moves, in order the b Poelemburg has here sur exactness of the design, and figures. He has carried to their gracious and simple exp is not less distinguished for the light well distributed, for harm obscure, for the agreeable and proper colours, and for that tru to which none of his disciples ati must have contributed not a litt the great Rubens had for his work are six inches and a half in height. Copper; H. 16 in.; B. 13 in. 107 TECTURE you i, linear and SEBASTIAN commence a pupil of Francks, Dort. guished by › surprising 1 broad day, 1 three divi even up to re are seen s, pictures, nd organs. adorned it beautiful d designed ssion; in a of Gonzales all groups, city, to anierpowering f a priest, a side-door, In pictures of BUILDINGS and ARCHITECTURE you will look for fine finish, a firm hand, linear and aërial perspective, and an illusive effect. Example. No. 10.- NEEFS (OLD PETER), and SEBASTIAN Flemish school. FRANCKS. Neefs lived at the commencement of the sixteenth century, and was a pupil of Henry Steenwyk, whom he surpassed. Francks, born about 1573, pupil of Adam Van Oort. A very capital picture, equally distinguished by the size of the composition, and by the surprising finish of execution. This chief work of art represents, in broad day, the interior of a vast Gothic church, in three divisions; which is seen in all its length, even up to the altar at the foot of the choir. There are seen many other altars in the side chapels, pictures, epitaphs, coats of arms, a pulpit, and organs. Sebastian, the best of the Francks, has adorned it richly, but without crowding, with very beautiful figures, possessing great ease, painted and designed in a superior manner, and full of expression; in a word, worthy, in all respects, of the pencil of Gonzales himself. He has dispersed them in small groups, over the whole church, with much sagacity, to animate the different parts of it without overpowering them. The groups in front consist of a priest, who is saying mass, at a chapel, near a side-door, * and of people, clothed in the Spanish fashion, who take part therein with much devotion; a gentleman, who gives orders to his page; two fine groups of beggars; a cavalier, who presents his intended to the clergyman, and two pages; and, finally, a priest, who is taking confessions. The other groups, less important, although all full of life, are placed farther in the church. This admirable picture is sufficient of itself to prove how much old Peter Neefs surpassed his son, Steenwyk, and all who have followed him in these subjects. Less dry, less heavy, and better blended than them all, his fine pencil has drawn the longest lines, as well straight as curved, with such inconceivable neatness and firmness, and with so much delicacy, that, although painted upon canvass, all the picture is united like a glass, and on passing the finger over it, one cannot feel a single line. He has also known better than they how to choose and vary his colours, and how to produce and multiply, by accessories and accidents, the striking effects which result from the opposition of light and shadow. In fine, his pillars, his arches, and his pavement, demonstrate that no person has ever possessed in a higher degree than he, the rules of both perspectives, and of vaporous degradation. The figures are five inches in height. |