BARTHOLOMAEUS See also:

• VAN

VAN DER See also:

• BARTHOLOMAEUS VAN DER HELST

HELST  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland at the opening of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and died at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam in 1670 . The date and See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth are uncertain; and it is equally difficult to confirm or to deny the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time-honoured statement that he was born in 1613 at Amsterdam . It has been urged indeed by competent authority that See also:

• VAN

Van der Heist was not a native of Amsterdam, because a See also:

• FAMILY

family of that name lived as See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1607 at See also:

• HAARLEM

Haarlem, and pictures are shown as See also:

• WORKS

works of Van der See also:

• HELST, BARTHOLOMAEUS VAN DER

Helst in the Haarlem Museum which might tend to prove that he was in practice there before he acquired repute at Amsterdam . Unhappily See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew has not been traced amongst the See also:

• CHILDREN, LAW RELATING TO

children of Severijn van der Heist, who married at Haarlem in 1607, and there is no See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that the pictures at Haarlem are really his; though if they were so they would show that he learnt his See also:

• ART

art from Frans See also:

• HALS, FRANS (158o?–1666)

Hals and became a skilled See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master as early as 1631 . Scheltema, a very competent See also:

• JUDGE (Lat. judex, Fr. juge)

judge in matters of Dutch art See also:

• CHRONOLOGY (Gr. xpovo?oyfa, computation of time, xp6vos)

chronology, supposes that Van der Heist was a See also:

• RESIDENT

resident at Amsterdam in 1636 . His first See also:

• GREAT

great picture, representing a gathering of civic See also:

• GUARDS, AND HOUSEHOLD TROOPS

guards at a brewery, is variously assigned to 1639 and 1643, and still adorns the See also:

• TOWN

town-See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of Amsterdam . His See also:

• NOBLE, SIR ANDREW (1832- )

noble portraits of the burgomaster See also:

• BICKER (connected by Skeat with bike, to thrust or strike)

Bicker and Andreas Bicker the younger, in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of Amsterdam, of the same date no doubt as Bicker's wife lately in the Ruhl collection at See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, were completed in 1642 . From that time till his See also:

• DEATH

death there is no difficulty in tracing Van der Heist's career at Amsterdam . He acquired and kept the position of a distinguished portrait-painter, producing indeed little or nothing besides portraits at any time, but See also:

• FOUNDING (from Lat. fundere, to pour)

founding, in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with See also:

• NICOLAES

Nicolaes de Helt Stokade, the painters' guild at Amsterdam in 1654 . At some unknown date he married See also:

• CONSTANCE
• CONSTANCE (Ger. Konstanz or Costnitz)
• CONSTANCE, COUNCIL OF
• CONSTANCE, LAKE OF (called by the Romans Lacus Brigantinus or lake of Bregenz, and now usually named in German Bodensee, as well as the " Swabian Sea ")

Constance Reynst, of a See also:

• GOOD, JOHN MASON (1764-1827)

good patrician family in the See also:

• NETHERLANDS

Netherlands, bought himself a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in the Doelenstrasse and ended by earning a competence . His likeness of See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, executed in 1654, and his See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership with See also:

• BACKHUYSEN, or BAKHUISEN, LUDOLF (1631-1708)

Backhuysen, who laid in the backgrounds of some of his pictures in 1668, indicate a See also:

• CONSTANT, BENJAMIN (1845-1902)

constant companionship with the best artists of the time . Wagen has said that his portrait of See also:

• ADMIRAL

Admiral Kortenaar; in the gallery of Amsterdam, betrays the teaching of Frans Hals, and the statement need not be gainsaid; yet on the whole Van der Heist's career as a painter was mainly a protest against the systems of Hals and See also:

• REMBRANDT (1606-1669)

Rembrandt .

It is needless to dwell on the pictures which preceded that of 1648, called the See also:

• PEACE
• PEACE, BREACH OF THE

Peace of See also:

• MUNSTER
• MUNSTER, SEBASTIAN (1489-1552)

Munster, in the gallery of Amsterdam . The Peace challenges comparison at once with the so-called See also:

• NIGHT

Night See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

Watch by Rembrandt and the less important but not less characteristic portraits of Hals and his wife in a neighbouring See also:

• ROOM

room . See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds was disappointed by Rembrandt, whilst Van der Heist surpassed his expectation . But See also:

• BURGER, GOTTFRIED AUGUST (1748-1794)

Burger asked whether Reynolds had not already been struck with See also:

• BLINDNESS

blindness when he ventured on this See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . The question is still an open one . But certainly Van der Heist attracts by qualities entirely differing from those of Rembrandt and Frans Hals . Nothing can be more striking than the contrast between the strong concentrated, See also:

• LIGHT

light and the deep gloom of Rembrandt and the contempt of See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro See also:

• PECULIAR

peculiar to his See also:

• RIVAL

rival, except the contrast between the rapid sketchy See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of Hals and the careful finish and rounding of van der Helst . " The Peace " is a See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting of guards to celebrate the See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature of the treaty of Munster . The members of the Doele of St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George meet to feast and congratulate each other not at a formal banquet but in a spot laid out for good cheer, where de Wit, the See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain of his.See also:

• COMPANY

company, can shake hands with his See also:

• LIEUTENANT

lieutenant Waveren, yet hold in See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn See also:

• STATE
• STATE, GREAT OFFICERS OF

state the great drinking-See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn of St George . The See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of the company sit, stand or busy themselves around—some eating, others. drinking, others See also:

• CARVING

carving or serving—an animated See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene on a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• CANVAS

canvas, with figures large as See also:

• LIFE

life . Well has Burger said, the heads are full of life and the hands admirable . The dresses and subordinate parts are finished to a nicety without See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice of detail or loss of breadth in touch or impast .

But the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye glides from shape to shape, arrested here by expressive features, there by a See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright stretch of See also:

• COLOURS, MILITARY

colours, nowhere at perfect rest because of the lack of a central thought in light and shade, harmonies or See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . Great as the qualities of van der Helst undoubtedly are, he remains below the See also:

• LINE

line of demarcation which separates the second from the first-See also:

• RATE

rate masters of art . His pictures are very numerous, and almost uniformly good; but in his later creations he wants See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and though still amazingly careful, he becomes See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey and woolly in touch . At Amsterdam the four regents in the Werkhuys (165o), four syndics in the gallery (1656), and four syndics in the town-hall (1657) are masterpieces, to which may be added a number of See also:

• FINE

fine single portraits . See also:

• ROTTERDAM

Rotterdam, notwithstanding the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire of 1864, still boasts of three of van der Heist's works . The Hague owns but one . St See also:

• PETERSBURG

Petersburg, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, possesses ten or eleven, of various shades of excellence . The Louvre has three, See also:

• MUNICH (Ger. Munchen)

Munich four . Other pieces are in the galleries of See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick, See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, Carlsruhe, See also:

• CASSEL
• CASSEL, or KASSEL

Cassel, See also:

• DARMSTADT

Darmstadt, See also:

• DRESDEN

Dresden, See also:

• FRANKFORT

Frankfort, See also:

• GOTHA

Gotha, See also:

• STUTTGART

Stuttgart and See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna .