Waterloo, 5, 38, 48, 50
Watteau, 9
Westrheene, van, 66
Wet, J. de, 67, 68
Whitman, 70
Willigen, van der, 8, 17
Wyck, 57
Zeeman, 53, 54
FOOTNOTES:
[1] The last figure is doubtful. It is 8 according to Bartsch and
Dutuit, but may also be 9.
[2] _Manuel de l’Amateur d’Estampes_: par M. Eugene Dutuit. Vol. V.
Paris. 1882.
[3] By all the older authorities the date is wrongly given as 1625.
[4] The _Tobias and the Angel_ dates probably from about 1613, or a
little later, as this was the date of de Goudt’s print.
[5] Probably the engraving, since Seghers’ print is a reverse copy from
this, but in the same sense as the picture.
[6] No. 236 in Middleton’s Catalogue.
[7] In the National Gallery.
[8] Seghers has also been credited with the use of soft ground etching
or of aquatint. Examination of the prints shows, however, that the
effects in question were got either by using acid on the plate, or by
working in dotted lines, not with the roulette but with the simple
needle. In ascertaining these facts and in correcting some of his
first impressions the writer has profited by the knowledge and the
kind assistance of Mr. S. R. Koehler, Keeper of the Prints at Boston,
U.S.A., whose authority on such questions is well known.
[9] This assumes him to have been born 1631. Another date given is 1633.
[10] See _supra_: p. 41.
[11] A drawing of his is dated _Paris, 1623_. And according to
Bertolotti he was in Rome by 1627.
[12] Bredius gives the date as 1644.
[13] Exhibited last winter (1895) at Burlington House by the Duke of
Westminster.
[14] Compare also a little-known piece of Whitman’s “The Ox-Tamer,” in
_Autumn Rivulets_, which ends:
Now I marvel what it can be he appears to them ...
I confess I envy only his fascination--my silent, illiterate friend,
Whom a hundred oxen love there in his life on farms,
In the northern county far, in the placid pastoral region.