Note 376 — Chapter I · (continued 3)

The above survey of Dutch art is of great interest, and in its careful comparison of the type of that art with the national development of the Dutch may be contrasted favourably with the somewhat prejudiced criticism of such a critic as John Ruskin. At the same time I think it must be obvious that Hegel is a little inclined to overrate the ideal aspect of that portion of it we may indicate in the work of painters such as Wouvermans or Teniers, many examples of which are little removed from the defects of theme he points out in more modern work. Also personally I should say that, if we exclude the supreme genius of Rembrandt, he rather exaggerates their rank as supreme colourists in respect to the scintillation, mystery, and other effects of light. To consider that they rank above the Venetians in this respect is wholly impossible, to say nothing of Velasquez. Rubens, however, may add some support to the view, but he is hardly in the school described, and Van Dyck stands with him.