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Updated: June 11, 2025
Take a Flemish kitchen full of good fellows from Teniers; add a fireside group from Wilkie; throw in a naval sketch from Cruickshank; and then stick a short pipe into every mother's son's mouth, and you have the smoking scene at the galley of the Neversink. Not a few were politicians; and, as there were some thoughts of a war with England at the time, their discussions waxed warm.
A volume like this would scarcely suffice to do justice to the merits of the eminent artists who now flourished in Belgium; at once founding, perfecting, and immortalizing the Flemish school of painting. Rubens, Vandyck, Teniers, Crayer, Jordaens, Sneyders, and a host of other great names, crowd on us with claims for notice that almost make the mention of any an injustice to the rest.
A remarkable work by Peter Brueghel, The Blind leading the Blind, will also arrest attention. The Teniers Room, XXXII., shows some excellent works by the younger master: 2155, St. Peter denies his Lord; 2156, The Prodigal Son; 2157, Works of Charity; 2158, Temptation of St. Anthony.
Let him who thinks that fine public picture galleries are confined to Europe go to the Metropolitan Museum of Art, with its treasures by Rembrandt and Rubens, Holbein and Van Dyck, Frans Hals and Teniers, Reynolds and Hogarth, Meissonier and Detaille, Rosa Bonheur and Troyon, Corot and Breton.
The tapestries represent Blenheim and other battles, and there are one hundred and twenty copies of famous masters, made by Teniers. A stately statue of Queen Anne stands in the library.
They are not very numerous, but are undoubted originals of S. Rosa, Teniers, Rembrandt, Myiens, and of J. Bassano, who is remarkable for having attained a greater age than most of the great painters, he has accordingly left behind him a greater number of pictures than almost any other master.
And certainly this has its merit; but in no other proportion to the truth of the art, which consists in moving the nobler passions, than as farce is to tragedy or to genteel comedy. They are in this art of dancing, what Hemskirk and Teniers are in that of painting.
It reminds one of a painting by Teniers; and I should like to give some idea of it, since it is really one of the best examples of the class, witty, varied, and vivacious. But an obstacle presents itself in the fact that I can find no vestige of a plot.
Here the ancient and modern Dutch painters are seen at their best, and I know of no richer feast of this sort. Here Rembrandt is to be seen in his glory; here Van der Helst, Jan Steen, Gerard Douw, Teniers the younger, Hondekoeter, Weenix, Ostade, Cuyp, and other names as familiar. These men also painted what they saw, the people, the landscapes, with which they were familiar.
With those who ask a literal copy of life, whether high or low, and ask no more, the Teniers and their school must always be in the highest favour; and to those who are wearied and sceptical of blunders and failures in seeking that underlying strain of life, the mere rugged genuineness of the Teniers' work recommends itself, and is not without its own pathos; while to very many superficial observers the simple homeliness of the life which the Teniers chose to represent, prevents the observers from missing what should be present in every life.
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