Breenberg (1599-1659?), who was born at Deventer, the home of Terborch, has depicted a _View of the Campo Vaccino at Rome_ (No. 2334), and a _Ruins of the Palace of the Cæsars_ (No. 2335) in the Italian manner beloved by Berchem and Pieter van Laer. The latter, who is also named Bamboccio, is represented by two small oval panels. Lingelbach (1622-1674), who frequently collaborated with other Dutch artists, may be judged by his _Vegetable Market at Rome_ (No. 2447) and three other canvases, and Frédéric de Moucheron (1633?-1686) by a _Leaving for the Hunt_ (No. 2482). It will be convenient to mention here Reynier Nooms, whose _View of the Old Louvre from the Seine_ (No. 2491) has some historical interest. ARCHITECTURAL PAINTERS A limited number of painters busied themselves in making faithful transcripts of the streets and the exterior appearance of the buildings. Jan van der Heyden (1637-1712) was perhaps the most successful in this direction, and his _View of the Town Hall of Amsterdam_ in 1688 is an excellent example of his methods, while the Louvre also possesses three small panels by him. Jan Abrahamsz Beerstraten (1622-1666), the son of a cooper at Amsterdam, travelled to Italy and the Mediterranean, proof of which is afforded by his _Old Town Gate at Genoa_ (No. 2310). The typical architectural painter is, however, Gerrit Berckheyde (1638-1698). Although he never went to Italy, his _View of Trajan’s Column_ (No. 2324) is a welcome relief from the many versions he painted, with conspicuous success, of _The Market-Place of Haarlem_. Hendrik van Steenwyck (1580-1648) almost invariably contented himself with reproducing the _Interiors of Churches_ (Nos. 2582, 2583); but his _Christ in the House of Martha and Mary_ (No. 2581) is an unusual subject with him, and must be his masterpiece. The _Vestibule of a Palace_ (No. 2490), by Isaac van Nickelle (fl. 1660), is very good of its kind; but the _Interior of a Guard-Room_ (No. 2453), by Aart van Maes, is a poor attempt at dramatic action. MARINE PAINTERS The fact that the Dutch had fought with swamp and water and possessed a large maritime commerce, is reflected in the _Seascapes_ of Simon de Vlieger (1600-1660), and in the art of Ludolf Backhuysen (1631-1708), who is represented by a _Stormy Sea_ (No. 2309) and five other canvases; but one of the best works of this class in the Louvre is the _Marine-piece_ (No. 2600) by Willem van de Velde the Younger (1633-1707), who crossed over to England, and after a long career died at Greenwich. These men sought to carry on the earlier tradition of Jan van Goyen and the two Ruisdaels, but they showed less originality and power. STILL-LIFE PAINTERS