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loveliest pictures in the world, both aa figure ^ f ^_ I . the distance^ aU glowing with tbe warm b^ht of the setting F P A I N TING 439 The elder Vaa der Wedcn was a the T MI Eycks j able pupil of y difierearK Dy employed in Fknderm,- that is to say, he painted in pore tempera colours on un- primed linen, the flesh tints especially being hud on ex- tremely thin, so that the texture of the linen remains Other colours, such as a smalto blue used for draperies, are applied in greater body, and the whole is left uncovered by any varnish. A very perfect example of this exists in the National Gallery (see fig, 29). The - the Van Eycks and their school was to paint the whole pi tore carefully in tei pera and then to glace it over in trans- parent oil colours f the use of oil 1 as a medium was com- mon in the 13th century and even earlier (see MUKAL - - 'i the school of the Van Eycks belong FitUUDCf OC OCflCf very talented paint- m aa ft Mary Msyiilnf, attributed to ere, who inherited the joungu Van der Weyden. (National much of their mar- CWfcry.) velloos delicacy of finfth *"^ richness of colour the chief of these were Hemling, Van der Metre, and the younger Van der Weyden, to whom it attributed No. 654 in the National Gallery (see fig, 30). The colour of this lovely picture is magnificent beyond all description. Quintin
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Gheerardt David also produced works of great beauty and ex- traordinary finishfd - - At the of the 16th century Flemish art began to loee rapidly in vigour, a weaker style being lltaliiiilrd under the influence of Italy. To this period belong Mabuae, Van Orley, and Patinir, who ap- pear to have been special admirers of Raphael's latest man- ner. In the latter half of the century Anton ij Mor, usually known Flo. 31. Portrait by Ruben.*, known an the as Antonio More, was "Chped ML" (National Gdlery.) a portrait painter of the very highest rank. A por- 1 Elaborate direction* for painting in ofl are given by the German monk Tbeophflu. (.SdUdL 4*r. art., L 87, 38), who wrote in the 12th ntary.
- Tbongh the elder Tan der Weyden and other Tlemiah painten of
af painting i worka. The weaker Flemiah trait of Queen Mary of England at Madrid, and one of a youth of the Farnese family at Parma, are real of portraiture. He England. The Breu- ghel family in the 16th and 17th cen- turies produced feeble works finished with microscopic detail. .[ QD6TXS AVOu D1A DVSDu Vandyck in the 17th greatest portrai painten the world has ever seen (see figs. 31 and 32), and had many able fol- lowers on the Con- tinent and in Eng- Fla.32. byVadJ had rery little on their r^ar claw imit painter* of the lth century, on tbe oootrary. the Italian* and nJni1 picture, at a rather feebly pretty type. This school was chiefly remarkable for its painters of Dtch subjects, often treated with a very ignoble realism, chooL especially by the various members of the Teniers family. Rembrandt, the greatest painter of the school, developed a quite original style, remarkable for the force shown in his effective treatment of light *MM| shade. The vigorous life and technical skill shown in some of his por- traits have never been surpassed (see fig. 33). As a rule, how- ever, he cared but little for colour, and used the etching needle with special enjoyment and dex- terity. Terburg, Ger- hard Dou ( Douw X and Wouwerman had more sense of beauty, and worked with the most miniature - like deli- cacy. Another school It fffclisil of an OH Woman, by Rembrandt. (National Gallery.) excelled in landscape, especially Ruysdael and Hobbema (see figs. 34 and 35). Vandevelde was remarkable for Fia 84. Landscape, by RayidaeL (National Gallery.) his sea-pieces, and Paul Potter for quiet pastoral scenes with exquisitely painted cattle. Throughout the 17th
