The characteristics of
the Flemish school are confined to Historical painting, and even in
that class there is scarcely more than one example, Rubens. Between
Rubens and Vandyke there is certainly affinity beyond that of
colouring, though in colouring to a limited degree. Between Rubens and
Teniers there is surely a gap of many classes. If there be any
characteristic mark common to both, it must lie in the silvery
lightness of colouring, distinctness and freedom of touch, as if both
had used the same vehicle, and in the same manner, allowance being
made for the size and subjects of their pictures. We are not disposed
to detract from the reputation of Rubens as a colourist; no painter
perhaps better understood theoretically and practically the science of
the harmony of colours, and their application to natural
representation. But he was entirely careless as to sentiment of
colouring. Action even to its utmost superiority was his _forte_, and
for this one expression his colouring, by its vivid power and
contrasts, was certainly very admirable.

The Dutch school is so blended with the Flemish, separating from both
Rubens and Vandyke, and their immediate scholars, that it is difficult
to speak of them as distinct schools. Fascinating as they undoubtedly
are, they utterly abandon the power to teach for the art of pleasing.
They are not for the public; have little to do with _events_ of any
great interest. There is a manifest descent from the high pretensions
of art; the aim is to gratify the mere love of exact imitation, and to
interest by portraiture of manners. "If, then," says our author,
"truth of imitation is the first business of works of art; if,
without that, no picture is in a situation to please; if all that is
visible over the whole face of nature be included in the domain of
painting, how is it that among the exclusive partisans of historical
subjects, there are persons so blind as not to see that the marvellous
productions of this school, and of the Flemish, have filled with
admirable success the immense gaps which their vaunted Italian schools
have left in different parts of art?"

The very first sentence of this passage is of very undefined sense; we
can guess at what is meant by the sneer upon the "_vaunted Italian
schools_." There are not only immense gaps, but great gulfs, over
which there is no legitimate passage. If these schools have "done so
much honour to the art of painting," as M. de Burtin assert