transparent, and at the same time harmonious tone,
unusual in him.
Second Eoom.
Jan Matsys.-—-Two men and two women playing cards. I
believe this to be a careful and good picture by the son and pupil
of Quentin Matsys.
Van den Eckhout.—A corps de garde, four figures. Ani-
matedly conceived and warmly coloured ; unfortunately very dirty.
Lenain.—An old woman and seven children ; one of them a
boy, playing the violin. This has all the natural truth of this
master, and is at the same time very transparently coloured.
Jan Fyt.—Dogs hunting wild fowl. Spiritedly and truly in-
vented, and powerfully painted.
Jacob Ruysdael.—1. A waterfall. Poetically composed, but so
darkened as to be little enjoyable.
Nicolas Maas.—An old man upon a chair. Pleasing.
Hobbema.—1. A watermill. Warm, but heavy in the sha-
dows ; at the same time painted with a full body.
Paul Brill.—A large and very poetic landscape of his late
and best time, in which he exercised so decided an influence first
upon Annibale Carracci and then upon Claude.
Lucas van Uden.—A landscape, with very true reflections
in a piece of water, belongs to the best pictures of this excellent
painter, who assisted Rubens so much in his landscape backgrounds.
Hobbema.—2. A landscape, with three figures in the fore-
ground, of warm and sunny effect. A companion to the above.
Claude Lorraine.—2. Splendid buildings on the sea-shore,
retreating in fine perspective one behind the other. The effect of
d 2
35
respect to the great masterpieces of Vandyck. The noble and
melancholy features tell the tragic history of a whole life, and
the spectator hardly needs to be told that this nobleman was
confined for 16 years in the Tower. The arrangement is also as
easy as it is conformable to style. The modelling of the head is
very delicate, in a yellowish warm tone.
9. William Prince of Orange as a child, with a cap and feather,
and a yellow silk dress; next him a greyhound. Whole-length :
4 ft. 4 in. high, 3 ft. 9 in. wide. Carefully executed, but unusually
insipid and heavy in tone of colour.
Hogarth.—1. A music-master directing his pupils to perform
before their parents. Very characteristic, and carefully executed
in a warm, transparent, and at the same time harmonious tone,
unusual in him.
Second Eoom.
Jan Matsys.-—-Two men and two women playing cards. I
believe this to be a careful and good picture by the son and pupil
of Quentin Matsys.
Van den Eckhout.—A corps de garde, four figures. Ani-
matedly conceived and warmly coloured ; unfortunately very dirty.
Lenain.—An old woman and seven children ; one of them a
boy, playing the violin. This has all the natural truth of this
master, and is at the same time very transparently coloured.
Jan Fyt.—Dogs hunting wild fowl. Spiritedly and truly in-
vented, and powerfully painted.
Jacob Ruysdael.—1. A waterfall. Poetically composed, but so
darkened as to be little enjoyable.
Nicolas Maas.—An old man upon a chair. Pleasing.
Hobbema.—1. A watermill. Warm, but heavy in the sha-
dows ; at the same time painted with a full body.
Paul Brill.—A large and very poetic landscape of his late
and best time, in which he exercised so decided an influence first
upon Annibale Carracci and then upon Claude.
Lucas van Uden.—A landscape, with very true reflections
in a piece of water, belongs to the best pictures of this excellent
painter, who assisted Rubens so much in his landscape backgrounds.
Hobbema.—2. A landscape, with three figures in the fore-
ground, of warm and sunny effect. A companion to the above.
Claude Lorraine.—2. Splendid buildings on the sea-shore,
retreating in fine perspective one behind the other. The effect of
d 2