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Later, the cares of fame and those of success were other causes of forgetfulness. In 1845, this landscape painter, emulator of the Hobbemas, Ruysdaels, and Lorraines, resembles no more the shabby, frisky rapin whom we then knew.
Leaving out the Three Maries of Perugino at Marseilles, and at Lyons the Ascension, which was once the glory of San Pietro di Perugia, the Moses of Paul Veronese, and Palma Giovanni's Flagellation, these two galleries put together cannot match Dublin with its Jan Steen, most characteristic without being coarse, its Terburg, a life-size portrait of the painter's favourite model, a young Flemish gentleman, presented to him as a token of regard, its portrait of a Venetian personage by Giorgione, with a companion portrait by Gian Bellini, its beautiful Italian landscape by Jan Both, its flower-wreathed head of a white bull by Paul Potter, its exquisitely finished "Vocalists" by Cornells Begyn, its admirable portrait of a Dutch gentleman by Murillo, and its two excellent Jacob Ruysdaels.
How I loved the gentle Van Ruysdaels, and how pathetic the everlasting white horse got to seem, after I had seen him repeated again and again in every sort of tender or eccentric landscape! Poor, tired white horse! I thought he must have been as weary of his journeyings as the Wandering Jew.
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