Hendrik Frans van Lint

[4] Van Lint would use his preparatory studies to develop full-scale compositions on canvas and often added ruins and classical buildings to create his elaborate imaginary landscapes.

[3] Van Lint lived in the via del Babuino and married in 1719 Ludovica Margarete Tassel, daughter of an Italian tailor.

[7] The Congregazione was a corporation of artists who organised annual exhibitions of their own paintings on the metal railings in front of the Pantheon.

Among his earliest dated works produced in Rome are paintings from 1711, including View of a monastery on the Aventine, now in the collection of the Galleria Doria Pamphili.

[1] His idealized landscapes follow less the style of his contemporaries and compatriots Abraham Genoels and Jan Frans van Bloemen, who specialized in this subject matter.

In particular the first work is directly based on Lorrain's Landscape with Dancing Figures (The Mill), while the second is only inspired in its overall design by Claude's original of the View of Delphi with a procession.

Van Lint was no slavish follower of Lorrain but rather an inventor of his own as shown by the fact that he introduced a number of elements that are absent from Claude's work, such as the hound in the centre or the shepherd leading his flock over a bridge.

[10] It has been argued that van Lint adapted Lorrain's style to 18th-century taste by using paler and clearer tones, prettier colours and sharper handling.

Eventually he painted everything worth seeing in Rome which resulted in many views of similar subjects such as the Colosseum, the Arch of Constantine, the Pyramid of Cestius, and the Baths of Diocletian and Caracalla.

[1] Henry Hoare's print collection at Stourhead is thought to have been hand-coloured in a collaborative effort by Hendrik van Lint and his son, Giacomo.

The technique is consistent with Hendrik van Lint's paintings but evidence, including a recorded comment regarding the 'young Studio', suggests that the colouring may have been a family enterprise.