De Laer seems to have been one of the first Dutchmen to import Dutch realism and the Dutch method of painting into Italy. The Italians found in such art something fresh and vigorous. De Laer soon gained immense vogue in the south, and had a corresponding influence on his countrymen who came to work there. Among these, probably, was Claes Pietersz Berchem. It is not known for certain whether this artist visited Italy, but the internal evidence of his pictures points strongly to the supposition that he did. At any rate, Dr. Bredius is convinced of it, and for the present we may safely accept the hypothesis on his authority. Berchem was born at Haarlem in 1620, but was working at Amsterdam before 1642, in which year his name occurs as member of the Haarlem Guild of St. Luke. We also know that he was painted by Rembrandt in 1647.[12] Was this before or after his journey to Italy, asks Bredius, and leaves the question open. The etchings, however, help us towards an answer. 1644 is the date on a set of cattle, with a milkmaid for title; also on the _Return from the Fields_ (_L’Homme Monté sur l’Âne_) (B. 5). These are etched with fine, delicate short strokes, in a manner afterwards abandoned by Berchem. His most celebrated print, however, the so-called “Diamond,” or _Joueur de Cornemuse_ (B. 4), and the _Fluting Shepherd_ (B. 6), are in the delicate early manner, and must be assigned to the same date. Now, these are all unmistakably Italian in character. If we may assume from Berchem’s pictures that he had been to Italy, we can assume it with equal safety from these etchings. We may infer, then, that in 1647 he had already returned from Italy. Berchem had many pupils, including Karel du Jardin, of whom we shall speak later. He was evidently one of the popular artists of the day. It is curious to compare the features of the man as they live in [Illustration: _Fig. 23.--Title Piece._ _By Berchem._ _B. 35._] Rembrandt’s magnificent portrait,[13] with the characteristics of his art. It is a face in which, for all its obvious strength, there is a want of gentleness, fineness, impressibility; a type of nature that succeeds easier in life than in art: for the qualities which count for strength in the world count often in art for weakness. And weak, in truth, is Berchem the artist. With his paintings we are not now concerned. Through them he rivalled Both in popularity, and for facility and complacency it is hard to say which bears the palm. Berchem is quite content to paint the gnarled trunk of an oak, the hairy leaf of a burdock, the moss on a stone and the stone itself, grass and leaping water, as of the same polished, one might almost say, “slimy” texture. So long as he has produced an agreeable composition, he is content.