Identifier: netherlandgaller00prey (find matches)
Title: The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : St. Botolph Society
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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dants. OfDirck Bouts van Haarlem (1420-1475), whomoved to Louvain to study with Rogier van derWeiden, we have nothing- left — a work in theBoymans Museum at Rotterdam, attributed to him,being apparently of later date. We become a little surer with the men who hailedfrom Leyden. There we find Cornelis Engel-brechtsz. (1468-1533) working at a large altar-piece, a triptych, which was ordered by the cloisterbrothers of Marienpoel. It was so well liked, whencompleted, that Jakob Martini, the abbot, orderedanother one. The monks prized these paintingshighly, and when the Image Storm occurredin 1566 both triptychs were securely hidden. Theyare now in the Lakenhal in Leyden, the only workthat remains of this master. His pupil, Lukas van Leiden (1494-1533), wasone of the ablest men of his time, not only as apainter, but also as an engraver. Of his copper 1 The ending sz. added to a given name, as Davidsz., Willemsz.,is an abbreviation of Davidszoon, Willemszoon, meaning the son ofDavid, etc.
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Before IRembranot 25 plates two hundred examples have been saved, butof all his easel work only one triptych is left.Many of his pictures were in the cloister of theWhite Nuns when that terrible, fanatical mobburst in the doors to destroy the emblems of thehated church. One of the burgomasters hurriedto Saint Peters Church and quickly secured fromthe sacristan an altarpiece which Lukas hadpainted, hid it in his house, and when the furyhad subsided, hung it in the cityhall. It is nowalso in the Lakenhal. Two wings of a triptych inthe Ryksmuseum are, according to Dr. Bredius,unduly ascribed to Lukas. He did not confinehimself to sacred art. There is in the collectionof the Earl of Pembroke a painting by Lukas, rep-resenting nine persons, men and women, playingcards, and his copper engravings are most devotedto subjects taken from daily life. They are won-derfully expressive of character, and Vasari alreadyremarked that they could not have been done bet-ter with paint. In 1520 Lukas desi

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