brother's, is in England.

Jan Van der Heyden, 'the Gerard Dow of architectural painters,' was born
in 1637 and died in 1712. He combined an unspeakable minuteness of
detail with the closest observation of nature. His subjects, which he
selected with great taste, were chiefly well-known buildings, palaces,
churches, and canal banks in Holland and Belgium. He painted in a warm
transparent tone, with close application of the laws of perspective. The
figures in his pictures, in excellent keeping, were often introduced by
Adrian Van de Velde. Van der Heyden's productiveness as a painter was
lessened by the circumstance that his mechanical talent led him to make
an invention by which the construction of the fire-engines of his day
was greatly improved. In consequence he was placed by the magistrates of
Amsterdam at the head of their fire-engine establishment, which had thus
many claims on his time. A beautiful 'Street in Cologne' is in the
National Gallery.

Emanuel De Witte, born in 1607, died in 1692, was great in architectural
interiors, especially in churches of Italian architecture. He stood to
this branch of Dutch art in the same relation that Ruysdael did to
landscape and William Van de Velde to seascape.

Aart Van der Neer was born in 1619(?), died in 1683. He is famous for
his canal banks by moonlight, and fine disposal of broad masses of
shadow. After his moonlights come his sunsets, conflagrations, and
winter scenes. He rarely painted full daylight. He sometimes painted on
the same Van der Neer in the National Gallery. Many of his works are in
England.

William Van de Velde the younger, the elder brother of Adrian Van de
Velde, the cattle painter, was born at Amsterdam in 1633, and died at
Greenwich in 1707. His early life was spent in Holland. He followed his
father, William Van de Velde, a painter also, to England, where, under
the patronage of Charles II, and James II., William the younger painted
the naval victories of the English over the Dutch, just as in Holland he
had already painted the naval victories of the Dutch over the English.
He was a greater and more consistent artist than he was a patriot.
Without question he is the first marine painter of the Dutch School. He
was untiring in his study of nature, so that his perfect knowledge of
perspective and the incomparable mastery of technical qualities which he
inherited from his school, enabled him to render sea and sky under every
aspect. His vessels