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IN THE NETHERLANDS. liv
Sword’, ‘Lazarus Rising from the Dead’, the ‘Hundred Florin Plate’
(‘Healing of the Sick’; the former name, by which it was popularly
known in the 18th century, now no longer applies, inasmuch as in
1867 the sum of 10007. was paid for a single impression), ‘Annun-
ciation’, ‘Ecce Homo’, ‘The Good Samaritan’, the great ‘Descent
from the Cross’, the portraits of Tolling, Bonus, and Six, the land-
pe with the mill, and that with the three trees. Admirable
examples of his drawings are to be found in the Ryks Museum at
Amsterdam and the Teyler Museum at Haarlem.
A goodly array of pupils and imitators are gathered around Rem-
brandt. Hisinfluence was not confined to Amsterdam alone but ex-
tended to the neighbouring schools, that of Haarlem for example.
Amongst his more immediate followers may be mentioned Ger-
brand van den Eeckhout (1621-74), whose works frequently bear
Rembrandt’s name (the Museum of Amsterdam possesses one of
the best of his pictures — The Adulteress), and Ferdinand Bol of
Dordrecht (1646-80), who deserted his native style after the
death of his mas The ‘Regent’ picture, formerly in the Lepers’
Hospital and now in the City Hall at Amsterdam, belongs to his
best time (1649).
Govert Flinck, of Cleves (1615-60), may be said almost to have
rivalled Rembrandt at the outset of his career. Besides his two
best ‘Regent’ pieces (dated 1642 and 1648), there is in the Museum
of Amsterdam a Scriptural picture by him. It represents Isaac in the
act of blessing Jacob, a favourite subject with the school of Rem-
brandt. Amongst the number of Rembrandt’s satellites are also Jan
Lievens (1607-74) ; Jan Fictoor or Victors (1620- ca. 1672) ; Ph. Ko-
ninek (4619-88), the landscape-painter; Salomon Koninck (4609-56),
whose Scriptural pictures and portraits bear so strong a superficial
resemblance to those of Rembrandt that they are often mistaken for
his; Jacob Backer (4608-51), intimately associated in his youth
with Govert Flinck, and his companion in Rembrandt's workshop ;
Nicholas Maes, of Dordrecht (4632-93), whose best works belong to
the time of his youth (1650-60), as, having in after-life settled in
Antwerp, he seriously deteriorated under the influences of the
school of Rubens; Karel Fabritius, who came to a premature end by
a powder explosion in Delft (1654); and Bernard Fabritius.
Another of the most eminent contemporaries of Rembrandt was
Jan Vermeer (1632-75), of Delft, who pursued a course of great
independence and seems to have been influenced by no other master
except, to a slight extent, Karel Fabritius. Young women engaged
in all kinds of household work or in the more congenial occupation
of love-making, interiors, and street-scenes, are the favourite sub-
jects of this rare master, all wondrously pure in colour, abounding
in delightful effects of perspective, full of life, at once truthful and
charming, entitling them to rank amongst the gems of Dutch art. Both
during his lifetime and afterwards his style was frequently imitated,
BarpEKER’s Belgium and Holland. 15th Edit.
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