moderately skilled in Latin, and taught the first rudiments of Greek." At Utrecht was also born, in 1459, pope Adrian VI. to whom the emperor Maximilian entrusted the education of his son, Charles the Fifth, and who afterwards filled the pontifical throne with piety and learning, with dignity and mildness: this distinguished personage, after having acquired his classical knowledge at the university of this city, and his philosophical at the college of Louvain, received the degree of doctor in divinity in 1491, the expense of which he was unable to sustain, and which was defrayed by Margaret, sister to Edward IV. of England. I was informed that the house he resided in, a fine Gothic building, was still standing, and that it was adorned with several curious bassorelievos, but time would not permit me to visit the venerable remains. This city had also the honour of producing the Chevalier Antonio More, who was born here in 1519, where he studied under John Schoorel, with whom, having made considerable progress, he improved himself in design at Rome, and in the true principles of colouring at Venice: one of his historical compositions, from the subject of the Resurrection, was in such high estimation as to be publicly exhibited at the fair at St. Germains, before it was purchased by the prince of Condé. More has the reputation of having imitated nature very closely and happily; his manner is strong, just, and bold, and in his portraits there is great character and life. He was much esteemed by the emperor Charles V. and was by him sent to Portugal to paint the portraits of the king, the queen, who was the sister of the emperor, and their daughter, afterwards the queen of Spain. For these portraits he received six hundred ducats, and many valuable presents; and to show their admiration of his talents, the Portuguese nobility presented him, in the name of that order, with a chain of gold valued at a thousand ducats. He was employed by most of the princes of Europe, and at every court his paintings excited universal applause. Queen Mary the First of England, presented him with a chain of gold and a pension. Upon his quitting London and settling in Spain, a singular circumstance befel him: one day as the king, who was very fond of him, and his great patron, was talking to him in a very familiar manner, he gave More in jocularity a sharp tap on the arm, which the irritable painter mistaking for indignity, instead of an act of good humour and condescension, resented by striking the king with his maulstick: a folly which had nearly in its consequence proved fatal to him, and which compelled him to quit the country with all possible celerity. His last work was the Circumcision, intended for the cathedral church at Antwerp, but which he did not live to finish. Cornelius Poelemburg, another artist of high distinction, was born at Utrecht in 1586. He first studied under Abraham Bloe mart, and afterwards, upon going to Rome, became enamoured with the works of that divine artist, Raphael, whose exquisite grace in the nude figure he endeavoured to imitate. His style was entirely new, and he surpassed all his contemporaries in the delicacy of his touch, in the sweetness of his colouring, and in the selection of fortunate objects and situations. His skies are clear, light, and transparent; and his female figures, which are generally represented naked, are equally elegant and beautiful. The Italians were highly delighted with his works, and some of the cardinals of Rome, of the finest taste, frequently attended his painting room, to observe his extraordinary and happy manner of working. Upon his leaving Rome, the grand duke of Florence paid him great honours, and he was received with distinction in every city through which he passed. It is recorded to the honour of Rubens, that after paying him a friendly visit, and expressing the greatest pleasure from examining the works of Poelemburg, he purchased and bespoke several of his pictures, for his own cabinet; this noble conduct at once gave the stamp of currency to the works of the latter, and advanced his reputation and his fortune together. Our refined and munificent Charles the First invited him to his court, and nobly recompensed him for his labors, but he vainly endeavoured, by his princely encouragement, to prevail upon him to settle in England; the indelible love of his country prevailed over every other consideration, and he returned to his native country, where he lived in affluence and esteem, and where he continued to paint to the last day of his life, which was in the year 1660, at the great age of seventy-four. Utrecht seems to have the fairest pretensions to have given birth to Anthony Waterloo, before slightly mentioned; an honour disputed with much ardor of rivalship by Amsterdam and other cities. The landscapes of this admirable artist are in the highest estimation, and are the closet copies of nature, without the aid of meretricious decoration. His favourite subjects were woody scenes, embellished with water, and figures and cattle added by Weenix and other artists: the variety in the verdure of his trees and grounds, the very tint of which illustrates the hour of the day and the season of the year in which they were taken, and the wonderful transparency of his water, remain unrivalled. Although the works of this great artist produced high prices, he expired in great penury in the hospital of St. Job, near Utrecht. John Glauber, called Polidore, another eminent artist, was born here in 1656: he was a disciple of the admirable Berghem, but a passion for travelling induced him to quit his master, to contemplate the sublime objects of nature in Italy. In his way he remained at Paris one year with Picart, a flower painter, and at Lyons two years with Adrian Vander Cabel, with whom he intended to have staid longer, had he not been attracted by a great number of people who were going to the jubilee, to proceed direct to Rome, where he continued for two years, indefatigably pursuing the means of improving himself in his art, and from thence he went to Venice. Upon his return to Holland he settled at Amsterdam, where he lodged with Gerard Lairesse, in whose house an academy of arts was established. These distinguished artists were united together by the same passion for their art, and the same elevation of mind, improved by their having travelled through the same countries: by this friendship the beautiful landscapes of Glauber became enriched by the graceful figures of Lairesse. Glauber ranks amongst the finest landscape painters of the Flemish school. The most frequent subjects of his pencil he derived from the neighbourhood of Rome and the Alps, and his style resembles that of Gaspar Poussin; his colouring is warm and true, his invention very luxuriant; and although his pictures are exquisitely finished, they appear as if they had been produced with perfect facility; his touch is so peculiarly just and natural, that every distinct species of trees or plants may be distinguished by the characteristic exactness of the leafing. The two brothers, John and Andrew Bott, were born in this city in the beginning of the sixteenth century; the former a landscape painter, and the latter a painter of figures: they both resided many years in Italy. John made Claude Lorraine his model, whose style he imitated with uncommon success, as did Andrew that of Bamboccio. They were much attached to each other, and painted in conjunction: their united efforts seem to be the happy result of one masterly hand. Andrew was unfortunately drowned in one of the canals of Venice whilst with his brother, in 1650, who returned to Utrecht overwhelmed with grief, which he consoled by an unabated pursuit of the art he adored. The works of John are of inestimable value, and eagerly sought after by connoisseurs. Gallantry forbids my passing over the name of Anna Maria Schurman, born here in 1607: she was profoundly versed in languages, displayed great skill and taste in painting, as well as in every other branch of the graphic and elegant arts: she was honoured with a visit from Christina, queen of Sweden, who pronounced the most enthusiastic encomiums on her elegant attainments. This celebrated woman died at the age of seventy-one. There are other artists who do honour to this their native city, but I have mentioned those of the first order, in number and reputation perfectly sufficient to establish the pretensions of Utrecht to high rank in the roll of renowned cities. I quitted this beautiful place, the prosperity of which has suffered much by the war with England, about four o'clock on a beautiful autumnal morning, and proceeded to Arnheim, which and Nimeguen, are the capital cities of Guelderland. This beautiful and valuable province contains twenty-two considerable towns, and upwards of three hundred villages. The Ménopii Gugerni, Usipetes, and Secambri, mentioned in Cæsar's Commentaries, are supposed to have been its ancient inhabitants. Guelderland, remarkable for the salubrity of its climate and the fertility of its soil, abounds with the most romantic variety of sce nery, mountain and valley, and is well stocked in every direction with fine cattle, and abounds with game. All the way to Arnheim the eye was gladdened by some of the most delightful objects descriptive of the amenity of nature. In this country I generally travelled in post-chaises, or as it is called, extra-post; but perhaps, as the following information respecting the route from Amsterdam to Cologne may be serviceable to those who travel by the diligence or post-waggon, I shall insert it: From Amsterdam to Utrecht by water to Arnheim by the diligence, which sets of every day from Utrecht to Wesel ditto every Monday and Thursday to Dusseldorf to Cologne eight hours. one long day. one very long day. one day. We were serenaded all the way by nightingales, which are very numerous in every part of this province. Arnheim or Arnhem, is a very large and elegant city, partly watered by a branch of the Naas, over which are several drawbridges, from which there are many agreeable views. The houses are in general well built, and, what is remarkable for a Dutch town, very few of them out of the perpendicular. The entrances, called St. Jan's Poort and Sabel's Poort, are picturesque. St. John's church is a vast edifice of brick, with two spires, and a fine set of carillons; but with exception to its magnitude, there is little in or about it worthy of observation; the same may be said of the church of St. Nicholas. The church near Walburges Plain, the name of which I have forgotten, is a prodigious massy pile; and beheld from the surrounding scenery has a very noble effect. The market-place is capacious, and abundantly supplied with every species of provision, which are here much cheaper than in the other parts of Holland. The streets of this city are enlivened by several handsome equipages, and throughout the place there is a considerable appearance of refinement and opulence. Here the Dutch language begins to lose itself in the German, a circumstance made manifest by a friend of mine, a native of Germany, who accompanied me on my return |