Une courte histoire de la gravure gravure [et] : pour l'utilisation de collecteurs et des étudiants, avec bibliographie complète, liste classée et l'index des graveurs . erest dans leur sujet inhabituel, étant surtout rues suivie dansprèsde avec fire-moteurs conflagration au travail. Simon de Vlieger, qui, en tant que peintre, est surtout connu pour ses-ZEEMAN CUYP POTTER-^93 sujets marins, montre une autre facette de son talent dans ses impressions. Etchers ofHe quelques paysages gravé avec une touche aussi libre que Ruysdael, mais anmais.son chef de travaux dans le milieu sont ses études d'animaux, qui sont vuege/^parmi les premières eaux-fortes de leur genre

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A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . erest in their unusual subject, being mostly streets seenin conflagration with fire-engines at work. Simon de Vlieger, who, as a painter, is best known for his ZEEMAN—CUYP—POTTER ^93 marine subjects, shows a different side of his talent in his prints. Etchers ofHe etched a few landscapes with as free a touch as Ruysdael, but anmais.his chief work in the medium are his studies of animals, which are vuege/^among the earliest etchings of their kind in Dutch art. The hand-ling of the needle is loose, but his drawing never lacks in life andenergy. Aelbert Cuyps etched work is very slight, only eight prints (all Aeibert Cuyp.sketches of cows) being known. His plates are of the smallestdimensions, and dashed off in the most summary outline, but theyare full of vigour and significance. Paul Potter gave far more attention to etching than Cuyp, Paul Potter.and his plates are executed with infinitely more pains, but for allthat they can hardly be regarded as of greater artistic value. If his. T>eTsjrt S. harn^icrrtvt Ijn/s . Fig. 75.—Re_vnier Xooms (Zeeman). Porte St. Bernard, Paris. animals seem to lack in mobility, and verge on the statuesque, thereare solidity, decision, and truth in his drawing which give him an in-contestably high position among animal draughtsmen of all schools.His noble plate of the dappled grey horse set against a backgroundof a dark sky shows, moreover, a fine feeling for colour in black andwhite. Adriaen van de Velde, of Amsterdam, takes a scarcely lower Adriaen vanplace than Potter as an etcher of animals. His touch is lighter, ^^ Velde.sometimes more sympathetic, but lacks the others strength.Though Adriaen is not known to have visited Italy, his art is infusedwith the same Southern atmosphere that distinguishes Berchemswork. Hardly less important a branch of the school of Dutch animal Dutch

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