Utrecht seems to have the fairest pretensions to have given birth to Anthony Waterloo, before slightly mentioned; an honour disputed with much ardor of rivalship by Amsterdam and other cities. The landscapes of this admirable artist are in the highest estimation, and are the closet copies of nature, without the aid of meretricious decoration. His favourite subjects were woody scenes, embellished with water, and figures and cattle added by Weenix and other artists: the variety in the verdure of his trees and grounds, the very tint of which illustrates the hour of the day and the season of the year in which they were taken, and the wonderful transparency of his water, remain unrivalled. Although the works of this great artist produced high prices, he expired in great penury in the hospital of St. Job, near Utrecht. John Glauber, called Polidore, another eminent artist, was born here in 1656: he was a disciple of the admirable Berghem, but a passion for travelling induced him to quit his master, to contemplate the sublime objects of nature in Italy. In his way he remained at Paris one year with Picart, a flower painter, and at Lyons two years with Adrian Vander Cabel, with whom he intended to have staid longer, had he not been attracted by a great number of people who were going to the jubilee, to proceed direct to Rome, where he continued for two years, indefatigably pursuing the means of improving himself in his art, and from thence he went to Venice. Upon his return to Holland he settled at Amsterdam, where he lodged with Gerard Lairesse, in whose house an academy of arts was established. These distinguished artists were united together by the same passion for their art, and the same elevation of mind, improved by their having travelled through the same countries: by this friendship the beautiful landscapes of Glauber became enriched by the graceful figures of Lairesse. Glauber ranks amongst the finest landscape painters of the Flemish school. The most frequent subjects of his pencil he derived from the neighbourhood of Rome and the Alps, and his style resembles that of Gaspar Poussin; his colouring is warm and true, his invention very luxuriant; and although his pictures are exquisitely finished, they appear as if they had been produced with perfect facility; his touch is so peculiarly just and natural, that every distinct species of trees or plants may be distinguished by the characteristic exactness of the leafing. The two brothers, John and Andrew Bott, were born in this city in the beginning of the sixteenth century; the former a landscape painter, and the latter a painter of figures: they both resided many years in Italy. John made Claude Lorraine his model, whose style he imitated with uncommon success, as did Andrew that of Bamboccio. They were much attached to each other, and painted in conjunction: their united efforts seem to be the happy result of one masterly hand. Andrew