ure, remarkable as it is for size, being 3 ft. 10-1/2 in. high, by 5
ft. 2 in. wide, the sense even of the fresh morning is not without a
tinge of gentle melancholy. A noble wood of oaks, beeches and elms,
about the size of the last-mentioned picture, is in the Louvre. In the
centre, through an opening in the woods, are seen distant hills. The
cattle and figures upon a flooded road are by Berchem. In power, warmth,
and treatment, this is also nearly allied to the preceding work. Of his
waterfalls, the most remarkable are--A picture at the Hague, which is
particularly striking for its warm lighting, and careful execution.
Another with Bentheim Castle, so often repeated by Ruisdael, is at
Amsterdam. In the same collection is a landscape, with rocks, woods, and
a larger waterfall. This has a grandly poetic character which, with the
broad and solid handling, plainly shows the influence of Everdingen. The
same remark may be applied to the waterfall, No. 328, in the Munich
Gallery. Here the dark, rainy sky, enhances the sublime impression made
by the foaming torrent that rushes down the rocky masses. Another work
worthy to rank with the fore-going is _The Jewish Cemetry_, in the
Dresden Gallery: a pallid sunbeam lights up some of the tombstones,
between which a torrent impetuously flows.

The _Landscape with Waterfall_ at Hertford House is a good example; the
_Landscape with a Farm_ in the same collection is another, though in
this the figures and cattle are by Adrian Van der Velde. Ostade and
Wouverman are also said to have helped him with his figures, and it is
possible that one or other of them ought to have some of the credit for
the beautiful _View on the Shore at Scheveningen_ in the National
Gallery (No. 1390). The _Landscape with Ruins_ (No. 746) is perhaps the
finest of the others there.

WILLEM VAN DE VELDE, the younger, born at Amsterdam 1633, died at
Greenwich 1707. His first master was his father, Willem van de Velde the
elder, but his principal instructor was Simon de Vlieger. The earlier
part of his professional life was spent in Holland, where, besides
numerous pictures of the various aspects of marine scenery, he painted
several well-known sea-fights in which the Dutch had obtained the
victory over the English. He afterwards followed his father to England,
where he was greatly patronized by Charles II. and James II. for whom,
in turn, he painted the naval victories of the English over the Dutch.
He was also