Of this group, to whom architecture, whether in the spacious and austere interiors of the Dutch churches, or the squares and ruddy brick house-fronts of the towns, was the chief preoccupation, Jan van der Heyden is the most famous and the best. He is also the one among them who has etched. The illustration, though much reduced, gives a fairly good idea of his work. Master of a precise and patient pencil, Van der Heyden is not content till he has drawn in every brick, every stone. And the marvel is, that in spite of his method, he contrives to convey a certain spirit of largeness into his design. In fact, though so minute in detail, he seems always to have kept his eye on the whole. A pleasant temperate warmth of colour pervades his pictures, the kind of light which on certain days suffuses old brick walls, as if dyed in the sunshine of many summers: and that exquisite order, the almost extravagant cleanliness of Dutch households, makes itself felt in these glimpses of tree-bordered canals, and of trim house-fronts with their well-proportioned windows. Much of this colour persists even in the black and white of an etching like that reproduced. It is the day after a fire, and a little crowd of neighbours is gathered to look on the burnt remnant of the house. How [Illustration: _Sea Piece. From an etching by L. Backhuysen._] excellently are the groups and figures depicted! This is not true etcher’s work; but it is very skilful work, very good work, of its kind. Neither Van der Heyden, nor any of the Dutch painters of architecture, realised the capacity of outlines in stone or brick, attended by their circumstance of light and shadow, to impress the imagination, to stir emotion, as Méryon was to do later. But their work, by its soberness and firm simplicity, wins us. In its own way, and in its own degree, it will always give pleasure. IX From Holland, the first naval power in Europe of the seventeenth century, a love of the sea and an expression of it in art were naturally to be expected: and among the several fine painters who now for the first time made the sea their subject, two at least, Reynier Zeeman and Ludolph Backhuysen, have left some admirable etchings. Simon de Vlieger painted, but did not etch marine subjects; of Jan van de Capelle only three indifferent plates are known; and Willem van de Velde did not etch at all. Zeeman’s real name was Nooms; but his love of the sea procured him early the name which he adopts on all his plates. He travelled much, but worked chiefly at Amsterdam, where probably he was born in 1623.