antiquity, as Stosch, Lippert, and Winckelmann prove, and that of
natural history was greatly facilitated by the collections of natural
curiosities.

The style of painting was, however, still essentially German, although
deprived by the Reformation and by French influence of its ancient
sacred and spiritual character. Nature was now generally studied in
the search after the beautiful. Among the pupils of Rubens, the great
founder of the Dutch school, Jordaens was distinguished for brilliancy
and force of execution, Van Dyck, A.D. 1541, for grace and beauty,
although principally a portrait painter and incapable of idealizing
his subjects, in which Rembrandt, A.D. 1674, who chose more extensive
historical subjects, and whose coloring is remarkable for depth and
effect, was equally deficient. Rembrandt's pupil, Gerhard Douw,
introduced domestic scenes; his attention to the minutiae of his art
was such that he is said to have worked for three days at a
broomstick, in order to represent it with perfect truth. Denner
carried accuracy still further; in his portraits of old men every hair
in the beard is carefully imitated. Francis and William[1] Mieris
discovered far greater talent in their treatment of social and
domestic groups; Terbourg and Netscher, on the other hand, delighted
in the close imitation of velvet and satin draperies; and Schalken, in
the effect of shadows and lamplight. Honthorst[2] attempted a higher
style, but Van der Werf's small delicious nudities and Van Loos's
luxurious pastoral scenes were better adapted to the taste of the
times. While these painters belonged to the higher orders of society,
of which their works give evidence, numerous others studied the lower
classes with still greater success. Besides Van der Meulen and
Rugendas, the painters of battle-pieces, Wouvermann chiefly excelled
in the delineation of horses and groups of horsemen, and Teniers,