blance, one may suit the taste of the most opposite people. Such has been the fortune of Jan Steen, one of the masters of the Dutch school, whose works command the highest prices even in our day. Holland and England, especially, contend for his pictures, which, however, do not always need the indulgence that the comic humour of the painter might fairly claim for them. In fact, if there is a want of uniformity in his painting, if it is sometimes poor, inconsistent, and blame

tures-as, for instance, in the "Sick Young Woman;" but he certainly had two manners. Sometimes his composition is hurried, careless, too uniformly brown in tone, and his colouring seems harsh and inharmonious; sometimes he painted with a clear and exquisite colouring, in the elaborate style of Mieris, but with more liveliness than that master. This latter style is especially marked in Jan Steen's "Country Wedding," in the museum of Amsterdam. It is a little chef-d'œuvre, in

the foreground. A second window is generally introduced in his backgrounds, to throw light on the distant figures and objects. Then the number of utensils is less than with the other Dutch painters: Jan Steen had too much sense to multiply them uselessly and without measure. No superfluity is found in his pictures, and if the painter introduce 'some kettles, a frying-pan, a pestle, or other utensils, it is only to recal the familiarities, of domestic life. Like Metzu, Steen liked to paint framed pictures to adorn the walls of his "Repasts," his "Joyous Meetings;" and it is remarkable that these frames are always filled with noble subjects engagements of the cavalry, heroic landscapes, and fabulous scenes, as, for instance, the conflict between the Centaurs and the Lapitha.

Jan Steen died, in 1689, at the age of fifty-three. He left nine children, concerning whose future he never troubled himself. The son he had by his second wife was named Thierry, and practised sculpture at the court of a German prince. Of the other children nothing is known.

Dr. Franz Kügler, a most friendly and judicious critic, thus speaks of the character of Jan Steen as an artist:-"His works imply a free and cheerful view of common life, and he treats it with a careless humour, such as seems to deal with all its daily occurrences, high and low, as a laughable masquerade, and a mere scene of perverse absurdity. His treatment of subjects differed essentially from that adopted by other artists. Frequently, indeed, they are the same jolly drinking parties, or the meetings of boors; but in other masters the object is, for the most part, to depict a certain situation, either quiet or animated, whilst in Jan Steen is generally to be found action, more or less developed, together with all the reciprocal relations and interests between the characters which spring from it. This is accompanied by great force and variety of individual expression, such as evinces the sharpest observation. He is almost the only artist of the Netherlands who has thus, with true genius, brought into full play all these elements of comedy. His technical execution suits his design; it is carefully finished, and notwithstanding the closest attention to minute details, is as firm and correct as it is free and light."

This artist, who never painted for the mere pleasure of painting, has had the honour of being cited, by Sir Joshua Reynolds as one of the most eminent masters. He says of him, that if with his genius he had had better models, in point of taste, he might have ranged with the greatest pillars of art. His lasting renown is not to be accounted for by the numerous anecdotes which the Dutch historians have related of his life, and which are all more or less ridiculous, but arises from the fact that his pictures, being full of sense and sly humour, remarkable for expression, and amusing from their comic meaning, delight all those who, not wishing to have their minds uninterested in the admiration of works of art, look for something else in painting than the representation of a carpet, the execution of a silk dress, or the delicacy of a tone.

Jan Steen, perhaps the most jovial and lively of Dutch masters, has treated every kind of subject, domestic, grotesque, and bacchanalian scenes, conversation pieces, landscapes, history, and religion. By his hand are "The Continence of Scipio ;" "Jesus Preaching in the Wilderness;" "The Marriage of Cana," &c. &c.; but let us observe that the comic sentiment of the artist penetrates even these compositions.

At any rate, the superintendents of public museums, as well as amateurs, endeavour, with a very justifiable earnestness, to obtain the works of the celebrated Dutchman.

In the royal collection of Windsor Castle there is a fine specimen of Jan Steen's best period. It is the interior of a Dutch cottage, with the inmates preparing for a meal. Although a small picture, being only fifteen inches in height and twelve in breadth, it is full of evidences of Steen's peculiar method of treatment, and homely, though forcible style. It consists of eight figures in all: in the front is a man with a pipe, playing with three children, while a woman is laying a

cloth on a table behind, and others are engaged in the processes of cooking at the fire. It is hung in the apartment called the King's closet, between a picture attributed to Andrea del Sarto and a Holy Family of Teniers.

Neither at the National Gallery nor at the collection at Dulwich, which is rather famous for Dutch and Flemish pictures, is there a single specimen from our painter's easel.

In the private galleries of English noblemen and gentlemen, however, there are many pictures illustrative of what may be called low life in the Netherlands. Thus, besides the seven pictures of Jan Steen's in the Queen's private collection, there are several examples of our master's best manner in the possession of Sir Robert Peel, Lord Francis Egerton, Lord Ashburton, the Duke of Wellington, the Earl of Shrewsbury, Mr. Hope, Mr. Munro, the late Mr. Beckford, the Earl of Scarsdale, and the Marquis of Bute, besides numerous genuine Steens in the houses of amateurs of art.

The Queen's private collection at Buckingham Palace contains by far the most rare and excellent examples of the Dutch masters in England. This collection was originally formed by George the Fourth, whose predilection for Flemish and Dutch pictures is well known. Through the agency of Lord Farnborough, many of the most precious specimens of Jan Steen's pencil were secured to this country. Of the seven pictures by this master, the most celebrated in this collection is “A Family Party," in which the painter has introduced himself playing on the violin, The group consists of eleven persons, all of whom are amusing themselves in various ways-card-playing, singing, and laughing. There is a vast deal of humour in this composition, and the treatment is more than commonly careful; but the tone of the colour is considered by artists rather too dark in some partsan accident which may possibly be the work of time and the picture cleaner. "Twelfth Night," a group of twelve persons, with the king of the revels in the centre. "A Company of Country People indulging in riotous mirth before the door of a Public house;" "The Card Party," a small composition, consisting of four figures; "The Village Feast," which represents the interior of a tavern, with a number of country people eating, drinking, and dancing; a nameless picture, having for its subject a young lady at the toilet; and one other completes the list. Of the last in our list, Dr. Waagent does not presume to offer an opinion, though of the "Village Feast," and the "Maiden's Toilet," he speaks in high terms. The one he pronounces to be "full of the happiest and merriest thoughts, but at the same time delicately finished;" and of the other, he says, "that in admirable impasto and spirited execution it rivals the finest Metzu;" and that the "bright masterly graduated light and the cool harmony of the colours, in which blue and purple prevail, make this one of the choicest pictures of the master."

"

Lord Francis Egerton's collection of paintings-known as the Bridgewater Gallery, from its founder, the duke - is famous also for its examples of the Dutch and Flemish masters. The Village School of Jan Steen, a picture which cost its owner no less a sum than £1,500, and one or two smaller specimens of the same master are deservedly esteemed.

Lord Ashburton's collection of paintings at his house in Piccadilly-permission to view being easily obtainable-is one of the lions of the metropolis. The two specimens of Jan Steen-which hang beside other worthy examples of art from the Netherlands-are especially commendable for "the care and delicacy of their finish, the humour of their incidents, and the warmth of their tones." These quoted words are those of a most learned art-critic; but as one of the finest of these paintings has been selected by our artist for illustration, we may be excused if we dwell a little longer upon its peculiarities. THE GAME OF SKITTLES (p. 13), is one of Jan Steen's most successful pictures; and not its least merit is its entire originality and genuineness-its history, from the celebrated Poulain collection to that of Prince Talleyrand-through seven cabinets, in fact, having been clearly traced. It is a composi

* Works of Art and Artists in England. By Dr. Waagen

tion of nine figures, and is painted on panel, 13 inches in height, and 10 inches in width-a size not uncommon with the best of the Dutch masters. Two men are playing at skittles in the foreground, with a couple of boys watching the game; while, on the grass to the left, are seated a young man and woman, the latter drinking from a long Flemish glass, and a man smoking a pipe with a pitcher of liquor before him. A horse belonging to one of the company stands patiently by the fence, an old fellow appears in the field beyond, and looks longingly over at the group upon the grass, and a woman is seen in the background, as if trudging homewards. This picture has been pronounced a "model of picturesque arrangement;" but we may go farther than that, and say, that for careful finish, delicacy of tone, cheerful humour, and freedom from coarseness and vulgarity, this picture of Jan Steen's is superior to many attributed to him. Indeed, the spirited execution of the landscape, in which the effect of a bright evening sunlight is well and feelingly represented, and the minute touches of nature everywhere observable, stamp this as one of the most successful of the Dutchman's pictorial efforts." Worthy of Cuyp," was the late Mr. Turner's exclamation on looking at this picture when it was first placed in its present position; and worthy indeed it is of all praise, as an incomparable specimen of careful finish and brilliant execution. How different are the manner and moral of the little engraving under the portrait-a reduced copy of a large engraving in the Munich gallery.

In the Duke of Wellington's collection, at Apsley House, are several fine examples of Jan Steen. One of the most striking is that to which we have already referred "The Tipsy Mother." This is really quite a moral lesson. The mother, sleeping off the fumes of the liquor, sits stupidly in the centre of the room, while one of her sons empties, her pockets, and two others assist in conveying away the purloined property. The eldest daughter is engaged in an evidently interesting conversation with her lover, while a fiddler romps with the servant-girl. Confusion and riot reign supreme; but with all this, and over and above the humour and truth of the delineation, "this picture has the merit of careful execution and clear colouring."

Mr. Hope's gallery contains three good pictures-"The Glutton," and its companion, "The Christening ;" and another of a large company singing and dancing before an ale-house. Of the first, Dr. Waagen says:-"The expression of boundless thoughtlessness and total absorption in transitory sensual pleasure was perhaps never represented in such a masterly manner as in this jolly fellow, who, with his whole face laughing, looks with the most wanton complacency at a pretty girl, who presents a glass of wine to him, while an old woman is opening oysters for him. In the foreground is a dog, and in a back room two gentlemen playing backgammon. The picture of Fortune over the mantel-piece, with the inscription, Lightly come, lightly go,' is like similar allusions in Hogarth's pictures. Marked with the artist's name and 1661. The careful execution is at the same time as spirited. and free as the conception, the colouring glowing and powerful, the light and shade equal in clearness and depth to De Hooge."

In the collection, formed by the late Mr. Beckford, the author of " Vathek," at Fonthill Abbey, near Bath, was a famous picture, called the " Progress of Intemperance," of which we have already spoken, in page 3. This picturewhich is two feet nine inches in height by three feet in widthmay be traced through the well-known collections of Danser, Hyman, Smeth, Van Alpen, Sereville, and Dalberg. The sum of 220 guineas, for which it was sold at the dispersion of Mr. Watson Taylor's collection, proves that, even in England, the best pictures are sometimes sold at prices which, compared to those obtained on the continent occasionally, are not considered very high.

Lord Northwick's collection contains the "Marriage of Cana," not a very successful painting; and in the Marquis of Bute's gallery, at Luton, are three pictures by Jan Steen, which are thus described by Dr. Waagen :-"1. A Cock

fight. A composition of twelve figures, fu 1 of happy thoughts. An old Man holds out his hand to a young Man, to receive payment of a bet, at which another laughs. In clearness of colouring too, in spirited, and, at the same time, careful execution, it is one of the finest works of the master. Two feet ten inches high, three feet nine inches wide.-2. Stragglers plundering a Farm. Most powerfully impressive by its dramatic truth! The desperation of the farmer, who would attack the soldiers with a pitchfork, but is held back by his wife and child; the insolence of the soldiers, one of whom cocks his musket, and another fires at some pigeons, form a striking contrast with two monks, who, enjoying themselves in eating and drinking, endeavour to make peace. Likewise very carefully executed. One foot eight and a-half inches high, one foot eight inches wide.-3. A Girl in white silk, and otherwise elegantly dressed, listens with pleasure to a richly-dressed young man, playing on the lute. An old man, behind a pillar, is watching them. In such pictures, which he rarely painted, Steen is very nearly equal to Metzu in clearness, force, and delicacy, but in general excels him in dramatic interest. One foot three inches high, one foot wide." The Louvre possesses only one, but it is of a superior quality, although Mr. Smith, and the surveyors of the museum, who, in 1816, valued it at £32, do not consider it a good specimen of the painter's talent. This picture is worth £1,200. It represents a 61 Village Banquet."

The Belvidere Gallery, at Vienna, contains two, a "Village Wedding," and a "Dutch Family," a capital picture, dated 1663. The figures are one-third the size of life.

At the Pinacothek, at Munich, there are also two, "Some Boors quarrelling ;" and "A Doctor feeling the pulse of a Sick Woman."

The Royal Gallery at Dresden contains only one, which represents a "Woman feeding her little Child."

The Royal Museum at Amsterdam is rich in this master's productions, it contains as many as eight. "The Portrait of the artist;""Villagers returning from a Fête ;"" A Scourer;" "The Baker;" "A Quack;" "St. Nicholas' Day, an excellent picture, with a very lively composition; "The Backgammon Party;" and a "Country Wedding.”

At the Hague are six pictures by Jan Steen, "The Family of the Painter;" "Representation of Human Life;" "A Doctor feeling the pulse of a Young Girl;" "A Dentist;" "A Poultry-yard;" and lastly, "A Doctor going to pay a visit to a Sick Person."

The Hermitage, St. Petersburgh, "The Sick Girl and the Doctor."

In the Royal Museum of Berlin is found, "A Familiar Scene."

The Frankfort Museum includes "The Interior of a Room;" and a "Doctor dressing a Man's Wounds."

In the Florence Gallery, "Peasants seated at Table in an Arbour;" and "The Young Violinist;" are the only examples of Jan Steen.

In the museums of the departments of France, there are some beautiful works of this master.

At Montpellier are the "Repose of the Traveller;" and "A Familiar Scene." They both bear the signature of the master, and were bequeathed by M. Valdeau to the museum of this town.

At Nantes, there is a single picture of Steen's, called "Topers seated at Table."

Rouen possesses a gem, known as "The Loves of Jan Steen."

In the private collections of noblemen and gentlemen are to be found the most beautiful productions of our lively artist. At M. Delesserts, in Paris, "The Interior of a Kitchen," and St. Nicholas' Day."

It was not till lately that Jan Steen's pictures became known in the public sales of France, where their number has never been considerable.

At the Gagnat sale, in 1768, "A Dutch Interior" sold for £18.

At the Duc de Choiseul's sale, 1772, "A Sick Old Man,"

of which we here give an engraving, fetched £32 10s. "The Interior of an Alehouse," which heads this biography, realized £699 10s.

At the Prince of Conti's sale, 1777, "A Tipsy Woman," who is being carried away in a wheelbarrow, while a little boy squirts water at her with a syringe, produced £64.

At the sale of Randon de Boisset, 1777, "The Skittle Players went for £64.-"The Lesson on the Harpsichord" for £1,200 68.

At the Calonne sale, 1788, "The Villagers' Dance" fetched

At the Van Leyden sale, 1804, "La Fiancée Précoce" went for £79.

At the Lampérière sale, 1817, "The Doctor and his Young Patient" reached £462, after a smart competition. This is a picture admirable for finish, firmness of touch, and brilliancy of colour. It contains three figures: the sick girl, her mother, and the doctor.

At the Rouge sale, 1818, "The Village Wedding" sold for £72; "La Danse de l'Euf" for £120; "The Lesson on the Harpsichord" for £281 10s.

At the Duc de Praslin's sale, 1793, "The Less on on the Harpsichord," from Randon de Boisset's collection, produced £52.

At the Robit sale, 1801, "The Dancing Dog," which we here give (p. 8.), was purchased for £112. This picture came from the rich collection of M. Nogaret.

At the Lanjeac sale, 1802, "The Skittle Players," from the cabinet of Randon de Boisset, was knocked down for £116, and "The Betrothal," for £70.

At the Lampérière sale, 1823, "A Familiar Scene" was purchased for £60; and "The Comic Concert" for £19. At M. Erard's sale, 1832, "The Village Wedding" brought £196; "The Pleasures of the Kermess" £75.

At the sale of the Duc de Berri, 1837, "The Marriage of Cana" sold for £540. This picture has been added to Van Leyden's celebrated collection; it was the delight of the dowager, to whom it was brought every day, as a powerful specific against ennui, thoughts of sorrow, and of her approaching end!