---------------------------------------- ------------------------ ,transcriber's ,notes3 ,words surrounded by are italicized4 ,words surrounded by are bold4 ,words surrounded by are superscript4 ,a number of obvious errors have been corrected in this text4 ,for a complete list1 please see the bottom of this document4 ---------------------------------------- ------------------------ ,,the ,,standard ,,galleries ,,holland ,illustration3 ,,jan ,,vermeer ,view of ,delft ,,the ,,standard ,,galleries ,,holland ,,by ,,esther ,,singleton ,author of ,dutch and ,flemish ,furniture1 ,great ,pictures ,described by ,great ,writers1 etc41 etc4 ,,with ,,forty-,,six ,,illustrations ,illustration3 ,a4 ,c4 ,mc,clurg ,co ,logo ,,chicago ,a4 ,c4 ,,mcclurg ,,co4 #aijh ,,copyright ,a4 ,c4 ,,mcclurg ,,co4 #aijh ,entered at ,stationers' ,hall1 ,london1 ,england ,all rights reserved ,published ,october #aj1 #aijh ,,the ,,university ,,press1 ,,cambridge1 ,u4 ,s4 ,a4 ,preface ,when a tourist who1 having mapped out his itinerary in accordance with the time at his disposal for a ,european trip1 arrives at a city for seeing which he has allowed two or three days at the utmost1 the first question he puts to a fellow traveller1 the hotel clerk1 or his ,baedeker is1 ,what must ,i see8 ,first1 there is the city itself3 its streets1 bridges1 canals1 parks1 and drives4 ,then there are famous churches1 city halls1 and other ancient buildings1 including city gates and castles in the immediate neighborhood4 ,perhaps there is a palace1 and most certainly one or more museums of art and antiquities4 ,the tourist gazes his fill on architecture1 stone and wood carving1 exterior and interior2 but above all he feels that he must make the best use of his opportunities of seeing the pictures1 the fame of which has spread into all civilized countries4 ,his time is short4 ,he is therefore grateful for a guide that will direct him to the beauties and celebrities of the famous local picture-gallery1 and point out to him the qualities of the paintings as well as tell him something of the art of the masters and of the school to which they belong4 ,it is important first for him to know what he should see1 and secondly what he should see in it beyond the bare facts he can gather from the catalogue4 ,on returning home with a few photographs of the canvases that have struck his fancy1 he is also pleased to renew his acquaintance with the gallery in the pages of a modest work that does not go too deeply into art questions beyond the grasp of the ordinary layman4 ,such a guide and companion this book aims to be2 it leads the tourist rapidly through the most important picture-galleries of ,holland1 and points out the pictures that all the world talks about2 and gives some account of the ,dutch masters1 their qualities and characteristics as exemplified in their works1 there and elsewhere4 ,it does not pretend to be exhaustive1 and confines itself almost exclusively to the consideration of the examples of native schools4 ,on going through a gallery the visitor1 in accordance with his individual tastes1 will frequently be halted by a picture whose fame has not reached him1 but whose beauty appeals to him quite as much as the celebrities with which he is familiar from numberless reproductions1 such as ,potter's ,bull1 ,rembrandt's ,night ,watch1 or ,snyder's ,boar ,hunt4 ,the traveller is tempted to linger over the little pictures of the ,little ,masters1 the charming interiors1 marines1 landscapes1 and still life of the galaxy of painters of the seventeenth century4 ,it is for this reason1 therefore1 that for illustrating the following pages ,i have selected many of the less familiar examples of the art of that period4 ,sir ,joshua ,reynolds1 who was a sound art critic as well as a great painter--an unusual combination of qualities--described with fine appreciation the pleasure derived from the contemplation of the works of the ,dutch school4 ,he says3 ,the most considerable of the ,dutch school are ,rembrandt1 ,teniers1 ,jan ,steen1 ,ostade1 ,brouwer1 ,gerard ,dow1 ,mieris1 ,metsu1 and ,terburg1--these excel in small conversations4 ,for landscapes and cattle1 ,wouvermans1 ,p4 ,potter1 ,berchem1 and ,ruysdael2 and for buildings1 ,venderheyden4 ,for sea-views1 ,w4 ,vandervelde1 jun41 and ,backhuysen4 ,for dead game1 ,weenix and ,hondekoeter4 ,for flowers1 ,de ,heem1 ,vanhuysum1 ,rachael ,roos1 and ,brueghel4 ,these make the bulk of the ,dutch school4 ,i consider those painters as belonging to this school1 who painted only small conversations1 landscapes1 etc4 ,though some of these were born in ,flanders1 their works are principally found in ,holland--and to separate them from the ,flemish school1 which generally painted figures large as life1 it appears to me more reasonable to class them with the ,dutch painters1 and to distinguish those two schools rather by their style and manner1 than by the place where the artist happened to be born4 ,rembrandt may be considered as belonging to both or either1 as he painted both large and small pictures4 ,a clearness and brilliancy of coloring may be learned by examining the flower-pieces of ,de ,heem1 ,huysum1 and ,mignon2 and a short time employed in painting flowers would make no improper part of a painter's study4 ,rubens's pictures strongly remind one of a nosegay of flowers1 where all the colors are bright1 clear1 and transparent4 ,a market woman with a hare in her hand1 a man blowing a trumpet1 or a boy blowing bubbles1 a view of the inside or outside of a church1 are the subjects of some of their most valuable pictures2 but there is still entertainment1 even in such pictures--however uninteresting their subjects1 there is some pleasure in the contemplation of the imitation4 ,but to a painter they afford likewise instruction in his profession2 here he may learn the art of coloring and composition1 a skilful management of light and shade1 and indeed all the mechanical parts of the art1 as well as in any other school whatever4 ,the same skill which is practised by ,rubens and ,titian in their large works1 is here exhibited1 though on a smaller scale4 ,painters should go to the ,dutch school to learn the art of painting as they would go to a grammar school to learn languages4 ,they must go to ,italy to learn the higher branches of knowledge4 ,in attempting to be of some service to the art lover who has no leisure for extended and independent study1 ,i have by no means relied entirely upon my own impressions and observation4 ,in describing the pictures1 ,i have drawn largely on the writings of the best ,english1 ,french1 ,german1 and ,dutch art critics and historians1--,crowe1 ,reynolds1 ,blanc1 ,burger1 ,havard1 ,fromentin1 ,michel1 ,mainz1 ,wurtz1 ,bode1 ,bredius1 and many others4 ,when so many authorities disagree with one another in the spelling of the names of the ,dutch artists1 ,i have endeavored to avoid all criticism by adopting the spelling used in the official catalogues of ,the ,hague1 ,amsterdam1 and ,rotterdam galleries2 and in a few instances these are not agreed4 ,for valuable aid in compiling this work1 my thanks are due to ,mr4 ,arthur ,shadwell ,martin4 ,e4 ,s4 ,,new ,,york1 ,august #a1 #aijh4 ,galleries ,included ,,page ,,the ,,hague ,,gallery #a ,,the ,,rijks ,,museum #aji ,,the ,,stedelijk ,,museum #aic ,,the ,,town ,,hall1 ,,haarlem #baa ,,the ,,boijmans ,,museum1 ,,rotterdam #bag ,illustrations ,,the ,,hague ,,gallery ,,page ,vermeer1 ,view of ,delft ,frontispiece ,paul ,potter1 ,vache qui se mire #aj ,rembrandt1 ,portrait of ,himself as ,officer #ad ,rembrandt1 ,homer #af ,f4 ,bol1 ,admiral de ,ruyter #bd ,moeyaert1 ,the ,visit of ,antiochus to the ,augur #cb ,ruisdael1 ,distant ,view of ,haarlem #dj ,a4 van de ,velde1 ,a ,dutch ,roadstead #dh ,p4 ,wouwermans1 ,the ,hay ,wain #ej ,p4 ,wouwermans1 ,the ,arrival at the ,inn #eb ,dou1 ,the ,good ,housekeeper #fj ,ostade1 ,the ,fiddler #ff ,ter ,borch1 ,the ,despatch #gj ,metsu1 ,the ,amateur ,musicians #gd ,rubens1 ,helena ,fourment #ajj ,,the ,,rijks ,,museum ,moreelse1 ,the ,little ,princess #aah ,mierevelt1 ,prince ,maurits of ,nassau #abj ,van der ,helst1 ,company of ,captain ,r4 ,bicker #abf ,hobbema1 ,the ,water ,mill #acj ,hackaert1 ,avenue of ,ash-trees #acb ,maes1 ,the ,spinner #acf ,cuijp1 ,fight between a ,turkey and a ,cock #adj ,cuijp1 ,shepherds with their ,flocks #adb ,jan van ,goyen1 ,view of ,dordrecht #add ,w4 van de ,velde1 ,the ,ij1 or ,y1 at ,amsterdam #aej ,f4 ,snyders1 ,dead ,game and ,vegetables #aeb ,m4 d',hondecoeter1 ,the ,floating ,feather #aed ,asselijn1 ,the ,swan #aef ,a4 de ,vois1 ,lady and ,parrot #afd ,f4 van ,mieris1 ,the ,grocer's ,shop #agb ,p4 de ,hooch1 ,the ,country ,house #agf ,jan ,steen1 ,the ,parrot ,cage #agh ,jan ,steen1 ,the ,happy ,family #ahj ,jan ,steen1 ,eve of ,st4 ,nicholas #ahb ,,the ,,stedelijk ,,museum1 ,,the ,,town ,,hall1 ,,haarlem ,,and ,,the ,,boijmans ,,museum ,mauve1 ,sheep on the ,dunes #aif ,israels1 ,fisherman's ,children #aih ,roelofs1 ,marshy ,landscape #bjj ,a4 ,neuhuys1 ,by the ,cradle #bjb ,mesdag1 ,sunrise on the ,dutch ,coast #bjd ,israels1 ,old ,jewish ,peddler #bjf ,j4 ,maris1 ,two ,windmills #bjh ,frans ,hals1 ,reunion of the ,arquebusiers of ,st4 ,andrew4 #bad ,bisschop1 ,winter in ,friesland #bbf ,mauve1 ,cows in a ,shady ,nook #bcf ,klinkenberg1 ,view of the ,vijver at ,the ,hague #bdf ,jongkind1 ,view of ,overschie in ,moonlight #bef ,the ,standard ,galleries of ,holland ,,the ,,hague ,,gallery ,,the ,,old ,,mauritshuis ,not far from the ,binnenhof1 on the ,vijver1 where the principal historic buildings of ,the ,hague are grouped1 stands the ,mauritshuis1 now the home of one of the most famous collections of paintings in ,europe4 ,originally it was the palace of ,prince ,john ,maurice of ,nassau1 ,governor of ,brazil1 who1 on his return to his fatherland in the year #afdd1 found it completed and took up his residence there4 ,this splendor-loving prince had had this building erected to please his own tastes by the court architect of ,the ,hague1 ,pieter ,post1 after the plans of ,jacob van ,campen1 the designer of the ,dam ,palace in ,amsterdam and other buildings2 and for the decoration of the interior he had sent rare and costly woods from ,brazil4 ,everything was heavily gilded and painted2 and1 in particular1 a very artistic staircase attracted universal admiration4 ,brazilian landscapes painted by ,frans ,post1 richly carved chimney-pieces1 and exotic objects of every kind adorned the halls2 but1 alas6 in #agjd all this magnificence was destroyed by a fire1 and only the walls of the palace remain4 ,the ,restored ,building made into an ,art ,gallery4--,the exterior of the building was restored just as it was originally2 but the interior was finished in a much simpler style that does not in the least suggest the splendor of the past4 ,it was not until the year #ahbj that the ,mauritshuis was devoted by royal decree to its present use1--the sheltering of the royal picture collection1 which was at that time combined with the ,cabinet of ,rarities1 now in the ,rijks ,museum in ,amsterdam4 ,history of the ,collection4--,the collection has an interesting history as a whole2 and the majority of the pictures have their own special history4 ,the nucleus of the gallery formed the collection of the last ,stadtholder of the ,netherlands1 ,william ,v4 of ,orange4 ,the ,princes of ,orange were art-collectors as early as the beginning of the sixteenth century4 ,although we do not know much regarding the art tastes of ,prince ,maurice of ,orange1 who died in #afbe1 yet we learn from a document that he employed ,esais van de ,velde as a court painter4 ,on the other hand1 we do know that his brother1 ,prince ,frederick ,hendrik1 was a collector of fine taste and a ,maecenas4 ,he employed a great number of important artists1 among whom were ,rembrandt1 ,honthorst1 ,dirck ,bleker1 ,cornelis ,vroom1 ,christiaen ,couwenberch1 ,cornelisz ,jacobsz ,delff1 ,thomas ,willeborts1 ,moses van ,uyttenbrouck1 ,jacob ,backer1 ,gonzales ,coques1 ,frans ,pietersz de ,grebber1 ,dirck ,dalens1 ,gerrit van ,santen1 ,adriaen ,hanneman1 ,nicholaes de ,helt ,stocade1 and ,dirck van der ,lisse4 ,besides works by these artists1 he acquired in ,antwerp pictures by ,rubens1 ,paulus de ,vos1 ,adriaen van ,utrecht1 and others4 ,to the ,jesuit ,father ,soghers he even gave a golden palette made in ,the ,hague by the goldsmith ,hans ,coenraet ,brechtel4 ,no wonder that his widow1 ,princess ,amalia of ,solms1 following the ideas of her dead husband1 employed ,jordaens1 ,van ,thulden1 ,de ,grebber1 ,casar van ,everdingen1 ,honthorst1 ,lievens1 ,solomon de ,bray1 ,pieter ,soutman1 and ,cornelis ,brise to decorate the ,house in the ,wood4 ,at her death in #afge1 she left a collection of two hundred and fifty pieces1 which were divided among her four daughters4 ,some of these pictures are now in ,dessau and ,moscow1 and others in ,prussian castles4 ,william ,,iii41 who gained the ,english throne1 had a fine picture-gallery1 of which the portrait-painter1 ,robert ,duval was the director4 ,the greater part of this collection was sold in ,amsterdam in #agac2 but a few of these pictures are still in ,the ,hague ,gallery4 ,the latter1 however1 owes its importance and distinction to the collection of ,william ,v4 ,the ,collection of ,william ,v4 of ,orange4--,this prince purchased his treasures at the best auctions of the day1 such as the ,lomier1 ,de la ,court1 ,braamcamp1 and ,slingerlandt collections4 ,a ,german painter1 ,tethardt ,philip ,christian ,haag1 was made the director of this gallery1 which was established in the ,buitenhof4 ,when the ,french entered ,the ,hague in #agie these pictures were carried to ,paris by the troops and placed in the ,louvre4 ,when ,napoleon's lucky star set1 the ,french had the grace to return the pictures that they had carried away as spoils from various countries2 and on ,november #bj1 #ahae1 the one hundred and ten pictures belonging to the prince's collection were returned to ,the ,hague amid the ringing of bells1 firing of cannon1 and rejoicing of the people4 ,although a certain number remained in ,france1 the chief gems were restored undamaged4 ,growth of ,the ,hague ,gallery4--,in #ahag the gallery contained only one hundred and twenty-three pictures4 ,gradually others were purchased2 for example1 in #ahbi1 ,king ,william ,i4 bought ,rembrandt's ,anatomy for #cbjj gulden4 ,very few purchases were made from #ahca to #ahgd2 but during the reign of the art-loving ,william ,,iii4 the gallery was greatly augmented by both purchase and gift4 ,the growth of the collection is principally the result of the great generosity of the ,baron ,victor de ,stuers1 who in #ahgd issued an admirable catalogue 7revised ed41 #ahie74 ,the ,cabinet ,pieces4--,the nucleus of this collection1 originally a princely cabinet1 consists of the cabinet pieces4 ,therefore we find here pictures 7that were highly valued in their day7 by ,poelenburgh1 ,dou1 ,van ,mieris1 ,de ,vois1 ,schalcken1 ,netscher1 ,van der ,werff1 ,p4 van ,dyck1 ,ostade1 ,jan ,steen1 ,ter ,borch1 and ,metsu4 ,there were also four ,rembrandts1 two ,de ,keijsers1 three ,potters1 the beautiful ,moro1 and examples by ,adriaen and ,willem van de ,velde4 ,the modern additions1 generally speaking1 do not equal in interest the original collection4 ,the most important are two portraits by ,hals2 a triptych1 by ,jacob ,cornelisz van ,ootsanen1 a bequest2 an ,aert de ,gelder1 a gift1 unfortunately much restored and spoilt by ,houbraken2 a signed still life1 by ,jan van ,huysum2 a portrait by ,bol2 a broad and spirited ,begeyn2 a ,dusart2 a strong1 dark1 and somewhat sunken view of ,the ,hague by ,jacob van ,ruisdael2 a beautiful ,van ,goyen2 a head by ,vermeer of ,delft2 a landscape by ,g4 du ,bois2 a wonderful flower-piece by ,abraham van ,beyeren2 several still-life pictures2 and some portraits1 among the latter ,moreelse's portrait of himself4 ,sir ,joshua ,reynolds's ,visit to the ,gallery4--,sir ,joshua ,reynolds left an account of his visit to the ,prince of ,orange's ,gallery in #agha2 and among the pictures that he especially admired are those that critics unite in extolling to-day4 ,he calls attention to the ,wouwermans1 two ,van de ,veldes1 the portraits of ,rubens's two wives1 ,rembrandt's ,portrait of a ,young ,man1 a ,conversation by ,ter ,borch 7,the ,despatch it is now called71 ,van ,dijck's ,portrait of ,simons the ,painter1 ,teniers's ,kitchen1 two ,ostades1 a landscape by ,rubens1 ,paul ,potter's ,vache qui se mire1 the ,inside of a ,delft ,church1 by ,hoogest 7,houckgeest71 ,fruit1 by ,de ,heem1 done with the utmost perfection2 a ,woman with a ,candle1 by ,gerard ,dow2 a ,woman writing1 looking up and speaking to ,another ,woman1 by ,metsu2 a picture of ,dutch ,gallantry by ,mieris1--a man pinching the ear of a dog which lies on his mistress's lap2 a ,boy blowing ,bubbles1 also by ,mieris1 and ,the ,flight into ,egypt1 by ,van der ,werff1--one of his best4 ,the ,vijver ,lake4--,but while we have been talking of the past history of the ,mauritshuis and its treasures1 we have failed to notice the ,vijver1 a pretty lake bordered with trees and dotted with islands1 the haunt of swans and other waterfowl--descendants1 perhaps1 of ,hondecoeter's and ,weenix's models--that float upon its glassy surface1 and cut through those quiet reflections of the long line of picturesque buildings1 including the ,mauritshuis4 ,the long quay on the other side is the favorite and fashionable promenade of ,the ,hague4 ,we must note the ,vijver1 because it has been an attractive subject for ,dutch painters of all periods2 and the traveller will frequently see representations of it4 ,one of the most recent is ,klinkenberg's ,view of the ,vijver at ,the ,hague1 which was presented to ,boijman's ,museum in #ahgf1 by the ,rotterdam ,society for ,promoting ,art4 ,the ,mauritshuis is represented on the right4 ,and now1 having looked at this building from across the ,vijver1 we will pass to the entrance4 ,paucity of ,foreign ,pictures in ,dutch ,galleries4--,the ,dutch galleries differ from many other great ,european galleries1 such as the ,national ,gallery1 the ,louvre1 the ,hermitage1 and the big ,german galleries1 by being devoted almost exclusively to works of the ,dutch and ,flemish masters4 ,pictures of foreign schools are insignificant in number and of very slight importance4 ,the foreign pictures in the ,mauritshuis can be dismissed in a few words4 ,italian ,pictures in the ,mauritshuis4--,the ,italian pictures include3 ,holy ,family1 by ,fra ,bartolommeo2 ,holy ,family1 by ,p4 ,berettini2 ,christ ,blessing1 by ,p4 ,bordone2 ,adoration of ,magi1 by ,c4 ,caliari2 ,virgin and ,child1 and ,birth of ,virgin1 by ,l4 ,cambiaso2 ,temptation of ,adam and ,eve1 by ,c4 ,cignani2 ,virgin1 ,child1 and ,saints1 by ,m4 ,fogolino2 ,massacre of ,innocents1 by ,l4 ,mazzolini2 ,holy ,family1 by ,f4 ,santafede2 ,madonna1 by ,g4 ,b4 ,sassoferrato2 ,annunciation1 by ,f4 ,solimena2 ,holy ,family1 and two ,portraits1 by ,titian2 ,venus1 ,mistress of the ,world1 by ,a4 ,turchi2 an ,italian ,landscape1 by ,f4 ,zuccherelli2 ,cupid 7poor copy71 by ,guido ,reni2 ,venus and ,cupid 7copy71 by ,raphael2 two ,male ,portraits1 by ,piero de ,cosimo2 ,female ,portrait1 by ,g4 ,palma2 ,female ,portrait1 by ,a4 ,allori2 ,landscape1 by ,f4 ,lauri2 two ,landscapes with ,pilgrims1 ,monks in a ,grotto and ,capuchins in a ,grotto1 by ,a4 ,magnasco2 two ,ruins1 by ,l4 ,carlevaris2 and ,prometheus and ,sisyphus1 by ,l4 ,giordano4 ,of unknown ,italian artists of the sixteenth century1 the subjects are3 ,god the ,father and ,holy ,spirit1 ,landscape with ,mary ,magdalen1 ,landscape with ,st4 ,paul and the ,hermit1 ,death of ,abel1 ,venus1 ,dalilah1 ,st4 ,john the ,evangelist1 ,ecce ,homo1 ,martyrdom of ,st4 ,sebastian1 and ,the ,musicians4 ,other ,foreign ,pictures in the ,mauritshuis4--,france is represented only by a portrait by ,j4 ,a4 ,aved1 ,a ,group of ,merchants by ,s4 ,bourdon1 and two ideal landscapes by ,c4 ,vernet4 ,the ,spanish school is represented by a portrait by ,velasquez1 a ,virgin and ,child by ,murillo1 a ,magdalen by ,m4 ,cereso1 and a landscape and a portrait by unknown artists4 ,the ,german artists are scarcely more numerous4 ,there are two portraits by ,holbein and three others of his school1 three portraits by ,b4 ,beham1 an ,italian landscape by ,j4 ,h4 ,roos1 three portraits by ,j4 ,f4 ,a4 ,tischbein1 and four ,biblical and one mythological pictures by ,h4 ,rottenhamer4 ,the subjects of these are3 ,the ,meeting of ,david and ,abigail1 ,st4 ,philip ,baptizing the ,eunuch1 ,the ,rest in ,egypt1 ,christ ,delivering ,souls from ,purgatory1 and ,the ,fall of ,phaeton4 ,the meagre list of foreign works also includes two portraits by the ,danish artist1 ,j4 ,g4 ,ziesenis4 ,strength and ,weakness of the ,gallery4--,the strength of ,the ,hague ,gallery lies mainly in its portraits1 either single or in groups4 ,of these there are considerably more than a hundred2 of genre pictures there are about seventy1 and of landscape more than sixty4 ,there are nearly fifty ,biblical and religious subjects1 and more than thirty taken from pagan mythology4 ,the ,gallery is weak in historical pictures1 of which there are only seventeen4 ,only seven canvases represent the great marine painters2 and the pictures of birds1 flowers and fruits1 and still life are comparatively few4 ,the student naturally turns first to the great pictures that have a world-wide reputation4 ,the two most famous are undoubtedly ,paul ,potter's ,bull and ,rembrandt's ,lesson in ,anatomy4 ,paul ,potter's ,bull4--,the picture represents an enormous black and white bull standing on a hillock beneath two trees4 ,beneath the trees lie a cow1 a sheep1 and a lamb1 and behind the trunks stand a ram and a shepherd4 ,an immense meadow1 on which cattle are grazing1 stretches away to the dim horizon1 where the buildings of a town are barely visible4 ,in the broad expanse of sky a bird soars with outspread wings4 ,the bull is proud and defiant1 with silky hide and loose dewlap1 and stands with firmly planted feet4 ,his eye is savage4 ,this picture has been the subject of much criticism3 the figures of the man1 the sheep1 and the lamb have been condemned by most critics1 while the ram's horns have been called a splendid piece of sculpture1 and the head of the cow the gem of the whole work4 ,the face of the cow is marvellous4 ,the eyes1 and the wet and dripping nose and mouth1 rivet the spectator's gaze4 ,he fancies he smells the grass-laden breath of the animal1 and sees her jaw begin to move as she chews the cud4 ,no painter ever concentrated so much life and truthful expression in the face of a ruminant1 remarks a critic4 ,strange1 then1 that the fawn-colored body and crumpled leg are hard and wooden4 ,the ,bull was painted in #afdg1 when ,paul ,potter was but twenty-two years of age1 and was living in ,amsterdam and ,haarlem4 ,the picture was purchased in #agdi for #fcj florins1 and in #agie was carried by the ,french to ,paris and placed in the ,louvre1 where it was ranked as the fourth most valuable painting1--the others being ,raphael's ,transfiguration1 ,domenichino's ,communion of ,st4 ,jerome1 and ,titian's ,martyrdom of ,st4 ,peter4 ,the ,dutch government offered #fj1jjj florins to ,napoleon for its restoration4 ,the ,mirrored ,cow4--,a more beautiful picture1 and greatly preferred by most critics to the ,bull1 is the ,mirrored ,cow1 known generally by the ,french title1 ,la ,vache qui se mire4 ,this was painted in #afdh1 and represents a beautiful landscape on a hot summer day4 ,the meadows are flooded with sunshine2 a limpid pool on the border of a forest is shown in the foreground1 where cows1 goats1 and sheep are lying or standing under the shade of the trees4 ,two cows and a sheep stand in the water and are reflected there2 one cow is drinking1 and the other has her back to the spectator and is idly standing in the mud4 ,boys and men are swimming or playing on the banks1 and two have evidently finished their bath4 ,on the right is a farmhouse with some cows4 ,one of these an old woman is milking1 and a man stands by with his arm over the cow's back4 ,in the middle distance a coach and six horses with lackeys is seen1 and in the background the spires and towers of ,rijswick are basking in the sunlight4 ,the castle of ,binkhorst is visible1 and ,delft lies on the horizon4 ,illustration3 ,,paul ,,potter ,la ,vache qui se mire ,criticism of these two ,pictures4--,burger very wittily said that ,la ,vache qui se mire was a chef d'oeuvre1 and not a hors d'oeuvre1 like the ,bull4 ,and ,sir ,joshua ,reynolds noted3 ,cattle finely painted by ,potter1 remarkable for the strong reflection of one of them in the water3 dated #afdh4 ,how bright1 how sunny is this landscape6 exclaims ,dr4 ,bredius4 ,how splendidly are all these animals drawn and modelled6 ,the whole composition is beautiful and full of charm4 ,it is painted in the small size which ,potter usually preferred1 and is one of his greatest creations4 ,other ,pictures by ,potter1 his ,father1 and ,van der ,helst4--,the third picture by ,potter1 painted four years later1 is also ranked among his best works4 ,like the two others it represents cattle in a meadow4 ,a portrait of ,paul ,potter by ,van der ,helst1 painted shortly before his death 7,january #bg1 #afed71 hangs near his masterpieces4 ,it is the only work by which ,van der ,helst is represented in ,the ,hague ,gallery4 ,a picture by ,paul ,potter's father1 ,pieter ,symonsz ,potter1 ,shepherds with their ,troops1 signed and dated #afch1 is owned by the ,mauritshuis1 but a better work is his ,straw-,cutter in the ,rijks4 ,rembrandt4--,the ,hague ,gallery is particularly rich in works by ,rembrandt 7#afjf-fi74 ,the ,rijks ,museum is the place to study the great productions of his middle and last periods2 but ,the ,hague ,gallery is strong in works of his first period1 owning no less than five painted during the first ten years of his career4 ,the ,anatomy ,lesson4--,first1 let us look at the most important work of ,rembrandt in this gallery1 ,the ,anatomy ,lesson by ,dr4 ,tulp 7#afcb71 which made ,rembrandt the most sought-after painter of his time4 ,rembrandt was barely settled in ,amsterdam and had painted only a few pictures there when the famous ,amsterdam surgeon1 ,dr4 ,nicholaes ,tulp1 gave him the order to represent him with his students at an operation for the ,amsterdam ,guild of ,surgeons1 to be hung on the walls of their dissecting room with other works of a similar nature1 such as the great anatomy pictures by ,aert ,pietersz 7#afjc71 by ,thomas de ,keijser 7#afah71 by ,claes ,elias 7#afbe71 two by ,mierevelt 7#afag71 and one by ,vosmaer4 ,rembrandt's work overshadowed them all4 ,there is a resemblance to ,vosmaer's picture and also to that of ,de ,keijser too striking to be accidental2 but ,rembrandt's work shows the master's genius in the style1 the arrangement of the figures1 and the illumination4 ,bode says3 ,instead of an accidental arrangement of single persons1 a masterly rounded-out composition has been created1 in the happiest way1 and at the most important moment1 when at a point in the lecture to the learned anatomists the interest is concentrated on the body4 ,the circumstances and the way it is painted deprive the picture of all disgust4 ,in contrast with his predecessors1 ,rembrandt has painted his doctors1 not as if they were having their photographs taken and gazing at the spectator1 but in the most natural way--some looking at the body and some at the lecturing ,dr4 ,tulp1 ,tulp himself quiet1 and explaining his subject with the greatest authority4 ,the body is painted in a masterly manner and the portraits are beyond all praise4 ,physicians portrayed in the ,anatomy ,lesson4--,on a paper held by ,hartman ,harmansz1 the names of the physicians are inscribed3 his own2 ,matthijs ,kalkoen1 who is leaning forward2 ,jakob de ,wit1 almost in profile1 with extended neck1 looking with extreme attention1 with his collar almost touching the head of the corpse2 below him1 ,jakob ,blok1 with fixed glance and furrowed brow2 above ,blok1 ,frans van ,loenen1 the only one present not a ,master of the ,guild2 and1 finally1 lower down in the foreground1 ,adriaan ,slabbraan1 with his back turned to the spectator1 but his head in profile2 and ,jakob ,koolveld1 entirely in profile1 the last on the left4 ,all are bareheaded1 robed in black with plated ruffs1 with the exception of ,harmansz1 who wears an old-fashioned ruff4 ,this work remained in the ,surgeons' ,hall in ,amsterdam until #ahbh1 when ,king ,william ,i4 bought it for #cb1jjj florins4 ,sir ,joshua ,reynolds saw it in ,amsterdam in #agha1 and thus described it3 ,to avoid making it an object disagreeable to look at1 the figure is but just cut at the wrist4 ,there are seven other portraits colored like nature itself1 fresh and highly finished4 ,one of the figures behind has a paper in his hand1 on which are written the names of the rest2 ,rembrandt has also added his own name with the date1 #afgb4 ,the dead body is perfectly well drawn 7a little foreshortened71 and seems to have been just washed4 ,nothing can be more truly the color of dead flesh4 ,the legs and feet1 which are nearest the eye1 are in shadow2 the principal light1 which is on the body1 is by that means preserved of a compact form4 ,all these figures are dressed in black4 ,above stairs is another ,rembrandt of the same kind of subject2 ,professor ,deeman#a standing by a dead body1 which is so much foreshortened that the hands and the feet almost touch each other2 the dead man lies on his back with his feet toward the spectator4 ,there is something sublime in the character of the head1 which reminds one of ,michael ,angelo2 the whole is finely painted1 the coloring much like ,titian4 ,rembrandt's first ,important ,work4--,critics are uncertain as to whether the ,presentation in the ,temple1 also called ,simeon in the ,temple1 was painted in ,leyden or in ,amsterdam1 to which city ,rembrandt removed in #afca1 the date of this picture2 but all agree that it is his first important work1 far exceeding in certainty of composition and treatment the ,simeon of #afbh1 ,peter's ,denial of #afbh1 and the ,good ,samaritan of #afca4 ,in the centre of a temple whose roof is supported by gigantic columns1 the ,virgin and ,st4 ,joseph make their offering and present the newborn child1 who is in the arms of ,simeon1 to the ,lord4 ,they gaze tenderly at the infant4 ,in front of the group stands the ,high ,priest in a long violet robe1 holding up his hands in ecstasy4 ,the light is focussed on the faces of ,mary1 ,simeon1 and ,jesus1 and falls on the ,high ,priest's back and hand4 ,behind the ,virgin1 who is dressed in light blue1 are two rabbis2 and in the background in the nave are several groups almost imperceptible in the shadows2 and to the right in the chiaroscuro are a number of persons ascending and descending a flight of steps1 at the top of which stands a priest4 ,in the foreground on the right two old men are sitting on a bench1 the arm of which bears the monogram ,r4 ,h41 and the date #afca4 ,it is supposed that ,rembrandt's sister was the model for ,mary4 ,emile ,michel says3 ,the simple garb of the ,virgin and ,st4 ,joseph and the squalor of the two beggars beside them emphasize the splendor of the ,high ,priest and of ,simeon1 whose heavy cymar seems to be woven of gems and gold4 ,the execution is a miracle of subtlety and skill4 ,note how supreme a colorist has been at work on the ,high ,priest's cope6 ,with what science is the violet carried through the lights and shadows1 and with what truth are the tones observed and rendered1 with what scrupulous care is the general harmony preserved in spite of the marvellous treatment of detail6 ,of this picture1 so particularly remarkable for its artistic treatment and composition1 ,bode exclaims3 ,how appropriately are the groups in the halls of the high fantastic vaults distributed6 ,how masterly is the chief group in the middle distance6 ,how complete in drawing and action is every single figure1 though so minute6 ,how powerfully is the light sprinkled over the chief figures before it slowly melts away into the mystic darkness of the broad nave whereby that peculiar mood of reverence--the holy calm of the place--results as the most happy effect of handling4 ,lights and ,coloring of the ,picture4--,notwithstanding their smallness1 the figures are most completely and expressively treated1 so that in the half-lights the background shimmers here and there4 ,the coloring equals that of the other pictures of this period2 in the lights1 greenish brown tones come to the aid of the local colors--blue1 violet1 and1 very seldom1 yellow 7next to gray and brown1 which are used only in a very modest way74 ,william de ,poorter made a striking copy of this picture1 which hangs in the ,dresden ,gallery4 ,susanna4--,the chief beauty of ,susanna1 which bears the signature ,r4 f4 #afcg1 lies in the brilliant1 warm coloring which bestows a rich effect on the somewhat ugly form of the crouching heroine4 ,bode1 like ,burger before him1 thinks that he recognizes in the little head the likeness of ,rembrandt's wife1 ,saskia4 ,the flesh is wonderfully painted1 the figure lifts itself splendidly out from the dark but transparent background4 ,moreover1 the modelling of the body leaves nothing to be desired4 ,susanna is represented as about to step into the bath and is alarmed by the presence of the two ,elders1 one of whom is seen lurking in the shrubbery4 ,burger notes3 ,placed by the side of the ,school of ,anatomy and the ,simeon1 the merits of this work are too often overlooked4 ,yet ,susanna1 strongly relieved against a dark background1 is one of the most interesting female figures ever painted by ,rembrandt1 being remarkably faithful to nature1 though not of classic beauty4 ,of this picture ,sir ,joshua ,reynolds remarks1 and many will agree with him3 ,it appears very extraordinary that ,rembrandt should have taken so much pains and have made at last so very ugly and ill-favored a figure2 but his attention was principally directed to the coloring and effect1 in which it must be acknowledged he has attained the highest degree of excellence4 ,portraits of ,rembrandt and ,others4--,the portraits are of ,rembrandt1 aged about twenty-two1 painted about #afbi2 one of his mother1 about #afbh2 one of a young woman1 painted about #afce1 supposed to be ,saskia van ,ulenborgh1 whom ,rembrandt married in #afcd2 a portrait of ,rembrandt as an officer1 about #afce1 and one of an old man's head1 supposed to be that of his brother ,adriaen ,harmensz van ,rijn 7#aeig-h-afed71 painted in #afej4 ,the portrait of himself is one of ,rembrandt's earliest known pictures and was painted in ,leyden between #afbh and #afbi4 ,it belongs to similar works that are now in ,cassel1 ,gotha1 ,nuremberg1 and in the possession of ,count ,esterhazy at ,nordkirchen1 etc41 but is the most beautiful because of its perfect condition4 ,rembrandt1 aged twenty-two or twenty-three1 is dressed in a somewhat fanciful costume and wears a steel cuirass4 ,the artistic way in which the light falls and the management of the chiaroscuro foretells what was destined to be ,rembrandt's peculiarity of manner1 which ,sir ,joshua ,reynolds has so happily described as of admitting but little light and giving to that little a wonderful brilliancy4 ,bode says3 ,although the brush work is broad1 the finish is strong4 ,it stands out above all others of this period2 we feel already in this youthful work the paw of the lion4 ,illustration3 ,,rembrandt ,portrait of ,himself as ,officer ,rembrandt's ,portraits of ,himself4--,the artist was not handsome2 indeed he selected himself so often for a model only for the sake of making a study of light and shade1 etc41 and because he had not always any other casual model than himself at hand4 ,as keen as the glance of his eyes is the painting of this picture1--sharp1 broad1 but not so heavily impasto as is the case a few years later4 ,at this period he painted many portraits of himself4 ,the ,wallace ,collection in ,london alone possesses two of the master's self-studies1 as does also the ,berlin ,picture-,gallery1 all of which are contemporary with this picture4 ,the date of this portrait is about #afcd1 when the artist was twenty-eight4 ,it is familiar to every one4 ,sir ,joshua ,reynolds described it as a portrait of a young man by ,rembrandt1 dressed in a black cap and feathers1 the upper part of the face overshadowed2 for coloring and force nothing can exceed it4 ,homer reciting his ,poems 7#affc7 represents an old man in yellow robe4 ,part of the picture has suffered by having been cut4 ,illustration3 ,,rembrandt ,homer ,van ,ravesteyn 7#aegb-afeg74--;,j4 ,a4 van ,ravesteyn was in ,the ,hague what ,rembrandt was in ,amsterdam1 ,hals in ,haarlem1 ,mierevelt in ,delft1 ,moreelse in ,utrecht1 and ,cuijp in ,dordrecht4 ,we have to thank him for the beautiful ,shooting ,meetings in ,the ,hague ,gemeente ,museum1 and we also have to thank him for a series of fine portraits full of character of officers in the ,mauritshuis4 ,although he had a dangerous rival in ,mierevelt1 who was employed principally by the ,court of the ,prince of ,orange1 yet ,ravesteyn was the official painter of ,the ,hague4 ,when the marksmen wanted to have their portraits painted1 or when the magistracy wanted to be immortalized1 it was ,ravesteyn's brush that had to undertake the work4 ,he was not very highly paid1 in common with all other ,dutch artists of that period4 ,van ,ravesteyn's ,masterpiece4--,his great masterpiece1 the splendid shooting picture of #afah1 the most important one that had been painted up to that time in ,holland1 brought him only #ejj gulden2 but in freeing him from all guard duties and from beer and wine taxes1 the rulers of ,the ,hague showed that they wanted to honor their artist4 ,portraits by ,van ,ravesteyn4--,the portraits of this magnificent portrait-painter are noble in conception and full of life and character2 and in his first period were brilliant in color4 ,indeed1 the flesh tones of his first period are even too red in his male portraits4 ,yet the pictures which he painted before #afbe-cj are stronger and more full of spirit than the later pictures1 which are cooler and flatter in the tones and softer in the painting4 ,there is a series of twenty-three portraits of officers who are unknown4 ,pot's ,schutzenstueck4--,it was not until #ahhf that the greatsmuelddddddd ,schutzenstueck1 a ,civic ,guard picture in the ,haarlem ,museum1 which had always been so greatly admired by critics1 was discovered to be the long-lost picture painted by ,pot 7#aehe-afeg7 in #afcj1 which had been falsely attributed to ,van der ,helst4 ,at the date when he painted the picture ,pot was so famous that the historiographer1 ,ampzingh1 had rhymed two years earlier1 #afbh1 then shall also ,hendrik ,pot rightfully wear his crown4 ,we wonder what his busy hand is creating to-day4 ,he calls the ,allegory of the ,death of ,william ,i41 the great ,prince of ,orange1 painted by ,pot in #afbj1 and now unfortunately lost1 a very fine and artistically painted picture4 ,we have no means of following his development1 because his pictures are rare1 and seldom dated4 ,the ,hague picture shows us a young gallant in bright green costume in the gay company of three sirens and an old woman whose calling is unmistakable4 ,the young woman on his right is in violet2 the one on the left1 in pink2 and the third1 in yellow and blue4 ,all this is in a strongly pronounced local color4 ,the drawing is careful and good4 ,this is far superior in all respects to a similar picture in the ,berlin ,gallery4 ,the background of this picture is a fine gray4 ,the details are convincingly and beautifully painted4 ,the painting of the high lights reminds us of the ,hals ,school4 ,the picture was probably painted about #afcj1 and takes a commanding place among the contemporary pictures of this style4 ,it was bought for #acjj gulden4 ,a similar picture hangs in the ,national ,gallery4 ,two ,portraits by ,frans ,hals4--,the ,government was happily inspired1 writes ,mr4 ,bredius1 in #ahha1 when it bought for ,the ,hague ,gallery two portraits by the great ,frans ,hals #aehj-afff1 who had not been represented up till that time4 ,yet there were and still are dissatisfied people who maintain that the authorities ought to have tried to acquire a still better example of the art of the master1 these pictures of his being too trifling and not worthy of the collection1 etc4 ,but people forgot that such an opportunity does not often occur1 and then that the price is often so high that the slim purse of ,the ,hague ,gallery makes a purchase not to be thought of4 ,the smaller and more beautiful of the pair1 the male portrait1 is quite capable of giving us a good idea of the virtuosity of the portrait-painting of ,hals4 ,how fine1 how self-assertive1 is the attitude of this twenty-nine-year-old patrician ,haarlemite6 ,how sympathetically the costume is painted6 ,how well are the head and hands modelled and drawn6 ,the portraits were painted in the year #afbe4 ,the portraits here described are of ,jacob ,olycan and his wife1 ,aletta ,hanemans4 ,bode's ,opinion of ,hals's ,pictures4--,in his celebrated study of ,hals of this period1 ,bode says3 ,about the year #afbe the master had advanced to a style of impression and way of handling that in general remained stationary for about ten years4 ,a gay1 delightful humor laughs out at us from all these pictures3 from the rich1 full local colors1 the clear blonde tones1 playful easy handling1 which quickly1 in a few minutes with a few scattered strokes and sweeps of the brush and palette knife blade1 brings the personality of the subject upon the canvas1 and soon the conception is rendered to the smallest detail in lovely1 delicate completeness4 ,characteristics of ,thomas de ,keijser's ,work4--,of all important painters who flourished in ,amsterdam when ,rembrandt settled there at the end of #afca1 ,thomas de ,keijser 7#aeif-affg7 was by far the greatest4 ,his portraits1 particularly those of small dimensions1 take high rank among those which the ,dutch school in its glory produced4 ,his work is distinguished by a masterly technique1 a splendid characterization in portraiture1 a powerful but brilliant selection of color1 and a broad1 heavy brush4 ,description of a ,portrait painted by him4--,these qualities are found in the ,portrait of a ,man of ,distinction1 signed and dated #afca4 ,the man1 nearly life size1 is seated before a table covered with a reddish ,oriental carpet1 and with his left hand is turning over the leaves of a book that rests upon a desk4 ,he is not looking at the book1 however1 but at the spectator4 ,his hair is gray and quite short1 he wears a moustache1 his eyes are full of fire1 and his face is expressive4 ,he has on a large black hat1 and a white collar spreads out over his black silk doublet2 his stockings are black silk1 and his shoes are ornamented with rosettes4 ,the right hand1 which is superb1 rests on his hip4 ,the floor is paved with black and gray tiles and in the sober background1 which serves to bring out the face1 a library is indicated on the left4 ,group of ,four ,burgomasters4--,the portrait is painted on oak1 as is also that of the ,amsterdam ,burgomasters ,deliberating with ,regard to the ,visit of ,marie de ,medici to that city4 ,this very small picture1 in which the figures are only eight and a half inches high1 was painted by ,de ,keijser in #afch1 when the widow of the ,french ,king ,henri ,,iv4 visited ,amsterdam4 ,it is no small glory1 says ,blanc1 for ,de ,keijser to have painted a picture which in value of execution may be placed between the ,peace of ,munster and the ,syndics by ,rembrandt4 ,description of the ,figures4--,here we find four burgomasters sitting around a table covered with a green cloth in an austere hall1 whose gray walls are broken by niches containing statues4 ,these four old men--,abraham ,boom1 ,petrus ,hasselaer1 ,albert ,coenraet ,burgh1 and ,antonie ,oetgens van ,waveren--are dressed in black and wear black felt hats unadorned with plumes4 ,their grave deliberations regarding the entertainment of the royal guest are interrupted by the entrance of the lawyer1 ,cornelis van ,davelaer1 who1 hat in hand1 salutes them with the greatest respect1 as he announces the arrival of ,marie de ,medici4 ,blanc's ,opinion of the ,picture4--,blanc1 who greatly admires this picture1 calls attention to the fact that no useless piece of furniture or accessory of any kind disturbs the solemnity of this little scene1 which1 on account of the simple manner in which it is conceived1 is great1 notwithstanding its size4 ,he says3 ,with the exception of ,rembrandt1 ,i do not know of a single ,dutch painter1 not even ,van der ,helst 7who painted such great canvases71 who would not have belittled his picture1 either by elegance of touch and finish1 or by the richness of the costumes and arms1 or by the effect of a carpet variegated with a thousand shades4 ,i imagine that ,gerard ,ter ,borch1 in spite of his habitual dignity1 would have found some pretext for introducing into his composition a beautiful sword with a baudrick1 a crossbow1 or a chandelier2 that ,metsu would certainly have found some excuse for placing a richly chiselled silver aiguiere or a golden goblet on the table2 and ,i am sure that through the door by which the lawyer1 ,davelaer1 enters1 ,pieter de ,hooch would have let you see the antechamber of the ,council1 with its high chairs covered with ,utrecht velvet1 or a winding stairway1 or a distant door opening into a garden or street4 ,the attention would then have been somewhat distracted by the very striking accessories1 or by the optical charm of the chiaroscuro4 ,here we find nothing of the kind2 not a single concession to conventional treatment4 ,by the gravity of their attitude1 we see that these four citizens1 chosen by a free people who sit here with covered heads1 express in themselves the majesty of the ,united ,provinces1 and they consider themselves of equal rank with the ,queen of ,france1 whose arrival is being announced2 you feel at once that they bring a plebeian pride to their magnificent reception of that princess who was1 like them1 originally from a republic of merchants4 ,all the costumes being black1--that beautiful1 warm1 transparent1 silky black peculiar to ,velasquez and ,anthonis ,moro1--you only notice in this picture the hands and the heads4 ,the heads have an expression that will remain engraven in the mind forever1 for the painter has accented them so deeply1 and brought into contrast both physical and moral features4 ,notwithstanding their individuality1 they all have a certain grandeur4 ,the peculiar trait of this master1 however1 is the neutral background1 the exquisite sobriety of the tone of the wall1 recalling the beautiful gray of the great ,spanish painter2 and from this stand out the black of the doublets and the white collars4 ,blanc also calls attention to the splendid painting of the faces3 the eyes sunken by age1 the wrinkles of the skin1 and the withered cheeks4 ,bredius writes3 ,what character has the artist put into these heads6 ,we feel at once that it must have been this kind of men who conducted ,amsterdam to greatness and fame4 ,what worth and dignity in the way they hold themselves6 ,what self-confidence in the proud glance6 ,other ,portraits in the ,mauritshuis4--,of other notable portraits in the ,mauritshuis there are three by ,moreelse 7one of himself72 six by ,honthorst1 including one of a child gathering fruit1 originally in the ,castle of ,honsholredijk2 nine by ,mierevelt 7chiefly of various ,princes of ,orange72 three by ,ravesteyn1 one a group2 two by ,moro1 one of a goldsmith1 the other supposed to be ,prince ,william ,i4 in his youth2 three by ,netscher2 ,ter ,borch's of himself2 two by ,frans van ,mieris2 one by ,cuijp1 and other examples by ,rubens and ,van ,dijck4 ,ferdinand ,bol's ,pay for ,portraits4--,of ,rembrandt's numerous pupils1 one of the most eminent in portraiture was ,ferdinand ,bol 7#afaf-hj71 whose earliest signed work is dated #afdb4 ,in his earliest period he devoted himself chiefly to large pictures of ,biblical subjects2 but1 like many other artists1 he very soon found that there was a great deal more money to be made in portraiture4 ,at that time1 when photography was unknown1 it was only natural that everybody who could afford it had his picture painted4 ,from the burgomaster to the ordinary tailor or skipper--all wanted to have pictures of themselves and their families hanging on their own walls2 and the purchaser could indulge himself in this natural vanity at comparatively small cost1 for the demand naturally increased the supply2 and there were only too many painters who were glad enough to serve their patrons4 ,as the artists became famous their prices naturally increased2 and some received higher pay than others who to-day have a greater reputation4 ,rembrandt probably received as much as anybody else for a time2 but at the end of his life there was a greater demand for portraits by others1 such as ,maes1 who were more pliant to the changing mode4 ,rembrandt received #ejj gulden each for his famous portraits1 whilst others were content with #aej1 #ajj1 and even #cj or #dj gulden4 ,caspar ,netscher1 for instance1 received only from #ej to #gj gulden for his elegantly finished pictures4 ,the usual custom was for an artist to paint portraits for a living1 meanwhile working and developing himself along the lines of his special genius4 ,thus we find several of the ,little ,masters practically relinquishing portraiture as soon as they had made a big reputation in genre1 or other fields4 ,bol's ,work in ,portraiture4--,bol was a portrait-painter exclusively2 he married first in #afec1 and a second time in #affi4 ,probably both wives belonged to rich and important families1 for ,bol was kept busy his whole life long and became wealthy1 dying in #afhj in his beautiful house with its fine grounds and stables4 ,with him1 as with so many other successful painters1 his last pictures were not his best4 ,in his earlier portraits he represents his sitters in beautiful chiaroscuro4 ,the painting is broad and spirited2 the color strong and brilliant4 ,he painted so much in ,rembrandt's style at first that many of ,bol's pictures have been taken for those of his master2 and later1 when ,bol's reputation had faded1 unscrupulous dealers did not hesitate to change his signature on the canvases for that of ,rembrandt4 ,a celebrated instance of this practice is the so-called ,portrait of ,flinck and his ,wife in ,munich1 which by many connoisseurs was long admired as ,rembrandt's work2 but1 by ,hauser's skill1 the false ,rembrandt signature was obliterated and the real one of ,bol brought to light4 ,bol's ,portrait of ,de ,ruyter's ,son4--,the ,mauritshuis owns one of the best portraits by ,bol1 painted in his later period1 that of the handsome twenty-year-old son of the great ,admiral de ,ruyter4 ,this son1 ,engel de ,ruyter1 was born in #afdi and died in #afhc4 ,bol painted him in the year #affi1 as may be seen by the date on the picture4 ,it is only quite recently that the pendant1 a portrait of the great ,admiral de ,ruyter1 has come to be regarded as a copy after ,bol4 ,the charming little marine in the picture is undoubtedly by the hand of ,willem van de ,velde the younger1 and adds greatly to the interest of the painting because it is of itself a fine picture of that great master4 ,in many of his later portraits1 ,bol is somewhat dull in his color and painted them too rapidly1 besides giving to his flesh too strong a red-rose tint2 but that cannot be said of him in this case1 where he has done his very best4 ,in particular1 he has handled the rich costume with affectionate and masterful touch4 ,illustration3 ,f4 ,,bol ,admiral de ,ruyter ,description of the ,sitter4--,the genial countenance1 which displays none of the real martial type of his celebrated father1 rises finely out of the red drapery4 ,the bearing is elegant1 though perhaps there is a little too much pose in it4 ,the portrait is particularly interesting1 because the sitter had a career of great promise which was cut short all too soon4 ,nine years after the portrait was painted1 the youth had already risen to the rank of ,vice-,admiral and had been created a ,spanish count1 having also refused the title of duke2 but before he had attained thirty-four years of age1 he died1 not a hero's death like his father1 as he had desired1 but in his own luxurious dwelling in ,amsterdam4 ,however1 he had already while very young fought valiantly beside his father in the ,battle of ,solebay4 ,a ,picture by ,salomon ,koninck4--,another pupil of ,rembrandt whom we shall see in the ,rijks is ,g4 van den ,eeckhout4 ,a picture formerly attributed to him1 the ,adoration of the ,magi1 is now known to be by ,salomon ,koninck 7#afah-hh74 ,one of the ,magi in a red cloak is kneeling before the ,infant ,jesus and another on the right wears a golden mantle4 ,the color is vigorous and the work shows the knowledge of chiaroscuro for which ,rembrandt's school was so famous4 ,two ,pictures by ,nicholas ,maes4--,nicholas ,maes 7#afcb-ic7 is represented in the ,mauritshuis by only two pictures1--one of them of questionable origin1 moreover2 and therefore the student must go to ,amsterdam for varied examples of his work4 ,the portrait here is that of the ,grand ,pensionary1 ,jakob ,cats1 an original replica of which hangs in the ,budapesth gallery4 ,diana and ,her ,nymphs shows some of the qualities to be expected of one who worked in ,rembrandt's studio for eighteen years2 but it is now sometimes attributed to ,vermeer of ,delft4 ,the signature1 ,n4 ,m4 #afej1 is said to be false4 ,maes's ,work as a ,portrait-,painter4--,maes was a pupil of ,rembrandt and became a very successful portrait-painter by copying the master's style4 ,he soon became rich by his talents1 his wit1 his polished manners1 and by flattering his sitters4 ,he charged high prices for his pictures2 and he deserved his great reputation4 ,the chiaroscuro of his paintings is very vigorous4 ,if the shadows are not heavily massed as with ,rembrandt1 they are at least strongly accented2 and1 as the half-tones are very summary1 the passage from light to dark is very brusque1 and by this means the painter attains a powerful effect and strong relief4 ,his ,visit to ,jordaens at ,antwerp4--,having become rich1 and getting tired of everlastingly painting the rich burghers of ,amsterdam and their wives1 ,maes thought he would like to go to see the works of the great artists of ,antwerp1 who at that time were so much talked about throughout ,europe4 ,having been initiated into the high freemasonry of art by ,rembrandt1 he was cordially received by the ,antwerp painters and soon recognized by them as a brother4 ,among others1 he went to visit ,jordaens and was shown into a room filled with pictures1 which he examined while awaiting the appearance of the latter1 who was watching his visitor through the keyhole4 ,when he entered1 ,jordaens said3 ,i see plainly that you are a great connoisseur1 or perhaps an able painter1 for the best pictures in my gallery detained you longer than the others4 ,maes simply replied1 ,i am a portrait-painter4 ,in that case1 replied ,jordaens1 ,i sincerely pity you4 ,so you also are one of those martyrs of painting who so richly deserve our commiseration6 ,in fact1 ,maes's weariness at having to put up with the whims of human vanity probably had much to do with his turning to genre1 by which he is now best known and for which he is most highly prized4 ,maes's ,pictures of ,familiar ,scenes4--,the average art-lover1 however1 cares little for the portraiture of ,maes1 but prizes him as a painter of familiar scenes1 like ,pieter de ,hooch4 ,although less varied and less supple1 but not less robust than the latter1 ,maes was his equal in the power of his effects4 ,the triviality of the subject which he often selects is relieved by the charm of an astonishingly vigorous and spirited execution4 ,burger says3 ,on passing through a kitchen1 perhaps1 you see an old woman scraping carrots1 having various kitchen utensils about her4 ,if you have seen this humble interior in one of ,maes's pictures1 it will be impossible for you not to halt and spend some time in looking at it4 ,the painting of ,nicholas ,maes is one of those that become encrusted in the memory4 ,the light gleams in it1 the canvas glows1 the subject stands out1 the eye runs over it1 and if the figures were of natural size one would go forward to meet them1 so strong is the impression1 so solid is the tone1 so palpable1 and modelled in relief are the forms4 ,in his little familiar scenes1 ,maes is not always insignificant or vulgar in his choice of subject4 ,most often1 indeed1 his composition is ingenious1 witty1 and piquant4 ,in the first place1 it is set in the most picturesque corner of the room2 the painter likes to take up his position in a place whence he can see at once the house from top to bottom1--both the stairs descending to the cellar and those mounting to the first floor4 ,then the figures he brings into the scene usually have some malicious trick to play1 some secret conversation to overhear1 some theft to discover1 or some infidelity to discover4 ,samuel van ,hoogstraaten4--,it is singular how few pictures are known by ,rembrandt's remarkable pupil1 ,samuel van ,hoogstraaten 7#afbe-gh71 a versatile painter of landscapes1 portraits1 marines1 architecture1 fruits1 flowers1 and1 more particularly1 interiors1 in which he followed ,pieter de ,hooch4 ,in his ,lady in a ,vestibule he has demonstrated his knowledge of perspective1 of which he was very proud4 ,the chief feature of the picture1 however1 is the beautiful chiaroscuro1 for which he has to thank ,rembrandt's teaching4 ,the lady is walking in a portico of very fine architecture1 and reading4 ,with one hand she is holding up her straw-colored dress4 ,this figure is only two feet high1 while the spaniel that accompanies her is life size6 ,effects of ,rembrandt's ,teaching on his ,pupils4--,thirty of ,rembrandt's pupils made great names for themselves by copying that great master in one or other of his manners4 ,some made a system of what with him was merely a mood or caprice4 ,not being able to follow him in the expression of the human soul1 they made a specialty1 some of portraiture1 some of costume1 some of chiaroscuro1 some of genre1 and some of landscape4 ,philip ,koninck's ,landscapes4--,philip ,koninck 7#afai-hh7 is almost the only pupil of ,rembrandt who painted landscapes almost exclusively1 and he listened to the teachings of his master with great docility4 ,his principle was to regard nature from a little distance1 so as to grasp the masses1 rather than to enter into details4 ,the ,mauritshuis possesses a beautiful and characteristic specimen of his genius4 ,in composition and treatment1 it reminds us of ,rembrandt's ,landscape of the ,three ,trees4#b ,blanc says3 ,among the ,dutch landscape painters perhaps there is not one1 unless it is ,van der ,hagen1 who would have dared to paint this monotonous plain1 all the lines of which are horizontal1 all the clumps and rows of trees of the same height1 and in which the only objects in the foreground are a cottage half hidden among trees1 and1 a little farther on1 a low sandy hill which does not rise beyond the level of the middle distance4 ,the vast stretch of country is traversed by so many courses of water that it almost looks as if it were threatened with an inundation4 ,the meadows are on a level with the sea2 the distant villages look like flotillas at anchor1 and the houses seem to be floating on the canals4 ,the painter has placed his point of view so high that neither the sails of the windmills1 nor the points of the belfries1 nor the tops of the highest trees stand out against the sky4 ,the picture is cut in half by the almost straight line of a horizon which gradually recedes until lost to view1 and the towns we perceive in the distance1 the rows of trees1 the hamlets1 and rivers all run parallel with this horizon4 ,that is to say1 that ,philip ,koninck 7and this picture resembles all the others of his we know7 is conceived entirely at variance with the ideas that are generally held regarding the picturesque4 ,gilpin says3 ',the greatest enemies of the picturesque are the symmetry of the forms1 the resemblance and parallelism of the lines1 the polish of the surfaces1 and the uniformity of the colors4' ,very well6 ,here is a landscape by ,koninck that fulfils all the conditions of the non-picturesque2 and which1 nevertheless1 produces a certain impression of grandeur and sadness1 solely by means of the canvas being furrowed into infinite depths1 the gradations of the perspective being extremely well observed1 and the uniformity of the ground being happily contrasted with a sky full of movement1 a fine disorder of clouds which the breeze slowly drives before it as a shepherd does his flock4 ,dutch ,painters who imitated ,italians4--,rembrandt1 although he arose at a time when the influence of ,italian art was supreme1 never went to ,rome2 nevertheless1 he owed a great deal to the studies of those artists who had been there4 ,the ,hague ,gallery contains several pictures of this period2 and these are sufficient to give us a very good idea of the qualities of ,dutch art just before ,rembrandt1 in #afbi1 set up for himself in ,amsterdam at the age of twenty-one4 ,hendrik ,goltzius4--,an influential founder of a large school of painters who modelled themselves on the great ,italians was ,hendrik ,goltzius 7#aeeh-afaf74 ,he started for ,rome in #aeij1 and indulged to the full his intense admiration for ,michelangelo1 which led him to surpass that master in the extravagance of his designs4 ,the works by his own hand he most valued were his eccentric imitations of the designs of ,michelangelo4 ,his portraits show exquisite finish1 and are fine studies of character4 ,the beauty and freedom of his execution make amends for his extravagance4 ,in the ,mauritshuis are three pictures painted shortly before he died--,mercury1 ,hercules1 and ,minerva4 ,his ,academy at ,haarlem4--,on his return from ,italy ,mander1 who was a great friend of ,goltzius1 induced him to open an academy at ,haarlem1 in combination with ,mander and ,cornelisz1 and with the assistance of his old pupils1 ,matham1 ,muller1 ,sanraedam1 and ,de ,gheyn1 as professors4 ,as might be expected1 ,italian taste predominated in this academy1 not solely on account of the personal preference of the founders1 but because the ,italian style had been popularized in the ,low ,countries by ,lambert ,lombard1 and his pupils1 ,hubert ,golz1 ,lambert ,zutman1 ,dominic ,lampson1 ,william ,key1 and ,frans ,floris 7#aeah-gj74 ,of these the most famous was ,floris1 who also studied in ,italy1 and himself founded a large school4 ,the ,hague possesses in ,venus and ,adonis a charming example of his style4 ,the ,italian ,style followed by ,cornelisz4--,cornelis ,cornelisz 7#aefb-afch7 had never been to ,italy1 but his education and environment had given him ,italian tendencies4 ,we learn that even after he had attained proficiency he never dispensed with the model2 nevertheless1 he was neither a slavish imitator of nature1 nor altogether a painter of style4 ,he has two large pictures in ,the ,hague ,gallery that were painted about the time he joined ,goltzius in the ,haarlem academy4 ,these are the ,massacre of the ,innocents 7#aeia7 and the ,marriage of ,peleus and ,thetis 7#aeic74 ,the dominating idea of the artist in the ,massacre of the ,innocents1 which covers a canvas #h-c_/d by #h-a_/d feet1 is the wish to appear a great master of drawing by curves and modeling that exaggerate the relief of the muscles4 ,there are more than two hundred figures which are almost all entirely nude4 ,the executioners1 and the infants in particular1 show an attempt at noble form which rises above nothing more than affectation4 ,there is an obvious striving after the genius of ,michelangelo which1 in the ,dutch master1 is merely pretentious imitation of what would be facile and superb in the great ,florentine4 ,there is not a single attitude nor a movement that is not contrasted2 for instance1 if the left arm is behind1 the right leg is in front4 ,in fact1 the study of nature is completely subordinated to academic conventions4 ,the color is far more natural than the drawing4 ,the artist has been extremely successful in rendering the flesh tints of life as well as of death1 and he has varied the nuances in accordance with sex and age1 giving very faithfully the tenderness and freshness of the flesh tints of infancy1 and the softness of the female form1 the stronger tones of the executioners in action1 and even the cadaverous hue of the bloodless corpses4 ,as for the expressions of the faces1 they are vulgar though energetic4 ,his ,love of painting the ,nude4--,the love of ,cornelisz for compositions thronged with nude figures in the most varied attitudes wherein he could exhibit all the resources of his learning and study of the works of ,michelangelo is again shown in the large canvas1 measuring #h by #ad feet1 entitled ,banquet of the ,gods of ,olympus1 or ,marriage of ,peleus and ,thetis4 ,gilles ,coignet4--,cornelisz had received his tastes and instruction principally from ,gilles ,coignet 7#aedj-ii71 who set out for ,italy with another painter named ,stello in #aeee and worked principally at ,terni1 between ,loretto and ,rome1 for five years4 ,he painted historical and mythological subjects of easel size1 but was more successful in landscapes1 and more particularly in candle-light subjects and moonlight4 ,he took up his abode in ,amsterdam in #aehf4 ,his influence on the ,haarlem school was pronounced4 ,elsheimer's ,excellence in ,chiaroscuro4--,the ,mauritshuis possesses two ,italian ,landscapes by ,adam ,elsheimer 7,elshaimer or ,elzheimer7 7#aegd-afbj71 a ,german painter1 whom the ,italians call ,adam ,tedesco1 who possessed great influence over his contemporaries1 particularly the elder ,teniers and ,rembrandt1 who followed out the same characteristics of chiaroscuro4 ,elsheimer delighted in the effects of moonlight and evening dusk2 also in torchlight1 conflagrations1 and every other kind of artificial light1--all of which he represented with greater excellence than had ever been done before him4 ,visiting ,italy1 he became charmed with the country and settled in ,rome1 where his little pictures1 usually painted on copper with microscopic and beautifully finished figures1 had great success4 ,elsheimer was visited by all the artists of his country1 including ,poelemburg1 who saw him in #afag4 ,he was almost as great in chiaroscuro as ,rembrandt2 and his immense reputation did not diminish until after the eighteenth century4 ,cornelis van ,poelemburg4--,a picture of ,women ,bathing1 by ,cornelis van ,poelemburg 7#aehf-affg71 is a fine example of his style4 ,he studied first under ,bloemaert1 but during a protracted visit to ,italy he fell under the influence of ,elsheimer2 and on his return to his own country he became quite the rage as a painter of classic landscape4 ,in ,rome he had been fascinated by ,raphael's pictures1 and studied him with affectionate admiration4 ,poelemburg possessed a happy and tranquil nature4 ,his ,attractive ,landscapes4--,the little pictures that his imagination painted breathe a quiet happiness1 and are imprinted with a suave poesy4 ,they nearly always represent a countryside adorned with ancient ruins and frequented by demi-nude nymphs4 ,his landscapes1 enveloped in vapor which1 while decreasing the dryness of the outlines and crudity of the tones1 would soften the aspect of the most rugged spots1 serve as a background for the whiteness of the goddesses who dance with fauns or repose in the shade of some abandoned monument4 ,sometimes1 as though the vale that they dwell in were reserved for the gods1 ,poelemburg's nymphs do not fear to remove their light vesture and bathe in some open pool where only the painter may see them4 ,but1 most frequently1 it is in the neighborhood of a grotto1 at the foot of rocks perpetually washed by a spring of fresh water1 that one likes to surprise them1 nude1 trembling1 their bodies rendered whiter by the transparent veil of the atmosphere1 playing with the water they are disturbing1 swimming after one another and half-hidden by the current of their chaste fountains4 ,dutch ,artists who migrated to ,rome4--,bartholomeus ,breenborch 7#aeii-afei7 was another member of that band of artists who at the beginning of the seventeenth century deserted the banks of the ,meuse for those of the ,tiber1 and exchanged the land that was to produce ,rembrandt for the country of ,raphael's birth4 ,a few ,dutch artists successfully resisted the lures of the ,eternal ,city2 but the majority of painters of that period followed the example of ,elsheimer1 ,poelemburg1 ,karel ,dujardin1 ,herman ,swanevelt1 ,andreas and ,jan ,both1 and others1 and formed a little ,dutch colony among the ,seven ,hills4 ,breenborch compared with ,poelemburg4--,breenborch devoted himself to history and landscape alternately4 ,his historical subjects were chiefly ,biblical and mythological4 ,he was fond of painting classical landscapes with ruins2 and the only artist who could excel him in painting charming little figures in a landscape was ,van de ,velde4 ,the chief characteristic of ,poelemburg1 with whom ,breenborch is so often compared1 is grace4 ,the only picture of this artist in ,the ,hague ,gallery1 ,mercury appearing to the ,nymph ,herse1 resembles ,poelemburg both in subject and treatment4 ,van der ,ulft's ,architectural ,paintings4--,van der ,ulft 7#afbg-ij71 another artist of this school1 was originally a painter on glass4 ,later1 he turned to historical compositions of small dimensions2 but his real talent lay in the representation of architectural monuments1 and scenes inside city walls4 ,it is strange that he never visited ,italy1 but formed himself by the study of the works of returning ,roman art pilgrims and of engravings4 ,his perspective is exact2 his ancient ruins1 triumphal arches1 and statues are correctly placed in his pictures1 and his architectural backgrounds1 abounding in strong and golden grays1 form an excellent frame for the little figures that animate his spirited paintings4 ,he delighted to paint ,roman processions4 ,the ,hague picture shows an army on the march in a landscape adorned with architectural remains4 ,nicolas ,moeyaert's ,best ,points4--,a follower of ,elsheimer1 who later became a disciple of ,rembrandt1 was ,nicolas ,moeyaert 7#afcj-871 who settled in ,amsterdam in #afbd and joined the ,painters' ,guild in #afcj4 ,in some of his pictures he imitated ,rembrandt very closely4 ,he excelled in portraits1 animals1 landscapes1 and historical and ,biblical scenes4 ,the ,hague ,gallery contains three3 ,mercury appearing to the ,nymph ,herse2 ,triumph of ,silenus1 and a ,biblical scene1 also called the ,visit of ,antiochus to the ,augur4 ,description of one of his ,pictures4--,antiochus1 about to engage in a war1 is consulting the augur4 ,in the centre stands the king dressed in a long blue robe1 with a white girdle and a purple cloak lined with fur2 also a furred bonnet4 ,he is talking to an old man1 the augur1 who has a long white beard4 ,he is wrapped in a yellow cloak1 is barefooted1 and he is writing in a book4 ,by him are some animals1 including a dog and some rabbits1 and on the right of ,antiochus are two goats and a sheep4 ,on a rock on the left is a group of ten persons2 and in the centre of the picture between the two high rocks stand a tower and a temple4 ,for pupils ,moeyaert had ,berchem1 ,van der ,does1 ,salomon ,koninck1 and ,j4 ,b4 ,weenix4 ,illustration3 ,,moeyaert ,the ,visit of ,antiochus to the ,augur ,pieters and ,lastman4--,gerrit ,pieters1 the best pupil of ,c4 ,cornelisz1 also went to ,rome4 ,he painted assemblies1 genre1 and small portraits2 his success prevented him from devoting himself to historical painting1 which he preferred4 ,a pupil of his was ,pieter ,lastman 7#aehc-afcc71 who also made a long sojourn in ,italy under ,elsheimer's influence4 ,he groped about in different styles for a long time1 devoting himself principally to ,biblical subjects4 ,he learned a good deal about light effects from ,elsheimer2 on his return he imparted what he knew to ,rembrandt1 who studied with him for a short time4 ,later1 when his brilliant pupil grew famous1 ,lastman humbly followed his lead4 ,jan ,lievens 7#afjg-gd71 was another of his pupils4 ,a picture by him1 painted in #afbb1 when ,rembrandt was still only fourteen years old1 and therefore could not have influenced him1 is in the ,mauritshuis4 ,it is called ,the ,resurrection of ,lazarus4 ,an artist who accompanied ,lastman to ,italy in #afje was named ,jan ,pinas 7f4 #afjh-ba74 ,he painted portraits1 landscapes1 and historical subjects4 ,herman ,swanevelt's ,study of ,nature4--,herman ,swanevelt 7,herman of ,italy7 7#afjj-ee7 was a pupil and imitator of ,claude ,lorraine in ,rome1 whither he went in #afbd1 and where his excessive application to study gained for him the name of the ,hermit from the band of ,dutch and ,german artists established in that city4 ,unlike ,claude1 with whom he used to walk in the environs of ,rome1 and who never sketched from nature1 ,swanevelt always had his pencil in his hand1 taking note of all that he saw1 studying the oaks and large plants1 and copying the buildings1 campaniles1 and vine-wreathed arcades and ruins4 ,he left nothing to his imagination4 ,while ,claude's landscapes speak of the ,golden ,age1 ,swanevelt's are actual reproductions of the country as he saw it4 ,his buildings are not imaginary villas1 temples1 and palaces1 but are the ,roman ruins and the facades and cloisters that he knew4 ,in his arrangement and composition he resembled ,claude2 and1 like him1 often placed in the corner of his picture wooded mountains or large trees1 and sometimes even placed them in the very centre to make a striking contrast to the very light background4 ,naturally rude and savage1 ,swanevelt contributed some of his character to his work4 ,he liked bold mountains clothed with dark forests1 deep ravines1 solitary places1 and torrents bounding from the rocks2 and he understood how to mingle the heroic style with rural beauty4 ,two ,italian landscapes1 one dated #afej1 the other formerly attributed to ,claude ,lorraine1 hang in the ,mauritshuis4 ,j4 van ,swanenburch4--,rembrandt spent three years in the studio of ,j4 van ,swanenburch 7d4 #afch71 who had finished his studies at ,rome1 and worked in ,naples for a long time1 returning to ,holland in #afag4 ,bloemaert1 ,founder of the ,school of ,utrecht4--,abraham ,bloemaert 7#aefd-afea7 constitutes in many respects the link of transition with the succeeding epoch2 for however his frequent mannerisms and gaudy coloring betray the tasteless period in which he was born1 his later pictures show a power1 taste1 and broader touch4 ,he painted a great number of religious and mythological subjects1 portraits1 landscapes1 and animals4 ,by reason of his talent and his long life 7ninety-two years71 he exercised great influence over the ,school of ,utrecht1 and may be regarded as its founder4 ,some of his ,pupils4--,among his principal pupils may be mentioned3 ,j4 and ,a4 ,both1 the ,honthorsts1 ,j4 ,b4 ,weenix1 ,knupfer1 ,cornelis van ,poelemburg1 and the father of ,albert ,cuijp4 ,two pictures painted in the prime of his life are in ,the ,hague ,gallery2 they deserve attention if only for their size and the number of figures they contain4 ,the subjects are3 ,hippomenes receiving the ,prize 7signed and dated #afbf71 and the ,marriage of ,peleus 7signed and dated #afbh74 ,the latter was carried off by the ,french1 but returned after #ahae4 ,description of the ,marriage of ,peleus and ,thetis4--,it is composed of fourteen large figures1 half nude1 representing the gods of ,olympus celebrating the marriage of ,thetis4 ,seated at table and distinguished by their divine attributes1 the gods appear to be troubled at the sight of ,discord1 who descends from above1 borne on a cloud1 and throws down among them the golden apple destined for the most beautiful4 ,in the foreground1 with her back turned to the spectator1 is shown the figure of ,venus1 who displays unveiled her divine shoulders1 her voluptuous neck1 and her incomparably beautiful body1 which will carry off the prize1 and which has no need of the girdle of beauty to render the goddess beloved4 ,elsewhere than in ,the ,hague ,gallery this mythological painting would perhaps not excite more remark than any other picture1 but there1 in the midst of a family1 bourgeoise1 and ,protestant school1 which avoids the nude and ignores academic conventions and style1 a picture of this kind cannot fail strongly to attract attention4 ,abraham ,bloemaert1 like the famous ,cornelis of ,haarlem1 has the air of an ,italian who has gone astray in these northern regions4 ,these noble contours and learned lines1 this modelling of the flesh pursued with a certain pedanticism by the former1 and with grace and facility by the latter1 and finally these more or less violent foreshortenings1--those1 for instance1 offered by this picture in the figures of ,discord and the ,loves who scatter flowers or suspend from trees the curtain that decorates the place of banqueting1--all this is at variance with the jollity and naturalism of the ,dutch2 all this betrays the influence of a foreign style1 an influence that reigned in ,holland in the sixteenth century1 disappeared at the arrival of ,rembrandt1 and did not return till the appearance of ,gerard de ,lairesse1 more than a century later4#c ,others who painted in the ,italian ,style4--,nicholas 7or ,claes7 ,berchem 7#afbj-hc71 ,karel ,dujardin 7#afbb-gh71 and ,jan 7or ,johannes7 ,both 7#afaj-eb71 painted in the ,italian style4 ,berchem was a pupil of his father1 ,pieter ,claes1 and of ,j4 ,b4 ,weenix1 ,moeyaert1 ,pieter de ,grebber1 and probably ,jan van ,goyen4 ,karel ,dujardin was a pupil of ,berchem4 ,all three travelled in ,italy2 and all three are represented in ,the ,hague ,gallery4 ,berchem has an ,italian ,landscape and ,figures2 an ,italian ,landscape or ,pastoral 7dated #afdh71 with life-sized figures4 ,berchem's ,picture of a ,boar-,hunt4--,a ,wild ,boar ,hunt1 of the year #afei1 shows that he could successfully treat an animated scene4 ,crowe says3 ,it is a model of precision combined with elegance of execution2 though at the same time that blue dark tone which1 to the eye of a connoisseur1 so much detracts from the value of his later works1 already partially appears4 ,this is more seen in a landscape dated #affa in the same museum1 though otherwise belonging to his more attractive works4 ,but here also the conventional and monotonous treatment of his cattle begins to be visible4444 ,but the most striking example of the master's deterioration is afforded us by one of his latest works1 the ,cavalry ,engagement1 in ,the ,hague ,museum1 which is a very type of crude and discordant effect and hardness of detail4 ,his fourth picture is ,an ,italian ,quay1 dated #affa4 ,pictures by ,dujardin1 ,jan ,both1 and ,others4--,karel ,dujardin1 famous for his animals1 portraits1 and landscapes1 can be well studied in a fine ,italian landscape1 called ,a ,cascade in ,italy1 rich and warm in tone and dated #afgc4 ,johannes ,both has two ,italian landscapes1 one of which glows with sunshine and is remarkable for breadth and delicacy4 ,other pictures showing this ,italian influence are ,the ,ambuscade and an ,italian landscape by ,moucheron1 with figures by ,j4 ,lingelbach2 the ,terrestrial ,paradise by ,jan ,brueghel the ,elder2 and ,the ,torrent1 by ,adam ,pynacker4 ,adam ,pynacker and ,jan ,both compared4--,pynacker1 though inferior to ,jan ,both in his ,italian landscapes1 surpasses him in variety4 ,his tone is cooler than ,both's1 and he excels in painting early morning scenes4 ,in addition to pastoral scenes1 he loves rocky heights1 mountain ranges1 ,italian harbors1 bold bridges1 and waterfalls4 ,pynacker enlivened his landscapes with human figures and cattle1 both of which he was able to draw and paint extremely well4 ,albert ,cuijp's ,portrait of ,sieur de ,roovere4--,the famous ,albert ,cuijp 7#afbj-ia7 belongs to this group1 being a pupil of his father1 ,jacob ,gerritsz ,cuijp1 who was a pupil of ,abraham ,bloemaert4 ,there is but one ,cuijp in the ,mauritshuis1 ,portrait of ,sieur de ,roovere directing the salmon fishery near ,dordrecht1 which need not detain us long1 for we shall find more interesting examples of this master in the ,rijks4 ,burger calls this ,a ,view in the ,environs of ,dordrecht1 and says it is a beautiful painting1 but perhaps a little brusque4 ,a gentleman wearing a black hat with red plumes and mounted on a bay horse1 is seen on the left1 to whom a fisherman in heavy boots is offering fish4 ,on the right lies a spaniel4 ,in the middle distance are some fishermen1 a black horse1 the other side of a canal1 and a house4 ,the two principal figures are about a foot high4 ,the ,beginning of the ,school of ,dutch ,landscape4--,jan ,hackaert 7#afbi-ii7 forms a connecting link between those painters who represent ,northern and those who represent ,southern scenery4 ,he travelled when young into ,germany and ,switzerland4 ,the ,hague has a good example of an ,italian landscape with figures by ,lingelbach2 but better examples of his work are in the ,rijks4 ,this brings us to the beginning of the great school of ,dutch landscape1 when the painters began to take an interest in the scenery of their own country4 ,two great names are ,jan van ,goyen 7#aeif-afff7 and ,jan ,wijnants 7#afjj-gg71 important not only because of their own productions1 but because they were the first painters of ,dutch landscape1 and each had followers and pupils who attained great fame4 ,jan van ,goyen was a pupil of ,esais van de ,velde and the master of ,salomon ,ruisdael1 who produced ,jacob ,ruisdael1 who in turn produced ,hobbema4 ,another famous pupil was ,simon de ,vlieger1 who was also a follower of ,willem van de ,velde4 ,jan ,wijnants and his ,followers4--,around ,wijnants cluster ,adriaen van de ,velde1 ,wouwermans1 ,lingelbach1 ,barent ,gael1 ,schellinkx1 and ,helt ,stockade4 ,characteristics of ,van ,goyen's ,works4--,jan van ,goyen was fortunate in being the son of an amateur of painting1 who encouraged his talent4 ,after studying with various artists of no special reputation1 he travelled in ,france and on his return studied with ,esais van de ,velde4 ,he is always simple in painting and manner4 ,ordinarily he selects tranquil river scenes on which merchant ships or fishing-boats are quietly sailing4 ,you often see hamlets on piles1 and1 very frequently1 the steeple of a church1 standing out in picturesque contrast to the horizon line4 ,sometimes a ruined tower forms the chief motive of his composition4 ,his ,marines and ,watery ,landscapes4--,one of the principal characteristics of ,van ,goyen's marines and landscapes is their peacefulness1 calmness1 and slight touch of sadness4 ,it is not the sadness inspired by ,ruisdael's groves1 but a gentle melancholy feeling that touches the imagination and induces dreams4 ,the sun never appears in ,van ,goyen's pictures4 ,humid clouds veil his skies1 which in their light portions have the silvery tones of ,teniers4 ,his beach or shore is generally enveloped in a grayish mist1 and in the moving clouds you feel the breath of wind and fancy you hear it sigh4 ,his long flat surface1 so dull and solitary1 is animated only by a fishing-boat or a shallop4 ,holland1 because of its water-ways1 is a silent country and the impression of silence and peace is marvellously reproduced in ,van ,goyen's pictures4 ,he never allows a brilliant tone to disturb the uniformity and harmony of his watery landscapes2 but behind the clouds that float across the sky you divine the far-away sun1 like a light behind a curtain4 ,the famous ,view of the ,city of ,dordrecht1 by the latter1 signed and dated #afcd1 is a splendid example of his qualities and style4 ,his ,illustrious ,pupils4--,after his marriage1 ,van ,goyen established himself in ,leyden1 his native town1 where he opened a school1 to which flocked painters who afterward became illustrious4 ,among them was ,jan ,steen1 who married ,van ,goyen's daughter ,marguerite4 ,only one of ,esais van de ,velde's 7#aeij-afcj7 pictures--,a ,dinner in the ,open ,air1 painted in #afad1 hangs in this gallery1 so that one cannot learn here how much ,jan van ,goyen owed to his master4 ,hermann ,saftleven 7#afjf-ha71 a pupil of ,jan van ,goyen1 painted1 as a rule1 views of the ,rhine and ,moselle with small boats and figures4 ,he was a good portrait-painter and was successful with animals4 ,his ,landscape with ,cattle is a charming example of his work4 ,to ,salomon ,ruisdael1 who so greatly resembles ,jan van ,goyen with his pictures of canals1 bordered with houses and trees1 river banks1 etc41 we shall return when visiting the ,rijks2 for the ,mauritshuis possesses no picture of this artist4 ,he taught his more famous brother4 ,the ,greatest of the ,dutch ,landscape-,painters4--,jacob ,ruisdael 7#afbh-hb7 is beyond all dispute the greatest of the ,dutch landscape-painters4 ,in the works of no other do we find that feeling for the poetry of ,northern nature and perfection united in the same degree4 ,with admirable drawing he combined a knowledge of chiaroscuro in its most multifarious aspects1 a coloring powerful and warm1 and a mastery of the brush1 which1 while never too smooth in surface1 ranges from the tenderest and most minute touch to the broadest1 freest1 and most marrowy execution4 ,the prevailing tone of his coloring is a full1 decided green4 ,unfortunately1 however1 many of his pictures have1 in the course of years1 acquired a heavy brown tone1 and thus forfeited their highest charm4 ,many also were originally painted in a grayish but clear tone4 ,his ,favorite ,subjects4--,he generally presents us with the flat and homely scenery of his native country under the conditions of repose2 while the usually heavy clouded sky1 which tells either of a shower just past or one impending1 and dark sheets of water overshadowed by trees1 impart a melancholy character to his pictures4 ,especially does he delight in representing a wide expanse of land or water4 ,if the former1 the scene is frequently taken from some elevation in the surrounding country1 commanding a view of his native city1 ,haarlem1 which is seen breaking the line of the horizon with its spires4 ,taken altogether1 his wide expanses of sky1 earth1 or sea1 with their tender gradations of aerial perspective1 diversified here and there by alternations of sunshine and shadow1 may be said to attract us as much by the deep pathos as well as picturesqueness of their character4 ,on the other hand1 we often find the great master taking pleasure in the representation of hilly and even mountainous districts1 with foaming waterfalls1 in which he has won some of his greatest triumphs2 or he gives us a bare pile of rock1 with a dark lake at its base2 but these latter subjects1 which embody the feeling of the most elevated melancholy1 occur very rarely4 ,in his drawing of men and animals he was weak1 and occasionally obtained the assistance of other masters1 especially of ,a4 van de ,velde and ,berchem4 ,difference between his ,earlier and ,later ,works4--,as he seldom dated his pictures1 and early attained his full development1 we find a difficulty in determining the order in which they were painted4 ,his earlier works1 however1 may be identified by the extraordinary minuteness with which all objects--trees1 plants1 and every diversity in the soil--are represented2 by a decision of form bordering on hardness1 and by less freedom of handling and delicacy of aerial perspective4#d ,reynolds's ,estimate of him as a ,landscape-,painter4--,four very fine examples of ,jacob van ,ruisdael are owned by the ,mauritshuis3 a ,cascade1 a ,strand1 ,view of ,haarlem1 and ,view of the ,vijver at ,the ,hague4 ,after a study of these beautiful works1 ,sir ,joshua ,reynolds's estimate of the painter will not seem excessive3 ,the landscapes of ,ruisdael1 he says1 have not only great force1 but have a freshness which is seen in scarce any other painter4 ,his ,character seen in his ,paintings4--,ruisdael is considered by many critics the greatest of the ,dutch landscape-painters4 ,his execution is always masterly1 and his works always express a poetic sentiment4 ,ruisdael delights in portraying sombre forests1 rushing cascades1 trees bent by the wind1 gathering storm-clouds1 and all the dark mysteries of the woodlands4 ,his misfortunes probably had much to do with increasing his natural melancholy1 to the great gain of his artistic development4 ,as a rule1 the paintings of his mature period have greatly blackened because he loved to paint sombre backgrounds1 and always used a very dark green for his foliage and other verdure4 ,his earlier works have remained brighter in tint2 for at the beginning of his career he painted the dunes and meadows1 woods and roads near ,haarlem1 bathed in light from sunny skies half veiled with clouds4 ,illustration3 ,,ruisdael ,distant ,view of ,haarlem ,his ,picture of ,haarlem4--,the ,view of ,haarlem1 taken from the dunes of ,overveen1 shows a bird's-eye view of an immense stretch of country4 ,in the foreground is shown a level meadow on which strips of white linen are being bleached2 and on the left are the houses of the washerwomen4 ,beyond1 a vast stretch of country almost destitute of trees or dwellings1 reaches to the horizon line1 where the town of ,haarlem1 with its bell-tower1 is discerned4 ,all these miles of country1 exclaims ,burger1 are represented on a little canvas only one foot eight inches high6 ,this picture is regarded as one of the gems of ,the ,hague ,gallery4 ,the ,cascade is noted for its warm lighting and careful execution2 and the beautiful ,beach at ,scheveningen for its heavy gathering clouds and dim and broken light upon the water and shipping4 ,ruisdael's ,sea ,pieces4--,ruisdael's sea-pieces are few2 and1 unlike ,willem van de ,velde1 he never represents the ocean in repose2 his sea is always stormy and sometimes raging1 and the sky is full of heavy1 angry clouds4 ,the waves are always fluid and full of motion4 ,some of his ,notable ,works4--,the ,mauritshuis has the rare luck to possess three pictures by ,ruisdael1 which are splendidly preserved1 and each of which exemplifies a separate style of the master4 ,a fourth one1 bought more recently1 is also exceedingly interesting in its way1 because it gives a view of the ,vijverberg in ,the ,hague2 but the rest of this picture is of such dubious art1 and the color so sunken1 that it cannot hold its own beside the others in the collection4 ,the ,strand and the ,view of ,haarlem belong to the artist's middle period 7between #affj and #afgj7 as well as the ,cascade4 ,bredius says3 ,the still1 heavy impasto and the clearness of the color make me think it is one of the first waterfalls that ,ruisdael painted4 ,we never1 or hardly ever1 find pictures of the painter's earliest period 7covering the years #afdf to #afee7 in the ,dutch galleries4 ,a fine1 strong1 cleverly painted little picture of ,ruisdael's1 painted in #afec1 was sent to the ,amsterdam ,gallery with the ,dupper ,collection4 ,another very clear1 lovely1 and beautifully worked study of the ,dunes1 with a ,grove1 similar to the picture in the ,louvre1 is owned by ,madame van ,vollenhoven in ,amsterdam4 ,a somewhat dark but strong and spirited study1 the ,hut in the ,dunes1 also of his early period1 was lately acquired by the ,haarlem ,gallery1 which hitherto had owned nothing of ,ruisdael's4 ,these early pictures1 of which1 for instance1 the ,leipzig ,exhibition in the ,autumn of #ahhi was able to show very important examples 7the figures are often supplied by ,berchem71 are very highly esteemed by connoisseurs4 ,love of ,nature seen in his ,earlier ,works4--,in these works we see the youthful painter turning exclusively to ,nature3 a clump of bushes on a dune2 a glimpse of the ',haarlemer ,hout'2 a grove of trees on the shore1 he paints exactly as he saw them4 ,but how he saw them6 ,in these early pictures his color is brighter1 his manner of painting thicker and stronger than in his later works4 ,instead of the beautiful clouds for which ,ruisdael was so famous1 we often see the sky still painted in a more antique manner1 with striped clouds in the style of his uncle ,salomon4 ,his ,growth toward ,composition4--,gradually his subjects become more 'composed1' but in the best sense of the word4 ,only occasionally does he wander away1 as1 for instance1 in the ,dresden ,jewish ,cemetery1 which lay in the neighborhood of ,amsterdam1 but which he set in a fanciful landscape unknown to himself4 ,he had quite another intention in the picture before us3 the ,view of ,haarlem from ,overveen1 with its bleaching-green in the foreground4 ,above it a beautifully clouded sky with the floating clouds casting their shadows here and there over the broad landscape4 ,amsterdam owns a similar picture2 the ,berlin ,gallery another2 the ,ritter de ,steurs in ,maestricht1 a fourth2 and there are still others in private collections in ,england and ,paris4 ,each of these pictures has a new excellence1--,nature glorified through an artistic eye and immortalized with the practised hand of an artist4 ,what mastery there is in the representation of the broad1 broad space6 ,his ,carefulness of ,detail4--,nevertheless ,ruisdael does not neglect the detail of his landscapes4 ,we need only notice in him the tree-characteristics--how carefully he handles every kind of foliage in accordance with the forms of its leaves and branches2 but with him the whole is never subordinated to the details4 ,when he paints the sea--he does not paint it often--he does it better and more artistically than any other painter4 ,what a mighty effect his great marine in ,berlin produces6 ,the real air from the sea seems to blow upon us4 ,views of the seashore by him are even rarer4 ,the ,hague picture shows us a beautiful view of a sea and sky happily illuminated without the dark1 melancholy tone which so often dwells in his works1 and which we would consider as a reflection of his own sad moods4 ,who can it be that painted the fine figures in this picture8 ,perhaps it was ,eglon van der ,neer4 ,vermeer's ,view of ,delft4--,vermeer of ,delft 7#afcb-ge7 was a pupil of ,karel ,fabricius 7whom we shall meet in the ,rijks71 who was a pupil of ,rembrandt4 ,one of the most important and beautiful pictures in ,the ,hague ,gallery is ,vermeer's ,view of ,delft4 ,on an appreciative eye and receptive mood it leaves a tenacious impression which will never be forgotten4 ,until about thirty years ago1 ,vermeer of ,delft was hardly thought of1 although in his own day his pictures were highly prized and sought after1 and later his work received great praise from ,sir ,joshua ,reynolds4 ,it was the ,french critic ,burger 7,thore71 who rehabilitated this great artist4 ,bredius exclaims3 ,how this picture shines out from the others around it like a stream of light out of dark clouds6 ,all the light which the artist saw fall upon his town1 he has succeeded in concentrating at once in this picture1 the broad1 masterful1 sure painting1 the luminous colors1 the clear sky which arches over the town1 all excite our highest admiration4 ,a drawing said to be a sketch for this picture is in the ,stadel ,institute of ,frankfort4 ,the picture which brought #bjj florins in #afih was sold for #b1ijj gulden at the ,stinstra sale in #ahbb4 7,see ,frontispiece47 ,a ,painter of ,light and ,sun4--,the beautiful picture of ,diana and her ,nymphs1 which was bought as a ,maes in ,paris in #ahgf for #d1gbe gulden1 is now attributed by some people to this master1 and by others to ,vermeer of ,utrecht4 ,lemke says3 ,vermeer was a painter of the light and sun school2 and this was his chief study--to catch and hold fast the moment4 ,what ,frans ,hals did for physiognomy1 grasping the flying moment in an incomparable manner with winks1 smiles1 leers1 gesticulations1 etc41 and fixing it in paint1 that ,vermeer1 as a landscape-painter1 delighted to do for the sunshine4 ,he shows its rays streaming into a room or the play of light and shadow when the light with the moving air falls through heavy foliage against a bright house and paints it with rays of light and shade4 ,unlike the moment of ,rembrandt and ,ruisdael1 which is fixed for all eternity1 with ,vermeer the moment vibrates in the light4 ,the shadows lose their sharp outlines1 and the fine brush-work suggests the living change and play of the light4 ,rembrandt paints light in darkness and lets it glow in the dark1 or streaming into it1 or in a broad flood of brilliance2 but ,vermeer prefers to set darkness or twilight against the light4 ,for interiors1 ,vermeer has another palette and mode of painting than for the outdoor pictures4 ,when he selects the moment for this1 where the scene consists of trees1 houses1 water1 etc41 it would seem that the artist wanted to make us blink1 as if we were looking at the sun4 ,vermeer's ,portrait of a ,girl4--,vermeer did not confine himself to landscape4 ,in #aijc1 ,the ,hague ,gallery acquired by bequest a remarkable portrait by this master1 the portrait of a girl wearing a buff coat1 a blue and cream turban1 and magnificent pearl earrings1 on which are concentrated1 says the enthusiastic ,frank ,rinder1 those dreams of gray1 which are ,vermeer's4 ,although in this portrait1 with its liquid spots of light1 we at once apprehend the presence of ,vermeer1 with his nostalgia for the interpretation of a beauty visioned inwardly rather than seen with the eye1 the picture passed through the auction rooms at ,the ,hague in #ahgh1 fetching only #bcj florins4 ,it was bequeathed in #aijc to the ,mauritshuis by ,m4 des ,tombes4 ,in his laying on of paint he was distinguished1 says ,frank ,rinder1 even among his technically well-equipped contemporaries2 by virtue of his isolated vision1 he is of all the ,little ,dutchmen the one inimitable weaver of spells4 ,jan ,wijnants's ,love for the ,dunes4--,jan ,wijnants 7#afae-hj7 has two pictures in the ,mauritshuis1 ,clearing in the ,forest 7#afei7 and ,road through the ,dunes 7#afge74 ,wijnants1 the ,haarlemite1 loved his dunes1 and when he lived for years in ,amsterdam 7probably he died there71 he painted them even more frequently1--every little hill1 with its sandy rises and with little stunted trees1 and those roads marked with deep wagon-ruts1 almost always bright and illumined with warm sunshine4 ,how had he observed them8 ,how did he always know how to discover the paintable spot8 ,frankly1 his fancy sometimes made the hills somewhat higher than we really find them at ,haarlem2 indeed1 sometimes1 he created landscapes with so poetic a flight1 or we might say he sometimes composed them to such an extent that in truth we might seek them in vain in ,holland2 as1 for instance1 the great pictures in the ,munich museum4 ,we are1 therefore1 forced to conclude that he had seen ,claude ,lorraine's pictures1 and wanted to paint somewhat in the same spirit4 ,in ,haarlem he was painted by ,wouwermans1 and as a fine little cavalier4 ,his ,pictures enlivened by other ,artists4--,when he settled down in ,amsterdam in #affj1 the always ready ,adriaen van de ,velde often assisted him by enlivening his landscapes with charming little figures4 ,he had no idea that at present a ,wijnants would be so much more highly valued on account of his little figures than it would be without them4 ,lingelbach undertook this work later1 straining after ,van de ,velde but not reaching him4 ,in his early pictures1 ,wijnants is somewhat labored2 but by and by he acquires that sureness of painting which must have become ever easier to him because he almost always painted the same subjects and the same style of landscape4 ,in his last pictures he was quite broad and decorative in style1 but less convincing4 ,one picture with fine little figures by ,lingelbach bears the date #afge4 ,in his ,clearing in the ,forest 7#afei7 he has depicted his favorite subjects3 the old oaks mutilated by the storm and partly stripped of their bark2 the fallen trunk of a tree and large1 handsome plants1 whose leaves pour raindrops over the blades of grass that have pushed their way up between them4 ,van de ,velde has added to this lovely landscape a distant farm1 cattle walking along the road1 and a pond crossed by a rustic bridge4 ,with such simple objects1 exclaims ,blanc1 ,wijnants and his pupil have produced a masterpiece1 expressing a poetry that few could perhaps explain1 but which every well-organized man can feel4 ,neglect of ,dutch ,scenery by ,dutch ,artists4--,wijnants1 like ,van ,goyen1 is not only an excellent painter but chief of a school4 ,until their time the artists of the ,netherlands hunted for scenery outside of their country2 for instance1 ,memling and ,saftleven chose the borders of the ,rhine2 others1 like ,savery1 liked to wander in the ,tyrol2 others1 like ,paul ,bril1 visited the ,alps2 others1 like ,everdingen1 went to ,norway to get inspiration from pine forests and foaming cascades2 and ,asselijn1 ,berghem1 ,jan ,both1 ,moucheron1 and ,pynacker sought the sunny clime of classic ,italy4 ,into the ,italian landscapes1 which they either brought home or finished from memory when they returned1 they frequently introduced among the classic ruins and sunlit verdure the cattle and peasants of their own country4 ,wijnants the ,leader of a new ,school4--,wijnants was one of the first to take pleasure in his own country4 ,in the environs of ,haarlem1 his native town1 he saw much that would make pictures of charm2 so1 while other painters were roaming in foreign lands1 he took walks in the neighboring meadows and followed the paths that led to the dunes1 noticing everything on the way1--the tufts of grass1 the shrubs1 the moss-covered stones1 the trees1 the roads1 the hillocks1 the flowers1 and taking note of the reflections of light on the bark of the trees1 the lichens growing on the stump of a tree1 the common bugloss1 burdock1 and thistle1 and the swarming insects4 ,wijnants was the first to show that poetry was to be found in the lonely walk that led to the sea4 ,his ,influence on other ,artists4--,nature seems to have been his chief master2 but he soon became the master of others4 ,adriaen van de ,velde1 for instance1 feeling his vocation for landscape1 entered his studio in ,haarlem4 ,it is said that one day his wife said to him1 ,wijnants1 this child is your pupil to-day1 but one day he will be your master4 ,instead of being jealous1 the painter never ceased to boast of his pupil's talent1 and even allowed him to contribute the figures in many of his landscapes1--for ,wijnants could paint only earth1 trees1 and sky4 ,a great number of the figures in ,wijnants's pictures1 therefore1 are the work of ,adriaen van de ,velde1 who always introduces them modestly and in such a way that they render the landscape even more attractive4 ,philips ,wouwermans and ,lingelbach also were employed by ,wijnants to add figures to his pictures1 and a few times ,adriaen van ,ostade aided him1 also ,gael1 ,schellinkx 7who painted the dunes very well himself71 ,jan ,wouwermans1 ,nicholas de ,helt ,stockade1 the painter of battles1 and ,wyntranck1 the clever painter of farmyard animals4 ,dutch ,landscape-,painters who followed ,wijnants4--,wijnants was1 as has been said1 one of the creators of the ,dutch landscape1 one of the first to imitate ,nature in her humbler expression1 finding beauty in common things4 ,after him came such landscape-artists as ,philips ,wouwermans1 ,adriaen van de ,velde1 ,daniel ,schellinkx1 ,isaac ,ostade1 ,karel ,dujardin1 ,paul ,potter1 and in some respects the great ,ruisdael4 ,van de ,velde's ,favorite ,subjects4--,adriaen van de ,velde 7#afce-gb7 was a painter of animals1 figures1 interiors 7rarely religious and historical subjects74 ,he is worthily represented in ,the ,hague ,gallery by two pictures3 a ,dutch ,roadstead and a ,landscape with ,cattle4 ,van de ,velde is also responsible for the figures in the pictures of ,van der ,hagen 7,no4 #dg71 ,van der ,heyde 7,no4 #ec71 and ,wijnants 7,no4 #bab71 in this gallery4 ,bode says3 ,impressionism and ,naturalism4--,adriaen van de ,velde is one of the few artists by whom landscape and figures composed in a masterly manner are both felt and thought out harmoniously4 ,he stands so close to our modern impression as does scarcely another of his day1 being so simple in his motives and going so straight to nature1 that he knows how to reveal the intimate connection between the outside world and our own feeling4 ,a real painter of moods1 he excels in awakening in us dark and gloomy feelings2 his shadowy forest-glimpses on summer days1 with herdsmen reclining beside their panting cattle in obvious rest4 ,his bright mornings with the hunting-parties called together to the halloo1 with the gentlemen and nobles promenading on the walks near their equipages1 ring fresh and gay in the heart of the spectator2 in his homelike evening-feeling with the sound of the returning cattle1 he affects us with the feeling of happy departure and well-earned rest4 ,illustration3 ,a4 ,,van ,,de ,,velde ,a ,dutch ,roadstead ,his ,helpfulness to other ,artists4--,the strong feeling in the figures1 and1 particularly1 the lifelike color of the landscape1 is so individual that almost all the landscape-painters of his home--,amsterdam--made use of his assistance in peopling their landscapes1--,wijnants1 ,ruisdael1 ,hobbema1 ,hackaert1 ,f4 ,r4 de ,moucheron1 ,ph4 de ,koninck1 ,verboom1 and1 above all1 ,jan van der ,heyde1 have made excessive use of his services and ability4 ,even with these artists1 who were so foreign to each other in style1 the figures that he introduced are so fine that the force of the landscape in both feeling and artistic effect is strengthened in the highest degree2 indeed1 many of these pictures have attained a higher fame solely through these contributions by the hand of ,adriaen van de ,velde4 ,his ,skill as a ,colorist4--,the paintings of this artist have an additional attraction in their rich and harmonious coloring1 the fineness of the tone1 and the peculiar tender manipulation of the pigments1 which have such a soothing artistic effect4 ,some pictures painted in his last years have suffered by the sinking in and change of color 7notably the increase of blue in the green leafage71 by which some of their effect has been lost4 ,the ,landscape with ,cattle has not sunk in2 but it has1 nevertheless1 lost some of its original color in the green of the trees4 ,the idyllic landscape with its joyous1 bright sunlight and its peaceful animal life1 is a good specimen of this style of ,van de ,velde's work4 ,the picture is signed ',a4 ,v4 ,velde1 #affc4'e ,his ,sea ,pieces4--,the second picture of this artist in this gallery1 ,a ,dutch ,strand 7#affe7 with numerous figures1 is more important4 ,two similar views of the seashore by him are at ,cassel and in the ,six collection2 and all these examples show that great and simple representation of the sea1 in which he is also remarkable for his fine poetic feeling1 equalling that in similar works by his brother ,willem4 ,wouwermans's ,delight in painting ,horses4--,philips ,wouwermans's 7#afai-fh7 half century of life was industriously spent in producing about eight hundred pictures4 ,although his preference for the representation of the horse is evident in almost all his works1 there is great variety in the treatment4 ,wouwermans is at the same time a striking landscape-painter4 ,in many of his pictures the landscape is astonishingly often foreign and sometimes even ,italian in subject1 and the figures are merely lay-figures4 ,the ,country ,riding-,school plainly exhibits the artist's delight in horses4 ,how beautifully painted are the grays on the right6 ,he draws a brown horse so often that it must have been in particular favor4 ,some of his pictures must certainly have cost the painter a great deal of time1 especially when numerous figures occur in them2 as1 for instance1 in his horse-fairs and battle pictures4 ,the ,fruits of his ,great ,industry4--,it would appear that ,wouwermans was well paid1 for he was able to give his daughter1 who married the flower-painter1 ,de ,fromantiou1 a handsome dower1--,houbraken says #bj1jjj gulden6 ,he was buried with pomp in ,haarlem1 on ,may #bc1 #affh1 having bequeathed to his widow1 who was destined not to survive him two years1 a very good estate2 and to us such a treasury of his art that we can enjoy it all over the world1 in almost every important public and private collection4 ,the ,variety and ,abundance of his ,works4--,whether he shows us the horse wildly rearing in the battle or quietly watering at the river1 or being trained by an expert hand1 or returning home to a well-cared-for stall after a long ride1 we always admire again the rich variety of the master1 who1 an eminent horseman of knowledge and enthusiasm1 never wearies us as such4 ,many of his pictures are a true reproduction of the farm life1 or of the warfare of his day2 and1 on that account1 have1 moreover1 a historical value4 ,dresden alone possesses sixty-two1 and ,st4 ,petersburg fifty1 of his pictures4 ,the ,hague ,gallery has to be content with nine4 ,these are a ,battle2 the ,hunt with ,falcon2 ,arrival and ,departure from an ,inn2 ,a ,country ,house2 ,the ,hay-,wagon2 the ,hunters' ,halt1 a charming example of his earliest period2 ,a ,landscape with ,horses2 and a ,camp4 ,in all these the horse plays an important part4 ,description of ,the ,hay-,wagon4--,the ,hay-,wagon is a popular work representing a large canal and a large hay-wagon drawn by two horses1 and a man on horseback with a woman behind him on a pillion2 farther away are seen men loading boats with the hay4 ,in the foreground on the right are a woman with a little boy1 a chariot drawn by a horse which is led by a peasant4 ,illustration3 ,p4 ,,wouwermans ,the ,hay ,wain ,the ,arrival at an ,inn4--,the beautiful ,arrival at an ,inn represents an inn and a barn4 ,on the one side a coach is arriving1 and on the left a mounted lady and cavalier4 ,others are getting booted and spurred and saddling mettlesome steeds prefatory for departure4 ,in the left foreground1 a dwarf1 a charlatan1 and a monkey1 eating a simple meal1 regardless of the bustle around them1 give a touch of the life of the travelling mountebank4 ,a handsome castle closes the view on the left4 ,illustration3 ,p4 ,,wouwermans ,the ,arrival at the ,inn ,crowe's ,appreciation of ,wouwermans4--,wouwermans's authentic works are distinguished by great spirit and animation1 and are infinitely varied and full of incident1 though dealing recurrently with cavalry battle pieces1 military encampments1 scenes of cavalcades1 and hunting and hawking parties4 ,he is equally excellent in his vivacious treatment of figures1 in his skilful animal painting1 and in his admirable and appropriate introduction of landscape backgrounds4 ,three different styles have been observed as characteristic of the various periods of his art4 ,his earlier works are marked by the prevalence of a foxy brown coloring1 and by a tendency to an angular form in the draughtsmanship2 the productions of his middle period have greater purity and brilliancy1 and his latest and greatest pictures possess more of force and breadth1 and are full of a delicate silvery gray tone4#f ,reynolds on ,wouwermans's ,three ,different ,manners4--,on his visit to the ,royal ,collection in #agha1 ,sir ,joshua ,reynolds was greatly impressed with the pictures of this artist1 and said3 ,here are many of the best works of ,wouwermans whose pictures are well worthy the attention and close examination of a painter4 ,one of the most remarkable of them is known by the name of ,the ,hay-,cart2 another1 in which there is a coach and horses1 is equally excellent4 ,there are three pictures hanging close together in his three different manners3 his middle manner is by much the best2 the first and last have not that liquid softness which characterizes his best works4 ,besides his great skill in coloring1 his horses are correctly drawn1 very spirited1 of a beautiful form1 and always in unison with their ground4 ,upon the whole1 he is one of the few painters whose excellence in his way is such as leaves nothing to be wished for4 ,johannes ,lingelbach 7#afbc-gd71 a native of ,frankfort-on-the-,main1 settled in ,amsterdam on his return from ,italy4 ,he was frequently employed by ,wijnants to insert figures and animals in his landscapes4 ,he was a successful imitator of ,wouwermans4 ,crowe's ,estimate of ,lingelbach's ,powers4--,lingelbach's coloring1 as was almost always the case with ,wijnants's1 and also with ,wouwermans's in his latest manner1 is characterized by a cool and often delicate silvery tone1 which with him sometimes degenerates into coldness and want of harmony4 ,in his flesh1 especially1 a cold red tone often prevails1 added to which1 neither in clearness nor impasto1 does he equal the above-named masters4 ,he ranks1 however1 high for skill in composition1 good drawing1 careful execution1 to which is sometimes added a happy vein of humor4 ,he may be studied under all his different aspects in the galleries of the ,louvre1 ,the ,hague1 and ,amsterdam4 ,of the four pictures by him in the gallery of ,the ,hague1 the ,italian ,seaport1 dated #afgj1 is remarkable for a power and warmth quite unusual in this painter4#g ,examples showing the ,variety of ,lingelbach's ,style4--,the variety of his style is well exhibited in ,the ,hague ,gallery by four pictures of different dates4 ,these are the ,italian ,seaport1 with large figures1 signed and dated #afgj2 the ,departure of ,charles ,,ii4 from ,scheveningen for ,england in #affj1 a very rich1 luminous1 and fine work2 a small ,cavalry ,march1 in which the little figures are beautifully executed and are thoroughly original2 and a ,landscape with a ,hay-,wagon1 much in the manner of ,philips ,wouwermans4 ,weakness of the ,mauritshuis in ,marines4--,the ,mauritshuis is weak in marines3 two by ,willem van de ,velde2 three by ,backhuysen1 two by ,abraham ,storck1 a view of the ,amstel at ,amsterdam by ,torenburg 7#agcg-hf71 a few ,italian ,seaports1 and a few ,beaches at ,scheveningen painted by the landscape artists are all that the gallery owns4 ,excellence of ,w4 van de ,velde's ,marines4--,willem van de ,velde 7#afcc-agjg7 stands very high in the ranks of the marine painters of the seventeenth century4 ,in the last years of that century we have artists like ,simon de ,vlieger1 ,jan van de ,capelle1 ,hendrik ,dubbels1 and ,abraham van ,beyerex 7in his rare marines72 but ,van de ,velde is a master in his sphere1 especially when he represents the calm sea under bright sunlight4 ,in his ,view on the ,y we obtain enjoyment from the fine aerial perspective1 the correct drawing of the ships1 and the numerous little figures4 ,the accuracy of the detail does not detract from the wonderful composition1 the play of the sunlight on sail and water1 and the beautiful sky1 lightly flecked with clouds4 ,probably1 the gaily decorated ship on the left is the yacht of the ,princes of ,orange2 the boat which is being rowed away from it is bringing important visitors to shore1 while the trumpeter on the ship loudly announces their departure4 ,although not of the very first rank1 this picture belongs to the best work of the master's middle period4 ,the other picture1 of exactly the same size1 is also identical in subject and treatment4 ,both are small4 ,the other picture owned in the ,mauritshuis is the ,capture of the ,royal ,prince 7,june #ah1 #afff74 ,his ,greatness as a ,marine ,painter4--,there is no question that ,willem van de ,velde the younger is the greatest marine painter of the whole ,dutch school4 ,his untiring study of nature of which his numerous sepia drawings are the best evidence1 his perfect knowledge of lineal and aerial perspective and the incomparable technical process which he inherited from his school1--all these qualifications enabled him to represent the great element under every form1 whether that of the raging storm1 the gentlest crisping wind1 or of the profoundest calm1 with the utmost truth of form and color4 ,nor are his skies1 with their transparent ether and light and airy clouds1 less entitled to admiration than his seas2 the surface of which he diversified1 with the purest feeling for the picturesque1 by various vessels1 near and distant1 which are drawn with a knowledge that extends to every rope4 ,finally his various lightnings create the most charming effect of light and shade4 ,with this combination of qualities1 so calculated to please a seafaring nation1 it is no wonder that he should have become the most popular painter with the ,dutch and ,english4#h ,the ,fulness of his ,knowledge of the ,sea and ,ships4--,both ,england and ,holland1 the two greatest sea nations1 agree that ,willem van de ,velde was the greatest marine painter up to his time4 ,in fact1 no one had so well observed the motion of the waters1 their breaking1 or their repose2 and no one knew so well the habits of sailors1 the rigging of boats1 their behavior and their variety4 ,he knew how to make them picturesque1 whether isolated between the sky and the water in the most beautiful lines1 or in cleverly foreshortening them while they gently rock on the waves singly1 or in picturesque groups4 ,nobody has better understood the profound calm of the ocean1 or better expressed the emotion produced by an infinite horizon4 ,the ,van de ,velde ,family4--,the family was talented4 ,willem the ,elder1 born at ,leyden in #afaa1 was a magnificent draughtsman1 and taught his sons1 ,willem and ,adriaen1 drawing4 ,willem1 however1 became a pupil of ,simon de ,vlieger1 and the pictures that he sent to his father1 then in the service of the ,english king1 astonished the ,court4 ,james ,,ii4 sent for the young man and offered him a pension4 ,in ,england he frequently colored his father's drawings2 and on the ,thames from ,greenwich to ,london he had a great opportunity for the study of shipping4 ,the ,simplicity of ,w4 van de ,velde's ,pictures4--,with very simple details1 ,willem van de ,velde produces marvellous effects4 ,he paints the ocean from the shore to the distant horizon2 and this straight line is in beautiful contrast to the rounded clouds1 while the severity of the tall masts is relieved by the curves of the puffing sails4 ,sometimes a group of fishermen on the beach or the end of a wharf of piles is seen in the foreground2 but he more frequently begins his picture in the middle distance and gives the foreground up to waves slightly agitated or with a buoy tossing in the rising tide1 in such a way as to suggest that the picture was painted not from the shore but from a vessel at anchor4 ,w4 van de ,velde compared with other ,painters4--,sir ,joshua ,reynolds said3 ,another ,raphael might be born2 but there could never be a second ,willem van de ,velde2 and ,havard calls him not only the greatest marine painter of the ,dutch school1 but also one of the greatest in the whole world4 ,blanc draws the following distinction between ,van de ,velde and ,backhuysen3 ,backhuysen makes us fear the sea1 whilst ,van de ,velde makes us love it4 ,backhuysen1 a ,painter of ,ships and ,shipping4--,backhuysen 7#afca-agjh7 probably owed his darker moods to his master ,allart van ,everdingen1 who was a pupil of ,pieter ,molijn 7#afjj-ed71 whose works are now so rare1 and who was also one of the founders of ,dutch landscape-painting4 ,backhuysen was a painter of ships and shipping1 as well as of the sea1 and had a practical knowledge of nautical matters4 ,examples showing his ,style4--,three pictures in ,the ,hague ,gallery afford good examples for study of his style4 ,one1 ,entrance to a ,dutch ,port1 dated #afic1 shows an agitated sea1 very remarkable for the happy distribution of sunlight and shadows of clouds upon the water1 and broad yet delicate treatment2 another is a ,view of the ,wharf ,belonging to the ,dutch ,east ,india ,company1 and is dated #afif2 and the third has for its subject ,the ,landing of ,william ,,iii4 of ,england in the ,oranje ,polder in #afib4 ,imitators of ,backhuysen4--,pictures by ,jan van de ,capelle and ,jan ,dubbels often pass for ,backhuysen's2 and another imitator is ,abraham ,storck1 who is greatly inferior in elegance of touch4 ,good examples of ,storck's style--a ,marine and a ,shore--hang in ,the ,hague ,gallery4 ,storck was much influenced by ,lingelbach4 ,the latter was also quite successful with his harbors and quays1 with their shipping and human figures4 ,simon de ,vlieger as a ,painter of the ,ocean4--,a greater painter1 however1 is ,simon de ,vlieger 7#afja-ei71 who is supposed to have studied under ,jan van ,goyen1 and painted landscapes in the style of that master2 he is famous for his marines4 ,he frequently painted sea pieces which included the coast4 ,he was the first to represent the ocean in its varying moods4 ,his execution is free and soft1 and his aerial perspective very fine4 ,like the majority of the ,dutch painters he loved to paint ,scheveningen4 ,his ,beach at ,scheveningen1 signed and dated #afdc1 is a fine example of his work4 ,the ,diversity of his ,subjects4--,de ,vlieger often paints birds of the farmyard1 which1 both in truth and delicacy1 are equal to anything produced either by ,hondecoeter or ,flamen4 ,his horses1 hares1 and sheep may certainly pair with those of ,van der ,hecke1 ,jouckeer1 or ,jean ,leducq2 his pigs are observed differently from those of ,karel ,dujardin1 but perhaps they are more true to nature because he has not put any malice or irony into his representation of them4 ,the diversity of his subjects1 the talent he displays in grouping figures and animals in an extensive landscape1 or in a boat passing along a canal1 or on the beach of ,scheveningen where1 in ,the ,hague picture1 we see them huddling together as if the ocean had just cast them ashore with its shells and fishes2 the art of lighting them so as to delight the eyes without too greatly distracting the mind from the spectacle of vast nature and the infinite ocean--all that makes ,simon de ,vlieger one of the most remarkable ,dutch masters4#i ,de ,vlieger was as eminent in interiors1 ruins1 and processions as in marines and landscapes4 ,he loved to frame familiar and rustic scenes in beautiful landscapes2 and he had no need to call upon others1 such as ,barent ,gael1 ,schellinkx or ,van de ,velde1 for his figures1 as so many of his contemporaries did4 ,painters of ,architectural ,pictures3 ,de ,vries4--,pictures in which architecture forms the chief interest had their beginning with ,jan ,vriedeman de ,vries1 who devoted himself to the study of ,vitruvius and ,serlio4 ,his works were very successful1 though in the mannered taste of his time4 ,hendrik van ,steenwyck and his ,son4--,a scholar of his1 ,hendrik van ,steenwyck 7#aeej-afjd71 who became a master in ,antwerp in #aegg1 painted chiefly interiors of ,gothic churches of fine perspective1 both lineal and aerial1 and was the first to represent the light of torches and tapers on architectural forms4 ,one of the very numerous ,francken family usually added the human figures4 ,his son ,hendrik van ,steenwyck was his pupil and follower1 though he painted in a cooler tone and was inferior in all respects4 ,pieter ,neeffs and his ,son4--,pieter ,neeffs 7#afbj-ge71 however1 was the elder ,steenwyck's best pupil4 ,he followed him in style but excelled him in warmth of tone1 power1 and truthfulness in expressing torchlight effects4 ,many of his pictures contain figures by ,frans ,francken the younger1 ,jan ,breughel1 and ,david ,teniers the elder4 ,in the ,mauritshuis we find a good example of ,pieter ,neeffs1--,the ,interior of a ,church1 with figures by ,frans ,francken ,,iii4 ,his son of the same name was his pupil and follower1 but produced pictures of inferior merit4 ,to this group belongs ,bartholomew van ,bassen1 who painted interiors of the ,renaissance churches and halls4 ,van der ,heyden's ,architectural ,paintings4--,jan van der ,heyden 7#afcg-agab7 is the ,gerrit ,dou of architectural painters4 ,his subjects chiefly are well-known buildings1 palaces1 churches1 etc41 in ,holland and ,belgium1 canals in ,dutch towns with houses on their banks1 fine perspective1 the views selected with great taste4 ,the trees are rather minute in foliage4 ,the figures in many of his works were supplied by ,a4 van de ,velde1 and after his death by ,eglon van der ,neer and ,lingelbach4 ,a ,view of the ,church of the ,jesuits at ,dusseldorf1 signed and dated #affg1 is a valuable work4 ,the figures are by ,a4 van de ,velde4 ,the warm1 clear chiaroscuro in which the whole foreground is kept is admirable1 while the sunlight falling on the middle distance has a peculiar charm4#aj ,he is also represented in ,the ,hague ,gallery by a still life4 ,other ,architectural ,painters4--,other architectural painters are ,gerrit ,berckheyde1 who painted exteriors of buildings in his own country1 and occasionally interiors of churches2 ,jacob van der ,ulft 7#afbg-ij71 whose large picture in the ,mauritshuis of troops marching has already been mentioned2 ,pieter ,saenredam1 whose works form a transition from the earliest architectural painters like ,pieter ,neeffs to the maturest expression of this class2 ,dirck van ,deelen1 a pupil of ,frans ,hals1 who has a view of the ,binnenhof with the last great ,meeting of the ,states ,general2 ,emanuel de ,witte1 who1 strange to say1 was a pupil of ,evert van ,aelst1 the painter of dead game and still life2 ,hendrik van ,vliet1 pupil of his father1 ,willem1 who has an interior of part of the ,old ,church at ,delft in the ,mauritshuis1 of peculiar warmth1 brilliancy of effect1 and delicate treatment of reflected lights2 and last of all1 ,gerard ,houckgeest 78-#afee71 who is represented by the ,interior of the ,new ,church at ,delft and ,tomb of ,william ,i4 in the ,new ,church at ,delft4 ,the ,excellence of ,houckgeest's two ,paintings4--,this almost unknown artist is a new proof of the astonishing efflorescence of excellent painters in ,holland about the middle of the seventeenth century4 ,two views of the ,interior of the ,new ,church at ,delft1 in ,the ,hague ,museum1 are on a level with the highest development of the school4 ,it would be difficult to render the brilliancy and transparency of full sunlight more completely than in the one which contains the monuments of the ,princes of the ,house of ,orange4 ,the other picture also1 inscribed with the master's monogram1 and #afca1 is in every respect1 and especially in the soft and full treatment1 of the utmost excellence4#aa ,dou1 ,founder of the ,leyden ,school4--,the founder of the ,leyden school of painters1 ,gerrit ,dou 7#afac-ge71 is represented in the ,mauritshuis by a masterpiece of the first rank1 which is considered one of the gems of the gallery4 ,it is known as ,the ,good ,housekeeper1 ,the ,household1 and ,the ,young ,mother4 ,description of ,the ,good ,housekeeper4--,in a large room that serves as hall1 dining-room1 and sitting-room1 as well as kitchen1 is seated a lady1 handsomely dressed in a morning costume4 ,she has evidently just returned from market2 for there is a plucked fowl in a basket on the window seat and an unplucked bird on the table1 where a cabbage also lies4 ,a hare hangs on the wall above1 and below the table one notes a fish on a platter1 and near a pot a bunch of carrots4 ,a lantern has fallen on the floor in the foreground4 ,the lady is sewing1 with a basket beside her and a sewing-pillow on her knee2 while a little servant watches the baby in its basket cradle4 ,the pillar that supports the roof is carved1 the brass chandelier is of splendid design1 the draperies are heavy1 and a coat-of-arms is painted on the windows4 ,everything betokens wealth and comfort4 ,the young mother looks at us in a very friendly way with her attractive little face4 ,our attention is first attracted to the group in the foreground2 but gradually we admire the complete representation of all the little things around2 the wonderful1 finely expressed chiaroscuro1 the beautiful stream of light1 and the boldness of the shadowed yet plainly visible group in the background4 ,the picture belongs to the artist's middle period and is dated #afeh2 and although it has darkened1 it is still full of rich color4 ,illustration3 ,,gerrit ,,dou ,the ,good ,housekeeper ,the ,good ,housekeeper presented to ,charles ,,ii4--,when ,charles ,,ii4 left ,holland for his ,restoration in ,england1 the directors of the ,east ,india ,company could think of no finer present to offer him than a picture by ,gerrit ,dou1 which they bought for #d1jjj florins from ,m4 de ,bie4 ,it was this very picture of ,the ,good ,housekeeper1 which was afterwards brought back to ,holland by ,william ,,iii4 and hung in his castle at ,loo4 ,dou's ,style imitated by his ,pupils4--,it is by such pictures that we test the numerous works of his pupils1 which are now1 and have been from the end of the seventeenth century1 offered for sale as ,dou's4 ,very early in life ,dou made use of magnifying glasses1 and with great care he ground his own colors4 ,sandart relates that he once went with ,pieter de ,laer to pay a visit to ,dou1 who was painting a broomstick which was slightly longer than a finger-nail4 ,when ,sandart praised his great industry1 he answered that he had to work about three days longer on it4 ,his ,devotedness to his ,work4--,when the weather was not fine1 he stopped his work4 ,he devoted his whole life to work4 ,his palette1 colors1 and brushes he carefully protected from dust1 which gave him much trouble2 he put them away with the utmost care1 and when he sat down to paint he would wait a long time until the dust had entirely settled4 ,his studio was a large one with high lights1 facing the north and looking out on the still waters of the canal4 ,his ,fondness for ,domestic ,subjects4--,he almost always depicts a view of the interior of a burgher's dwelling4 ,he is the painter of nice1 quiet domesticity1 and his people almost invariably look gay and happy4 ,when he attempts to portray strong emotions1 his people do not look as if they felt them2 even his ,dropsical ,woman in the ,louvre is dying peacefully and with resignation4 ,dou was an excellent observer of all surroundings1 and the slightest objects in his pictures are represented with the utmost completeness4 ,dou could readily please1 and form a school1 in a ,northern and ,protestant country1 where people lead an indoor life1 a silent1 concentrated family life1 where man is attached to his dwelling1 adorns it with care1 and closes it in1 with the feeling of a sanctuary4 ,in fact1 ,dou painted only familiar subjects on canvases or panels of small size1 such as are suited to the small cabinet of a curieux1 and he was one of the first to set in honor the most recherche style of painting in ,holland1--that of little pictures executed in that precious manner which the ,french of the eighteenth century called the beau fini4 ,dou and ,rembrandt contrasted4--,dou differed greatly from his master1 ,rembrandt4 ,the one had the fire of genius2 the other had patience4 ,even when ,rembrandt highly finished his pictures1 he knew when to neglect some accessory1 to sacrifice some detail to the expression of the essential parts1 and thus to give full value to everything in the picture that could appeal to the heart or interest the mind4 ,dou1 on the contrary1 applying himself to what he considered the last word of painting1 tried to give equal importance to everything that entered into his composition1 without admitting any of those negligences that are often such happy artifices1 and taking as much care in the finish of a pewter pot as in expressing the feeling in a woman's features1 or the thought in a man's physiognomy4 ,therefore1 ,dou's natural tendency1 instead of being modified by ,rembrandt1 became only more pronounced4 ,as his master broadened1 his manner grew more smooth and polished4 ,the ,fruit of ,dou's ,precautions4--,his care in making his own brushes1 colors1 and varnishes1 and his precautions to keep his wet canvases free from dust 7he chose a studio overlooking stagnant water7 have been rewarded by the present condition of admirable preservation of his pictures4 ,his minuteness wearied his sitters and he soon failed as a portrait-painter4 ,it is related that he made a distinguished ,dutch lady1 ,madame ,spiering1 pose five days for her hand alone4 ,he forsakes ,portraits for ,scenes in ,common ,life4--,as his sitters left him one after another1 ,dou devoted himself entirely to represent the scenes of common life without giving himself any trouble in selection1 being sure that in them he would find opportunities to display his veritable genius1 that of detail4 ,he was content to take what first offered as a subject1 and the circle of his invention did not go beyond that4 ,he simply observed life in the neighboring shops3 the pepper-seller1 when she is dangling the scales with the tips of her fingers2 the marketwoman verifying the transparence of her eggs by the light of a candle1 and the mysterious interior of the barber-surgeon4 ,if he sees in the street a servant coming home from market loaded with vegetables1 counting what she has spent and what she is going to steal from the change1 there is a picture already made4 ,in the public square he stops to study the faces of the simple dupes gathered around a charlatan vaunting his elixir1 teaching the practice of love-philtres1 and drawing teeth painlessly4 ,his artist's eye finds motives readily at hand2 sometimes in the room of the embroiderer1 absorbed in her needlework2 sometimes in the juvenile schoolroom1 where the martinet overawes his frolicsome pupils4 ,he also delights in representing the joys of the domestic hearth1 that ever simple and ever charming picture of the mater familias busy with household cares1 while the children are rolling about on the floor at their grandmother's feet4 ,finally1 he sometimes goes so far as to be malicious and to complicate the picturesque accidents of a winding staircase which a woman descends softly to surprise her husband in the kitchen with the servant4 ,the simplicity of trivialities ,dou made the subject of the finest and most precious pictures in the world4 ,the ,herring ,seller is as finely and minutely painted as ,the ,philosopher in ,meditation4 ,he preferred ,interiors to ,open-,air ,scenes4--,dou seldom painted open-air pictures4 ,interior light suited him better2 and moreover he had learned chiaroscuro from ,rembrandt4 ,however1 one of his most famous pictures1 ,the ,charlatan 7in the ,old ,pinakothek1 ,munich71 is an exception4 ,upon the whole1 the single figure of the ,woman ,holding a ,hare1 in ,mr4 ,hope's collection1 is worth more than this large picture1 in which perhaps there is ten times the quantity of work4#ab ,his ,foreground in ,many ,cases bordered by a ,window4--,his small pictures of one or two figures were usually framed by a window4 ,he has often painted his own portrait thus1 sometimes holding a trumpet1 and sometimes playing a violin4 ,having once found this natural border1 the painter framed all his models with it4 ,to-day we see the girl with beautiful blond hair blowing soap bubbles and smilingly watching the prismatic globes rise in the air2 to-morrow1 the pretty girl who is not sorry to have on her window-sill more than one pretext for showing herself1--the canary-cage1 hanging outside2 a letter to read2 a pot of geraniums to water1 and what not4 ,and this fresh face1 which has for a background the transparent shadow of a room wherein a group of people are conversing1 comes forward to be gracefully framed by the vine that runs along the sash1 and with its contours relieves the cold regularity of the architecture4 ,it is certain that this patient imitator of nature must have been very industrious1 if we may judge from the number of his pictures and the time he devoted to each4 ,his pupil1 ,karel de ,moor1 says so4 ,the pronounced liking of his countrymen for his pictures left him no repose4 ,the ,best ,example of his ,candle-light ,scenes4--,he frequently painted by the aid of a concave mirror1 and to obtain exactness1 looked at his subject through a frame crossed with squares of silk thread4 ,the ,evening ,school1 in the ,amsterdam ,gallery1 is the best example of the candle-light scenes in which he excelled4 ,president van ,spiering of ,the ,hague paid him #a1jjj florins a year simply for the right of preemption4 ,godfried ,schalcken1 ,pupil and ,imitator of ,dou4--,the other picture credited to ,dou1 ,a ,young ,woman ,holding a ,lamp in her ,hand1 and which was so greatly admired by ,sir ,joshua ,reynolds1 is thought to be by ,godfried ,schalcken 7#afdc-agjf74 ,those who are curious on this question may turn to a picture by ,schalcken called a ,lady at her ,toilette1 by candle-light1 an effect which he was so fond of painting4 ,his ,device for securing ,candle-light ,effects4--,schalcken was a pupil of ,dou1 under whom he acquired delicacy of finish and skill in the treatment of light and shade4 ,he gained a reputation for his small domestic scenes1 chiefly with candle-light effects2 and1 to treat these accurately1 he is said to have placed the object he intended to paint in a dark room with a lighted candle and peeping through a small hole painted by daylight the effects he saw4 ,a pupil of ,samuel van ,hoogstraaten and ,gerrit ,dou 7who were pupils of ,rembrandt71 he became an imitator of the latter1 following him in his depth of tone1 extreme finish1 and preference for night scenes4 ,schalcken's ,weakness in ,drawing4--,blanc says he was aware of his weakness in drawing1 particularly the extremities of the human body1 and this was one reason he liked partly to conceal his subjects in shadows and half-lights4 ,his master1 ,dou1 had made a sensation with his ,evening ,school 7in the ,rijks7 in which the effect of candle-light is treated with such skill2 but what was a caprice with ,dou1 ,schalcken made a habit4 ,his pictures are a series of fantastic scenes and illusions4 ,this painter saw the night only2 his pictures whether mythological1 historical1 religious1 or commonplace scenes1 are always nocturnal ones4 ,blanc says3 ,his brush was a permanent candle4 ,his ,great ,popularity4--,schalcken1 however1 attained an enormous vogue1 and many of the wealthy ,dutch had their portraits painted by him1 pleased with the mysterious or piquant light he threw upon them4 ,he went to ,london1 where he painted ,william ,,iii4 with a candle in his hand4 ,this is now in the ,rijks4 ,schalcken found ,kneller too strong a rival1 and returned to ,holland1 having1 however1 acquired a good deal of money4 ,the ,mauritshuis also contains four others of his pictures3 a ,portrait of ,william ,,iii41 ,king of ,england2 ,la morale inutile2 ,a ,visit to the ,doctor2 and a ,venus4 ,the ,best ,examples of ,ostade's ,work4--,among the best recognized examples of ,ostade's work are3 ,the ,fiddler and his ,audience 7#afgc7 and ,peasants in an ,inn 7#affb71 in ,the ,hague2 ,the ,village ,school 7#affb71 in the ,louvre2 the ,tavern ,courtyard 7#afgj71 at ,cassel2 and ,the ,sportsman's ,rest 7#afga71 at ,amsterdam4 ,description of ,the ,fiddler4--,one of the gems of ,the ,hague ,gallery is ,the ,fiddler by ,adriaen van ,ostade 7#afaj-he74 ,the old dilapidated inn with its broken casement window is picturesque because of the graceful festoons of vine-leaves that grow above the roof and penthouse4 ,a wandering fiddler is playing to the innkeeper and his wife1 who lean over the door1 while five children and a dog are variously grouped4 ,a young man with a large tankard in his hand also enjoys the music in his lazy position4 ,illustration3 ,a4 ,,van ,,ostade ,the ,fiddler ,description of ,peasants in an ,inn4--,peasants in an ,inn was painted in #affb2 but it exhibits all the qualities of ,ostade's best work4 ,the figures are drawn true to life4 ,very charming is the poodle gazing with great interest at the child1 who is eating his bread and butter4 ,by allowing the full daylight to fall from the left through the door while the background is lighted by a high window1 ,ostade gives himself every opportunity to express his chiaroscuro as beautifully as he desires4 ,the little pot on the tree-trunk and all the other still life of this picture forcibly remind us that ,ostade was an unusually great master in this field4 ,his small pictures of still life1 principally representing pots and other kitchen stuff1 are pearls of the first water2 but they are somewhat rare4 ,the coloring of this picture is warm1 but it melts into cool tones1 which we find still more strongly in ,the ,organ ,grinder of the same gallery1 which was painted eleven years later4#ac ,the ,demand in ,marriage1 painted between #afej and #afee1 also hangs in the ,mauritshuis4 ,this picture is owned by ,dr4 ,a4 ,bredius4 ,ostade's ,pictures ,generally taken from ,low ,life4--,the number of ,ostade's pictures as given by ,smith is #che2 but it is thought that he painted even more4 ,about #bbj pictures have been traced in public and private collections4 ,adriaen ,ostade was the contemporary of ,david ,teniers and ,adriaen ,brouwer1 and1 like them1 chiefly devoted himself to painting rustic and village life1 tavern and gambling scenes1 brawls and open-air games4 ,smokers1 drinkers1 fish-wives1 quacks1 strolling musicians1 itinerant players1 wood-cutters1 children at play1 alehouse-keepers and their wives1 all find sympathetic treatment4 ,like ,brouwer1 ,ostade wandered about the towns and country1 finding his models in the taverns and cottages4 ,increase in the ,value of his ,pictures4--,he painted with equal vigor at all times2 and so highly appreciated is he that pictures worth little in his day now bring large sums4 ,for instance1 in #ahgf ,earl ,dudley paid ,l#d1abj for a cottage interior4 ,according to ,houbraken1 ,ostade was a pupil of ,frans ,hals1 while he was also teaching ,brouwer4 ,crowe's ,opinion of ,ostade's ,style4--,there is less of the style of ,hals in ,adriaen ,ostade than in ,brouwer1 but a great likeness to ,brouwer in ,ostade's early works4 ,during the first years of his career1 ,ostade displayed the same tendency to exaggeration and frolic as his comrade4 ,he had humor and boisterous spirits1 but he is to be distinguished from his rival by a more general use of the principles of light and shade1 and especially by a greater concentration of light on a small surface in contrast with a broad expanse of gloom4 ,the key of his harmonies remains for a time in the scale of grays4 ,but his treatment is dry and careful1 and in this style he shuns no difficulties of detail1 representing cottages inside and out1 with the vine leaves covering the poorness of the outer side1 and nothing inside to deck the patch-work of rafters and thatch1 or tumble-down chimneys and ladder staircases1 that make up the sordid interior of the ,dutch rustic of those days4 ,his men and women1 attuned to these needy surroundings1 are invariably dressed in the poorest clothes4 ,the hard life and privations of the race are impressed on their shapes and faces1 their shoes and hats1 worn at heel and battered to softness1 as if they had descended from generation to generation1 so that the boy of ten seems to wear the cast-off things of his sire and grandsire4 ,it was not easy to get poetry out of such materials4 ,but the greatness of ,ostade lies in the fact that he often caught the poetic side of the life of the peasant class1 in spite of its ugliness and stunted form and misshapen features4 ,he did so by giving their vulgar sports1 their quarrels1 even their quieter moods of enjoyment1 the magic light of the sungleam1 and by clothing the wreck of cottages with gay vegetation4#ad ,ostade the ,greatest ,dutch ,painter of ,peasant ,life in his ,day4--,adriaen van ,ostade is rightly regarded as the greatest of the ,dutch painters of the seventeenth century who represented the peasant life of that day4 ,in song and dance1 weddings and kermesses1 at bowling1 love-making1 and drinking1 ,ostade always was an observer of country folk1 although he himself was a townsman1 and held a rather exalted position in the world4 ,his second wife seems to have raised him into a very high social class of ,amsterdam families1 as numerous records of executions of wills1 which the painter must have signed in ,amsterdam1 inform us4 ,to some extent1 his peasants involuntarily progress parallel with the force of his own life4 ,in his earliest pictures1 when ,ostade was still a modest artist1 his peasants are also still quite peasant-like2 in his tavern-scenes things are still very lively4 ,later1 when the painter became closely related to refined and well-to-do patricians1 his peasants also became more prosperous and polite2 in a word1 more decorous4 ,unfortunately1 his painting also became somewhat more polished and smooth1 so that the early pictures1 and particularly those of the middle period1 more strongly delight the heart of an artist than the cool1 smooth works of the later period4 ,ostade is eminent in his coloring1 chiaroscuro1 and composition3 he knows how to arrange his groups in the most spontaneous and natural manner2 and truly artistic is his method of illumination1 for which1 knowingly or unknowingly1 he has to thank ,rembrandt4 ,in his earliest pictures1 which have a somewhat cold tone grading into gray1 reminding us of his teacher ,hals 7from #afca to #afdj71 there still remains some local color4 ,the subjects1 mostly peasants in poor homes or in the tavern1 are energetically conceived4 ,bode rightly says3 ,instead of the pleasant humor and the poetry of the prosperous middle class which are common to the later pictures1 these earlier works display an effort for characterizing according to life and movement2 a keen humor in the spirit of ,hals and ,brouwer2 and1 particularly1 a characteristic inquiry into the separate individualities1 such as the lifelike representation of an expressive scene1 the feasting1 round dances1 and fighting of his jovial peasant folk4 ,bredius on the increasing ,brightness of his ,pictures4--,he died in #afhe4 ,before #afdj his chiaroscuro was already finer1 and between #afdj and #afee 7his flowering-time7 many of his pictures show no traces of ,rembrandt's influence4 ,the tone of his works was quite different and approaches a warm brown2 the chiaroscuro1 as1 for instance1 in his well-known ,painter's ,studio in ,amsterdam2 and later1 very closely repeated 7,dresden1 #affc71 attains the highest degree of freedom2 then his pictures become somewhat slowly cooler1 the tone gets constantly grayer1 but the drawing always remains strikingly correct1 the grouping natural1 and the pictures become brighter1 smoother1 and more polished4 ,in the meantime ,ostade had become a finer1 more respectable gentleman4 ,well on in years1 he could leave this life without worry1 and was buried at ,haarlem by his admirers and pupils on ,may #b1 #afhe4 ,ter ,borch's ,freedom from ,grossness4--,ter ,borch 7#afag-ha7 is excellent as a portrait-painter1 but still greater as a painter of genre subjects4 ,he depicts with admirable truth the life of the wealthy and cultured classes of his time1 and his work is free from any touch of the grossness which finds so large a place in ,dutch art4 ,his figures are well drawn and expressive in attitude2 his coloring is clear and rich1 but his best skill lies in his unequalled rendering of textiles in draperies4 ,the ,elegance of his ,sitters4--,ter ,borch was not only an excellent painter of ,conversations1 he was1 indeed1 the creator of his genre4 ,with a little less wit and a little less taste1 perhaps1 than ,metsu1 he charms you with his family concerts1 his tete-a-tete lovers1 his light afternoon repasts1 and in selecting for heroes the most elegant cavaliers of the world in which he lived4 ,his pretty pages with great puffed sleeves striped with velvet1 and those blond ladies with transparent complexions1 plump hands1 and round waists1 constitute a type that no artist has so well represented as ,ter ,borch4 ,before depicting these delightful and familiar scenes1 he first learned to imitate all that could add to the charm of these pictures of private life1--silken draperies1 ,turkish rugs1 leather1 ermine1 velvet1 and satin1--more particularly satin1 and white satin above all else4 ,the most striking example we shall see at the ,rijks1 in the picture called ,paternal ,advice1 known also as the ,robe de ,satin4 ,resemblance between his ,paintings and those of ,metsu4--,there is so much resemblance between ,gerard ,ter ,borch 7or ,terburg7 and ,metsu that at first it is hard to distinguish them4 ,their subjects are much the same2 for instead of painting scenes of low life--inns with carousing peasants1 etc4--both turn with sympathy to high life2 sujets de mode is the name given to their works in which satins1 velvets1 silks1 and lace1 rich robes and mantles1 elegant hangings1 and table-carpets figure so largely4 ,the ,difference between ,ter ,borch and ,metsu4--,the difference between ,ter ,borch and ,metsu is defined by ,blanc1 who says it is the difference between bonhomie and finesse2 the one is naive and gracious1 the other ingenious and piquant4 ,both1 however1 are charming in the way they introduce us into a house and show us some little comedy that is being played by the unconscious lovers1 family group1 or party of friends4 ,like ,metsu1 ,ter ,borch is particularly fond of making music a motive of his pictures4 ,a timid love often expresses itself to the notes of a mandolin or lute2 sometimes we surprise a musical party singing and playing instruments2 a lady composing music or trying a new piece for the first time1 while her gallant and richly dressed lover stands by her side4 ,sometimes we see a young lady quite alone in jacket of puce-colored velvet plucking her lute1 which rests on her satin skirt4 ,sometimes again the conversation takes place in front of a clavecin1 where the lady's hands are painted in correct position1 though she pauses to hear what her lover has to say1 while her spaniel sleeps on the foot-warmer4 ,ter ,borch's ,conversations characterized4--,pretty little dramas1 ,blanc calls these ,conversations of ,ter ,borch1 dramas without action or noise1 which excite the thought only1 and whose intrigue consists only in a clasp of the hand1 the lowering of an eyelid1 or the exchange of a glance and a smile4 ,he also calls attention to the type of woman represented by ,ter ,borch1 ,van ,mieris1 and ,metsu1 all of whom have high foreheads on which a few little curls wander1 like those made fashionable at this period by ,ninon de ,lenclos1 and known as boucles a la ,ninon4 ,the ,women of ,ter ,borch's ,pictures4--,the women of ,ter ,borch's pictures are like ,rousseau's pen-portrait of ,madame de ,warens1 who had an air caressing and tender1 a very gentle glance1 ash-colored hair of uncommon beauty1 which she arranged in a very neglige style that produced a piquant effect4 ,she was small and a little thick in the waist2 but it would be impossible to find a more beautiful head or a lovelier bust1 hands1 and arms4 ,dr4 ,bredius1 who calls attention to ,ter ,borch's position in the hall of fame as singular in the fact that he has never been assailed by critics1 nor1 on the other hand1 sufficiently appreciated1 says3 ,without striking originality1 without any commanding dramatic quality1 without humor1 and without any startling light effects1 ,ter ,borch is yet entitled to the name of the first genre painter of ,holland1--indeed1 of all schools1--merely by his perfect talent and fulfilment as an artist4 ,rightly is ,ter ,borch called the most eminent painter of the ,dutch school4 ,not only does he paint high society almost exclusively1 but he does it in a distinguished style4 ,the pose of his figures1 the composition of his picture1 the fine color1 the admirable drawing1 all breathe an elegance which is not met with elsewhere in the ,dutch school4 ,thereby1 he is the one and only master of his subject4 ,what he paints is always completed to the highest degree4 ,we never find in him a trace of effort4 ,what he does must be so and not otherwise4 ,we look for humor in him in vain2 but nobility we always find1 and not least in his likenesses1 which1 notwithstanding their small dimensions1 are 'the last word of a portrait4' ,illustration3 ,,ter ,,borch ,the ,despatch ,description of ,the ,despatch4--,the ,despatch1 dated #afee1 belongs to his second period4 ,on a low chair beside a table on which stand a decanter and beaker1 an officer is sitting with his wife or sweetheart4 ,she is sitting on the floor reclining against his knee4 ,both are young4 ,he holds the despatch in his hand and she looks somewhat distressed4 ,in front of them stands the trumpeter1 who1 it appears1 has brought the message4 ,the officer is fully dressed1 and on the table beside him lie his weapons4 ,his own ,likeness1 painted by ,himself4--,the other picture of ,ter ,borch's in this gallery is his own likeness1 painted by himself about #affj4 ,he is dressed entirely in black and stands out strongly against a gray background4 ,he wears a large wig1 the curls of which shade his rather melancholy face1 distinguished by a long nose and grayish moustache4 ,it was probably painted while ,ter ,borch was a burgomaster of ,deventer4 ,caspar ,netscher's ,family ,group4--,much in the same style as ,ter ,borch's ,conversations is ,netscher's ,family ,group4 ,caspar ,netscher 7#afci-hd7 was a pupil of ,ter ,borch1 and this is one of the best works of his best period4 ,the painter1 in a red slashed jacket1 is accompanying on his lute his daughter1 who is singing1 and whose timidity is well expressed4 ,she wears a dress of white satin and has feathers in her hair4 ,on the other side of the table covered with a ,persian carpet1 and in the half light1 sits ,netscher's wife4 ,on the back of the arm-chair in which ,netscher is sitting is his signature and the date #affe4 ,netscher is also represented by two portraits--,mr4 and ,mrs4 ,van ,waalwijk4 ,few ,examples of ,metsu4--,metsu1 like many other ,dutch masters1 is poorly represented in the great public galleries of his own country4 ,while ,the ,hague ,gallery has but three and the ,rijks only four1 the ,louvre1 for example1 has eight and ,dresden six4 ,those who have seen pictures by ,metsu 7#afcj-fg71 ,ter ,borch1 or ,caspar ,netscher1 will have a better knowledge of the customs and costumes of the upper classes at the period of the ,stadtholders1 their faces1 their polished manners1 their interiors1 and even their thoughts1 than if they had read many books of travel1 whole volumes of geography1 description1 and history4 ,the ,rich ,dutchman as painted by ,metsu4--,as he appears in the pictures of ,gabriel ,metsu1 the rich ,dutchman is domesticated1 methodical1 and well regulated in his life4 ,his house is the universe for him4 ,in this cherished and well-arranged abode1 he concentrates as many joys as the ancient kings of ,asia assembled in the palaces of ,susa or ,ecbatana4 ,his country's and his own ships have ploughed the sea from end to end1 penetrating to ,japan for porcelain and amber1 and bringing back from ,goa pepper and ginger4 ,from the ends of the earth have come to him all things that could charm his family life and distract the melancholy that the sad nature of the ,north and its long winters inspire4 ,asia has sent to him her muslins1 spices1 and diamonds2 the polar ice has furnished him with the furs that edge the velvet robes which his wife and his eldest daughter wear indoors4 ,the birds1 insects1 shells1 and mineral specimens of the most distant climes fill his cabinet1 carefully arranged under glass4 ,in his gardens flourish rare plants1 the choicest flowers and bulbs cultivated by himself or under his own eyes4 ,his furniture1 of exquisite taste and workmanship1 carefully looked after and incessantly cleaned1 does not suffer by the changes of fashion2 it is transmitted from father to son1 and lasts for generations4 ,his alcove bed is supported by ebony columns and closed in with green damask curtains4 ,hanging from the ceiling1 a candelabrum of gilt bronze spreads its branches twisted into elegant volutes4 ,the floors are waxed till they are a pleasure to the eye1 the windows are polished1 the door-knob is shining1 the furniture gleams like a mirror1 and yet the daylight falling through lightly tinted taffeta curtains sheds over all these objects only a soft1 moderate1 and harmonious radiance4 ,how ,metsu depicts the ,manners of the ,dutch4--,the manners of ,holland1 as well as its material physiognomy in civil life1 its interiors1 its furniture1 the decoration and luxury of its apartments1 are all written down in ,metsu's pictures with charming clearness1 which is all the more pleasing since this merit seems to be involuntary in the painter4 ,after two hundred years1 his work may serve for the complete reconstitution of a well-to-do interior as it was composed in the seventeenth century by the climate of the country1 the character of its inhabitants1 and the historic circumstances in the midst of which the ,dutch merchants1 the masters of the commerce of the world1 then lived4 ,by ,metsu's favor we are able to penetrate into those interiors which are so jealously closed to strangers4 ,most often it is by a window that serves as a frame for his picture that ,metsu gives us access to the boudoirs of fashionable ladies1 and makes us take them by surprise1 sometimes in velvet deshabille writing their secrets2 sometimes finishing their toilette in view of a hoped-for visit2 and sometimes breathing over the keys of their clavecin the sighs of their hearts and the thoughts they do not express4 ,his ,carefulness in selecting ,details4--,metsu rarely paints an interior without introducing the pet spaniel of the period1 which often contributes much to our comprehension of the scene by the character of its attitude4 ,there are some ,dutch masters who unintelligently accumulate innumerable details everywhere4 ,they make a picture of manners the pretext for a ridiculous display of furniture1 crystal1 lustres1 chinoisarie and curiosities of every kind2 their interiors resemble bazaars4 ,metsu puts beside his subjects only those details necessary to make the intrigue clear1 and to explain the conversation4 ,his ,treatment of ,still ,life4--,however great may have been his talent for painting still life1 he never allowed himself to be carried away1 like so many others1 by that vulgar pleasure2 but1 on the other hand1 what finish6 what a precious touch6 ,and then how he loves to give full value to the beauties of local color1 or to shade a ,turkey carpet1 or to grade down the lights on gold and silver vases4 ,what pleasure he takes in the ,bohemian glasses and the transparent liquors that half fill them6 ,the glasses in his pictures have great importance1 for the life of a retired ,dutchman is spent in continual smoking and drinking2 but in ,metsu we no longer see the ,pantagruelesque glasses of several stages that ,van ,ostade's peasants always have in their hands2 these are fine and more discrete glasses1 of elegant form1 tall and oblong glasses in which the ,haarlem beer froths2 glasses cut and fashioned in twenty different ways1 octagon glasses each facet of which ends with a curve and which cut the light with their sharp edges1 or glasses the calyx of which forms a reversed cone on a heron's claw1 or elongates into a swan's neck1 and finishes like a trumpet2 lastly1 the glasses of the grandparents1 sometimes of an imperishable thickness and solidity1 sometimes as delicate1 light1 and thin as an onion skin4#ae ,favorite ,subjects4--,metsu is fond of representing the patricians of his day and their womankind either in pleasant entertainment1 or1 more frequently1 in individual figures engaged in quiet work4 ,a picture of this class is ,the ,amateur ,musicians4 ,the lady on the left is very quietly playing her instrument with the same sense of repose that is expressed by the lady who seems to be writing down the notes4 ,only on the face of the elegant gentleman standing behind her chair is painted a merry1 almost roguish1 smile4 ,illustration3 ,,metsu ,the ,amateur ,musicians ,the ,elegance of ,metsu's ,figures4--,the figures are drawn with certainty2 the artistic handling of the subject is remarkable2 and a fine feeling for color is shown in the selection of the tones4 ,in ,metsu's figures we notice an elegance and a nobility which are not found elsewhere except in ,ter ,borch4 ,the ,influence of other ,artists on ,metsu4--,it is strange that the earliest works of ,metsu1 which are the most broadly painted ones1 show little of ,dou's influence1 which is always so unmistakable in his pupils1 so that ,bode believes he finds in them the working of ,hals's influence2 and1 in fact1 the large pictures of ,metsu's early period are painted with a broad brush in ,hals's gray tones4 ,when ,metsu removed to ,amsterdam1 he fell more under ,rembrandt's influence1 and the beautiful chiaroscuro of his later works incontestably proves this4 ,his ,miscellaneous ,works4--,metsu's ,biblical and allegorial pictures are the least important of his works4 ,besides ,the ,amateur ,musicians1 signed by ,metsu1 the ,mauritshuis possesses a fine ,portrait of a ,huntsman dated #affa1 and a great academical1 constrained allegory of ,justice ,protecting the ,widow and ,orphan1 a picture that was found in the vestibule of a house in ,leyden in #affg4 ,it was painted in #afee4 ,crowe1 who does not believe that this rough and frosty composition is the work of ,metsu1 says3 ,what ,metsu undertook and carried out from the first with surprising success was the low life of the market and tavern1 contrasted with wonderful versatility by incidents of high life and the drawing-room4 ,in each of these spheres he combined humor with expression1 a keen appreciation of nature1 with feeling and breadth1 with delicacy of touch1 unsurpassed by any of his contemporaries4 ,in no single instance do the artistic lessons of ,rembrandt appear to have been lost on him4 ,the same principles of light and shade which had marked his school work in ,the ,woman ,taken in ,adultery#af were applied to subjects of quite a different kind4 ,a group in a drawing-room1 a series of groups in the market-place1 a single figure in the gloom of a tavern or parlor1 was treated with the utmost felicity by fit concentration and gradation of light2 a warm flush of tone pervaded every part1 and1 with that1 the study of texture in stuffs was carried as far as it had been by ,terburg1 or ,dou1 if not with the finish or the brio of ,de ,hooch4 ,metsu's pictures are all in such admirable keeping and so warm and harmonious in his middle1 or so cool and harmonious in his closing time1 that they always make a pleasing impression4 ,they are more subtle in modulation than ,dou's1 more spirited and forcible in touch than ,terburg's2 and1 if ,terburg may of right claim to have first painted the true satin robe1 he never painted it more softly or with more judgment as to color than ,metsu4 ,one of the best pictures of ,metsu's middle period is ,the ,market ,place of ,amsterdam1 in the ,louvre4 ,two ,fine ,portraits by ,f4 van ,mieris4--,frans van ,mieris 7#afce-ha7 reached the highest rung of art in his portraits1 of which ,the ,hague ,gallery possesses two fine examples4 ,one is of ,florentius ,schuyl1 ,professor of ,medicine and ,botany in the ,university of ,leyden1 painted in #afff1 and a still more important picture of the painter himself and his wife4 ,he has made a charming genre picture of it1 which ,sir ,joshua ,reynolds admired1 not knowing who the characters were4 ,the artist shows himself standing and pulling the ear of the beautiful little dog which his wife holds in her lap1 while1 to protect her pet1 she gently wards off her smiling husband with her right hand4 ,the little dog's mother is trying to spring into the lady's lap in order to take care of her offspring4 ,both the drawing and modelling here are masterly1 and endow the scene with such charm that this work must be pronounced one of the best by his brush4 ,the tablecloth and the lute lying upon it are beautifully painted4 ,description of ,soap ,bubbles4--,sir ,joshua also noticed the picture of ,soap ,bubbles dated #affc1 representing a boy at an open and vine-framed window1 blowing bubbles that are exquisitely painted and show beautiful reflections and prismatic colors4 ,his red hat with white plumes is lying on the window-sill1 near a bottle containing a sprig of heliotrope1 and above hangs a cage4 ,behind the child in the half-light stands a young woman with a dog in her arms4 ,on the window-frame is written the date in ,roman numerals4 ,willem van ,mieris often imitated this composition of his father's1 who frequently repeated it himself4 ,pictures by ,van ,mieris ,full of ,refinement4--,van ,mieris takes us into an elegant world1 although he himself was fond of low life1 a heavy drinker and the companion of ,jan ,steen4 ,he was the son of a goldsmith and diamond-setter of ,leyden1 who wanted him to follow his business4 ,he was naturally influenced by his earliest surroundings1 and in his father's shop became familiar with the dress and manners of people of distinction4 ,his eye was also fascinated by the sheen of jewelry and stained glass4 ,houbraken writes3 ,seeing his talent for painting his father placed him with ,abraham ,torenvliet1 a famous glass painter and a good draughtsman4 ,from him he passed to the school of ,gerrit ,dou1 where in a short time he eclipsed every one and gained the affection of the master1 who loved to call him 'the prince of his pupils4' ,at the end of a few years1 his father sent him to the historical painter ,abraham van ,tempel2 but he did not remain long with him1 for his natural taste would allow him to follow no other manner than that of ,gerrit ,dou1--a manner extremely finished1 demanding attention and excessive care4 ,his ,love of ,elegant ,accessories4--,houbraken calls ,metsu a painter of sujets de mode4 ,this term applies also to ,frans van ,mieris2 for certainly with him costumes1 materials1 and accessories play an important part4 ,if his people were less attractive one might imagine that they were only a pretext for showing off the velvet jackets1 satin skirts1 and rich furs4 ,very often ,van ,mieris shows us a spacious and magnificently decorated hall1 in the background of which a richly dressed lady and her lover are walking2 again he allows us to peep into a charmingly furnished room where a lady in white satin is playing the lute to entertain her guest1 a handsome cavalier in black velvet2 or we surprise a lady as she is about to drink a glass of wine which a page offers her on a silver salver4 ,at other times we find a group of ladies and gentlemen about to enjoy a light repast2 or see a table invitingly spread with luscious fruit in rich silver dishes2 or watch a lady feed her parrot4 ,sometimes the pet monkey is discerned behind the looped-back curtains of taffetas4 ,frans van ,mieris seldom chose panels above #ab by #ae inches in size4 ,he never ventured to design life-sized figures4 ,the ,kind of ,subjects he treated ,best4--,characteristic of his art in its minute proportions is a shiny brightness and metallic polish4 ,the subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes2 but he sometimes succeeded in homely incidents and in portraits1 and not unfrequently he ventured on allegory4 ,he repeatedly painted the satin skirt which ,terburg brought into fashion1 and he often rivalled him in the faithful rendering of rich and highly colored woven tissues4 ,but he remained below ,terburg and ,metsu1 because he had not their delicate perception of harmony1 or their charming mellowness of touch and tint2 and he fell below ,gerard ,dou1 because he was hard and had not his feeling for effect by concentrated light and shade4 ,in the form of his composition1 which sometimes represents the framework of a window enlivened with greenery1 and adorned with bas-reliefs1 within which figures are seen to the waist1 his model is certainly ,gerard ,dou4 ,his ,lack of ,humor4--,it has been said that he possessed some of the humor of ,jan ,steen1 who was his friend1 but the only approach to humor in any of his works is the quaint attitude and look of a tinker in a picture at ,dresden1 who glances knowingly at a worn copper kettle which a maid asks him to mend4444 ,if there be a difference between his earlier and later work1 it is that the former was clearer and more delicate in flesh1 whilst the latter was often darker and more livid in the shadows4#ag ,blanc says3 ,among so many ,dutch painters who copy nature it is very pleasant to find one who deigns to select his models1 and who1 preferring grace to ugliness1 would rather paint beautifully women elegantly dressed than magots4 ,strange1 indeed6 ,he loved distinction1 yet lived in a tavern2 he loved luxury1 and was soon ruined2 and1 in spite of a life devoid of dignity1 ,van ,mieris always kept a love of beauty and elegance1 as is shown in his delicate faces1 fine complexions1 beautiful hands1 grace of attitude1 taste in costume and furniture1 and choice of splendid materials4 ,willem van ,mieris4--,the ,grocer's ,shop1 by his son and pupil1 ,willem van ,mieris 7#affb-agdg71 signed and dated #agag1 also hangs in ,the ,hague ,gallery4 ,in extreme finish and minuteness of painting1 this picture would not disgrace ,mieris the ,elder or ,gerrit ,dou4 ,its ,wealth of ,still ,life4--,you see only two figures1 a young boy who is buying and a young woman who is selling2 but these figures are of no more importance than the foods of all kinds exposed in the shop1 on the sill of the window1 and outside4 ,the lower part of the window is decorated with a bas-relief1 representing ,cupids playing with a bird4 ,this bas-relief is half hidden by a superb piece of tapestry1 on which the painter has placed a basket of dried fruits4 ,great bags of grain1 peas1 and beans1 and everything that is sold by the bushel are exposed on the pavement of the street1 with a bucket and some tubs filled with olives1 sardines1 and anchovies4 ,on the wall hang a basket and a bird-cage1 and a magnificent damask curtain with large flowers falls in graceful folds from an outside ring4 ,among the innumerable details of the shop you note a little rat gnawing at the grains which have fallen through a hole in one of the sacks4 ,the pendant to this picture hangs in the ,louvre1 where it is called ,marchande de ,volailles4 ,w4 van ,mieris influenced by his ,father and by ,g4 de ,lairesse4--,willem van ,mieris was a pupil of his father1 and at first had no other ambition than to imitate his style and produce those charming ,conversations in which rich furniture1 shining chandeliers of brass or copper1 ,japanese porcelains1 silken curtains1 ,turkish table-carpets1 flowers1 and elegantly dressed people make a somewhat restricted1 although delightful1 world4 ,willem1 falling under the influence of ,gerard de ,lairesse1 who was much in vogue in ,holland1 selected such subjects as a young lady playing on the clavecin1 or making lace1 or walking in the country in a lilac satin robe with large sleeves that reveal through their slashes a beautiful arm1 and a straw hat ornamented with a sweeping plume4 ,becoming a shepherdess this attractive lady next sits in his pictures with bare feet1 in the shade of an oak1 and beside her ,corydon talks of love4 ,his ,success with ,mythical and ,biblical ,subjects4--,next he turned his attention to subjects from fable1 romance1 and mythology2 and ,diana1 ,armida1 ,cleopatra1 ,bacchus1 ,jupiter1 ,tarquin1 the ,sabines1 etc41 fill his panels or copper plates1 which were hardly larger than your hand4 ,biblical and religious subjects occupied him for a time and then he again turned pagan4 ,his success grew greater every day1 and his ,dutch patrons who loved scenes of familiar life demanded from ,van ,mieris pictures in the style of his famous father--those charming genre pictures still being produced by ,slingelandt1 ,van ,tol1 and other imitators of ,gerrit ,dou4 ,a ,window-frame his ,favorite ,setting4--,like ,gerrit ,dou1 ,willem van ,mieris selects a window-frame of stone1 which he often decorates with graceful creepers or a bouquet of tulips or jonquils placed on the sill1 or throws over it a bright piece of tapestry4 ,from it a blond lady leans to flirt with the unseen passer1 a child blows bubbles1 a portly dame waters her flowers2 or the artist himself sits calmly by4 ,when tired of this1 ,willem van ,mieris takes us to his favorite shop4 ,arie de ,vois4--,among the portraits one must not fail to notice the picture of ,a ,huntsman ,holding a ,partridge by ,arie de ,vois 7#afcj-hj74 ,this was originally in the collection of ,william ,v4 and was bought for #a1baj florins4 ,his pictures are so rare that we are not surprised that the ,mauritshuis contains but one example4 ,the ,rijks is more fortunate in owning four by this delightful painter4 ,abraham de ,pape's ,style4--,abraham de ,pape 7#afbe-ff71 supposed to have been a pupil of ,gerrit ,dou1 is represented by ,an ,old ,woman ,plucking a ,cock1 with a little boy kneeling beside her4 ,it is a very good example of this master2 and at the ,gerrit ,muller sale brought no less than #dij florins4 ,crowe says3 ,this almost unknown artist is decidedly one of the best genre painters of this time4 ,he is true and speaking in action1 animated in his heads1 harmonious1 and even in some of his pictures warm in coloring1 and very careful and soft in execution4 ,a4 van der ,werff's ,biblical and ,mythological ,pictures4--,adriaan van der ,werff 7#afei-agbb7 occupied a peculiar position among ,dutch painters4 ,while his contemporaries were devoting themselves to the study of nature and becoming realistic1 he adhered to the pursuit of the ideal and produced pictures inspired by ,biblical or mythological subjects1--pictures noted for their beauty and elegance1 and moreover finished with wonderful smoothness of touch1 which he had learned from his master ,eglon van der ,neer4 ,his figures as a rule are small1 and the flesh-tints are of an ivory tone4 ,van der ,werff was so popular that it was impossible for him to execute all the commissions sent him4 ,his greatest patron was the ,elector ,palatine ,john ,william2 the pictures that ,van der ,werff painted for him are now in ,munich1 where this master may best be studied4 ,description of ,the ,flight into ,egypt4--,he is fairly well represented in the ,rijks2 but ,the ,hague has only two of his works1--a ,portrait of a ,man1 dated #afhi1 and ,the ,flight into ,egypt1 dated #agaj4 ,this is only one foot six inches high and one foot two inches wide4 ,the ,virgin is in profile in a ,prussian-blue mantle1 accompanied by ,st4 ,joseph1 who is leading an ass4 ,the road runs by the side of a brook1 and the landscape is diversified with trees1 ruins1 and a portico4 ,this picture was given by the artist to his daughter1 who sold it to ,mr4 ,schuijlenberg for #d1jjj florins4 ,at the ,schuijlenberg sale at ,the ,hague in #agfe it brought #f1ejj florins4 ,reynolds on ,van der ,werff's ,manner4--,this picture was much admired by ,sir ,joshua ,reynolds1 who saw it in the ,king's collection4 ,in describing ,van der ,werff's manner he said3 ,he has also the defect which is often found in ,rembrandt1--that of making his light only a single spot4 ,however1 to do him justice his figures and heads are generally well drawn and his drapery is excellent2 perhaps there are in his pictures as perfect examples of drapery as are to be found in any other painter's work whatever4 ,philip van ,dijk and his pupil1 ,louis de ,moni4--,to this group belongs ,philip van ,dijk 7#afhj-agec71 a pupil of ,arnold ,boonen1 and an imitator of ,van der ,werff4 ,judith with the ,head of ,holofernes is a good example of his historical work2 and two good genre pictures1 ,a ,lady ,playing the ,guitar1 and ,a ,lady at her ,toilet1 show this artist in a happier mood1 where he gives free play to his more delicate touch4 ,his ,bookkeeper also hangs in this gallery4 ,his pupil1 ,louis de ,moni1 shows the decline of the school4 ,an ,old ,woman and a ,boy1 in a window1 the boy blowing soap bubbles1 is dated #agdb4 ,ochtervelt a follower of ,metsu and of ,pieter de ,hooch4--,jacob van ,ochtervelt 78-#agjj71 who occupies a first place among the second-rate painters of his day1 was a follower of ,metsu and also of ,pieter de ,hooch4 ,the ,fish ,vender1 representing a woman in a room where a man is offering her fish1 in conception and careful finish recalls ,metsu1 while in lighting and combination of color it reminds one of ,pieter de ,hooch4 ,the general tone is warmer than most of ,ochtervelt's pictures4 ,jan ,steen's ,favorite ,subjects4--,one of the greatest of all the ,dutch genre painters is ,jan ,steen 7#afbf-gi71 the jolly landlord of ,leyden4 ,as a draughtsman and colorist he takes high rank1 and as a student of human nature he has been compared to ,hogarth and ,moliere4 ,his pictures are studies of life and character1 and are full of humor4 ,he paints feasts and merry-makings1 weddings1 quacks1 tavern-brawls1 dentists1 invalids1 children at play1 family parties1 etc41 with sympathy and joyousness4 ,his ,character-painting4--,as a character-painter1 he is unapproachable4 ,nobody so well as he has understood all human passions1 all emotions--hilarious joy1 deep-seated satisfaction1 fear1 grief1 and ,weltschmerz with such mastery1 and known how to represent them in the smallest possible space4 ,his ,method of showing ,background to ,advantage4--,with regard to ,jan ,steen's interiors it is interesting to note that1 like ,ostade's1 they are painted from an elevation1 so that the figures in the background are not hidden by those in the foreground4 ,ordinarily he opens a window in the background to illuminate the distant figures and thus is formed an echo of the principal light4 ,the number of utensils is less than with most painters of this class1 for ,jan ,steen had too much sense to multiply them uselessly4 ,like ,metsu1 he often painted little pictures on the walls of his interiors1 and it is singular that these depict heroic landscapes1 battle scenes1 mythological subjects1 etc41 and never tavern or genre scenes such as he himself painted4 ,refinement and ,culture in his ,pictures4--,another thing to notice is that whether in houses of affluence or in common taverns his people do not drink grossly and from jugs1 as in the taverns of ,adriaen ,brouwer4 ,each one takes his place gracefully and naturally at the table or in the room2 and the details of the furniture accord with the politeness of the people or the players4 ,on the mantelpiece1 for instance1 stands a bronze figure of ,love2 a guitar hangs from one of the panels2 and here hangs a fine landscape in an ebony frame4 ,the collation consists of delicious fruits that rejoice the eyes2 perhaps also open oysters1 which glisten in the light like pearls2 ripe grapes and beautiful peaches1 whose furry skins are blushing like the cheeks of a young girl1 and finally some lemons half peeled1 the skin falling in a golden spiral4 ,all this shows the influence of ,van ,mieris1 who was a friend of ,steen and who spent many hours in his tavern at ,leyden4 ,reynolds's ,appreciation of ,jan ,steen4--,sir ,joshua ,reynolds1 who was so delighted with the ,steens he saw in ,holland1 wrote the following appreciative criticism of the artist3 ,jan ,steen has a strong manly style of painting1 which might become even the design of ,raffaelle1 and he has shown the greatest skill in composition and management of light and shadow as well as great truth in the expression and character of his figures4 ,jan ,steen's ,fondness for painting his own ,family4--,jan ,steen was very fond of painting his own family2 his wives1 his aged parents1 and his children provided him with varied models of assorted ages and sizes4 ,he had six children by his wife ,marguerite van ,goyen1 daughter of the painter2 and when she died1 he married a widow1 named ,mariette ,herkulens1 who had two4 ,he has characterized the pleasures of all ages in his picture called ,the ,family of ,jan ,steen1 bearing the legend ,soo de ouden songen pypen de jongen4 7,as the old ones sing so will the young ones pipe47 ,this is particularly interesting1 because the artist has painted himself between his wife ,marguerite van ,goyen and ,mariette ,herkulens1 who was destined to be his second wife4 ,they were both quite handsome1 especially ,marguerite4 ,mariette ,herkulens was a meat vender4 ,how he ridiculed the ,physicians4--,physicians were always butt for ,steen's caustic wit4 ,it was a common practice in the seventeenth century to turn them into ridicule2 and as ,moliere brought them on the ,french stage1 ,jan ,steen painted them with all their charlatanism and gravity and that severity of costume so studied for effect4 ,description of ,the ,young ,lady who is ,ill4--,the ,hague ,gallery contains two of these1--one known as ,the ,young ,lady who is ,ill 7sometimes called ,the ,doctor ,feeling the ,pulse of a ,young ,woman74 ,in this picture a doctor dressed in black1 with a pointed hat like that worn by ,sagnarelle in the ,medecin malgre lui1 is seated at the bedside of a young and pretty girl with round arms and clear1 pale complexion1 who looks with interest at the potion that is being prepared according to the doctor's instructions4 ,the latter pretends to be looking at the medicine which an elegant woman is bringing1 but he is really looking at the beautiful throat of the blond and well-dressed ,dutch lady1 who lowers her eyes1 charmed to let him gaze at her brilliant white neck1 her little retrousse nose1 and her hair arranged a la ,ninon1 which is half covered with a sort of black cap4 ,if it were not for a little touch of malice and certain inconsistencies in the somewhat careless execution1 ,blanc says1 this picture might pass for a ,van ,mieris or a ,metsu4 ,description of ,the ,doctor's ,visit4--,in ,the ,doctor's ,visit1 a physician dressed in black1 with pointed hat and holding his gloves in one hand1 with the other is feeling the pulse of a young lady who is sitting near her bed in a neglige costume4 ,with a very knowing and solicitous manner the doctor seems to interrogate the throbs of the pulse2 but while he seeks for the secret of the illness1 the chamber-maid has found it out1 as her glance indicates2 and1 that you may not be left in doubt1 the painter has placed on the corner of the chimney a little statue of ,love the ,conqueror4 ,in some of his pictures of this class ,steen adds the legend ,wat baet hier medecyn--het is der minne pijn 7,of what use is medicine here8 ,love is the trouble74 ,other ,pictures by ,jan ,steen1 in the ,mauritshuis4--,in addition to those already mentioned1 the ,mauritshuis owns ,a ,village ,feast1 a picture of his first period2 the ,dentist1 who is extracting the tooth of a peasant2 ,a ,menagerie2 and an ,interior known as ,the ,oyster ,feast and ,jan ,steen's ,tap-room4 ,description of ,jan ,steen's ,tap-room4--,the latter is not an inn of the common or rustic type such as is seen in ,ostade's or ,brouwer's pictures1 for the room is furnished in the best style of the period4 ,in it we see about twenty figures in several groups4 ,on the left1 an old man is playing with a little child2 near him a young girl is kneeling as she cooks the oysters2 and in the centre an old man offers an oyster to a seated woman4 ,children are amusing themselves everywhere3 here one is making a cat dance2 another is holding a dog2 another is carrying a jug and a basket of fruit4 ,at the table on the right and a little back ,jan ,steen sits playing a lute1 a young woman is listening to him1 a fat companion with a glass of liquor in his hand is laughing2 and in the background are groups of players and smokers4 ,above and in the foreground a large violet curtain is looped and casts its shadow over a part of the interior4 ,this fine picture is only #b feet #c inches by #b feet #h inches4 ,description of ,a ,menagerie4--,a ,menagerie is nearly four feet square1 and represents the courtyard of a country house--that of ,william ,,iii4 at ,honsholredijk1 which is seen in the distance4 ,near the stone terrace1 beneath the steps of which is a pool1 a peacock sits on a branch of an old tree2 ducks are swimming in the pool1 and hens1 turkeys1 and pigeons are picking up grains in the courtyard4 ,a little girl in a pale straw-colored dress and a white apron is sitting on the steps and giving a lamb milk out of a cup4 ,a man1 carrying a basket of eggs and a green pot1 is laughing and talking with her4 ,another old farm-servant is also laughing as he regards his young mistress2 another person1 who carries a hen under his left arm and her brood of chickens in a basket1 is one of those dumpy and deformed creatures that ,jan ,steen likes to paint4 ,burger considers the head of the man with the basket of eggs is one of the most wonderful heads that were ever painted by ,jan ,steen or any of the ,dutch ,little ,masters4 ,troost1 the ,dutch ,watteau or ,hogarth4--,cornelis ,troost 7#afig-agej7 was born at the close of the great period of ,dutch art4 ,the great painters were all dead4 ,dutch painting had lost its originality and native vigor4 ,under these circumstances ,troost made himself the painter of his period and of his country4 ,impelled by a witty and caustic humor1 he thought to bring back in the eighteenth century what ,jan ,steen had illustrated in the seventeenth4 ,but1 inferior in every way to that master1 he saw contemporary society only on the stage or in books2 and1 instead of painting manners1 customs1 and absurdities of the middle classes by observing them in nature1 he painted them as they were represented on the stage4 ,almost all his heroes were characters of the comedy or the novel4 ,troost has been called the ,dutch ,watteau and the ,dutch ,hogarth4 ,his pictures may be classified as follows3 ,conversations1 ,comic subjects1 ,portraits1 and ,military subjects4 ,the first follow the style of ,watteau2 the second1 ,hogarth2 and the last are reminiscent of ,frans ,hals4 ,his ,excellence in ,drawing and ,color4--,excellence of drawing and richness of color distinguish all his works1 which are also valuable for their accurate portrayal of the manners and customs1 costume and furniture of his day4 ,troost worked in oil1 pastel1 and gouache with equal facility2 and produced many excellent mezzotints and etchings4 ,blanc on ,troost's ,style4--,what we admire in him to-day is the talent of the painter properly so-called1 the art of enlightening and grouping his figures and placing them on the stage1 the brush-work1 the selection and quality of the tones1--in other words1 order1 chiaroscuro1 color1 and touch4 ,a man of wit1 he shines in composition2 although adroitly calculated1 his own humor always appears spontaneous and natural4 ,troost never introduces useless personages nor superfluous ornaments into his pictures4 ,he clearly sets forth what he wants to show2 and1 contrary to the habits of the other masters of his nation who take pleasure in the accumulation of accessories1 he only puts into his interiors necessary furniture and significant utensils2 and in his open-air ,conversations the surroundings are not overloaded with detail1 but simple and agreeable1 being calculated to achieve the idea of the picture1 so admirably are they connected with the action of the figures4 ,troost and ,terburg1 of all the ,dutch masters of genre1 are the ones who best understood the concentration of the interest of a picture1 and what is called the repose of the composition4#ah ,a ,picture ,illustrative of the ,concentration of its ,interest4--,on looking over his pictures in the little room devoted to his work in the ,mauritshuis1 we find more than one example of this intelligent sobriety4 ,take for instance ,l',amour mal assorte4 ,here we have an old man declaring his love to a young widow4 ,he has thrown on the floor his cane1 hat1 and gloves2 and1 in his senile ardor1 he clasps the facilely chaste ,susanna4 ,what a pretty interior6 ,a ,slingelandt1 a ,gerard ,dou1 or a ,mieris would have multiplied here the details of domestic comfort2 here there is not a detail1 not a single piece of furniture too much2 but yet there is nothing lacking that should be there1--neither the clock1 the canary in its cage1 the portrait of the deceased husband whose place the guest desires to fill1 nor the flower-vase with its full-blown rose1 like the charmer whom the admirer wants to gather4 ,pictures of ,love and ,intrigue4--,again we have ,the ,deceived ,tutor1 a scene anticipated from ',the ,barber of ,seville4' ,here we see coming down the street a maiden led prisoner by her tutor1 a jealous bear clothed all in black4 ,while she occupies his attention with a sweet smile1 her little hand receives the kiss of a lover whom chance has led that way4 ,other scenes of similar intrigue treated in this light vein are ,the ,lover in ,disguise and ,the ,lover ,artist4 ,the scenes are taken from the comedies and vaudevilles of ,langendijk1 ,lingelbach1 ,asselijn1 ,van der ,hoeven1 ,van ,paffenrode1 and ,d4 ,buysero4 ,the ,dispute of the ,astronomers4--,a picture that does not deal with love and intrigue1 but is full of a different kind of humor is ,the ,dispute of the ,astronomers1 from a comedy by ,p4 ,langendijk1 in which two astronomers in the heat of their discussion on the systems of ,copernicus and ,ptolemy make use of the plates and bottles on the supper table to illustrate the sun and the planets4 ,another interesting pastel is one depicting the old ,dutch custom of a band of men and children singing hymns before the doors of the village on ,twelfth ,night1 carrying a huge paper star1 lighted within4 ,hondecoeter1 ,painter of ,living ,birds4--,the great ,melchior d',hondecoeter 7#afcf-ie7 began his career with marines2 but it was not long before he acquired celebrity as a painter of birds only1 which he represented not exclusively like ,fyt1 after a day's shooting1 or as stock in a poulterer's shop1 but as living beings with passions of joy and fear and anger4 ,though without ,fyt's brilliant tone and high finish1 his birds are always full of action4 ,william ,,iii4 employed him to paint his menagerie at ,loo1 and this picture shows that he could overcome the difficulty of painting ,india's cattle1 elephants1 and gazelles4 ,hondecoeter's best pictures have remained in ,holland1 and ,the ,hague and ,amsterdam galleries possess his most interesting canvases4 ,the four at the ,mauritshuis are3 ,geese and ,ducks1 ,hens and ,ducks1 ,the ,menagerie of ,william ,,iii4 at ,loo1 and ,the ,jackdaw ,stripped of his ,borrowed ,feathers4 ,all these are worthy of study1 although ,hondecoeter's most celebrated picture1 ,the ,floating ,feather1 hangs in the ,rijks4 ,blanc says3 ,in one of these the artist has amused himself with making his usual heroes play a scene of human comedy2 and1 as a professional fabulist would have imagined it1 he has shown a jackdaw stripped of the borrowed plumes with which he had adorned himself in his vanity4 ,this is a very fine picture1 although it has somewhat blackened in certain parts4 ,hondecoeter seems to us to have been happier in another canvas in which he has grouped various birds4 ,it seems as if on this occasion he wanted to prove what prodigies he was capable of in the touch of divers plumages2 and the effect he has obtained is1 in truth1 astonishing4 ,we could not find the equivalent of this lightness of touch and of this coloring either in ,gryff#ai or in the two ,weenixes1 or in any of the masters who have tried to paint birds1 with the possible exception of ,giacomo ,victor4#bj ,his ,preparation for ,bird-painting4--,it is true that before having succeeded so well in the representation of the bird1 ,hondecoeter made a long study1 not only of its external form1 but of its habits1 customs1 and manner of life4 ,his studio had been turned into a menagerie1 or1 rather1 a game preserve4 ,he had paid particular attention to the education of a handsome cock1 which seemed to comprehend every word and gesture of his master2 and who1 at the slightest sign1 came near the easel and posed1 often in very fatiguing attitudes1 for hours4 ,hondecoeter's ,skill in painting ,farmyard ,scenes4--,in painting1 ,melchior d',hondecoeter was a very able man without leaving the poultry yard1 and was satisfied with painting on the spot either the bloody dramas or the peaceful scenes of the farmyard--the hen teaching her chickens to scratch for grubs1 the duck giving her little ones their first swimming lesson1 the superb cock keeping watch over his seraglio1 the peacock spreading his magnificent tail1 and those memorable combats in which for a fine-plumaged ,helen1 two rivals spur one another while awaiting the hawk's talons4 ,he painted 'the crested gentry' and knew how to interest us in them by means of picturesque truth1 rustic grace1 color1 and spirit4 ,melchior1 after the death of his father1 found an excellent guide in his uncle1 ,j4 ,b4 ,weenix1 and followed his manner till his death in #affj without servility4#ba ,burger says3 ,his ,pictures of ,bird ,families4--,no one has painted better than he cocks and hens1 ducks and drakes1 and particularly little chicks and ducklings4 ,he has understood such families as the ,italians have the mystical ,holy ,family2 he has expressed the motherhood of the hen as ,raphael has the motherhood of the ,madonna4 ,in fact1 the subject is more naturally treated because it has less sublimity4 ,hondecoeter gives us here a mother-hen1 who could face the ,madonna of the ,chair4 ,she bends over with solicitude1 with outspread wings1 beneath which peep the excited heads of the little chickens2 while on her back is perched the privileged bambino3 she does not dare move1 the good mother6 ,a picture of ,cock and ,hens by his father1 ,gijsbert d',hondecoeter 7#afjd-ec71 was acquired in #ahgf4 ,he was the teacher of his more talented son1 who also studied with his uncle1 ,jan ,baptist ,weenix 7#afba-fj71 no pictures of whom are owned by the ,mauritshuis4 ,jan ,weenix's ,tasteful ,compositions4--,two pictures of ,jan ,weenix 7#afdj-agai7 hang in this gallery and are good examples4 ,one is ,the ,dead ,swan1 the other is ,game4 ,though ,weenix painted portraits1 landscapes1 and even seaports1 his chief works represent dead animals1 the size of life4 ,peacocks1 pheasants1 partridges1 geese1 and most frequently swans1 figure in his pictures4 ,sometimes1 too1 he introduces a living dog and paints it in the most spirited manner4 ,weenix had great taste in composition and arranged his models 7more often dead than living7 around the base of a handsome vase or urn in a beautiful park4 ,reynolds and ,blanc on ,jan ,weenix's ,paintings4--,what excellence in coloring and handling is to be found in the dead game of ,weenix6 exclaimed ,sir ,joshua ,reynolds1 who declared that he saw no less than twenty dead swans by this painter during his walks through the ,holland galleries4 ,in his works of small dimensions1 says ,blanc1 his execution is delicate and caressing2 but it is broad and accentuated in his decorative paintings4 ,at his best he was the equal of his father1 which is no small praise4 ,jan ,david de ,heem1 the ,greatest of the ,group of ,fruit and ,flower ,painters4--,first in this group comes ,jan ,david de ,heem 7#afjf-jc or #jd71 the pupil of his father1 ,david de ,heem1 and not only the first to develop the art of fruit-painting1 but the greatest master of the class that the school produced4 ,in the beautiful arrangement of his subjects he has been compared to ,giovanni da ,udine4 ,he is also a great colorist2 some of his early works approach ,rembrandt in their golden tone4 ,although his two most important works are in the galleries of ,vienna and ,berlin1 and splendid examples hang in the ,louvre1 ,dresden1 and ,cassel1 the ,mauritshuis owns two very fine examples4 ,one is a ,table with ,fruits1 very tasteful in arrangement and soft in treatment2 the other is a ,garland of ,flowers and ,fruits1 enlivened with insects4 ,when ,sir ,joshua ,reynolds visited the ,prince of ,orange's collection1 he saw these pictures and noted3 ,fruits by ,de ,heem1 done with the utmost perfection4 ,his ,greatness as a ,painter of ,fruits1 ,flowers1 and ,insects4--,de ,heem was one of the greatest painters of still life in ,holland2 no artist of his class combined form and color more successfully4 ,his drawing is correct1 and his colors are brilliant and combined harmoniously4 ,he is familiar with every object of stone and silver1 every flower1 whether humble or gorgeous1 every fruit of ,europe or the tropics1 every twig and leaf and blossom4 ,burger has said of ,heda1 but it is true of ,de ,heem1 that he glorified insects1 butterflies1 and all the minute beings that swarm in vegetation1 and made the moths drink in cups of chased gold4 ,his ,pictures that point a ,moral4--,de ,heem was also famous for his pictures that point a moral or illustrate a motto--those canvases known as ,vanitas4 ,here the snake lies coiled under the grass2 there a skull rests on blooming plants4 ,gold and silver tankards or cups suggest the vanity of earthly possessions2 salvation is allegorized in a chalice amid blossoms2 death1 as a crucifix inside a wreath4 ,sometimes ,de ,heem painted alone1 or with men of his school1 ,madonnas or portraits surrounded by festoons of fruits and flowers4 ,he was so fond of the festoon that he sometimes painted it alone4 ,sometimes1 too1 a nosegay is figured alone4 ,cornelis de ,heem's ,subjects like those of his ,father4--,the ,hague ,gallery also owns ,fruits by his son ,cornelis 7#afca-ie74 ,the latter painted precisely the same subjects as his father and with scarcely less success4 ,still life1 flowers1 fruits1 oysters1 and lemons on a plate2 cold hams1 boiled lobsters1 flowers1 knives1 forks1 glasses1 watches1 clocks1 etc41 are all treated by him with the utmost cleverness4 ,crowe says3 ,he is not inferior to his father in drawing and warmth of color1 and with an equally solid impasto1 almost surpasses him in melting softness of touch4 ,he is1 however1 in rare instances1 somewhat gaudier4 ,under these circumstances it is easy to understand that his works are often mistaken for those of his father4 ,abraham ,mignon1 ,pupil and ,imitator of ,de ,heem4--,another pupil was ,abraham ,mignon 7#afdj-gi71 who is represented in the ,mauritshuis by ,flowers and ,fruits1 and two canvases called ,summer ,flowers1 which show the influence of his master4 ,mignon's fruits and flowers have all the bloom of nature2 his butterflies and other insects seem to live and feed on the leaves1 buds1 and blossoms2 and the dewdrops on the leaves and petals have all the transparency of real water4 ,he was very popular in his day and was overwhelmed with commissions4 ,jacob ,walscapelle4--,jacob ,walscapelle is also supposed to have been a pupil of ,de ,heem1 and many of his pictures have been attributed to one of the ,de ,heems4 ,maria van ,oosterwyck1 an ,excellent ,painter of ,flowers4--,another pupil was ,maria van ,oosterwyck 7#afcj-ic71 who usually painted flowers in vases or glasses1 and occasionally fruits4 ,in #ahhb the ,mauritshuis acquired a picture of ,flowers1 by this artist1 who1 perhaps1 because of the rarity of her pictures1 is not so widely known as she deserves to be4 ,although her flowers are not always arranged with taste and the colors are often gaudy1 yet ,crowe thinks she represents them with the utmost truth of drawing1 and with a depth1 brilliancy1 and juiciness of local coloring unattained by any other flower-painter4 ,at the same time1 her execution1 in spite of great finish1 is broad and free1 and the impasto excellent4 ,she was much admired in her day and received commissions from ,louis ,,xiv41 ,william ,,iii4 of ,england1 ,augustus ,i4 of ,poland1 and the ,emperor ,leopold4 ,jan van ,huysum1 the ,correggio of ,flowers and ,fruits4--,if ,de ,heem1 by the harmony of his warm golden color1 be called the ,titian of flowers and fruits1 ,jan van ,huysum's bright and sunny treatment entitles him to the name of the ,correggio of the same branch of art4 ,in masterly drawing and truth of single objects1 both masters may be classed on the same level1 only that ,de ,heem's principal subjects were fruit2 ,van ,huysum's were flowers1 in which he entered into greater detail2 for instance1 in the gloss of the tulip1 the pollen of the auricula1 and the dewdrop on the petal4 ,it is to these merits1 fitted as they are to the capacity of the greater number of admirers of art1 that ,van ,huysum owed the eager demand for1 and high payment of his pictures by princes and wealthy amateurs1 even in his own day1 and also that of all painters of his class he still commands the highest prices4#bb ,van ,huysum's ,pictures in ,the ,hague4--,jan van ,huysum 7#afhb-agdi7 is not so well represented in his own country as in the ,louvre 7which contains eleven fine examples71 ,berlin1 ,st4 ,petersburg1 ,munich1 ,hanover1 and ,dresden4 ,the ,rijks owns but six1 and ,the ,hague only three1--an ,italian ,landscape1 ,fruits1 and ,flowers4 ,the two latter are such beautiful examples of ,van ,huysum's art that they deserve study4 ,in the one are found that marvellous blush and downy bloom for which he was so famous1 while the other reveals his delicate treatment of petals and his graceful arrangement4 ,in ,fruits1 a peach1 two plums1 a small bunch of grapes and some gooseberries are beautifully grouped1 as to form and color1 on a marble table4 ,its pendant1 ,flowers1 is an exquisite picture of a full-blown rose and a rosebud1 a pink and a convolvulus1 placed on a marble console4 ,a butterfly of the admiral variety has alighted on the rosebud4 ,his ,earliest ,works4--,in his earliest period he painted landscapes representing views of imaginary lakes and harbors1 woods with tall1 lifeless trees1 and classic buildings and ruins--finished in a glossy and smooth style--which are now of little value in comparison with his fruit and flower pieces4 ,the ,italian ,landscape1 which the ,mauritshuis acquired in #ahaf1 is a very good example of this style4 ,fruits and ,flowers his ,forte4--,it is doubtful if any artist ever surpassed ,van ,huysum in the representation of fruits and flowers1 to which he finally devoted himself with the greatest success4 ,he set himself the task of surpassing ,de ,heem and ,abraham ,mignon2 and he studied the most exquisite fruits and flowers known4 ,his taste in the arrangement of his groups in elegant vases1 of which the ornaments and bas-reliefs were finished in the most polished and beautiful manner1 and in graceful baskets on marble tables1 is generally considered to be superior to that of any other flower-painter4 ,he also shows great art in relieving flowers of various colors against each other1 and often they stand out from a light transparent background4 ,his fame rose to the highest pitch1 and the first florists of ,holland were ambitious of supplying him with their choicest flowers for subjects4 ,naturally1 therefore1 we find on his canvases beautiful groups and bunches of hyacinths1 roses1 pinks1 primroses1 and other garden buds and blossoms4 ,his ,skill in depicting ,dewdrops and ,insects4--,with marvellous skill he frequently introduces dewdrops of incomparable transparency that trickle down the leaves or sprinkle the fresh delicate petals4 ,butterflies and other insects are also depicted with a truthfulness and precision that give a perfect illusion1 and often a bird's nest with eggs is introduced4 ,his ,exquisite ,taste4--,jan van ,huysum's pictures are so bright that they have even been accused of being gaudy2 but no critic has yet found fault with his exquisite taste and faultless velvet-like finish that seems to rival nature4 ,his fruit pieces are inferior to his flowers1 though they are worthy of great admiration4 ,those painted on a clear or yellow background are the most esteemed1 and are distinguished from his early works1 which are usually on a dark one1 by a superior style of pencilling and a more harmonious color4 ,rachel ,ruijsch4--,another charming flower and fruit painter1--noted especially for her flowers1--,rachel ,ruijsch 7#affd-agej71 is represented in ,the ,hague ,gallery by two ,bouquets4 ,in #afic she was married1 but she always signed her maiden name1 and in several ways1--,ruijsch1 ,ruysch1 and ,ruisch4 ,she took great pains with her pictures1 and the amount of time spent on them limited their number4 ,she is said to have given seven years to two pictures1 ,flowers and ,fruits1 which she gave to one of her daughters for a wedding present4 ,blanc has most sympathetically described her qualities4 ,he says3 ,her ,truthfulness to ,nature4--,whether she is painting the flowers of the gardens or those of the field1 which she groups so beautifully on marble tables and calls around them fluttering butterflies and droning bees1 or beautiful ripe fruits that refresh the eyes and mind1 ,rachel is always truthful1 graceful1 and clever4 ,a colorist1 she frankly selects the brightest tones and combines them marvellously2 a draughtsman1 she reproduces splendidly the most complicated forms1 while preserving to each plant its individual elegance1 its aspect1 its way of holding itself1 and foreshortening4 ,her ,love of ,nature4--,in all justice1 therefore1 the ,dutch rank ,rachel ,ruijsch among their most excellent painters4 ,she retained her love of nature in all its freshness2 it even seems as if she had a weakness for rustic beauty1 and that she found the same pleasure in wandering about the country that others have in gardens and greenhouses4 ,sometimes she even mingles thistles with her field flowers1 which she carelessly throws on a table2 sometimes she chooses an old tree-trunk overgrown with moss1 upon which she places her bunch of spring blossoms1 while the insects hum around them1 and the wings of a beetle gleam through the shadow4 ,sometimes she brings a green frog from some pool in the neighboring meadow and gives him a place in her picture4 ,in the infinite little world of great nature ,rachel finds no creature unworthy of her brush--not even the snail that crawls on the leaf and is hunted away by the gardener1 nor the little worm who moves his variegated rings and spins his thread1 destined to clothe magnificent ladies1 as he elevates himself into the air4 ,those insects that we deem vile she honors in her paintings3 she lets them lie on her marble tables1 crawl on the stem of the glass in which her peonies and pinks are arranged2 and she even allows them to devour the plums and grapes of her picturesque collations4 ,nothing1 however1 is more charming than her birds' nests1 lined with lightest down and tiny blades of grass1 moss1 and straw1 expressed with the art and industry of a wren or a tomtit4 ,the larger picture in ,the ,hague ,gallery is a charming group of roses and tulips1 with butterflies and insects4 ,rachel ,ruijsch was a pupil of ,willem van ,aelst 7#afbf-hc871 whose ,flowers 7dated #affc7 and ,still ,life 7dated #afga7 hang in ,the ,hague ,gallery4 ,description of ,one of ,willem van ,aelst's ,pictures4--,m4 de ,burtin has described a picture by ,willem van ,aelst which gives an idea of all the works of this master3 ,a table covered with a crimson velvet carpet bordered with golden fringe1 on which stands a drinking-vessel of antique shape half filled with ,rhine wine4 ,the sides of this glass cup reflect several times and in different views the street with the most magical and astounding way1 and in the very centre you see the reflection of the painter himself1 holding his palette4 ,on one side of the cup are placed1 on a glass dish1 four superb peaches and some roasted chestnuts2 on the other side are bunches of red and white grapes4 ,butterflies and other insects add to the illusion1 and the vine and peach leaves are artistically used to decorate the beautiful pyramidal group that stands out from a looped-back curtain of brownish yellow4 ,resemblance of his ,work to that of ,van ,huysum4--,although his name is less celebrated than that of ,van ,huysum1 ,willem ,aelst is not very far removed from him in his beautiful productions2 and certainly he surpasses ,evert van ,aelst 7#afjb-eh7 who was his uncle and master4 ,without carrying finish to excess and preserving a certain freedom of touch1 he knows how to express marvellously the delicate wings of a butterfly1 the down of a peach1 the dewdrops on a bunch of grapes1 the feathers of a dead bird1 and the wrinkles of a game-pouch4 ,in ,favor with ,princes and ,cardinals4--,many of his works are in ,france1 where he spent four years1 and in ,italy1 where he lived seven years filling orders for princes and cardinals4 ,he was only thirty years old when he returned to his native town1 ,delft2 but he removed to ,amsterdam1 where his works brought high prices4 ,his ,favorite ,subjects4--,the pictures by him representing dead birds are1 as respects picturesque arrangement1 finely balanced harmony of cool but transparent color1 perfect nature in every detail1 and delicate1 soft treatment1 admirable types of the perfection of the ,dutch ,school4 ,specimens of this class are a picture in the ,munich ,gallery of two dead partridges and instruments of the chase1 and another in the ,berlin ,museum signed ,w4 v4 ,aelst1 #afec1 representing a marble table with two woodcocks and other small birds1 and two ,french partridges suspended above4 ,his favorite subjects1 however1 were fruit and other eatables1 herrings1 oysters1 bread1 etc41 with glasses and gorgeous vessels in gold and silver4 ,although ,willem van ,aelst owed much to his uncle ,evert van ,aelst1 so famous for his dead birds and instruments of the chase1 perhaps he owed still more to his other teacher1 ,otho ,marcellis van ,schrieck 7#afac-gc71 who acquired celebrity1 excelling in a singular branch of art4 ,he painted the humblest creatures1--frogs1 snails1 lizards1 worms1 serpents1 and curious plants4 ,the name of his master is unknown2 but he painted entirely from nature and is said to have kept a kind of museum of serpents1 vipers1 insects and other curiosities4 ,these he studied with great attention1 and drew them with extraordinary fidelity and care1 reproducing also their glowing and metallic hues4 ,two ,pictures by ,beijeren1 and ,two by ,seghers4--,another famous ,flowers is that by ,abraham van ,beijeren 7#afbj or #afba-ge71 which was acquired at the ,van ,pappelendam sale in ,amsterdam in #ahhi4 ,a fine ,fish and ,lobster by the same painter should also be studied4 ,the visitor will perhaps notice as he passes two pictures by ,daniel ,seghers 7#aeij-affa71 one a garland of flowers around a statuette of the ,virgin2 the other1 a garland of flowers around the bust of ,william ,,iii4 ,the bust was a later addition4 ,other ,painters belonging to the ,same ,group4--,an interesting and curious work is ,shells1 by ,balthasar van der ,ast 78-#afef74 ,there is also a still life 7#afdd7 by ,pieter ,claez4 ,to this group should be added ,pieter ,roestraeten 7#afbg-agjj71 famous for his great vases of gold and silver1 bas-reliefs1 musical instruments1 etc41 which he designed with precision4 ,he spent most of his time in ,london1 where he was injured in the ,great ,fire 7#afff74 ,belonging to the same group are ,pieter de ,ring and ,willem ,kalf1 whom we shall see in the ,rijks1 and the strange ,christoffel ,pierson1 whose specialty was still life 7particularly the attributes of the chase7 and portraits4 ,his works are very rare2 but a peculiar combination of portraiture and still life hangs in ,the ,hague ,gallery1 representing the pastor of the ,protestant ,church at ,hoorn1 ,joris ,goethals1 and noticeable for the number of hunting implements and objects hanging on the wall4 ,though sombre and monotonous in tone1 his touch and drawing are masterly4 ,he thoroughly understood composition and distributed lights and shadows with skill4 ,pierson was turned aside from painting historical subjects and portraits by the success of ,leemens1 a painter of dead game1 guns1 etc41 and speedily surpassed his model4 ,jan van ,os1 ,georgius ,jacobus ,johannes van ,os1 and ,marie ,margrita van ,os we shall see in the ,rijks4 ,portrait of ,rubens's ,second ,wife4--,although ,holland is not the land where we can study ,rubens 7#aegg-afdj7 in all his greatness1 yet the ,amsterdam ,gallery and more particularly ,the ,hague ,gallery possess some splendid pictures by his hand4 ,in the latter hang the portraits of his two wives4 ,that of his second wife1 the buxom ,helena1 whom he married on ,december #f1 #afcj1 and who bore him five children1 is a masterpiece of the first rank2 certainly an entirely individual work of the artist's later period4 ,much of ,rubens's ,work done by his ,pupils4--,thus we immediately come to the question3 ,what has the master himself and what have his pupils done on it8 ,no master has left behind him a larger amount of painted surface of canvas and wood2 but how unequal is the artistic value of all this material6 ,we know how that happened4 ,overwhelmed with pressing orders and surrounded by a large throng of sometimes very able pupils1 he often only made a sketch1 leaving the chief work to his best pupils1 and finally adding a few corrections2 perhaps here or there a head or a figure that particularly interested him4 ,rubens made no secret of this fact2 he often openly acknowledged what he and what his scholars had done on a work4 ,dr4 ,sperling's ,visit to ,rubens's ,studio4--,an eye-witness1 the ,danish physician1 ,otto ,sperling1 who visited ,rubens's studio in #afba1 describes the master as walking up and down in his vast hall among his many pupils1 making remarks and going over a picture here and there finally with a few brush-strokes4 ,the ,doctor jocularly adds3 ,it is supposed that everything is the work of ,rubens1 by which this man has amassed enormous wealth1 and has been rewarded by kings and princes with great gifts and many jewels4 ,his ,pupils not very often allowed to assist him in ,portraits4--,one should remember that this assistance of his pupils was generally confined to his greater historical pictures and church pieces2 but the portraits that ,rubens painted are not always entirely the work of his hand4 ,sometimes an order for a portrait was repeated1 and his students made the replica of a well-known personality4 ,rubens painted portraits of small dimensions and then left them to be enlarged by able pupils2 but he himself added the final touches4 ,dr4 ,bredius on the ,portraits of ,rubens's ,two ,wives4--,even in the case of the portrait of one of his wives1 we are not quite sure whether the work is exclusively his own4 ,there exist such a marvellous number of these portraits1 and1 moreover1 of such varied artistic value1 that we must at last conclude that the family and friends of these ladies1 who belonged to the best families in ,antwerp1 all ordered portraits from ,rubens1 who painted some of them entirely and others only in part4 ,while1 for example1 the present portrait of ,rubens's first wife1 ,isabella ,brandt1 whom he married in #afji1 betrays the master's own hand in the head and in part of the costume1 the hands look to me to be so extraordinarily like ,van ,dijck's work that ,i ask myself whether the latter 7about #afah7 might not have had some part in this portrait4 ,on the other hand1 the portrait of ,helena ,fourment1 whom he married in #afcj 7,isabella ,brandt died in #afbf7 is handled with such a gush1 although very rapidly and with such geniality that hardly anybody would say that this spirited portrait is not all his own4 ,what flesh6 what brilliance6 what glow of color6 what virtuosity in the painting of the details and the material6 ,what life streams from this warm1 youthful1 proud wife upon her husband6 ,sir ,joshua ,reynolds describes these portraits thus3 ,two portraits1 ,kitcat size1 by ,rubens1 of his two wives1 both fine portraits1 but ,eleanor ,forman is by far the most beautiful and the best colored4 ,illustration3 ,,rubens ,helena ,fourment ,description of ,helena's ,portrait4--,this is one of the most beautiful of all ,rubens's portraits of his second wife4 ,her face and figure are not only wonderfully modelled and painted1 but her red mouth has a sweet1 half-smiling expression1 and dimples are ready to break out at any moment and render the brilliant face even more brilliant4 ,the eyes are lustrous and handsome1 beneath finely arched brows4 ,the light silky hair is roped with pearls1 and a long plume falls gracefully from the coquettish toque of velvet adjusted at an angle that suits the face exactly4 ,a pearl necklace and earrings adorn the ears and snowy neck1 a magnificent jewel with three pear-shaped pearls for pendants clasps the front of the dress1 jewels ornament the sleeves1 and a great rope of goldsmith's work passes from shoulder to shoulder4 ,she wears a light blue satin dress the sleeves of which are slashed with white1 and a black velvet cloak with gold buttons and a fur collar4 ,the sleeves end with delicate filmy frills at the wrist1 and she gracefully holds in her hand a couple of beautiful pink roses4 ,the background is gray and the curtain is red4 ,this picture was painted in #afcd1 four years after ,rubens's marriage to the daughter of ,daniel ,fourment4 ,after ,rubens's death the beautiful ,helena was married to ,jan ,b4 ,broekhoven1 ,baron of ,bergeijck4 ,she died in #afgc4 ,burger's ,admiration for the ,portrait of the ,first ,wife4--,not far away from her portrait hangs that of ,isabella ,brandt1 painted in #afbj4 ,burger admired it more than that of ,helena1 and went into ecstasies over the beautiful hands crossed over her girdle4 ,isabella is dressed in black1 with a square and low-cut bodice and a gauze fichu4 ,her hair is adorned with pearls4 ,portrait of ,father ,ophovius4--,the ,mauritshuis possesses also a famous portrait by ,rubens of quite another character2 this is that of a friend whom he had sufficient influence to have made ,bishop of ,bois-le-,duc1 the ,rev4 ,father ,michael ,ophovius1 a ,dominican monk4 ,he is seen full face in the costume of his order4 ,he has an energetic head and is in robust health4 ,it is a broad and vigorous painting1 and formerly adorned the ,dominican monastery at ,antwerp4 ,two ,pictures painted ,partly by ,rubens4--,two other pictures by ,rubens should be studied4 ,adam and ,eve in ,paradise1 in which1 however1 only the figures are by ,rubens 7,dr4 ,bredius thinks the horse also72 while the landscape and other animals are by ,jan ,brueghel1 also called ,velvet ,brueghel4 ,the latter also painted the landscape in the ,naiads ,filling the ,horn of ,plenty1 a picture that was once attributed to ,van ,bolen1 but now to ,rubens4 ,it is interesting to compare the landscape of the ,terrestrial ,paradise by ,jan ,brueghel 7,velvet7 with the landscapes in the above-mentioned pictures4 ,copies of six pictures by ,rubens are also owned by this gallery4 ,portraits by ,van ,dijck in ,the ,hague4--,there are only three portraits by ,van ,dijck 7#aeii-afda7 in ,the ,hague ,gallery3 ,portrait of ,sir ---- ,sheffield1 painted in #afbg2 a ,portrait of ,anna ,wake1 his ,wife1 painted in #afbh2 and a ,portrait of the painter1 ,quintijn ,simons4 ,of the latter1 ,sir ,joshua ,reynolds said3 ,a portrait by ,van ,dyck of ,simon the painter4 ,this is one of the very few pictures that can be seen of ,van ,dyck which is in perfect preservation2 and on examining it closely it appeared to me a perfect pattern of portrait-painting3 every part is distinctly marked1 but with the lightest hand and without destroying the breadth of light2 the coloring is perfectly true to nature1 though it has not the brilliant effect of sunshine1 such as is seen in ,rubens's wife2 it is nature seen by common daylight4 ,a ,picture by ,frans ,snijders4--,anthonie van ,dijck is said to have painted the huntsman in the picture of still life and game by which ,frans ,snijders is represented here4 ,fuller knowledge of ,snijders1 however1 is to be gained in the ,rijks4 ,a ,picture by ,several ,artists4--,one of the most curious and interesting pictures in the entire gallery is ,the ,interior of a ,picture ,gallery1 painted by a number of ,antwerp artists1 but which is catalogued under the name of ,gonzales ,coques 7#afah-hd74 ,this artist and his family are represented in the centre of a picture gallery1 and are by the hand of ,coques himself4 ,the pictures on the walls were painted by pupils of ,rubens1 ,van ,dijck1 ,rembrandt1 and others1 and represent still life1 landscapes1 mythological and allegorical scenes4 ,many of them possess great charm4 ,on the left are3 the ,meeting of ,christ and a ,centurion1 by ,pieter ,yykens 7#afdh-ie72 ,the ,earth1 an allegory1 by ,erasmus ,quellinus 7#afjg-gh72 an ,italian ,landscape1 by ,antoni ,goubau 7#afaf-ih72 ,the ,metamorphosis of ,ascalaphus1 by ,carel ,emanuel ,biset 7#afcc-;after #afia72 ,a ,boar ,hunt1 by ,peter ,boel 7#afbb-hi72 a ,moonlight and ,landscape1 signed ,j4 v4 ,k42 a ,landscape1 by ,pieter van ,bredael 7#afbi-agai71 signed ,p4 v4 ,b42 a ,marine 7unknown72 ,the ,nymphs ,spied ,on1 by ,jan de ,duyts 7#afbi-gf72 and a ,marine1 by ,jan ,peeters 7#afbd-gg74 ,above the door in the centre are two pictures3 ,the ,judgment of ,paris1 by ,theodoor ,boeyermans 7#afbj-gh71 and ,leda1 by the same artist4 ,on the left3 ,the ,triumph of ,silenus1 by ,jan ,cossiers 7#afjj-ga72 ,water1 an allegory1 by ,theodoor ,boeyermans2 the ,four ,seasons1 by the same artist2 a ,landscape 7unknown72 ,still ,life 7unknown72 ,the ,descent from the ,cross and ,view of a ,city1 both by ,johan van den ,hecke 7#afbj-hd72 ,landscape 7unknown72 a ,village ,festival1 by ,peter ,spierinckx 7#afce-agaa72 a ,landscape1 by ,johan van den ,hecke 7#afbj-hd71 and ,bathers1 by the same artist2 ,still ,life1 by ,peter ,gysels 7#afba-ij72 and a ,venus and ,adonis1 by ,casper ,jacob van ,opstal 7#afed-agag74 ,the architecture of the room was painted in #afgd by ,willem van ,ehrenberg 7#afcg-;about #gf74 ,the picture is #e-c_/d feet high by #g feet broad1 and was offered in #afhc by the ,brotherhood of ,painters in ,antwerp to ,jan van ,bavegom1 ,procureur of the ,court of ,brussels1 as a reward for the services he had rendered to the ,brotherhood in the lawsuit against the armies of the ,six ,guilds4 ,it finally became the property of ,william ,v4 ,the ,little ,van ,dijck4--,gonzales ,coques was a pupil of ,pieter ,brueghel ,,iii4 and ,david ,ryckaert1 whose daughter he married4 ,he was fond of painting portraits of his family walking in a park or engaged in various occupations and pleasures indoors2 and very frequently he was assisted by other artists1 as in the case of the picture just described4 ,coques was a man of letters1 and presided over the ,chamber of ,rhetoric in his native city1 ,antwerp4 ,his elegance1 taste1 and delicacy have procured for him the name of ,the ,little ,van ,dijck4 ,in his own day he enjoyed great renown1 and was honored with orders for pictures and presents from many sovereigns1 including ,charles ,i4 of ,england1 the ,prince of ,orange1 and the ,archdukes of ,austria4 ,francken1 ,painter of ,allegories and ,festive ,scenes4--,a historical picture of interest is that of ,a ,ball at the ,court of ,albert and ,isabella in #afaa1 by ,frans ,francken the ,younger 7#aeha-afdb74 ,he was famous for his scenes from the ,bible1 allegories1 landscapes1 mythological pictures1 and particularly for his balls1 masquerades1 and other scenes of festivity in which he introduced figures of small size4 ,frequently1 too1 he painted figures in the pictures of the elder ,neeffs1 the younger ,de ,momper1 and ,bartelmees van ,bassen4 ,description of the ,picture of a ,historical ,ball4--,this ball scene1 which belonged to ,william ,v4 at ,het ,loo1 was painted between #afaa and #afaf4 ,the couple who are dancing in the centre are ,philip ,william of ,nassau1 ,prince of ,orange1 and his wife1 ,eleonore de ,bourbon1 ,princess of ,conde4 ,albert and his wife1 ,isabelle ,claire ,eugenie1 and five other portraits are by the hand of ,frans ,pourbus the ,younger4 ,pictures by ,vinck ,boons and ,droochsloot4--,pictures of peasants enjoying the kermesse1 by ,david ,vinck ,boons 7#aegh-afbi71 7#afbb71 a landscape and genre painter1 whose figures are often of repulsive ugliness1 and by ,j4 ,c4 ,droochsloot 7#aehf-afff71 also represented by a ,dutch ,village 7#afeb71 bring us to a more brilliant painter of such scenes4 ,david ,teniers the ,younger a ,conspicuous ,painter of ,still ,life4--,david ,teniers the ,younger 7#afaj-ij7 is one of those ,flemish painters who were known and sought after in ,holland during their lifetime4 ,this may have arisen from the fact that he was closely allied with the ,dutch school and with ,brouwer1 who lived and worked for a long time in ,holland and was very highly prized there4 ,teniers painted in particular little cabinet pictures1 soldier scenes1 alchemists and cooks1 and in them often showed a conspicuous love of still life1 so greatly liked in ,holland4 ,another circumstance which must be taken into consideration is that his brothers ,hendrik and ,julius1 both painters1 lived for some time in ,holland and occupied themselves--the former in ,middelburg and the latter in ,amsterdam--with the sale of the pictures of their famous brother4 ,the ,resemblance of his ,pictures to those of his ,master4--,the younger ,teniers developed himself principally in the school of ,adriaen ,brouwer4 ,some of his early pictures1 painted between #afcj and #afdj1 stand so closely sometimes beside those of ,brouwer that they have been attributed to the latter4 ,in his first period1 ,teniers1 quite trickily copied ,brouwer's real types1 and many of his mannerisms1 such as the famous red cap which he so often put on his figures4 ,the spirited painting1 the clear bright light with the finely expressed chiaroscuro1 and the beautiful harmony of tone he followed in the happiest way4 ,he became ,brouwer's successor2 and he is greatest when he is still under the inspiration of his great prototype4 ,splendid pictures of this style are possessed by the ,museums of ,madrid1 the ,louvre1 ,berlin1 ,dresden1 ,st4 ,petersburg1 and many of the great private collections4 ,a ,gradual ,change in the ,tone of ,teniers's ,pictures4--,about #afej the warm golden tone of the master falls more and more into a cooler silver tone4 ,bright and clear in the highest degree are the treasured works of this period4 ,at the end of his life1 however1 he grades more and more into a brown1 dull tone far removed from the vigor and transparency of his youth4 ,still in his old age he maintained a careful drawing1 a great completeness in the painting1 only the very last pictures show that the hand of the old man at length had begun to tremble4 ,description of ,the ,good ,kitchen4--,the ,hague possesses two fine examples of this artist4 ,in ,the ,good ,kitchen1 a splendid work of his middle period1 painted in #afdd1 he delights us especially with masterly representation of assembled details4 ,magnificently painted are the fish and fowl1 pots and kitchen stuff2 only1 perhaps1 is the background keyed up a little too high4 ,the figures1 as unfortunately so frequently happens with ,teniers1 are somewhat uninteresting2 only the little boy who is holding the dish for his mother 7evidently the portrait of a child7 looks out at us in a lifelike and endearing manner4 ,a famous kitchen it is1 in fact2 and it is evident that a feast of some consequence is in preparation4 ,fowl1 game1 fish1 vegetables1 fruits1 all are there on the tables and the floor4 ,in the background1 before a big fire1 a cook is roasting joints1 and a man and woman are very busy close beside him4 ,in front1 in the middle1 and in the bright light1 is seated the young mistress of the house1 also aiding in the preparations4 ,for the moment she is peeling a lemon1 and the little boy is standing beside her holding a plate4 ,she wears a blood-colored skirt1 and on her sky-blue bodice expands a broad collar of a whiteness that ,metsu would envy4 ,the whole is very ably and broadly painted with that just and free touch and those spirited accents which characterize the technique of ,teniers4 ,it is painted at the beginning of his best period when his silvery period begins3 he was then thirty-four years old4 ,burger cleverly says3 ,like certain of those fishes that he has painted so well1 ,teniers is excellent between the head and tail4 ,the ,good ,kitchen is painted on copper and is only two feet and a half broad4 ,a small picture on wood shows an alchemist with a gray beard seated beside a table holding a book4 ,his assistant is kneeling beside a furnace4 ,sir ,joshua ,reynolds said3 ,the works of ,david ,teniers1 ,jun41 are worthy the closest attention of a painter who desires to excel in the mechanical knowledge of his art4 ,his manner of touching1 or what we call handling1 has perhaps never been equalled3 there is in his pictures that exact mixture of softness and sharpness which is difficult to execute4 ,tilborgh's ,picture of ,a ,dinner4--,we must not neglect now to look at the one picture by ,tilborgh1 ,a ,dinner1 particularly interesting on account of the personages represented4 ,tilborgh 7#afbe-gh71 supposed to have been a pupil of ,teniers1 certainly follows him in choice of subject--interiors of taverns1 peasants merry-making1 kermesses1 village feasts1 etc4 ,he was popular in his day1--even more so1 it is said1 than ,teniers himself4 ,the dinner is taking place in the home of ,adriaen van ,ostade1 who is seated in the middle1 with his wife on his right1 beyond whom are a man and a woman4 ,on the left is ,paul ,potter1 with long hair and a large hat1 dressed in a pearl-gray doublet and red stockings4 ,his general appearance is very gay1 and quite a contrast to the melancholy portrait by ,b4 van der ,helst1 which also hangs in this gallery4 ,near ,potter stands his silly little wife1 dressed in light blue1--a not specially graceful figure4 ,two other painters are standing on the left1 talking together4 ,burger thinks they may be ,tilborgh himself and ,isaak van ,ostade4 ,,footnotes3 #a ,this picture1 representing ,dr4 ,johan ,deyman's lecture in anatomy1 was partly burned in the eighteenth century1 and the fragment now hangs in the ,rijks with the other collection of anatomical pictures from the ,surgeons' ,guild of ,amsterdam4 #b ,the figures in this landscape were painted by ,lingelbach4 #c ,blanc4 #d ,crowe4 #e ,bredius4 #f ,crowe4 #g ,crowe4 #h ,crowe4 #i ,blanc4 #aj ,crowe4 #aa ,crowe4 #ab ,reynolds4 #ac ,dr4 ,bredius4 #ad ,crowe4 #ae ,blanc4 #af ,in the ,louvre4 #ag ,hymans4 #ah ,blanc4 #ai ,greef 7,grif1 ,grifir1 or ,gryef71 ,anton1 ,flemish painter of landscapes with dogs and dead game1 born at ,antwerp in #afgj2 died in ,brussels in #agae4 ,he is supposed to have been a pupil of ,frans ,synders4 ,there seem to have been two painters of the same name4 #bj ,victor1 ,jakob or ,giacomo1 ,dutch painter of the seventeenth century4 ,pictures by him are in ,dresden1 ,copenhagen1 and ,munich2 in the latter1 his ,barnyard bears the forged signature of ,hondecoeter4 #ba ,blanc4 #bb ,crowe4 ,,the ,,rijks ,,museum ,,the ,,way ,,to ,,the ,,rijks ,on taking the tramway at the ,dam1 the traveller will find the short trip to the ,rijks ,museum a very pleasant one4 ,the car glides rapidly through a busy part of ,amsterdam1 crossing canal after canal1--the ,singel1 ,heeren1 ,keizers1 and ,prinsen grachts1--bordered with leafy trees and houses that present a picturesque appearance4 ,alighting at ,willems ,park1 on the canal long known as the ,buiten ,singel1 or outer girdle1 separating the old from the new town1 we walk a short distance along the ,stadhouders-,kade to the imposing red brick building with granite bands1 arches1 tympans1 entablatures1 etc41 in the transition style between the ,gothic and the ,dutch ,renaissance1 which covers nearly three acres of ground4 ,the principal facade1 turned toward the ,buiten ,singel1 presents a somewhat majestic appearance1 with its two fine towers and central gable surmounted by a statue of ,victory1 by ,vermeylen4 ,history of this ,collection4--,before entering1 we may note that this splendid ,museum was opened in the name of the ,king of ,holland in #ahhe4 ,perhaps we may pause also to recall the history and development of this great collection1 which was formed of the remnant of the pictures and curiosities left by the last ,stadtholder1 ,william ,v4 ,in #agih the ,government decreed the formation of a ,national ,museum1 and this was installed in the ,huis ten ,bosch 7,house in the ,wood71 near ,the ,hague1 and opened to the public in #ahjj4 ,from time to time the collection was increased by purchases1 and in #ahje it received the name of ,cabinet ,national4 ,when the ,king of ,holland removed his residence1 however1 from ,utrecht to ,amsterdam1 in #ahjh1 he ordered that a ,royal ,museum for the preservation of pictures1 drawings1 prints1 sculpture1 carvings1 engraven gems1 antiquities1 and curiosities of all kinds should be formed4 ,opening of the ,royal ,museum in #ahjh4--,this ,museum was opened in the ,palace on the ,dam in ,december1 #ahjh4 ,here were gathered ninety-six pictures from the ,national ,museum of #agih 7one hundred and fifty-four remaining pictures being sent to ,the ,hague72 fifty-seven pictures bought in #ahjh at the sale of ,g4 van der ,pot van ,groeneveld in ,rotterdam2 eight old pictures given by ,the ,hague in #ahjh2 seven old pictures lent by the city of ,amsterdam 7among them ,the ,night ,watch and ,syndics and ,the ,banquet of the ,civil ,guard72 six pictures and a marble statuette by ,j4 ,b4 ,xavery1 given by ,baron van ,spaen de ,biljoen2 a few modern pictures bought at the exposition of #ahjh2 one hundred and thirty-seven pictures forming the ,van ,heteren ,collection1 bought in #ahji for #ajj1jjj florins2 and seven pictures bought in the same year at the ,bicker sale2 several casts of antique statues from the ,musee ,napoleon of ,paris2 and some antiquities found chiefly in ,drenthe4 ,removal to the ,trippenhuis4--,in #ahaj the name was changed from the ,royal ,museum to the ,dutch ,museum1 and in #ahad the collections were transferred to the ,trippenhuis1 where they remained until #ahhe4 ,numerous ,additions from #ahbe to #ahhe4--;,in #ahbe some pictures were exchanged with the ,royal ,museum at ,the ,hague 7,mauritshuis72 and in #ahbh some duplicates were sold for #bc1gja florins1 with which sum other pictures were purchased4 ,in #ahbh ,william ,i4 made a present of some pictures he had acquired at the ,brentano and ,muller sales to the ,state ,museum1 as it was now called4 ,in #ahch many of the modern pictures were transferred to the ,paviljoen ,welgelegen1 which became1 therefore1 a gallery of the works of living painters of the ,netherlands2 and this collection was gradually enriched by gifts and purchases4 ,in #ahhe the one hundred and eighty-four pictures of this collection were sent to the ,rijks4 ,bequests4--,the principal bequests have been as follows3 ,madame la ,ve ,balguerie ,van ,rijswijck1 twenty-two family portraits 7#ahbc72 ,m4 ,l4 ,dupper1 ,wz41 sixty-four superb pictures 7#ahgj72 ,mlle4 ,j4 ,e4 ,liotard1 an enamel of great value1 and fifteen pastels by the ,genevese painter1 ,j4 ,e4 ,liotard1 to which ,mme4 ,liotard sent six other pastels by the same artist in #ahhe 7#ahgc72 ,jhr4 ,me4 ,j4 de ,witte van ,citters some objects of art1 curios1 prints1 and thirty-five family portraits 7#ahge72 ,mme4 ,j4 ,j4 van ,winter ,bicker1 forty-four portraits of the ,bicker family 7#ahgi72 ,jhr4 ,j4 ,s4 ,h4 van de ,poll1 fifty-two pictures of great value 7#ahhj72 and a gift of ,jhr4 ,j4 ,s4 ,r4 van de ,poll1 comprising thirty-five family portraits4 ,two ,important ,collections added4--,two important collections have yet to be mentioned3 the famous ,van der ,hoop ,collection and ,the ,collection of ,contemporary ,art4 ,the former was gathered by ,m4 ,adriaan van der ,hoop1 head of the house of ,hope ,co41 and knight of several orders1 who made a magnificent collection of about two hundred and twenty-four ancient and modern pictures4 ,these he left to the city of ,amsterdam in #ahed4 ,it was lodged in the ,academie des ,beaux ,arts until removed to the ,rijks in #ahhe4 ,in #ahhj ,mme4 ,van der ,hoop left twenty-four more pictures1 which had adorned her house1 to complete the gift4 ,the ,collection of ,contemporary ,art is the work of an association of ,amsterdam art-lovers founded in #ahge4 ,the ,staircase and the ,rembrandt ,room4--,before ascending the stairs guarded by two lions couchant1 we may stop to notice a picture by ,pieter ,cornelisz van ,rijck 7#aefh-af--71 representing an old ,dutch kitchen with all sorts of eatables1 and in the background a feast representing the parable of the ,rich ,man and ,lazarus4 ,this staircase leads to the ,entrance ,hall1 from which we go to the ,grand ,gallery1 which leads directly into the famous ,rembrandt ,room1 in which ,the ,night ,watch holds the place of honor4 ,the ,grand ,gallery is bordered on each side by four compartments1 or cabinets1 hung with pictures of the seventeenth century4 ,a ,tour through the ,rooms4--,to the left of the ,rembrandt ,room is the ,carlovingian ,room2 and from this we pass into ,international ,hall1 where pictures of foreign masters are gathered4 ,in the next room are assembled the oldest pictures of the ,dutch ,school4 ,the next room contains masters of the sixteenth century1 and next to it comes ,dupper ,hall1 devoted to the glorious period of ,dutch art1 the seventeenth century4 ,here are sixty-four paintings1 many of which are masterpieces4 ,next comes ,van der ,poll ,hall with fifty-two pictures1 then the ,hall of ,anatomy ,pictures1 and next ,portrait ,hall4 ,from this we visit the five cabinets1 containing such pictures of the ,old ,dutch ,school as from their small dimensions and minute finish are best seen in small rooms4 ,on the opposite side of the vestibule are five similar cabinets with similar pictures4 ,beyond these is ,pavilion ,hall1 containing portraits1 many of which are painters' portraits of themselves4 ,then come the ,van der ,hoop ,museum and two galleries of modern pictures1 one of which is called ,waterloo ,hall1 because of ,the ,battle of ,waterloo1 by ,j4 ,w4 ,pieneman1 hanging there4 ,from this we enter the ,old ,dutch ,governors' ,room1 representing a typical room of the seventeenth century with allegorical ceiling1 tapestries1 and old furniture4 ,from this we pass into the adjoining ,gold ,leather ,room1 where there is a picture representing a marriage party1 and a collection of drinking vessels of the seventeenth and eighteenth centuries in one of the cupboards4 ,the ,dutch ,governors' ,room leads into the ,rembrandt ,room1 which again leads us into the ,grand ,gallery1 our starting point4 ,rembrandt's ,work in his ,middle and ,last ,periods4--,we have seen in ,the ,hague the great works of ,rembrandt's early period2 in the ,rijks we find the full flowering of his genius in his middle and last periods4 ,the ,night ,watch was painted in #afdb2 the ,portrait of ,elizabeth ,bas1 about #afde2 the fragment of the ,anatomy picture1 representing ,dr4 ,deyman1 in #afef2 ,the ,syndics1 in #affa2 and ,the ,jewish ,bride1 or ,ruth and ,boaz1 about #affc4 ,the ,rijks owns two other pictures3 a mythological composition and the head of his father1 painted in ,leyden in #afcj4 ,description of ,the ,night ,watch4--,let us look carefully at ,the ,night ,watch1 ,rembrandt's most famous picture and also his largest 7#aa feet by #ad74 ,it was painted in #afdb1 ten years after the ,lesson in ,anatomy1 for the ,kloveniers ,doele 7,arquebusiers ,shooting ,company74 ,the great ,sortie of the ,banning ,cock ,company1 which is the more correct name for ,the ,night ,watch1 represents twenty-nine life-sized civic guards issuing from their guardhouse in a great state of bustle and confusion1 while the drums beat and the dog barks4 ,the dominant color is the citron-yellow uniform of the lieutenant1 wearing a blue sash1 while a ,titian-like red dress of a musketeer1 the black velvet dress of the captain1 and the varied green of the girl and the drummer1 all produce a rich and harmonious effect4 ,the background has become dark and heavy by accident or neglect1 and the scutcheon on which the names are painted is scarcely to be seen4#bc ,in the middle1 in front1 marches the captain in a dark brown1 almost black1 costume1 at his side ,lieutenant ,willem van ,ruitenberg1 in a yellow buffalo jerkin1 both figures in the full sunlight1 so that the shadow of the captain's hand is distinctly traceable on the jerkin4 ,on the right hand of the captain are an arquebusier loading his weapon1 and two children1 of whom the one in front1 a girl1 has a dead cock hanging from her girdle 7perhaps one of the prizes74 ,on a step behind them is the flag-bearer1 ,jan ,visser ,cornelissen4 ,the other side of the picture is pervaded with similar life and spirit1 from the lieutenant to the drummer1 ,jan van ,kamboort1 at the extreme corner1 who energetically beats his drum4 ,in an oval frame on a column in the background are inscribed the names of the members of the guild4 ,the ,night ,watch a ,misnomer4--,the remarkable chiaroscuro of the whole picture 7seen to greatest advantage in the afternoon7 has led to the belief that ,rembrandt intended to depict a nocturnal scene2 but the event represented really takes place in daylight1 the lofty vaulted hall of the guild being lighted only by windows above1 to the left1 not visible to the spectator1 and being therefore properly obscured in partial twilight4 ,the peculiar light and the spirited action of the picture elevate this group of portraits into a most effective dramatic scene1 which ever since its creation has been enthusiastically admired by all connoisseurs of art4 ,each guild member represented paid #ajj florins for his portrait1 so that1 as there were originally sixteen in the group1 the painter received #a1fjj florins for his work4 ,the painting was successfully cleaned by ,hopman in #ahhi4 ,the picture is so deeply enveloped in shadow that it is some time before the spectator can see figures emerge1 although they always retain something of a supernatural quality1 derived partly from the phosphorescent gleams that here and there illuminate faces1 figures1 drum1 halberds1 flag-pole1 and lances4 ,the ,mutilation of the ,picture4--,when ,the ,night ,watch was removed from the ,kloveniers ,doele to the small military council chamber of the ,town ,hall on the ,dam1 in #agae1 portions of it were cut off on the right and left and at the bottom1 which has greatly interfered with its appearance4 ,a photograph of an old drawing hangs near the picture1 which shows the 7supposed7 original form of the composition4 ,the ,syndics4--,some critics consider ,the ,syndics ,rembrandt's greatest achievement2 and all are agreed that it is one of the finest groups of portraits ever painted4 ,this work1 finished in #affb--twenty years after ,the ,night ,watch--was ordered by the ,guild of ,clothmakers1 who wished to have a portrait group of their ,syndics to hang in their chamber at the ,staalhof 7sample hall7 in the ,staalstraat in ,amsterdam4 ,rembrandt's ,special ,traits exhibited in this ,picture4--,here ,rembrandt's special traits are exhibited3 his wonderful treatment of light1 his grouping of figures1 and his study of character4 ,the five ,syndics1 all dressed alike in black with flat white collars and broad-brimmed-high-crowned hats1 are grouped around a table verifying their accounts4 ,the yellow oak wainscot behind them and the scarlet table-cloth contribute the only color to the sombre group4 ,six canvases of portraits of ,syndics formerly hung in the ,staalhof1 the oldest of which was painted in #aeei4 ,only two now remain3 the one by ,rembrandt1 and another1 also in the ,rijks1 by ,aert ,pietersen1 painted in #aeii4 ,upon the frame of the latter is a ,dutch inscription1 which1 translated1 reads3 ,consider your oath ,in what you know4 ,live uprightly4 ,through favor or hatred ,or self-interest ,don't give an opinion4 ,rembrandt's five ,dutch gentlemen look as if they had closely followed this excellent moral advice4 ,description of ,the ,jewish ,bride4--,the ,jewish ,bride depicts two life-size figures1 standing and seen to the knees1 one a young woman dressed in a red gown with white sleeves and white cape4 ,her complexion is rosy1 and she has an abundance of brown hair4 ,she is simply covered with jewels1--a comb1 earrings1 collar1 large chain1 bracelets1 rings of pearls1 and sparkling gems4 ,her face is tranquil and radiant4 ,her gallant companion is about to embrace her1 his face full of tenderness4 ,he wears a long wig with curls falling over his shoulders and has no beard2 this was the fashion after #affj4 ,he has a large black cap on his head1 and his pourpoint1 mantle1 and wide and embroidered sleeves are yellow4 ,the head of the man is very highly finished1 slightly recalling in manner those in ,the ,syndics2 but his clothing is somewhat hastily done4 ,the picture is unfinished1 but in the dark fantastic background some architecture with foliage and a vase of flowers suggesting a park may be discerned to the left2 also the vague form of a dog4 ,on the right1 there are some shrubs and a wall4 ,burger thinks this was painted in #affi1 the last year of ,rembrandt's life4 ,the canvas is about five feet long and four feet high4 ,the ,celebrated ,portrait of ,elizabeth ,bas4--,the portrait of ,elizabeth ,bas1 the widow of ,lieutenant ,admiral ,joachim ,swartenhout1 painted in #afdb1 is considered one of ,rembrandt's most celebrated portraits4 ,seated in an easy chair and wearing a rich dress profusely ornamented with buttons1 the stern1 commanding face of the old lady looks directly at the spectator4 ,her marvellously painted hands are folded over a handkerchief1 and she wears a cap and a fluted ruff4 ,two other portraits by ,rembrandt can be seen here3 one1 of a lady2 and the other1 of his father 7a copy74 ,multiplicity of ,portraits in the ,rijks4--,in the ,rijks ,gallery portraits1 either single or groups1 outnumber all other branches of art4 ,some of these have a world-wide reputation1 while others are interesting only to the special student4 ,no less famous than ,rembrandt's ,elizabeth ,bas is that of another old lady1 ,maria ,voogt1 ,madame van der ,meer1 painted by ,frans ,hals in #afci1 which hangs in the ,van der ,hoop ,room4 ,an old woman is seated in an arm-chair almost full face and of natural size4 ,she is dressed in black velvet1 with a white ruff4 ,her right hand holds a book with a silver clasp1 the left hand rests on the arm of the chair4 ,the tone is neutral4 ,a superb portrait of the first order4 ,you read above the coat-of-arms ,a,etatis suae #fd4 ,ao #afci4bd ,hals's ,portrait of ,himself and his ,wife4--,hals's portrait of himself and his wife1 ,lysbeth ,reyniers1 represents the couple as life-size and seated in a rather uncomfortable position on a bank under the trees1 in a garden ornamented with statues and fountains4 ,in the distance a peacock struts2 and the scene is so cheerful that the smiling faces of ,hals and his wife are quite explicable4 ,the latter's ruff is of enormous size and marvellously painted4 ,hals's ,the ,jester4--,hals always loved to render the face in action1 to fix forever a rapid fleeting expression2 and one of his most notable achievements is the famous ,jester owned by ,baron ,rothschild in ,paris4 ,as few art lovers can ever have the chance of seeing this masterpiece1 the admirable copy that hangs in the ,rijks1 said to have been made by ,dirck ,hals1 should be carefully examined4 ,the canvas is variously known as ,the ,jester1 ,the ,fool1 ,the ,mandolin ,player1 and ,the ,lute ,player2 and is said to be a portrait of the artist's pupil1 ,adriaen ,brouwer2 but whoever he is1 he is a rascally1 impudent fellow with a mocking1 cynical smile1 and belongs to the same class as ,touchstone1 ,dogberry1 ,launcelot ,gobbo1 and other of our prized and disreputable ,shakespearian acquaintances4 ,hals's ,jester is a creation4 ,look at the vagabond well1 first because he will soon twang the chords of his lute1 break out into a song of the day1 then doff his cap and beg for money4 ,look at the pose of his left hand and the strong1 flexible thumb4 ,he can play4 ,next look at the artist's work and note the broad sweeps of the brush that so simply but surely create the features and expression4 ,a ,jolly ,man is another of ,hals's pictures that may be classed as portraits1 a splendid piece of work4 ,go closely up to the picture and notice how the broad brush strokes are made4 ,illustration3 ,,moreelse ,the ,little ,princess ,moreelse's ,the ,little ,princess4--,a very charming portrait is that of ,the ,little ,princess by ,moreelse4 ,the child looks somewhat demurely at the spectator1 with large brown eyes4 ,her face is round1 her forehead high1 and her light brown hair1 brushed severely from her face1 is ornamented with a pink rose held in place by a jewelled band4 ,her large earrings are coral and pearl4 ,a necklace and bracelets of three rows of handsome pearls adorn her neck and wrists1 and a brooch containing a miniature set with jewels fastens the rosette at the point of her collar4 ,her dress is of dark green velvet embroidered with gold and fastened by rich girdles and chains4 ,marvellously indeed has the artist executed the lace and transparent lawn of which the butterfly ruff and dainty cuffs are made4 ,the little right hand rests lovingly on the head of a ,king ,charles spaniel1 whose neck is adorned with bells4 ,an old rose curtain gives a charming note of color to the background4 ,moreelse's ,great ,success as a ,portrait-painter4--,paulus ,moreelse 7#aega-afch71 a native of ,utrecht and a pupil and follower of ,mierevelt in ,delft1 became so successful as a portrait-painter that all the great ladies desired to sit to him4 ,he visited ,rome in #afjd1 and on his return painted for a time historical and architectural subjects4 ,he was also a capable engraver and architect4 ,other ,portraits by ,moreelse4--,in addition to ,the ,little ,princess1 we may see in this gallery a very fine portrait of ,maria van ,utrecht1 wife of ,joan van ,oldenbarnevelt1 at the age of sixty-three 7#afae72 also a ,portrait of ,himself2 one of ,a ,woman2 another of ,frederick ,v41 ,king of ,bohemia2 another of ,colonel ,wtenhoghe2 and ,the ,beautiful ,shepherdess1 dated #afcj1 with flowers and a veil on her head1 yellow draperies1 and a rake in her hand4 ,this picture was purchased for #b1aej florins in #ahag4 ,in all probability it is a portrait4 ,illustration3 ,,mierevelt ,prince ,maurits of ,nassau ,mierevelt1 a ,popular ,portrait-painter4--,michael ,mierevelt 7#aefg-afda71 the son of a goldsmith and pupil of ,anthony van ,montfoort at ,utrecht1 attained notoriety by his portraits of some of the princes of the ,house of ,nassau4 ,from that time he was never without orders2 and he is supposed to have painted a greater number of portraits than any other artist of his country4 ,mierevelt spent most of his life in ,delft4 ,the ,rijks contains a great number of his works1 among which are3 portraits of ,jacob ,cats2 ,johan v4 ,oldenbarnevelt2 ,f4 ,hendrik2 ,philips ,willem1 ,prince of ,orange2 ,prince ,maurits2 ,johannes ,uitenbogaert2 ,frederick ,v41 ,elector of the ,palatinate2 ,lubbert ,gerritz2 ,paulus van ,beresteyn2 ,volckera ,nicolai2 ,henrick ,hooft1 and of ,aegje ,hasselaer1 wife of ,henrick ,hooft4 ,portraits by ,honthorst4--,the student of history and lover of portraits will be attracted by the following ,honthorsts3 ,frederick ,wilhelm1 ,elector of ,brandenburg1 and his wife1 ,louise ,henriette of ,orange2 ,william ,,ii41 ,prince of ,orange2 ,william ,,ii4 with his wife1 ,princess ,maria ,stuart of ,england2 ,frederik ,hendrik2 ,amalia v4 ,solms2 and the ,princes of ,orange1 ,william ,i41 ,maurits1 ,frederik ,hendrik1 ,william ,,ii41 and ,william ,,iii4 ,portraits by ,van der ,helst4--,by ,van der ,helst there are portraits of ,maria ,stuart1 ,princess ,royal of ,england1 widow of ,william ,,ii41 ,prince of ,orange2 ,portrait of a ,warrior2 and ,portraits of ,andries ,bicker1 ,burgomaster of ,amsterdam 7#aehf-afeb72 and ,gerard ,a4 ,bicker 7#afbc-ff74 ,rubens's ,portrait of ,helena ,fourment4--,rubens's portrait of ,helena ,fourment shows his second wife1 in a different mood and costume from the one in the ,mauritshuis4 ,here she is represented full face1 with hair curled in tufts1 a satin bodice1 high fan-shaped ruff spreading behind the head1 throat half bare1 with necklace and many jewels4 ,he has also a portrait of ,anna ,maria1 wife of ,louis ,,xiii4 of ,france4 ,portraits by ,van ,dijck4--,van ,dijck is represented by a ,portrait of ,william ,,ii41 ,prince of ,orange1 and his ,betrothed1 ,mary ,stuart1 painted in #afda2 a ,portrait of a ,man2 and one of ,johannes ,baptist ,franck1 a young man of twenty-eight1 with light hair1 pointed beard1 and moustache1 and wearing a black cloak draped in graceful folds4 ,this was once in ,lucien ,bonaparte's collection4 ,portraits by ,t4 de ,keijser4--,a few examples of ,theodor de ,keijser1 though of small dimensions1 rank among the best specimens of this painter4 ,change of ,fashion in ,portrait-painting exemplified by ,maes4--,maes1 more familiar by his genre1 has no less than eight portraits here1 besides a large corporation picture representing the ,chiefs of the ,corporation of ,surgeons of ,amsterdam1 #afhj-ha4 ,the great difference in style and quality between the early and late portraits of this master has led many to believe that they are the work of more than one master4 ,the change is attributed to his visit to ,antwerp2 but it has been pointed out that the fashion was changing everywhere1 including ,amsterdam1 where even ,rembrandt during the closing years of his life was despised and neglected by the fashionable public4 ,maes1 on the other hand1 made concessions to the vulgar taste2 and1 for a quarter of a century1 produced an enormous quantity of secondary or mediocre portraits1 in which all trace of his master's qualities was lost4 ,artists' ,portraits of ,themselves4--,though not so great in the line of painters' portraits of themselves as the ,uffizi1 the ,rijks possesses a good number of men who thought they saw themselves as others saw them1 or at any rate1 as they wished posterity to know them4 ,among these are ,jan ,steen1 ,gerrit ,dou1 ,ferdinand ,bol1 ,honthorst1 ,ter ,borch1 and ,l4 ,bakhuysen4 ,a fine portrait by ,bol of the famous sculptor ,artus ,quellin2 a ,male ,portrait by ,dou2 one of ,amalia v4 ,solms by ,flinck2 and the ,portrait of an ,architect with his ,wife and ,child1 by ,bernhart ,fabritius1 deserve notice4 ,van der ,helst1 a ,great ,portrait-painter4--,bartholomew van der ,helst 7#afac-gj7 was considered the greatest portrait-painter of his time1 and received more money for his portraits than any other ,dutch painter2 yet1 notwithstanding his industry and the money that he received1 he died poor4 ,he is thought to have been a pupil of ,nicholas ,eliasz ,pickenoy at ,amsterdam1 where he fell under the influence of ,rembrandt4 ,description of ,the ,civic ,guard ,banquet4--,bartholomew van der ,helst's great work1 ,the ,schuttersmaaltijd 7,civic ,guard ,banquet71 held ,june #ah1 #afdh1 in the upper hall of the ,cross-bow1 or ,st4 ,george ,company ,house1 at the ,singel1 in celebration of the ,peace of ,munster1 always fascinates4 ,the twenty-five figures are all portraits4 ,at the head of the table ,captain ,wits is seated in a chair of black oak with a velvet cushion4 ,he is dressed in black velvet1 his breast covered with a cuirass1 and on his head is a broad-brimmed black hat with white plumes4 ,his left hand1 supported on his knee1 holds a magnificent silver drinking-horn ornamented with a ,st4 ,george and the ,dragon1--which valuable piece of silver1 by the way1 is on permanent exhibition with other beakers and drinking-horns of the old guilds in the ,rijks4 ,the good-humored ,captain is cordially grasping the hand of ,lieutenant ,van ,waveren1 who wears a handsome pearl-gray doublet richly brocaded with gold1 and lace collar and cuffs4 ,his feet are crossed1 and he wears boots of yellow leather with large tops and gold spurs4 ,his hat is black1 with dark brown plumes4 ,behind him1 in the centre of the picture1 is the standard-bearer1 ,jacob ,banning1 in easy1 martial attitude1 hat in hand1 his right hand on his chair1 his right leg on his left knee4 ,he holds the flag of blue silk1 on which the ,virgin is embroidered4 ,the banner covers his shoulder1 and he looks out toward the spectator frankly and complacently4 ,the man behind him is probably a sergeant4 ,he wears a cuirass1 yellow gloves1 gray stockings1 and boots with large tops and kneecaps of cloth4 ,on his knee is a napkin1 and in his hands a piece of ham1 a slice of bread1 and a knife4 ,the old man behind him is thought to be ,william the ,drummer4 ,in one hand he holds his hat1 and in the other a gold-footed wineglass filled with the most marvellously painted white wine4 ,he wears a black satin doublet slashed with yellow silk1 and a red sash4 ,behind him are two matchlock men seated at the end of a table4 ,one1 with a napkin on his knee1 is eating with his knife2 the other holds a long glass of white wine1 also a marvel of the painter's skill4 ,four musketeers1 with differently shaped hats1 stand behind2 one holds a glass1 the others have their guns on their shoulders4 ,between the standard-bearer and the ,captain several guests are placed3 one is carving a fowl2 another1 with his hat off and hand uplifted1 is talking to his neighbor2 a third is filling a cup from a silver flagon2 and a fourth holds a silver plate4 ,behind the ,captain are two other figures1 one of whom is peeling an orange4 ,two others with halberts are standing1 and one holds a plumed hat4 ,between ,banning and the ,captain there are three others1 one of whom holds a pewter pot1 engraved with the name ,pocock1 the landlord of the ,hotel ,doele4 ,at the back a maidservant is bringing in a pasty on which rests a turkey4 ,the facades of two houses are seen through the panes of the window in the background4 ,in the left-hand corner stands a very handsome wine-cooler4 ,reynolds's ,opinion of this ,picture4--,the best picture in this house is painted by ,van der ,helst4 ,it represents a company of trained bands1 about thirty figures1 whole-length1 among which the ,spanish ,ambassador is introduced shaking hands with one of the principal figures4 ,this is perhaps the first picture of portraits in the world1 comprehending more of those qualities which make a perfect portrait than any other ,i have ever seen3 they are correctly drawn1 both head and figures1 and well colored2 and have great variety of action1 characters1 and countenances1 and those so lively and truly expressing what they are about1 that the spectator has nothing to wish for4 ,of this picture ,i had before heard great commendations2 but it far exceeded my expectations4 444 ,a ,portrait ,group by ,rembrandt1 and another by ,van der ,helst4--,a ,frieze over one of the doors in chiaroscuro by ,de ,witt1 is not only one of the best deceptions ,i have seen1 but the boys are well drawn2 the ceiling and side of the room are likewise by him1 but a poor performance4 ,the academy of painting is a part of this immense building3 in it are two admirable pictures1 composed entirely of portraits1--one by ,rembrandt1 and the other by ,bartholomew van der ,helst4 ,that of ,rembrandt contains six men dressed in black2 one of them1 who has a book before him1 appears to have been reading a lecture2 the top of the table not seen4 ,the heads are finely painted1 but not superior to those of his neighbor4 ,the subject of ,van der ,helst is the ,society of ,archers bestowing a premium3 they appear to be investing some person with an order4 ,the date on this is #afeg2 on the ,rembrandt #affa4 ,van der ,helst's ,masterpiece4--,captain ,roelof ,bicker's ,company1 painted in #afci1 has been termed ,van der ,helst's masterpiece4 ,it is the largest picture of its class in the gallery and contains thirty-two figures4 ,captain ,bicker and ,lieutenant ,jan ,blaeu have brought their men from their headquarters1 and are welcoming a new ensign before the ,brewery de ,haen 7the ,cock7 on the corner of the ,lastaadje 7,geldersche ,kade and ,bloomsloot71 in #afci4 ,the picture is remarkable for its wonderful display of color and the vitality that every figure possesses4 ,illustration3 ,b4 ,,van ,,der ,,helst ,company of ,captain ,r4 ,bicker ,regent1 ,doelen1 and ,corporation ,pictures4--,in every gallery in ,holland the traveller will come across the life-size groups known as ,regent1 ,doelen1 and ,corporation pictures4 ,these are always portraits of members of shooting1 charitable1 and medical civic societies and guilds of merchants1 and were painted at the order of these various companies to hang in their guild halls1 shooting galleries 7doelen71 and hospitals4 ,rembrandt1 ,frans ,hals1 and ,bartholomew van der ,helst brought these pictures to their highest expression and made of them artistic compositions4 ,hals's great works of this class are in ,haarlem2 but the ,rijks owns1 as we have seen1 the celebrated ,night ,watch and ,the ,syndics1 and ,b4 ,van der ,helst's masterpieces1 ,schuttersmaaltijd and ,company of ,captain ,roelof ,bicker4 ,similar ,pictures by ,govert ,flinck4--,next in importance are the works of ,govert ,flinck 7#afae-fj71 a pupil and close imitator of ,rembrandt1 who devoted his energies to portraits and historical and religious subjects4 ,three ,corporation or ,doelen pictures by his hand hang in this gallery2 also ,isaac ,blessing ,jacob1 dated #afch2 and three portraits1 including one of ,j4 van den ,vondel1 who thought so highly of ,flinck that he compared him to the ,greek ,apelles4 ,his ,greatest ,work4--,his most important ,corporation picture depicts the same scene as ,van der ,helst's4 ,this1 called ,arquebusiers of ,amsterdam at a ,banquet ,celebrating the ,signing of the ,peace of ,munster in #afdh1 is considered this artist's greatest work2 it is particularly interesting from the fact that it contains a portrait of the painter himself standing in the doorway4 ,this picture is in two groups3 on the left1 nine men are coming from the ,st4 ,jorisdoele1 led by ,captain ,jan ,huidecoper van ,maarseveen1 dressed in black velvet1 with a blue sash2 and the other group1 consisting of eleven figures1 is led by ,lieutenant ,frans van ,waveren1 also dressed in black velvet with a blue sash1 who is congratulating the ,captain4 ,the two other ,regent pictures are3 ,four ,chief ,masters of the ,arquebusiers' ,shooting ,company and ,the ,company of ,captain ,bas and ,lieutenant ,conyn4 ,bol's ,pictures of this ,class4--,burger1 however1 when looking at ,ferdinand ,bol's pictures of this class in the ,rijks1 especially ,the ,regents of the ,leprozenhuis in ,amsterdam1 and its companion ,the ,lady ,patronesses of the ,leprozenhuis1 placed the artist second to none but ,rembrandt1 and even the superior of ,b4 van der ,helst4 ,description of the ,first of ,these4--,the first picture 7#h by #f feet7 represents the ,regents of the establishment1 among whom are the ,burgomaster ,hofdt and the ,receiver of ,amsterdam1 ,pieter van ,uitenbogaard1 ,rembrandt's friend4 ,all are dressed in black1 with large hats1 and are seated around a table covered with a ,persian carpet4 ,the custos is bringing before them a little bare-headed leper4 ,the figures are life-size1 and have the distinction of ,van ,dijck's personages1 writes ,burger1 and the solidity and depth of ,rembrandt's4 ,dujardin's ,regents of the ,house of ,correction4--,karel ,dujardin's ,regents of the ,house of ,correction in ,amsterdam1 painted in #affi1 is another remarkable work and very unusual in style for this artist4 ,the canvas is no less than #ab feet #h inches by #g feet #h inches1 and represents the five ,regents4 ,of natural size1 these are grouped around a table with a violet velvet cover4 7,violet1 it may be noted1 was ,karel ,dujardin's favorite color47 ,one of the ,regents1 his body turned to the left and his head three-quarters1 is seated in front1 with his right hand on the table2 he holds a paper with a coat-of-arms dated ,february1 #affi1 and signed ,medelman2 his left hand rests on his hip4 ,another holds out his hand to a servant1 who is bringing him a paper4 ,one only is standing4 ,all are dressed in black1 with large black hats and white neckbands4 ,some white marble columns in the style of ,g4 de ,lairesse are seen in the background1 where a servant with her hands crossed over her waist is entering the open door and turning her head to listen to a young man4 ,heads1 hands1 faces1 and costumes are all remarkably depicted4 ,other ,pictures of the ,same ,class4--,before dismissing the ,corporation pictures we may mention ,j4 van ,sandrart's ,captain van ,swieten's ,company ,preparing to ,escort ,queen ,dowager ,marie de ,medici1 painted in #afch1 and considered the artist's chief work2 ,p4 ,moreelse's ,amsterdam ,arquebusiers2 ,n4 ,elias's ,banquet of ,captain ,j4 ,backer's ,company2 ,b4 van der ,helst's ,presidents of the ,voetboog-doelen and ,presidents of the ,handboog-doelen4 ,one of the earliest pictures of this class is ,cornelis ,teunissen's ,banquet of the ,civic ,guards of the ,cross-bow ,company1 painted in ,amsterdam in #aecc4 ,another by the same artist1 ,guards of the ,cloveniers-doelen1 was painted in #aeeg4 ,a still earlier one1 ,dirck ,jacobsz's ,civic ,guards of the ,cloveniers-doelen1 was painted in #aebi4 ,this artist is also represented by ,civic ,guards of the ,arquebusiers1 which hangs near ,dirck ,barentsz's ,civic ,guards and ,civic ,guards of the ,cross-bow ,company4 ,a number of ,regent pictures also hang in the ,hall of ,anatomy ,pictures1 including ,lessons in ,anatomy1 by ,thomas de ,keijser1 ,nicolaes ,elias1 ,dr4 ,j4 ,deyment1 and ,rembrandt 7the latter a fragment74 ,it is unlikely1 however1 that the visitor will care to linger in this lugubrious hall4 ,the ,portrait ,hall4--,we now pass into the ,portrait ,hall1 which contains two portrait collections1 consisting of portraits bequeathed by the ,bicker family of ,amsterdam1 and twenty-six pictures purchased in #ahie from the descendants of the great ,admiral de ,ruyter4 ,here we again find a number of ,corporation and ,regent pictures1 chief among which is ,rembrandt's ,syndics of the ,guild of ,clothmakers1 which has been described4 ,abundance of ,dutch ,landscapes in the ,rijks4--,the ,rijks is rich in landscapes of every period of ,dutch art4 ,ruisdael is particularly well represented4 ,his pictures are ,the ,torrent1 ,chateau de ,bentheim1 ,winter1 ,the ,forest1 ,view of ,haarlem1 ,landscape1 ,wooded ,landscape1 ,landscape in ,norway1 and ,view of the ,rhine near ,wijk bij ,duurstede4 ,description of ,ruisdael's ,view of the ,rhine near ,duurstede4--,burger thought that the picture of the banks of the ,rhine taken from ,wijk near ,duurstede deserved to be placed by the side of the superb ,tempest in the ,louvre2 for it has the same original grandeur of execution and the same depth of sentiment4 ,this is almost a marine4 ,the water occupies almost all the left foreground1 where you note a sail-boat4 ,a large boat1 the masts of which you see only1 has taken refuge in the little bay in the centre4 ,on the right1 upon a tongue of land that juts out and is bordered by piles1 stands a windmill2 behind this is a house1 and on the horizon a steeple4 ,a little to the left of the mill and far distant is a castle with turrets4 ,on the road that leads to the mill come three peasant women in white aprons4 ,one wears a white head-dress2 the two others have yellow ones4 ,you can also distinguish some other tiny figures by the little bay where the boat lies4 ,the incomparable sky is gray1 and the clouds are of the same hue4 ,burger on the ,same ,picture4--,earth1 water1 sky1 all are so beautifully combined in a harmony so strong and dominating1 so simple and magnificent1 that you are impressed with that strange--almost terrible--effect produced1 and you can't tell why4 ,indeed1 there is only a large mill with a round1 tower-like base in the ordinary fashion of the country1 and three women who are returning to the village4 ,there is nothing to excite the imagination4 ,yet1 notwithstanding1 you are filled with an irresistible melancholy4 ,the character and nature of the people are so strongly marked that you are taken out of yourself and transported by the force of the artist's heart and creation4 ,another picture represents a mill with its wheel in the water2 and on the right some wood-cutters at work4 ,this is a strong picture1 but a little sombre4 ,burger on ,the ,cascade4--,the ,cascade #f feet long by #d feet high seems to have been composed with various elements of ,nature herself4 ,the water bounds and foams in the foreground and over the entire canvas4 ,above this great torrent on the right are tall trees1 beneath which are four little figures2 and on the left1 a clump of shrubs1 in the shadows of which a flock of sheep is passing by the brook4 ,in the background1 behind the meadows1 a belfry is seen on the horizon4 ,it is very rich1 very vigorous1 very beautiful4 ,influence of ,everdingen4--,the ,norwegian ,landscape 7about five feet long7 is also a large picture4 ,here the cascade tumbles over little rocks1 and on the right are rocks1 trees1 a house1 and one tall1 isolated tree4 ,this is cleverly painted1 but the composition is not happy4 ,the true accents of nature are lacking2 for it is certain that ,ruisdael never was in ,norway1 and that he devoted himself to cascades and rocks on account of his intimacy with ,van ,everdingen1 whose bold landscapes1 so different from ,holland1 surprised and delighted the ,dutch4 ,everdingen had suffered shipwreck in ,norway1 and had been greatly taken with its bold1 savage scenery4 ,his favorite subject was a waterfall in a glen with sombre fringes of pines mingled with birch1 and log huts at the base of rocks and craggy slopes4 ,the prevalence of falling water in his pictures1 when others could paint only the monotonous ,dutch lowlands1 gained for him the name ,inventor of ,cascades4 ,salomon ,ruisdael 78-#afgj7 has two fine landscapes1 ,the ,halt1 dated #affj1 and ,the ,village ,inn1 dated #afee4 ,description of ,hobbema's ,water ,mill4--,hobbema is represented by two ,water ,mills and a ,landscape4 ,the picture in the ,van der ,hoop ,collection shows a wooden mill with red-tiled roof in the centre of the picture2 and behind it a background of tall trees4 ,hollowed-out-tree-trunks supported by boards carry the water to the mill wheel1 over which it falls4 ,the foreground is occupied with water in which ducks are swimming4 ,in the shadows of the door of the house1 a tiny figure of a man appears2 and a small figure of a woman in bright red bodice1 upon which the sunlight falls1 is busy washing clothes in a copper4 ,on the right1 an old peasant in brown is holding by the hand a little boy who wears a red cap4 ,the ,landscape is diversified with trees and thickets4 ,the sky is full of clouds1 between which the rays of sunlight issue to gild the verdure4 ,delicate tones of olive and gray distinguish this beautiful picture4 ,illustration3 ,,hobbema ,the ,water ,mill ,description of ,hobbema's ,landscape4--,in the ,landscape1 which by some is thought superior to the ,water ,mill1 a house and barn are seen on the right2 two small figures are in front of the house1 a man in black1 standing1 and a woman in red1 bending over2 and there are a group of trees1 a large elm1 and a hedge4 ,all this is beautifully reflected in a sheet of water in the foreground1--a reflection that seems to tremble4 ,this picture is only one foot five inches long by one foot high4 ,hobbema and his most ,frequent ,scenes4--,meyndert ,hobbema 7#afch-agji71 supposed to have been a pupil of ,jacob ,ruisdael1 or of ,jacob's brother ,salomon1 was long neglected1 and died in penury4 ,he is now regarded second to none but ,ruisdael and his works are worth their weight in gold4 ,his most frequent scenes are villages surrounded by trees1 such as are frequently met with in ,guelderland1 with winding pathways leading from house to house4 ,a water mill occasionally forms a prominent feature1--so prominent1 indeed1 as to give its name to the picture4 ,again1 he paints a slightly uneven country diversified by trees in groups or rows1 wheat fields1 meadows1 and small pools2 occasionally a view of a town with gates1 or canals with sluices and quays2 and more rarely the ruins of an old castle or a stately residence in the far distance4 ,hobbema1 a ,master of the ,still ,life of ,woods and ,waters4--,it is doubtful whether any one ever mastered so completely as he did the still life of woods and hedges1 or mills and pools4 ,nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighborhood1 say in ,guelders or on the ,dutch ,westphalian border1 where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills1 under every variety of light1 in every shade of transparency1 in all changes produced by the season4 ,though his landscapes are severely and moderately toned1 generally in an olive key1 and often attuned to a puritanical gray or russet1 they surprise us1 not only by the variety of their leafage1 but by the finish of their detail as well as the boldness of their touch4 ,with astonishing subtlety light is shown penetrating cloud1 and illuminating--sometimes transiently1 sometimes steadily--different portions of the ground1 shining through leaves upon other leaves1 and multiplying in an endless way the transparency of the picture4 ,if the chance be given him he mirrors all these things in the still pool near a cottage1 the reaches of a sluggish river1 or the swirl of a stream that feeds a busy mill4 ,the same spot will furnish him with several pictures4 ,one mill gives him repeated opportunity of charming our eye4 ,and this wonderful artist1 who is only second to ,ruisdael because he had not ,ruisdael's versatility and did not extend his study equally to downs and rocky eminences or torrents and estuaries1--this is the man who lived penuriously1 died poor1 and left no trace in the artistic annals of his country4 ,it has been said that ,hobbema did not paint his own figures1 but transferred that duty to ,adriaen van de ,velde1 ,lingelbach1 ,barent ,gael1 and ,abraham ,storck4 ,as to this1 much is conjecture4#be ,hackaert's ,pictures4--,jan ,hackaert is perfect when he is simple and inspired by the character and style of his own country4 ,the ,rijks owns his beautiful ,avenue of ,ash-trees2 a ,clearing in the ,forest2 a ,landscape with ,cattle2 and a ,landscape1 which is full of light and delicacy1 and recalls the manner of ,wijnants1 although the arrangement follows the pseudo-,italians4 ,hackaert's ,avenue of ,ash-trees4--,the ,avenue of ,ash-trees is a charming picture1 representing a park from which a hunting-party is about to set forth in the early morning4 ,the light shines on the trunks of the trees that border the park1 to the right of which is a large sheet of water4 ,huntsmen accompanied by dogs1 one of which is barking at two swans in the pool1 ladies and gentlemen on horseback1 servants1 and dogs1 all issue forth with good wishes from the master of the chateau at the gate4 ,all of these elegantly painted little figures are the work of ,a4 van de ,velde4 ,illustration3 ,,jan ,,hackaert ,avenue of ,ash-trees ,joos van ,winghen4--,joos van ,winghen 7#aedd-afjc7 travelled to ,rome1 where he lived for four years2 and1 on his return1 was appointed ,court ,painter to the ,prince of ,parma4 ,he painted portraits1 interiors1 and ,biblical subjects4 ,a ,banquet and ,masquerade at ,night is one of his best-known pictures4 ,pieter ,aertsen4--,this artist has a picture called ,the ,egg ,dance1 which claims attention by its life and spirit4 ,jan ,lijs4--,jan ,lijs 7d4 #afbi7 was a pupil of ,goltzius2 and then visited ,france and ,italy1 where he executed large works under ,caravaggio's influence4 ,his ,music ,party is signed and dated #afbe2 and therefore belongs to his last and not his first period1 as the catalogue informs us4 ,pieter van ,rijck4--,pieter ,cornelisz van ,rijck 7#aefh-afbh7 painted interiors1 especially kitchens1 and landscape4 ,he was a pupil of ,h4 ,jacobs ,grimani1 whom he accompanied to ,italy2 he remained there fifteen years4 ,the big picture in the ,rijks representing a kitchen interior was described in enthusiastic terms by ,van ,mander4 ,willem ,duyster4--,willem ,cornelisz ,duyster 7#aeii-afce7 was a pupil of ,pieter ,codde4 ,his picture of ,backgammon ,players is matched by a similar subject in ,st4 ,petersburg1 and another in ,dresden4 ,another picture in the ,rijks1 variously attributed to ,j4 v4 ,bijlert1 ,jan ,lijs1 ,p4 ,codde1 ,jan ,miense ,molenaer and others1 has by recent discoveries been finally recognized as the work of ,duyster4 ,the subject is ,the ,marriage of ,adriaen ,ploos van ,amstel1 ,lord of ,oudegein and ,tienhoven1 to ,agnes van ,bijler1 widow ,broekhuysen4 ,a contemporary of whom little is known1 ,abraham van der ,hecken 7fl4 #afej71 has a ,butcher's ,shop1 painted with much truth and spirit4 ,pieter de ,bloot4--,pieter de ,bloot 7#afjj-eb7 was a pupil of ,jordaens2 he painted1 however1 more closely after ,teniers1 with fine grasp of chiaroscuro and perspective1 with a soft and agreeable coloring4 ,he copied nature so faithfully as to reproduce his subjects in all their ignobleness4 ,kermesses and interiors chiefly occupied his brush4 ,the ,lawyer's ,office is signed and dated #afbh2 it is a fine specimen of the work of this artist in his prime4 ,van ,gaesbeeck and ,van der ,kuyl4--,adriaen van ,gaesbeeck 78-#afej71 of the same period1 was probably one of ,g4 ,dou's pupils4 ,he painted genre pictures of small dimensions4 ,his ,young ,man in a ,study is full of the feeling found in his master's work4 ,another painter of genre1 who is represented here by two charming pictures1 is ,gysbert van der ,kuyl 78-#afgc74 ,he was a pupil of the famous ,wouter ,crabeth the ,younger1 and like his early master1 spent many years in ,france and ,italy4 ,later in life he modelled himself on ,honthorst and ,abraham ,bloemaert4 ,his ,ruse ,surpasses ,force and ,the ,music ,party are worth more than a passing glance4 ,nicolas ,moeyaert4--,nicolas ,cornelisz ,moeyaert was a forerunner of ,rembrandt in his treatment of light and shade4 ,his powers of portraiture are exemplified here in a group of ,regents2 and another side of his art is charmingly displayed in the ,choice of a ,lover4 ,jan van ,bijlert4--,jan van ,bijlert 7#afjc-ga7 was a painter of genre1 mythological1 and historical subjects4 ,almost all his known pictures were ordered by foreign rulers4 ,the ,guitar ,player is a small example of his work1 for he usually painted his figures life-size4 ,his style so much resembles that of ,g4 ,honthorst that his pictures have frequently been confounded with those of the latter4 ,adriaen ,brouwer4--,adriaen ,brouwer studied with ,adriaen van ,ostade and under ,hals2 and afterwards adopted the ,flemish style when he returned to ,antwerp in #afca4 ,however1 he remained true to one ideal1--the striving after true action and physiognomy1 and the feeling for character and expression4 ,no finer examples of his powers in this field exist than ,the ,village ,orgy and ,the ,peasant ,combat4 ,these both belong to the days when he was under the influence of ,hals4 ,cornelis ,saftleven4--,cornelis ,saftleven 7#afjf-ha7 also took ,brouwer as his model1 for his usual types and favorite motives are borrowed from that master4 ,like ,brouwer1 he painted tavern interiors with men sitting at table before a pot of beer and a game of cards4 ,sometimes he mixes with his jovial companions a peasant who seems to have escaped from one of ,teniers's kermesses2 and sometimes he makes an excursion into the simple representation of rustic scenes4 ,he is full of spirit1 and groups his little characters with fine art4 ,his compositions are full of life and movement1 but his color is tame and lacks brilliance4 ,his three pictures here are ,peasants at an ,inn 7#afdb72 ,landscape with ,peasants and ,cattle 7#afeb72 and ,peasants ,praying3 an ,approaching ,storm4 ,jan ,olis4--,jan ,olis 7#afaj-gj7 was a painter of genre and landscape4 ,an interesting picture of a kitchen here is signed and dated #afde4 ,until recently1 however1 this picture was attributed to ,sorgh4 ,van der ,oudenrogge4--,johannes van ,oudenrogge 7#afbb-ec7 also was a painter of this class4 ,his picture of ,peasants in a ,weaving ,factory is dated #afeb4 ,egbert van der ,poel4--,egbert van der ,poel 7#afba-fd7 was a prolific and versatile painter of the school of ,isaac van de ,velde and ,a4 van der ,neer4 ,he painted pictures of all kinds1--portraits1 still life1 figures1 landscapes1 perspective1 kitchen interiors1 moonlit landscapes1 and more particularly devoted his talents to conflagrations at night1 in which he was very successful4 ,nothing could be more natural and animated than the large number of tiny figures he shows occupied in extinguishing the flames4 ,his color is clear and strong4 ,in his ,ruins in the ,town of ,delft after the ,explosion of the ,powder ,magazine1 ,october #ab1 #afed1 we have a good example of his style4 ,he has also another picture of the ,interior of a ,farm1 dated #afdf4 ,pieter ,j4 ,quast4--,pieter ,jansz ,quast 7#afjf-dg7 was a follower in the steps of ,adriaen ,brouwer4 ,his selection of subjects often verges on caricature4 ,his characterization is well displayed in ,the ,card ,players4 ,the figure of the young woman in this picture1 however1 has been entirely repainted by another hand4 ,thomas ,wijck's ,versatility4--,thomas ,wijck 7#afaf-gg7 was another artist who visited ,italy and painted its landscapes1 especially coast scenery1 after having been taught1 or at least influenced1 by ,p4 de ,laer4 ,besides marines1 he painted interiors1 fairs1 etc4 ,he had the talent to depict sea-gates full of movement1 figures and merchandise1 in the taste of ,j4 ,b4 ,weenix1 markets1 outlandish charlatans1 public squares1 hunts1 ruins1 tavern scenes1 and everything that the ,italians call capricci4 ,chemical ,laboratories his ,forte4--,but the subject that he treated with the greatest care and taste1 and with which he was most happily successful1 was that of chemical laboratories4 ,these he arranges1 illuminates1 and paints in a style entirely his own4 ,without endowing them with the magic of ,a4 van ,ostade1 or enveloping them in that master's full and warm atmosphere1 ,wijck gave much charm to his alchemistic interiors1 and the objects he multiplied therein are full of the right kind of feeling4 ,his ,picture of ,the ,alchemist4--,moreover1 he has a sound comprehension of chiaroscuro1 as may be seen here in his picture ,the ,alchemist4 ,he casts a shadow over the skeleton fish and stuffed crocodiles and other monstrous animals hanging from the ceiling4 ,the principal light usually falls full upon a medley of phials1 retorts1 furnaces1 bellows1 and alembics--a whole apparatus of strange utensils that in a subject of this kind could not be regarded as mere accessories1 and which are touched with spirit but also with sobriety4 ,a second window at the end of the apartment admits a softer light that forms an echo to the principal one1 and faintly illumines other objects that are toned down by the intervening atmosphere4 ,placed in the centre of his laboratory1 wearing a red cap1 ,wijck's alchemist is quite individual in not being old1 bald1 bent1 or grizzled2 on the contrary1 here is a man in the prime of life and full of health1 with a bright eye and an open countenance that has no such melancholy in it as is generally affected by alchemists4 ,it is therefore reasonable to conclude that ,wijck has represented himself in the person of this seeker after gold4 ,the ,rustic ,interior depicts a woman spinning1 with a child and a dog near her4 ,karel ,slabbaert4--,karel ,slabbaert 7#afai-ed71 whose ,grace before ,meat is in this gallery1 is supposed to have been one of ,g4 ,dou's pupils4 ,his pictures are scarce4 ,this one shows a woman cutting bread1 while two children are saying grace4 ,he paints in warm tones2 his composition is good and full of feeling4 ,jan ,wolfert4--,jan ,baptist ,wolfert 7#afbe-hg7 also travelled in ,italy1 and was famous for his classical landscapes with animals and human figures2 he also painted genre4 ,he was very learned2 and his works show fine spirit and imagination4 ,the ,bagpipe ,player is dated #afdf1 and is therefore an early work of this artist before he was subjected to foreign influence4 ,caspar ,netscher4--,besides three portraits of brilliant quality1 ,caspar ,netscher has a beautiful little interior called ,maternal ,care1 in which the influence of his master1 ,ter ,borch1 is noticeable4 ,this picture of a mother arranging her child's hair is generally considered this artist's masterpiece4 ,there is some story told with each of his portraits4 ,he marvellously rendered the texture of stuffs2 and his drawing is always full of grace and truth4 ,inferior to ,ter ,borch in harmony and chiaroscuro and to ,metsu in touch1 and to both in feeling for color1 he equals them in the tasteful composition and the elegance of his figures1 and surpasses them in beauty of form4 ,esaias ,bourse4--,esaias ,bourse 7#afcj-87 was a follower of ,rembrandt4 ,he had a roving career1 making many voyages to the ,east ,indies during sixteen years as an officer1 and then working as a painter in ,italy4 ,his color is usually brownish in tone4 ,his pictures have sometimes been confused with those of another of ,rembrandt's pupils--,pieter de ,hooch4 ,an ,interior with a ,woman ,spinning enables us to compare the merits of the two artists4 ,daniel ,boone4--,daniel ,boone 7#afca-ih7 painted mythological subjects and familiar scenes of peasant life4 ,in the latter1 his chief aim was to provoke laughter by the representation of grotesque situations and grimaces4 ,in this he was generally successful4 ,peasants ,playing ,cards is painted in this vein4 ,illustration3 ,n4 ,,maes ,the ,spinner ,pictures by ,maes4--,nicholas ,maes is represented in the ,dupper ,collection by ,the ,spinner4 ,the old woman is seated before her wheel in a simply furnished room1 which is dimly lighted from a window on the left4 ,through this the fading daylight falls1 illuminating the rich red of her costume and the dull colors of the table-cloth4 ,there is something inexpressibly still1 solemn1 and charming about the figure1 the room1 and the light4 ,another ,spinner1 in the ,van der ,hoop ,collection1 is seated by her wheel4 ,she wears a black cap1 and the sleeves of her dress are red4 ,she stands out boldly from the brightly lighted wall4 ,the lights and the figure are heavily impasted4 ,the forehead of the old woman is in sunlight1 the rest of the face is in shadow4 ,a very pleasing picture of his earlier period is ,the ,dreamer1 sometimes called ,musing1 representing a young woman who is looking out of a window4 ,from her glance we gather that she has spied her lover1 who is looking up to her casement1 so gracefully decorated with apricots and peaches4 ,l4 de ,moni1 an ,imitator of ,dou4--,louis de ,moni 7#afih-agga7 was a pupil of ,f4 van ,kessel and ,k4 ,e4 ,biset at ,breda1 and later 7#agba-be7 of ,philip van ,dijk at ,the ,hague4 ,blanc says that this mediocre painter endeavored to resuscitate the long-extinct style of ,g4 ,dou and the elder ,mieris1 and to constitute himself their posthumous disciple4 ,in this he only partially succeeded1 but at least he exhibited1 along with a certain delicacy of touch1 great care and patience4 ,more than once he borrowed a subject from ,dou--familiar scenes1 and small pictures of one or two figures4 ,he is good in detail but poor in color4 ,the ,rijks has a small and pleasing picture of his called ,the ,gardener4 ,j4 ,quinckhard4--,julius ,quinckhard 7#agcf-gf7 was a pupil of his father1 ,jan ,maurits1 but soon abandoned art for commerce4 ,he was an able painter of portraits and genre nevertheless1 as his ,amateurs of ,music 7dated #agee7 and ,amateurs of ,art 7#ageg7 attest4 ,the figures in the latter are portraits of the painter and his friend1 ,m4 ,j4 ,c4 ,ploos van ,amstel4 ,eight ,pictures by ,paul ,potter in the ,rijks4--,although there is nothing of ,paul ,potter's in the ,rijks to compare in reputation with ,the ,bull1 or in beauty with ,la ,vache qui se mire1 there are no less than eight of his pictures there4 ,horses in a ,meadow 7#afdi7 and ,cows in a ,meadow 7#afea71 the latter having a dark sky that proclaims approaching rain1 were acquired with the ,van der ,hoop ,collection4 ,the ,shepherd's ,hut1 painted in #afde1 is only ten inches long and six high1 but is as brilliant in color as a ,cuijp4 ,the composition is simple3 a shepherd guarding his cows and sheep is seated near his lowly dwelling4 ,a ,little ,dog is dated #afec1 as is also a ,landscape with ,cattle4 ,description of ,the ,bear ,hunt4--,an extraordinary picture is ,the ,bear ,hunt1 eleven feet square4 ,no one would ever imagine who the painter was if his signature were not in enormous letters on the trunk of a tree4 ,this gigantic work was painted two years after ,the ,bull and represents a gentleman on horseback and one on foot1 six dogs1 and two bears4 ,the bloody contest is taking place in the foreground4 ,this work was repainted during the first half of the nineteenth century1 and only two dogs remain of the original painting4 ,crowe's ,opinion of ,orpheus ,charming ,animals4--,the celebrated ,orpheus ,charming ,animals1 painted in #afej1 is much smaller 7#c by #b feet71 and is much admired by critics4 ,crowe says3 ,for power and fulness of warm tones this is one of his most beautiful works4 ,the left is occupied with little hills crowned with trees2 the right shows a forest1 and a glimpse of the sky4 ,in the foreground is a meadow1 where we see a camel1 a boar1 a cow1 a buffalo1 an ass1 a ram1 a goat1 a sheep1 and a hare4 ,in the middle distance1 at the foot of a hill1 sits ,orpheus playing his lyre2 behind him is a dog1 and in front of him a crouching lion1 an elephant1 a horse1 a white unicorn1 a wolf1 and various other animals4 ,on the right1 at the border of the forest1 emerges a deer4 ,description of ,shepherds and ,flocks4--,shepherds and ,flocks1 painted in the next year 7#afea71 is also a masterpiece1 remarkable for the clearness of its light golden tones1 especially in the sky4 ,it represents a hilly landscape with a shepherd playing on the bagpipes1 a shepherdess singing to her child1 and flocks of sheep1 goats1 and oxen grouped variously4 ,by the side of the shepherd is a black dog4 ,at the ,van der ,pot sale1 in #ahjh1 this picture brought #aj1jej florins6 ,description of ,a4 van de ,velde's ,the ,artist and his ,family4--,a very beautiful work by ,adriaen van de ,velde is ,the ,artist and his ,family in the ,van der ,hoop ,collection4 ,it is generally considered one of the most incomparable and precious works in the gallery4 ,this is a landscape bathed in the light of a lovely ,autumn evening4 ,the scene is probably near ,haarlem1 where the artist is enjoying the country with his family4 ,adriaen himself1 about twenty-eight1 is standing in the foreground1 dressed very simply but elegantly in brown with a white collar1 his hat under his left arm while his right rests on his huge and fashionable walking-stick4 ,he has blue eyes1 chestnut hair1 a small moustache1 a fine mouth1 and a charming expression4 ,on his left stands his wife1 whose handsome figure is dressed in a crimson skirt1 brown corsage1 a white fichu1 and a black cloak4 ,she wears a little cap and long1 ash-colored gloves4 ,her hands are crossed over her waist4 ,near this attractive couple is a little boy of seven dressed just like his father1 leading a little spaniel by a string to a fountain4 ,he has thrown his hat on the ground4 ,a nurse dressed in a blue skirt1 white apron1 and yellow bodice is sitting at a little distance on a tree-trunk1 taking care of the little daughter1 who is playing with some flowers4 ,around them are some bushes and stumps1 a kind of hedge1 and an undulating and sandy ground that leads into a group of trees4 ,on the road1 in the middle distance behind ,adriaen1 is the carriage that has brought them here1--an open four-wheeled chariot1 with red seats1 drawn by two fine dappled-gray horses1 whose harness a servant in gray is examining4 ,on the right1 a shepherd is lying on the grass1 near a flock of sheep and a goat4 ,in the background is a meadow with cattle1 a winding stream1 a house half hidden in the woods1 and the distant line of the horizon4 ,the landscape has all the delicacy of a ,wijnants1 but more breadth and harmony4 ,crowe's ,opinion of this ,picture4--,this picture1 signed and dated #affg1 and of considerable size 7#d ft4 #h-a_/b in4 high by #e ft4 #g in4 wide71 is without question the finest work of the master4 ,the composition of the whole is picturesque in no common degree2 while the union of a tenderly graduated tone in keeping with the most delicate carrying out of all the parts shows what a height of perfection the school had attained at this time4 ,this picture was bought in ,london in #ahcc for #ae1gjj florins4 ,description of ,the ,chase4--,the ,chase 7#affi7 shows a beautiful picture with a wooded background4 ,on the left1 through the gate of a park comes a huntsman with the hounds4 ,a large chestnut palfrey with a green saddle embroidered with silver is led by a valet in red livery1 and a little farther away a gray horse with trappings of scarlet velvet is led by another valet4 ,on the right are seated two men3 one in red1 the other in brown1 and before them a big fawn and a white dog2 another large dog is sniffing the ground in the foreground on the left4 ,other ,works by ,a4 van de ,velde4--,a ,landscape with ,cattle shows a somewhat sombre country with clumps of trees2 on the left1 sheep1 goats1 and a little shepherd2 in full light two cows1 one white standing in profile1 and the other black1 seen from behind and foreshortened4 ,it brought #e1fej florins in #ahch4 ,a ,landscape with ,ferry 7#afff71 ,the ,cabin 7#afga71 and another ,landscape complete the list of ,a4 van de ,velde's works in the ,rijks4 ,an ,appreciation of ,a4 van de ,velde's ,pictures4--,his cattle browse in velvet meadows under a beautiful sky4 ,animals1 meadows1 grassy hills1 and trees--he painted them all with affection4 ,he excels in depicting the various hides and skins of goats1 sheep1 horses1 and asses4 ,animals always occupy a prominent place in ,van de ,velde's canvases4 ,the air seems to circulate--light1 pure air gently moving the trees or slightly waving the grass4 ,the blue sky is filled with vaporous clouds1 which are often mirrored in tranquil lakes4 ,the chestnut with its thick foliage1 the willow with its flexible branches1 the oak1 he paints in masses1 or singly1 with exquisite skill4 ,general ,description of ,aelbert ,cuijp's ,style4--,aelbert ,cuijp 7#afbj-ia71 son and pupil of ,jacob ,cuijp1 first followed his father's style1 as is evidenced in the ,hilly ,landscape in the ,rijks4 ,little by little he formed his own style and became thoroughly original4 ,he excelled in depicting the humid atmosphere about ,dordrecht1 and on the horizon of all his landscapes generally the clock-tower of his native city is represented half veiled in golden mist emerging from the lush meadows1 where placid cows repose in the bright sunshine4 ,his ,versatility4--,though ,cuijp loves to paint the calm meadows of ,holland under a golden light1 his elegant figures of men and animals1 dashing cavaliers1 boats driven by the approaching storm1 and landscapes seen under the enchantment of moonlight prove how versatile he was4 ,moreover1 he was a brilliant painter of still life1 as the partridges in ,the ,return from the ,chase 7in the ,louvre71 the ,salmons ,offered to ,mr4 de ,roovere ,directing the ,fisheries in ,dordrecht 7in ,the ,hague71 and the ,dead ,game 7in the ,rotterdam ,gallery7 show4 ,illustration3 ,a4 ,,cuijp ,fight between a ,turkey and a ,cock ,his ,skill in painting ,living ,birds4--,as for painting living birds he is only equalled by ,melchior d' ,hondecoeter4 ,it is only necessary to look at his magnificent ,fight between a ,turkey and a ,cock which hangs in the ,rijks4 ,the sky has darkened in sympathy1 as it were1 with this epic combat1 where two splendid specimens are using their beaks and claws with the greatest fury1 and the brilliant feathers fly in all directions4 ,splendid in color1 furious of action1 and beautiful in its arrangement of light and shade1 it deserves its great reputation4 ,the ,rijks owns four other pictures3 ,portrait of a ,young ,man1 ,shepherds with their ,flocks1 ,cattle1 and ,view of ,dordrecht4 ,illustration3 ,a4 ,,cuijp ,shepherds with their ,flocks ,description of ,shepherds with their ,flocks4--,shepherds with their ,flocks represents an ,autumn morning in a meadow1 where four grazing cows and a shepherd on a mule occupy the foreground2 on the left1 a man on an ass and a man on foot wearing a red vest2 on the right1 two large trees2 in the middle distance1 some trees1 a river1 and a tower2 and in the background1 mountains4 ,description of ,cattle4--,this painting represents a great red ox with a white head1 standing in profile on the left1 occupying half the picture2 a little behind is seen a black ox1 full face2 both stand out from the gray wall of a house4 ,in front of the red ox three lovely pigeons are pecking4 ,on the left1 in the middle distance1 a brown and a dun-colored ox are lying down4 ,in the background1 on the horizon1 are trees and the spires and towers of ,dordrecht4 ,the sky is superb4 ,the ,view of ,dordrecht seen from a great expanse of water1 marvellously painted1 is also a beautiful picture4 ,jacob ,g4 ,cuijp's ,scene ,champetre4--,jacob ,gerritsz ,cuijp 7#aeid-afea871 father of ,aelbert1 is a painter whose pictures are very scarce4 ,his ,portrait of a ,woman is dated #afea2 and a very fine ,scene ,champetre1 which brought no less than #d1jjj florins in #ahdi1 represents1 according to ,immergeel1 the family of the painter ,cornelis ,troost1 a gay and large family4 ,the grandmother1 father1 mother1 four boys1 and two girls are walking in a landscape where is also seen a chariot drawn by a handsome black horse of the ,frisian race that ,aelbert ,cuijp so often paints4 ,the ,cuijp ,family4--,the founder of this family was ,gerrit ,gerritsz ,cuijp1 originally from ,venlo1 who settled in ,dordrecht1 where in #aehe he entered the ,guild of ,st4 ,luke as a painter on glass4 ,he sent his talented son1 ,jacob1 to study with ,abraham ,bloemaert4 ,jacob ,cuijp became known as a portrait-painter1 and was noted for his fine drawing1 splendid coloring1 and force of expression4 ,his pictures were ranked with those of ,th4 de ,keijser4 ,he was no less skilful in painting animals and landscapes and family groups in the open air1 undisturbed by browsing cattle4 ,benjamin ,g4 ,cuijp's ,style4--,benjamin ,gerritsz ,cuijp 7#afab-eb71 brother of ,jacob and uncle of ,aelbert1 a painter who has attracted much attention of late years1 differed entirely in taste and style from them both4 ,he was particularly fond of historical and mythological subjects1 and belonged to the ,italian group of ,dutch painters1 who tried to amalgamate the traditions of classic art with the growing realism of the day4 ,some of his works show the influence of the young ,rembrandt4 ,his ,joseph ,interpreting ,dreams was acquired by the ,rijks in #ahhc4 ,jan van ,goyen4--,jan van ,goyen has five beautiful landscapes3 ,river ,scene1 ,view on the ,meuse and ,town of ,dordrecht1 ,view of ,valkenhof at ,nimeguen1 ,view of ,dordrecht1 and a ,landscape4 ,illustration3 ,,jan ,,van ,,goyen ,view of ,dordrecht ,burger's ,explanation of the ,river ,scene4--,the view of a river in the ,van der ,hoop ,collection is the last expression of his magnificent and exalted manner4 ,a better name for this picture would be ,the ,windmill4 ,in a few words here is the picture3 ,a bit of the ,meuse2 on the right a piece of ground covered with trees and houses1 and on the summit a black mill with its sails spread to the winds1 extending high upon the canvas2 a stockade1 against which the waves of the river break gently1 the water heavy1 soft1 and admirable2 and a little corner of the almost lost horizon1 very attenuated1 very firm1 very pale1 yet very distinct1 on which rises the white sail of a boat1 a flat sail without the slightest wind in the canvas1 but having a value tender and perfectly exquisite4 ,above1 a great sky filled with clouds2 through the rifts and holes the shining blue that they efface1 the clouds all gray and filling the space from the stockade to the top of the canvas2 so that there is no light in any part of this powerful tonality1 composed of dark brown and sombre slate colors4 ,in the centre of the picture one ray of light glimmers like a smile upon the clouds4 ,a great square grave picture1 of an extreme sonority in the deepest register1 and my notes add merveilleux dans l'or4 ,karel ,dujardin 7#afbe-gh74--,of the ,portrait of a ,gentleman with a ,dog and a ,dead ,hare 7#afgj71 ,burger says3 ,a ,dead ,picture of a ,dead ,hare4--,the deadest one in the lot is not the hare2 for if the hare were alive the dog certainly could not run after him1 nor could the gentleman run after his dog4 ,the gentleman is dressed in tin-plate and is represented to the knees and of natural size1 with the background of a dark sky4 ,the hands have been praised2 but they do not look as if they could move4 ,a ,good ,portrait of ,gerard ,reinst4--,a ,portrait of ,gerard ,reinst1 a celebrated art collector of ,amsterdam1 who died in #afeh1 and who was a patron of ,dujardin1 is painted sympathetically4 ,he is bareheaded1 with a blond wig1 and is dressed in a grayish violet with chocolate tones4 ,one hand rests on his hip2 the other is marvellously represented4 ,a landscape and sky form the background1 and two greyhounds are at the gentleman's side4 ,a ,portrait of ,himself4--,a portrait of himself is signed and dated #affj4 ,this is only nine inches by six and one-half inches4 ,it is only a bust showing a shaven face with a thread of a moustache1 long black hair1 brilliant eyes1 and handsome mouth4 ,he wears a grayish costume with puffed sleeves1 and his right hand somewhat pretentiously holds the drapery of his cloak on his chest4 ,dujardin's ,other ,works4--,a ,landscape1 dated #afee1 and showing a peasant winnowing corn1 is noted for its silvery tone2 ,a ,trumpeter on ,horseback shows a cavalier in a blue mantle and on a white horse1 stopping before the door of an inn1 and drinking from a glass offered by the hostess1 who is standing at the door4 ,his other works are an ,italian ,landscape with ,animals and ,the ,muleteers4 ,another ,landscape in the ,van der ,hoop ,collection was bought at the ,duchesse de ,berry's sale in #ahcg for #d1jjj florins4 ,a copy after ,karel ,dujardin shows an ,italian ,landscape with figures1 and a white horse4 ,adam ,pynacker4--,adam ,pynacker has four landscapes3 ,border of a ,lake in ,italy1 ,italian ,landscape1 ,landscape1 and ,pilgrimage4 ,johannes ,both's ,pictures4--,johannes ,both may be studied in ,the ,courtyard of a ,farm2 two ,italian ,landscapes1 one of which is a luminous picture of a summer morning1 with mountains on the horizon on the left1 trees to the right in the foreground1 and many small figures on the road2 and in ,painters ,studying from ,nature4 ,here we see on a canvas about six feet by seven1 a vast landscape of much beauty1 having the ,apennines for a background4 ,beneath a tall oak tree on the right and among the rocks1 ,johannes ,both himself is seated1 with his back turned to the spectator4 ,he has a sketch book before him and is talking to a beggar2 his brother ,andries is facing us2 and the fourth person is talking to some one in the distance4 ,the time is a beautiful ,summer morning4 ,jan ,asselijn4--,jan ,asselijn 7#afaj-fj7 was a pupil of ,esaias van de ,velde1 but went when young to ,italy1 where he was called by the band of ,dutch painters ,krabbetje1 on account of a contraction in his fingers4 ,his pictures are highly valued1 representing1 as a rule1 views of ,rome1 enriched with figures and cattle in the style of ,n4 ,berchem4 ,he greatly resembles ,jan ,both4 ,his ,italian ,landscape in the ,rijks is considered a very true and important landscape1 with a background of bluish mountains1 and a bridge on the left4 ,the artist has introduced ,italian ruins and some muleteers4 ,he is also represented by a ,cavalry ,combat1 signed and dated #afdf2 and the ,allegory on ,john de ,witt4 ,philips ,wouwermans's ,hawking ,scene4--,of the thirteen pictures by ,philips ,wouwermans we may pause before the well-known ,hawking ,scene1 noted as a specimen of his delicacy and precision on a small scale4 ,it is only one foot high by eight inches wide4 ,the exceedingly animated composition shows about a dozen people on horseback scattered through a delicate landscape4 ,other figures of men1 women1 and children enliven the scene4 ,this is painted in his last and most prized period4 ,his ,horse-pond4--,the ,horse-pond is a lovely picture1 with a silvery sky filled with luminous morning clouds1 and1 far away in the distance1 hills1 trees1 and women bleaching linen4 ,in the centre of the picture1 a lovely stream in which children are bathing1 and a ferry with persons and animals passing over in little boats4 ,it is the moment when grooms and peasants are taking their horses and animals to water2 and naturally1 therefore1 we have some beautiful groups3 here a man is leading two horses1 one of which is kicking at a barking dog2 other horses are at the edge of the stream2 others have plunged in4 ,among the eight horses1 there is one splendid white one1 and there are about twenty figures1 including washerwomen and children4 ,it is impossible1 even with ,wouwermans1 who is so spirituel and clever1 to find a richer1 more animated1 more varied1 and more brilliant composition4 ,a ,landscape with ,water belongs to the first period when ,wouwermans followed ,wijnants2 ,the ,camp shows horsemen and other people2 a horseman turned to the right and mounted on a white and brown horse is very remarkable4 ,description of ,the ,kicking ,white ,horse4--,a celebrated canvas is ,the ,kicking ,white ,horse4 ,two mounted horses and one lead horse are under a tree in the foreground4 ,the white horse1 after having knocked over an old woman with a basket of fruit1 is kicking the lead horse on the right1 while a dog is snarling at his heels4 ,on the extreme left1 a richly dressed lady and gentleman are watching the affair with interest1 and in the middle distance1 on the right1 two men are watering their horses at a ford4 ,there is fine painting of distance in the low landscape and beautiful aerial perspective in the ,summer sky with its floating clouds4 ,besides landscapes1 a camp1 and others in his usual style1 there are two pictures of fighting peasants4 ,his brother1 ,pieter ,wouwermans 7#afbc-hb71 is represented by two works3 ,assault on the ,town of ,koevorden1 #afgb1 and ,the ,hunting ,party4 ,his works have frequently been mistaken for ,philips's1 though1 as may be seen in these pictures1 his brush work has less freedom1 and his tones are heavier than his brother's4 ,jan ,wijnants ,unsuccessful in peopling his ,scenery4--,jan ,wijnants 7#afjj-gi71 who is said to have been the master of ,philips ,wouwermans1 has eight pictures by which his qualities may be compared with those of that painter4 ,these are ,landscape in the ,dunes1 with ,hunters2 ,mountainous ,country2 ,the ,farm2 and ,flock in a ,landscape2 and four landscapes in the ,van der ,hoop ,collection4 ,he was a painter of extreme care and finish2 and in painting nature he ranks among the highest4 ,like so many other ,dutch landscape-painters1 however1 he was not successful with figures2 and for peopling his scenery he availed himself of the assistance of his great pupil1 ,adriaen van de ,velde 7as in the case of the above-mentioned ,landscape in the ,dunes71 ,lingelbach1 ,wouwermans1 ,helt ,stokade1 and others4 ,jan ,wijnants's ,love of painting the ,dunes4--,durand ,greville says3 ,his dated pictures are of his last period1 #afda-gi1 so that he may claim the honor of first having introduced into the landscape the neighboring dunes of ,haarlem and of having been the first to love them4 ,he faithfully translated in their blond harmony the dunes1 gray or golden1 with the sun1 the trees with their pale foliage1 and the skies with their light vaporous veilings4 ,to his last hour he went back again and again to that inexhaustible theme in its apparent monotony4 ,he put into the execution of the dazzle of the sand1 tree-trunks1 spaces of moss and clumps of grasses an astonishing sincerity1 perhaps even somewhat too minute from the point of view of the impression of the whole1 but1 even by that1 quite accessible to the taste of the majority of people4 ,none the less he remains to-day one of the most remarkable landscape-painters of ,holland4 ,cornelis van ,poelenburg4--,cornelis van ,poelenburg has four characteristic pictures in his favorite ,italian style3 ,the ,bathers1 ,women ,coming from the ,bath1 ,adam and ,eve ,expelled from ,paradise1 and ,the ,bathers ,spied ,upon4 ,winter ,scenes by ,a4 van der ,neer4--,the most noted painter of winter scenes and of the magic beauty of snow and ice is ,aart van der ,neer 7#afjc-gg71 a friend of ,a4 ,cuijp1 from whom he doubtless learned much1 as they frequently worked together on the same canvas4 ,his winter pieces are generally warm in their lighting4 ,two fine specimens hang in this gallery1 one of which is brightened by numerous figures skating and playing ball on a frozen canal4 ,the sky is full of dark snow-clouds4 ,he may also be studied by a ,landscape4 ,his ,moonlight ,scenes4--,he is also famous for his beautiful towns on the canals1 lighted by the moon1 and his conflagrations4 ,no other painter has depicted the broad masses of shadow1 and the effects of light and tranquillity of character peculiar to a moonlight night1 with so much truthfulness as ,van der ,neer4 ,in his rendering of the warm glow of sunset he has been compared to his friend ,cuijp4 ,hendrick ,averkamp4--,in this connection ,the ,skaters1 by ,hendrick ,averkamp 7#aehe-;after #affc71 should be noted4 ,this artist was surnamed the ,mute of ,kampen because of his taciturnity4 ,he produced many marines1 landscapes1 and festivals on the ice1 which have1 unfortunately1 lost their color4 ,esais van de ,velde's ,pictures4--,winter amusements by ,esais van de ,velde will afford pleasure to the student1 who may also see this artist's ,dutch ,landscape1 painted in #afbc2 ,the ,surrender of ,bois-le-,duc 7#afbi-cj71 and an original replica of his curious satire on religious quarrels in #afah-ai1 ,prince ,maurice ,fastening ,bells on a ,cat4 ,many of the architectural painters have depicted the well-known street scenes and buildings under the mantle of winter4 ,three ,excellent ,pictures by ,hendrik ,dubbels4--,hendrik ,dubbels 7#afbj-gf871 about whom comparatively little is known1 has three pictures of great excellence3 ,a ,marine1 a ,calm1 and a ,river ,scene4 ,dubbels is supposed to have taught ,ludolf ,bakhuysen 7#afca-agjh71 who was also a pupil of ,allart van ,everdingen4 ,bakhuysen1 ,painter of ,stormy ,seas4--,bakhuysen loved the ocean in its angry moods1 and used to hire fishermen to take him out in their boats in the fury of storms4 ,his works are highly valued1 and some critics prefer them to the more placid pictures of ,willem van de ,velde4 ,the ,rijks owns two views of ,the ,ij 7or ,y7 near ,amsterdam2 ,the ,port of ,amsterdam1 painted in #afgc2 ,agitated ,water3 ,haarlemmer ,meer 7for which #c1ejj florins was paid in #ahdj72 ,stormy ,sea ,after the ,storm 7#afgb72 ,embarkation of ,jan de ,witt on the ,dutch ,fleet2 and ,portrait of the ,painter by himself4 ,van de ,velde1 the ,elder and the ,younger4--,willem van de ,velde the ,elder 7#afaa-ic71 who was ,court ,painter to ,charles ,,ii4 and ,james ,,ii4 of ,england1 is represented in the ,rijks by eleven marine drawings4 ,we have already seen fine examples of his more famous son1 ,willem van de ,velde1 at the ,mauritshuis1 but thirteen splendid examples hang in this gallery4 ,some ,notable ,pictures of ,naval ,warfare4--,the ,ij 7or ,y7 at ,amsterdam1 dated #afhf1 which formerly hung in the ,schreierstoren in ,amsterdam1 was described by ,sir ,joshua ,reynolds as follows3 ,at the office of the ,commissary of the ,wharfs is one of ,vandervelde's most capital pictures3 it is about twelve feet long2 a view of the port of ,amsterdam with an infinite quantity of shipping4 ,illustration3 ,w4 ,,van ,,de ,,velde ,the ,ij or ,y at ,amsterdam ,the ,four ,days' ,combat is a picture of the moment when the ,english flag-ship1 the ,prince ,royal1 is striking her colors in the fight with the ,dutch fleet in #afff2 and its companion1 ,the ,capture1 shows four ,english men-of-war brought in as prizes in the same fight4 ,here the painter has represented himself in a small boat1 for in such a position he actually witnessed the battle4 ,an ,agitated ,sea1 with various sailing-vessels1 is delightful because of the warm lighting and movement of the waves2 two ,calms represent the painter in the mood he best loves to paint the sea4 ,other canvases represent the sea under squalls1 light breezes1 etc4 ,the ,canon ,shot1 with a large ship in the foreground1 was bought in #ahcd for #c1jjj florins4 ,a ,beautiful ,picture of the ,dutch ,coast4--,view on the ,coast of ,scheveningen shows the dunes on the right1 above which rises the steeple of a church2 on the left is the calm sea under a lovely afternoon light4 ,two fishing-boats are seen in the distance2 a boat lies on the beach2 a fisherman walks by with his nets1 and in the foreground are three men4 ,the sea1 the dunes1 the tiny figures1 and the light all combine to make a beautiful picture4 ,how some ,painters helped each ,other4--,the great geniuses could do everything well--portraits1 landscapes1 marines1 figure subjects1 architecture1 interiors1 and still life4 ,some1 however1 excelled in one particular branch1 and1 sometimes against their will bowed to the popular demand for their works in that line1 and devoted themselves entirely to it4 ,this specialization was carried to great lengths2 and it seems strange to us to find one master of landscape calling upon a famous figure-painter to people his landscapes a la mode1 and vice versa1 as happened in numberless instances4 ,sometimes even cattle were supplied2 and1 more particularly1 live and dead game1 flowers1 fruits1 household stuff1 and all kinds of still life4 ,the ,effect of this on their ,reputation4--,sometimes a young artist's facility in a certain field was detrimental to high esteem4 ,paul ,potter1 for example1 had to live down the reproach that he was nothing but a painter of animals1--which he very quickly did4 ,those who made a specialty of live animals apart from landscape are very few4 ,with the exception of the works of ,snyders1 hunting scenes are rare4 ,wouwermans's hunts are confined to the start and the return of the cavalcades4 ,blanc's ,description of ,weenix's ,style4--,j4 ,b4 ,weenix must have loved hunting also1 for it forms one of the familiar motives in his landscapes in the ,italian style4 ,however1 as he painted above all for the pleasure of painting1 his usual custom was to group in the foreground of his composition the products of the chase rather than to represent the hunt itself4 ,it is only in the distance that hounds and huntsmen are seen hunting the hare1 while the poor animal is already dead and hanging by its foot to a branch of a tree in the foreground4 ,a brilliant gamecock1 one or two partridges1 some ribbons and flowers1 and a big garden vase will accompany the hare and form a charming picture for the mere delight of the eyes4 ,truth1 finesse of local color1 delightful light and shade1 exquisite handling1 and the whole technique of art are employed to make us admire this still life4 ,we cannot help noticing the masterly manner in which the artist has rendered the fur of his dead hare1 crimsoned with blood2 and how lovingly he has caressed the plumage of the neck and crop of his partridges1 and reproduced the beautiful lustrous black of the cock1 whose wings are splashed with white2 how he has made us feel the velvet of the skin at the joining of the muscles1 and accentuated the feet and claws4 ,but the final luxury of the palette seems to have been reserved for a superb hunting-dog with delicate ears1 that watches with an eye full of life over his master's gun and the glorious trophies of the chase2 and distends his nostrils as if to snuff the odor of the gunpowder1 the aroma of the gin1 and the strong scents of the venison4 ,painters of ,still ,life4--,usually the painters of inanimate objects take the trouble to arrange their inert models1 just as a historical painter would dispose his living figures4 ,the human figures in ,snyders's pictures were painted by ,rubens1 ,jordaens1 or ,martin de ,vos4 ,his pupils were ,jan ,fyt1 ,nicasius ,bernarts1 and ,pieter ,boel4 ,the ,rijks ,gallery has two splendid pictures by him3 one1 a dish garnished with fruits and dead game2 and the other1 a dead roebuck1 a wild boar's head1 and vegetables4 ,snyders's ,dead ,game and ,vegetables4--,beautiful in composition and color is his ,dead ,game and ,vegetables4 ,on a shelf are placed choice specimens of china1 glass1 earthenware1 fruit stands1 etc41 and these are balanced on the left by a beautiful glass vase of roses and iris standing in a niche4 ,a large basket of apples1 peaches1 melons1 pears1 and grapes1 a hung deer1 a boar's head1 a lobster1 a few artichokes1 and a bunch of asparagus show the artist's wonderful arrangement of form and color4 ,illustration3 ,,frans ,,snyders ,dead ,game and ,vegetables ,savery's ,landscapes and other ,pictures4--,roelandt ,savery 7#aegf-afci7 was famous as a landscape-painter4 ,the landscapes are somewhat artificial1 and really are used as framework for the animal life he loved to introduce4 ,his execution is sometimes rather heavy but with strong tones4 ,the landscapes usually consist of grassy swards with brownish-green trees and shrubs in the foreground1 while the background is bathed in the bluish tints so dear to ,brueghel4 ,animals and birds of all kinds animate ,savery's pictures1 as well as human figures1 all drawn with much talent4 ,the ,hague has a famous picture1 by this artist1 of ,orpheus ,charming the ,animals2 and the ,rijks owns ,elijah ,fed by the ,ravens 7#afcd7 and ,a ,stag ,hunt in a ,rocky ,landscape 7#afbf74 ,adriaen van ,utrecht and his ,still ,life4--,adriaen van ,utrecht was ten years ahead of ,jan ,fyt in painting those pictures of live or dead animals1 game1 fruits1 and implements of the chase that we still admire so much4 ,although his lights are sometimes somewhat heavy and his brush work is not so fine as ,fyt's1 yet he equals the latter in certainty of touch and especially in his feeling for life and nature4 ,his pictures are very scarce3 ,amsterdam possesses only one1 called ,still ,life1 signed and dated #afdd4 ,on a canvas eight by ten feet the painter has grouped pies1 hams1 a lobster1 grapes1 peaches1 and lemons on a table4 ,on the left1 on the floor1 are some musical instruments2 on a chair some golden vases2 above1 a parrot2 on the right a great sculptured basin and a little white spaniel1 and in the centre a monkey playing with some fruit from an overturned basket4 ,ten ,pictures by ,m4 ,hondecoeter4--,melchior d' ,hondecoeter can be studied to great advantage in the ,rijks1 which owns several pictures of the first order3 ,the ,floating ,feather1 ,the ,philosophical ,magpie1 ,animals and ,plants1 ,the ,country ,house1 ,the ,duck ,pond1 ,the ,frightened ,hen1 ,the ,menagerie1 ,dead ,game1 and two of birds4 ,hondecoeter's ,father and ,grandfather4--,the great ,hondecoeter was a pupil of his father1 ,gijsbert d' ,hondecoeter 7#afjd-ec71 the pupil of his father ,gillis d' ,hondecoeter 7#aehc-afch71 a painter of portraits and landscapes in the manner of ,r4 ,savery and ,david ,vinck ,boons4 ,gijsbert followed his father's style of landscapes2 but he attained a great reputation for his birds1 and particularly his ducks4 ,both styles may be seen in the ,rijks3 ,a ,landscape with ,figures1 dated #afeb1 and ,aquatic ,birds1 dated #afea4 ,in the duck pond1 where ducks and pigeons are sporting1 is also a feather floating on the water1 for the artist was fond of repeating this little touch4 ,the ,philosophical ,magpie regards from a tree-trunk a dead heron1 a goose1 and ducks2 its pendant shows a living peacock near a large vase and a dead hare and pheasant4 ,dead ,game1 a small picture1 exhibits a dead partridge and a string of four little birds1 and the others represent parrots and other exotic birds1 flowers1 and plants1 and some monkeys4 ,the ,frightened ,hen is defending her chickens against the attack of a pea-hen4 ,the most famous of all1 however1 is ,the ,floating ,feather4 ,illustration3 ,m4 ,d',,hondecoeter ,the ,floating ,feather ,burger's ,criticism of ,the ,floating ,feather4--,to make a pilgrimage to ,amsterdam without admiring ,the ,floating ,feather1 would be committing the crime of lese-peinture4 ,hondecoeter has painted this most carefully and in his happiest vein4 ,in a park luxuriantly decorated with beautiful trees and springing fountains1 he has grouped strange and rare birds with domestic fowls4 ,on the left in the foreground may be recognized a pelican1 a crane1 a flamingo1 and a cassowary2 on the right are ducks and geese of various breeds2 a magpie cleaves the air with rapid wings2 and1 lastly1 a light feather floats on the surface of a quiet pool1 and this detail has given the picture its name4 ,dr4 ,bredius says3 ,the pelican on the left is particularly remarkable2 but the ducks do no less credit to this artist1 who has expressed with such penetration the life of the feathered world1 the movements of these creatures1 ,i should indeed say their expression2 and he has rendered their physiognomy and character with such profound truth that no other artist can approach ,hondecoeter in this respect4 ,the ,philosophical ,magpie1 the ,country ,house1 and1 better still1 the modest frame in which the artist1 putting aside for a moment his usual style1 has brought together lizards1 butterflies1 and sparrows amid shrubs and large-leaved plants1 are ,hondecoeters of the most admirable quality1 whether in frankness of detail1 or for the mastery of execution and accent of color4 ,asselijn's ,allegorical ,bird ,picture4--,the curious ,allegory of the ,vigilance of the ,grand ,pensionary ,john de ,witt by ,jan ,asselijn is a bird picture4 ,here a great white swan is defending her nest against the attack of a black dog swimming rapidly toward it4 ,beneath the swan is the ,dutch legend ,the ,grand ,pensionary2 on the eggs1 ,holland2 and under the dog1 ,the ,enemy of the ,state 7intended for ,england74 ,the feather lost by the bird is beautifully painted1 and has challenged comparison with ,hondecoeter's ,floating ,feather4 ,illustration3 ,,asselijn ,the ,swan ,eckhout4--,g4 van der ,eckhout 7#afba-gd7 has a ,huntsman with ,two ,greyhounds1 painted about #afgj4 ,the huntsman1 wearing a red vest1 is seated on the grayish earth4 ,the general tone of the picture is chocolate or chestnut4 ,jan ,vonck4--,jan ,vonck 7#afcj-871 another painter who devoted himself principally to still life1 especially dead birds1 sometimes was responsible for the birds in ,ruisdael's pictures4 ,his brush work is that of a master2 his color is strong and agreeable with a transparent touch4 ,the ,rijks owns one example1 ,dead ,birds4 ,jan ,weenix4--,jan ,weenix 7#afdj-agai7 was the pupil of his celebrated father during the latter's lifetime2 and later he studied still life under his uncle ,g4 ,hondecoeter1 ,elias ,vonck 7brother of ,jan71 and ,matthys ,bloem4 ,he surpassed his father in his pictures of dead game1 one of which hangs in this gallery4 ,his animals--swans1 hares1 and various birds1 arranged with flowers and fruits around sumptuous antique vases--are not so strong in character as those in ,hondecoeter's works2 but they are very true to nature and have the great charm of harmony and picturesqueness4 ,they richly deserve their original popularity which their wonderful finish and execution have preserved till the present day4 ,coninck a ,good ,animal-painter4--,david de ,coninck 7#afcf-hg71 who had many affinities with ,fyt1 also painted landscapes1 animals1 and birds4 ,he received the nickname ,ramelaer from his fondness for painting rabbits especially4 ,he was quite at home in hunting scenes1 two of which are in the ,rijks1--,the ,bear ,hunt and ,the ,stag ,hunt4 ,another painter of this period1 ,pieter ,jan ,ruijven 7#afea-agaf71 has a fine picture of a cock and hens4 ,bosch1 an ,early ,painter of ,flowers4--,one of the early ,dutch painters of flowers was ,l4 ,j4 van den ,bosch 78-#aeag71 who painted with a transparent color and a light touch4 ,he treated fruits1 flowers1 and insects with sympathy and truth4 ,he often represented flowers in vases2 his insects are so minute that they have to be examined with a magnifying glass4 ,delff's ,poultry ,seller4--,pictures of this school1 however1 do not abound in the ,dutch galleries till we come to the artists who lived a century later4 ,the first of these who appears in the ,rijks is ,cornelis ,jacobsz ,delff 7#aega-afdc71 a pupil of ,cornelis ,cornelisz4 ,delff was renowned for his pictures of still life4 ,he is represented in the ,rijks by ,the ,poultry ,seller4 ,other ,still-life ,painters in this ,gallery4--,other still-life painters born in the sixteenth century1 who are represented in this gallery1 are ,ambrosius ,bosschaert 7#aegj-871 ,pieter ,noort 7#aeib-afej71 ,pieter ,symonsz ,potter 7#aeig-afeb71 ,adriaen van ,utrecht 7#aeii-afeb71 and ,hans ,boulengier 7#afjj-de74 ,bosschaert has a picture1 ,flowers1 dated #afai4 ,he had a son of the same name who also painted flowers4 ,of ,pieter ,noort little is known beyond the fact that he painted still life1 and especially ,fish1 as in the two pictures here signed ,p4 van ,noort4 ,p4 ,s4 ,potter painted on glass and was the manager of a gilded leather establishment at ,amsterdam4 ,his model was ,hals4 ,besides portraits and landscapes1 his preference was for still life4 ,the ,straw ,cutter and ,still ,life 7signed and dated #afdf7 are worthy of attention4 ,two ,pictures by ,heem of ,utrecht4--,jan ,davidsz de ,heem 7#afjf-hd7 of ,utrecht was a son of ,david de ,heem1 so famous for his dejeuners spread with game1 oysters1 lobsters1 fruits1 wine1 china1 glass1 and silver4 ,jan inherited his father's tastes1 and much of his talent1 as is evidenced by two pictures in the ,rijks4 ,one shows flowers and fruits of natural size2 and the other represents a table on which are a cup1 a glass1 and a vase of wrought silver loaded with fruits4 ,greville on his ,style4--,at ,antwerp1 under ,seghers1 he enriched his palette and learned the art of composing a delicious harmony by setting flowers and fruits and glass and silver vases on an ,oriental table-cloth4 ,to the most minute exactitude and almost microscopic details1 he added the most brilliant coloring and an unfailing taste in the arrangement of his flowers and still life4 ,pieter de ,ring4--,a picture of a table covered with blue velvet and spread with lobsters1 oysters1 bread1 fruit1 etc41 is typical of the work of ,pieter de ,ring 7#afae-fj71 one of ,de ,heem's pupils1 a ,fleming1 who spent his whole life in ,holland1 and was noted for his picturesque arrangement and fine execution4 ,hans ,boulengier has a flower piece signed #afbe4 ,he painted still life1 genre1 and sometimes fantasmagories4 ,little is known about him4 ,still-life ,painters in the ,latter ,half of the ,seventeenth ,century4--,a generation later this school was in full blossom4 ,pictures of fruits1 flowers1 and dead game1 by artists who flourished in the second half of the seventeenth century1 are fairly plentiful4 ,abraham ,hendricksz van ,beyeren 7#afbj-gd7 painted with fine composition and strong color breakfast pictures in the style of ,david de ,heem1 and delighted in portraying fish as in the ,rijks example4 ,cornelis ,brise 7#afbb-g-7 painted portraits2 this gallery possesses one of his pictures of flowers1 signed ,c4 ,brise1 #affe4 ,on the wall beside it hangs another flower piece by the brush of ,elias van ,broeck 78-#agjh74 ,de ,snuffelaer4--,otto ,marseus van ,schrieck 7#afai-gh7 was nicknamed ,de ,snuffelaer 7the ferreter71 by the ,dutch art colony in ,rome1 because of his frequent country walks to discover new plants1 insects1 and reptiles as models for his compositions4 ,he painted with wonderful finish1 good drawing1 and truth to nature1 as may be seen in his ,insects1 ,lizards1 etc41 here signed ,o4 ,m4 ,v4 ,s4 ,jacob ,marrel 7#afad-ha7 has a flower piece signed and dated #afcd4 ,among other masters in ,utrecht1 ,frankfort1 ,brussels1 and ,antwerp1 he studied with ,j4 ,d4 de ,heem4 ,kalff1 a ,good ,painter and a ,brilliant ,talker4--,willem ,kalff 7#afbb-ic7 was the pupil of ,henry ,pot1 and as soon as he left the master he abandoned his manner1 choosing for his subjects vegetables1 fruits1 kitchen utensils1 and sometimes handsome vases4 ,houbraken says he spent whole days before a lemon1 a beautiful orange1 and the agate or mother-of-pearl handle of a dessert-knife2 and the vessels of ,holland never brought home a single shell1 the strange form and splendid colors of which he did not copy4 ,unlike many of the ,dutch painters of his day1 who spent most of their time in the tavern1 ,kalff was a man of charming and distinguished manner and a brilliant talker1 and he possessed a witty and cultivated mind4 ,his friends would spend the entire night listening to his conversation1 and when he died from an accidental fall from the bridge at ,bantem1 the poet ,willem van der ,hoeven wrote a eulogy in which he said that ,willem ,kalff knew how to paint golden vases and silver cups and all the treasures of opulence1 but no treasures could outweigh his merit1 for he had no equal in his line4 ,his ,favorite ,subjects4--,the kitchen with ,kalff became a heroic subject1 and over it he threw the most subtle effects of chiaroscuro1 throwing a gleam of light upon a well1 a scoured saucepan1 or a bunch of vegetables4 ,who is the hero or heroine of the scene8 ,a fine cauldron or saucepan or kettle shining with a thousand reflected lights that come through a window of thick glass or yellow paper4 ,an old cask stands by1 interesting us with all its details of decay1--its swollen staves1 its rusted hoops1 and the insects that lodge in the rotten wood4 ,a big nail1 an earthen pot1 a skimmer1 a few onions with their shining skins1 a broom1 a jug of water1 and a towel lying on a barrel1--with such simple things he makes a beautiful picture4 ,perhaps in the background the cook and her dog are discerned4 ,kalff never allows figures to become too prominent1 for he wishes his still life to catch and hold the spectator's interest4 ,the picture by this artist in the ,rijks has for its subject a silver vase1 of elegant form1 and a porcelain dish filled with oranges and lemons4 ,the objects are tastefully arranged and beautifully painted4 ,some other ,painters of ,animals and ,fruits4--,anthonie ,leemans 7#afcj-h-7 has also a characteristic picture of still life2 he was fond of painting dead birds4 ,another picture of dead birds is by ,willem ,g4 ,fergusson 7#afcb-i-71 a ,scotchman1 who hired a house at ,the ,hague in #affj1 and another in #affh2 he was living in ,amsterdam in #afha4 ,the picture is dated #affb4 ,a ,garland of ,fruits is signed ,j4 ,borman1 who flourished in ,leyden in #afeg and #afeh2 but about him little is known4 ,another notable canvas belonging to this school is ,animals1 ,insects1 and ,fruits1 by ,anthony van ,borssom 7#afbi-gg71 who was probably a pupil1 and certainly an admirer of ,rembrandt2 his tones are somewhat sombre1 but his drawing is vigorous and full of interest4 ,r4 van der ,burgh 7fl4 #afhj7 has a lifelike painting of ,sea ,fish2 and ,karel ,batist is a little-known flower-painter1 who worked in ,amsterdam in #afei2 his canvas is unusually large for this genre1 though the student will have noticed that most of the artists of this period liked to paint their flowers and fruits natural size4 ,pieter ,claes van ,haerlem 7d4 #affj7 has a small picture of still life which bears the false signature1 ,johan de ,heem1 #afdj2 and ,jan van ,kessel 7#afbf-gi7 has a much smaller one of ,fruits and ,insects4 ,another picture by the latter1 representing a woman seated at a table with fruits1 etc41 on it1 is falsely attributed to ,anna ,maria van ,schurman 7#afjg-gh71 who was called the marvel of her century4 ,her great reputation probably prompted some dealer to attempt the fraud4 ,none of the principal galleries of ,europe possesses any examples of her pictures1 insects1 etc41 so celebrated during her lifetime4 ,another picture of ,flowers1 dated #affg1 is by ,nicolaes ,lachtropius1 who was a famous ,dutch painter of coach panels during the second half of the seventeenth century4 ,a contemporary ,german painter1 ,ottomar ,elliger 7#afcc-gi71 also has a flower piece1 dated #afgd4 ,mignon1 a ,first-class ,flower-painter4--,abraham ,mignon 7#afdj-gi7 was a pupil of ,j4 ,d4 de ,heem4 ,he had as pupils in the same style1 two daughters and ,m4 ,s4 ,merian4 ,he belongs to the first rank of flower-painters4 ,peries says3 ,the qualities which distinguish the works of ,mignon are freshness1 delicacy of tone1 finish1 the splendor of the reflections1 and the perfect imitation of nature4 ,his flowers are selected with taste and he perfectly well understands the art of giving them their full value4 ,he equally excels in painting insects1 flies1 and butterflies1 and the dewdrops trembling on the leaves2 the velvety skin of his fruits invites the touch of the fingers4 ,his only fault is perhaps a dryness in his draughtsmanship4 ,some of his ,pictures4--,his masterpiece1 ,mignon au ,chat1 showing a ,persian cat upsetting a vase of flowers on a marble table1 is in the ,rijks4 ,another picture here is ,fruits1 representing a dish with grapes and pomegranates1 besides oysters and white bread4 ,in composition1 warmth1 harmony1 and truth to nature this belongs to his best work4 ,inferior to this is ,flowers1 where flowers appear in a vase1 and a cat and a mouse-trap are also represented4 ,still ,life and ,fruits shows a marble table1 on which are fruits and flowers1 a boiled lobster and an antique vase1 a picture that approaches his master ,jan de ,heem in harmony and softness of touch4 ,how ,jan van ,huysum became a ,great ,fruit and ,flower painter4--,jan van ,huysum was the son of a flower-painter who had turned his house into a sort of factory where everything contributing to the decoration of rooms and gardens could be found4 ,jan1 who was placed at the head of the enterprise1 grew tired of the business side and devoted himself to art1 especially the works of ,mignon1 ,verelst1 and ,david de ,heem4 ,he also closely studied nature1 and seeing a whole world unfold itself in the study of flowers alone1 he explored the furthest recesses of his domain2 birds1 butterflies1 beetles1 wasps1 bees1--he forgot none of the satellites of the flowers4 ,being also surrounded with examples of all the exterior and interior art decorations of the day1 he was able to copy the marble consoles that served as supports for his baskets1 the earthenware bowls and vases in which he kept his bouquets fresh1 and the bas-reliefs that set off the flowers in those vases1 and the mascarons and chimaeras that formed the handles4 ,it may be said of him as a ,french critic said of ,baptiste3 ,his beautiful flowers lacked only the perfume that they seemed to exhale4 ,reynolds must also have been thinking of ,huysum's effects when he said that ,rubens's pictures were bouquets of colors4 ,huysum's fruits have received some criticism3 some critics hold that he has given them the look of wax and the polish of ivory4 ,in this branch of his art1 he perhaps falls short of ,david de ,heem4 ,his peaches are too firm1 his plums not provocative of thirst1 and his grapes leave a little more ripeness1 gold1 and sun to be desired4 ,he succeeded better with red gooseberries and the cleft pomegranates with their pulp and seeds sparkling like rubies and delightful to the eye4 ,the ,rijks ,museum has five pictures by this master in which his qualities as a fruit and flower painter are fully displayed4 ,his ,landscapes4--,a small landscape is also here4 ,formerly ,huysum's landscapes were as highly prized and as costly as his flower pieces4 ,however1 his works in this field are echoes merely of ,guaspre1 ,glauber1 ,poussin1 and ,claude2 he lived in an age when the ,dutch again bowed down before foreign idols4 ,the familiar ,dutch pastures were now peopled with nymphs and demigods4 ,conrad ,roepel4--,conrad ,roepel 7#afgh-agdh7 was famous for his flowers1 fruits1 festoons1 garlands1 birds1 and insects4 ,he painted with much truth and good color4 ,he studied under ,c4 ,netscher2 but later he took ,huysum for his model4 ,the ,rijks has a picture of ,flowers and another of ,fruits by him1 both signed and dated #agba4 ,the ,van ,os ,family4--,jan van ,os 7#agdd-ahjh7 was greatly admired in his day as a painter of marines1 landscapes1 and more particularly flowers and fruits4 ,there is one of the latter here4 ,his son and pupil1 ,georgius ,jacobus ,johannes 7#aghb-ahfa71 was equally famous as a painter of flowers and game4 ,he is represented here by four pictures1 one of which is a landscape1 the animals of which are painted by his brother ,peter ,gerhardus 7#aggf-ahci74 ,the latter painted chiefly military and hunting scenes1 landscapes1 and animals4 ,nine canvases exhibit his qualities in this gallery4 ,his sister ,marie ,margrita van ,os 7#aghj-ahfb7 was1 like her brothers1 a pupil of ,jan van ,os2 she has a ,still ,life in the ,rijks4 ,eight of ,gerrit ,dou's ,pictures4--,gerrit ,dou is represented by eight works including the famous ,evening ,school which in #ahjh was sold for #ag1ejj florins4 ,the others are his own ,portrait2 the ,portrait of a ,man1 dated #afdf2 ,portraits of a ,gentleman and his ,wife1 in a landscape painted by ,nicholas ,berchem2 ,la ,curieuse1 a small oval picture of a girl with a lamp in her hand2 a ,hermit in ,prayer in a ,grotto2 a ,hermit1 dated #affd2 and ,a ,fisherwoman4 ,description of ,the ,evening ,school4--,the ,evening ,school is the most important of all ,dou's candle-light pictures4 ,the composition is very simple4 ,a looped curtain is lifted to reveal a room poorly furnished with benches and tables4 ,the schoolmaster1 who sits at a table with his arm on a small desk1 is hearing a girl spell1 and shaking his finger at a boy who is walking away4 ,this group is lighted by a candle that stands on the table near an hour-glass4 ,in the background a small group is seen at a table also lighted by a candle4 ,on the left of the teacher a boy is making calculations on a slate1 while a girl by his side looks on1 holding a lighted candle in her hand4 ,a fourth light--from a large lantern on the floor--adds another artificial light for the painter to treat4 ,this great work is painted on a panel #a foot #h inches high by #a foot #c inches long4 ,the ,fisherman's ,wife4--,the ,fisherman's ,wife1 painted in #afec1 shows an old woman in a black gown with yellow sleeves and a man's round hat4 ,she is holding a reel4 ,description of ,the ,hermit4--,the ,hermit is one of the most marvellously finished works of the master in his most minute style4 ,you can count the wrinkles and hairs of the old white-bearded man who holds a crucifix in his hands4 ,an open book1 an hour-glass1 a can1 and a basket 7for bread and wine or water7 and other accessories are painted in miniature2 on the right is seen the trunk of a tree1 and in the far distance are some arcades1 probably cloisters4 ,the tiny panel is only ten by eight inches4 ,schalcken1 ,imitator of ,dou and ,rembrandt4--,godfried ,schalcken was the pupil of ,hoogstraten1 and of ,dou1 whom he skilfully imitated4 ,the sight of some of ,rembrandt's pictures next led him to devote himself to the effects of light1 artificial light especially3 the majority of his pictures therefore are illuminated by lamp or candle light4 ,his most remarkable work is at ,amsterdam4 ,it is called ,young ,girl ,lighting a ,lantern4 ,at the ,revolution1 he accompanied ,william ,,iii4 to ,england1 and painted portraits of that king1 one of which1 signed with the artist's name and dated #afii1 is in ,the ,hague ,gallery4 ,among his best pictures is the ,boy ,eating an ,egg1 in the ,rijks ,museum4 ,his ,portrait of ,william ,,iii4--,the half-length portrait of ,william ,,iii4 in the same gallery1 in which there is a remarkable play of light1 shows that this master who delighted in the composition of small subjects borrowed from common life1 was equally capable of painting pictures of natural size4 ,schalcken's chief merit consists in the neatness of his finishing and the perfect intelligence of his chiaroscuro4 ,his touch is mellow1 but too fused1 and his color warm and golden4 ,his ,other ,pictures4--,the other pictures here are ,a ,young ,man ,smoking2 ,difference in ,taste1 in which two men are talking1 while another lights his pipe2 and two ,female ,portraits1 one of an ambassador's daughter1 and the other her companion4 ,slingelandt1 ,another ,imitator of ,dou4--,pieter ,cornelisz van ,slingelandt 7#afdj-ia7 is another pupil and a close imitator of ,dou2 and almost surpasses him in laborious execution4 ,he reached the limits of what can be done by a painter in oils4 ,all his work seems to have been done under the impression that imitation is the sole end of art4 ,his ,skill in ,delicately ,minute ,painting4--,naturally he excelled in still-life painting1 in which nothing was too minute for him to endeavor to reproduce on his canvas4 ,his brush indicates the weft of the most delicate tissues2 the coloring matter1 almost microscopically divided1 gives a tone to every stitch in a linen hood or cap1 or a knitted stocking4 ,on a panel of the smallest size you can sometimes distinguish the shadow1 half tone1 and high light of each of the pearls in a necklace2 sometimes also a cat's whiskers1 and even the hairs on the skin of a mouse4 ,sometimes a piece of lace is rendered with such labor that it took more time to paint than to make4 ,the consequence is that his pictures are very scarce3 not fifty are known4 ,his ,favorite ,subjects4--,though as a rule he preferred the luxury and elegance of high life1 with its marbles and richly carved furniture1 upholstery and tapestry1 jewels and laces1 silks and satins1 velvets and furs1 he also sometimes chose models of humble estate4 ,the ,rehearsal is a masterpiece in this class4 ,here a man is playing a violin while a boy is singing and a woman preparing dinner4 ,the other example of his art is quite in contrast with the above4 ,it is called ,the ,rich ,man1 and on it ,slingelandt has lavished all the resources of his brush4 ,blanc says3 ,he painted the merchant at his counter and the lacemaker at her distaff1 the housekeeper purchasing partridges or getting dinner ready1 and the woman of the people occupied in sewing beside the cradle in which her infant is sleeping4 ,from the richly furnished salon ,slingelandt descended to the scullery and took pleasure in looking at the rows of shining pots and pans1 and other kitchen utensils4 ,he observed the correct tone of the servant's apron as well as that of the silken skirt he had painted in her mistress's portrait4 ,he devoted as much attention to imitating the polish of a brass vase or the rough varnish of an earthenware pot1 as to expressing the transparency of a ,bohemian glass4 ,cats and mice were also honored with his precious painting1 as well as parrots and spaniels4 ,but what he rendered with most love and with unequalled truth was the musical instrument4 ,his violins are light1 and sonorous2 his violoncellos provoke the virtuoso and enchant the ear almost as much as the eye4 ,one would say that nothing escaped his observation1 nothing of what constituted private and family life1 that which he himself lived in obscurity1 the simplicity and joys of which he painted with so much application1 finish1 and patience4 ,adriaen de ,vois4--,arie 7or ,adriaen7 de ,vois 7about #afcj-hj7 studied first under ,nicholas ,knupfer in ,utrecht1 next with ,abraham van den ,tempel1 and lastly with ,pieter van ,slingelandt1 whose highly finished style he followed with great success4 ,he painted charming scenes of familiar life1 lovely portraits1 interiors1 and even landscapes1 in which he introduced1 in the style of ,poelenburg1 tiny nude figures4 ,the ,dutch collectors have always prized them for the delicacy of their color and touch and vivacity4 ,illustration3 ,a4 ,,de ,,vois ,lady and ,parrot ,description of ,the ,lady with a ,parrot4--,in his ,lady with a ,parrot1 the lady is rather ,french in type1 and dressed in the most fashionable style of the period4 ,her earrings are wonderfully painted and perhaps even more realistic are the fruits in the basket which she holds on her knee1 and from which she offers her parrot a tempting treat4 ,every detail of this picture is perfect in treatment--the dress1 the hair1 the face1 the jewels1 the still life1 and the brilliant feathers of the bird4 ,his ,other ,pictures in the ,rijks4--,in addition to this beautiful picture the ,rijks also owns ,the ,fisherman ,smoking1 a little oval panel2 ,a ,violin ,player1 who holds a wineglass2 and ,the ,fish-,vender1 a jolly old fisherman with a glass of beer in his hand4 ,seven ,pictures by ,brekelenkam4--,quieringh ,gerritsz van ,brekelenkam 78-#affh7 was a pupil of ,gerrit ,dou2 and his own manner was a mixture of ,dou and ,rembrandt4 ,he settled in ,leyden in #afdh4 ,his works1 representing1 as a rule1 interiors1 with figures noted for the natural expression of their heads1 are highly esteemed4 ,his touch is light and spirited1 and he understands the art of chiaroscuro4 ,the ,rijks owns seven pictures3 ,two ,interiors1 ,the ,fireside 7#affd71 ,the ,mouse ,trap 7#affj71 ,confidences 7#affa71 ,reading1 and ,a ,mother and ,child4 ,the latter is a little oval panel1 in which a woman in a red skirt and black jacket is giving some porridge to her child4 ,one of the ,interiors1 representing ,a ,tailor's ,shop1 is one of his best works4 ,the tailor1 with long hair and fur cap1 is seated at a work-table on the right2 he is talking to a woman who is carrying a tin bucket4 ,on the right1 near the window1 you see the back of a young workman4 ,in the background hangs a picture1 and there are some clothes on a board4 ,the work is somewhat in the style of ,pieter de ,hooch4 ,his ,poverty of ,imagination4--,brekelenkam has been accused of poverty of imagination because of the paucity of figures in his compositions2 and yet some of the most beautiful and famous pictures of the ,little ,masters consist of single figures1 such as a woman sitting spinning4 ,one critic complains3 ,notwithstanding his ability 7his method is preferable to ,dou's2 his painting is more unctuous1 warmer1 and freer1 being finely accented with lifelike touches on the various utensils or accessories of his interiors71 it seems that this painter was not endowed with a very fertile imagination4 ,he has a very slight taste for difficult subjects1 and carefully avoids complicated compositions2 most often1 indeed1 a single personage suffices him for a picture4 ,a smoker lighting his pipe1 an old woman sitting in the chimney corner1 a philosopher turning over the leaves of a folio volume1 the interior of a farm1 or a kitchen1--these are ,brekelenkam's ordinary motives4 ,but feeling and intellect give relief to these vulgar themes1 and render the delicate works of this too-little-known painter precious to art-lovers4 ,the student will be able to judge from the pictures in the ,rijks whether or no the artist deserves more or less than this half-hearted praise4 ,ter ,borch's ,famous ,paternal ,advice4--,ter ,borch1 as we have seen by ,the ,message or ,despatch in the ,mauritshuis1 was fond of painting pictures with some slight dramatic connection4 ,here we find the very famous ,paternal ,advice1 also called ,the ,paternal ,reproof1 but better known as ,the ,satin ,dress 7,robe de ,satin74 ,a young lady is standing with her back to the spectator4 ,she wears a black cape and a white satin dress1 and her hair is blond4 ,the table-cloth1 bed curtains1 and other hangings are red4 ,on the table at the left are a silver candlestick1 two combs1 and a pink string1 and a mirror or perhaps a picture in a frame4 ,on the right is seated a rather young man with long hair1 and richly and somewhat extravagantly dressed in lilac and gray4 ,in one hand he holds a large hat trimmed with three immense blue and lemon-colored plumes4 ,his sword is by his side1 and behind him in the shadows stands his greyhound4 ,his left hand is raised with some gesture1 probably of admiration1 as his face is smiling4 ,the old woman at his side is interested solely in her glass1 through which half of her face is seen as she is drinking4 ,it was ,goethe who bestowed the name ,paternal ,advice upon this picture1 the story of which is not yet known2 but although critics have accepted fatherly admonition as the theme1 the relative ages of the characters do not justify the theory4 ,blanc's ,critique of the ,picture4--,blanc is one who does not question this4 ,he exclaims3 ,truly this dress is perfect3 it is so close to the eye and within reach of the hand that it engrosses the entire attention of the spectator4 ,one would say that the young girl1 so gently reprimanded by her father1 has come there merely for the sake of showing her dress2 and1 indeed1 the painter has dwelt on this detail with the greatest affection1 and1 moreover1 has hidden the face of the young girl1 and shown us only the back of her head with its blond coil and the escaping tresses1 in which are mingled some black velvet1 which relieves the ash-colored tone of the hair4 ,what a singular thing6 ,a frightful sacrifice of a woman's head to a robe of satin1 the unheard-of triumph of an accessory--a charming infraction against all the principles of art--we might call it a colossal fault--but a privilege only allowed to great artists4 ,the painter has by this aroused our curiosity regarding the face of the young girl1 who has turned away her head1 and so we have to imagine her blushing cheeks and her lowered eyelids4 ,as for the father1 he is remonstrating with her so tenderly1 with such a gentle gesture and so paternal a manner that we are not disturbed by it1 and can therefore fix our glance on the magnificent satin dress1 the folds of which are so beautifully broken by the light1 and in which all the interest of the picture is concentrated4 ,but what an inexplicable attitude is that of the mother1 who is slowly drinking a glass of fine wine1 while her husband lectures their daughter4 ,other ,pictures by ,ter ,borch in the ,rijks4--,the ,rijks owns a ,portrait of ,ter ,borch1 painted by himself1 and one of his wife1 ,geertruida ,matthyssen2 a copy of ,the ,peace of ,munster 7original in the ,national ,gallery71 and a copy of his ,boy and a ,dog1 also known as ,the ,scholar4 ,description of ,the ,scholar4--,the latter shows a table covered with an old gray carpet1 on which is a copy-book and an inkstand4 ,the scholar1 who instead of writing his exercise is busy catching fleas on the dog1 which he holds between his knees1 wears a violet coat and blue stockings1 and his gray hat lies on a little wooden bench before him4 ,the whole is of a neutral color1 but very clear4 ,seven ,pictures by ,adriaen van ,ostade4--,adriaen van ,ostade has seven pictures on these walls3 ,an ,artist's ,studio1 ,travellers' ,halt 7#afga71 ,the ,charlatan 7#afdh71 ,the ,baker1 ,the ,merry ,peasant1 ,the ,intimate ,company 7#afdb71 ,confidences 7#afdb74 ,his ,artist's ,studio4--,an ,artist's ,studio1 of which there is a replica dated #afff in the ,dresden ,gallery1 shows a painter sitting at an easel with his back to the spectator2 he wears a violet coat and a red cap4 ,the other features of the composition are a black dog asleep1 an assistant grinding colors in a corner1 and a pupil preparing a palette4 ,the artist is supposed to be ,ostade himself in both instances2 but for some reason his face is half hidden4 ,the play of light and shadow in the apartment is noticeably ,rembrandtesque in character4 ,a ,tavern ,interior4--,there are two tavern interiors here4 ,in one 7dated #affa7 five peasants are grouped in the foreground4 ,before a large chimney stands a man in a blue vest and gray hat1 holding a mug in his hand2 opposite is a man in a blue mantle and a white hat1 who is filling his pipe2 in the chimney corner an old man is dreaming2 and to his right an old woman is listening to what a man in a furred cap1 with a pipe in his hand1 is saying to the man before the fire4 ,on the extreme right a little girl1 on a wooden stool before a rustic table1 is eating her soup and amusing herself with a little black-and-white dog4 ,in the background1 near the open window1 five men are grouped around a table1 smoking1 drinking1 and talking4 ,the lights on the separate groups from the back and side windows are ably managed4 ,ostade's ,best ,period4--,the ,charlatan1 dated #afdh1 belongs to the master's best period1 when he painted such gems as ,the ,barn1 ,the ,family1 and ,the ,father of the ,family4 ,the ,intimate ,company1 signed #afdb1 is in the ,van der ,hoop ,collection1 as is also a rustic interior1 ,societe de campagnards1 signed #affa4 ,the latter has passed through the ,lormier1 ,choiseul1 ,du ,barry1 ,tolozon1 and ,duchesse de ,berry collections4 ,some of his ,pupils4--,among ,adriaen's many pupils may be mentioned ,cornelis ,dusart1 ,cornelis ,bega1 ,michiel van ,musscher1 ,r4 ,brakenburgh1 and ,jan de ,groot4 ,they all followed his style more or less closely4 ,when ,jan ,steen visited ,haarlem he also fell under his influence4 ,isaak van ,ostade4--,isaak van ,ostade 7#afba-di7 has two rustic inns1 one signed and dated #afdc1 that are typical of his style4 ,in his early work he imitated his brother and teacher with some success1 both in subject and treatment1 especially wayside hostelries4 ,his pictures1 however1 are browner in tone and harder in execution than ,adriaen's4 ,in one picture here we see two travellers with a white horse halting in front of an inn4 ,the composition is delightful and full of nature and spirit4 ,c4 ,dusart1 ,better in some ,respects than his ,master4--,cornelis ,dusart 7#affj-agjd7 adopted his master's 7,ostade7 style without servile imitation4 ,he was a minute observer of details and had an astonishing memory that enabled him to use them to the best advantage in his interiors4 ,his choice and treatment of scenes were rather more distinguished and less vulgar than some of his master's4 ,his later pictures are inferior to his early ones3 they lack spontaneity of conception1 and that freshness and simplicity of impression that mark so many of his works4 ,five striking pictures worthily represent his abilities1--,wandering ,musicians1 ,the ,fish ,market 7#afhc71 ,the ,village ,kermesse1 ,a ,village ,inn1 and ,maternal ,happiness4 ,cornelis ,bega4--,cornelis ,bega 7#afbj-fd71 another pupil of ,adriaen van ,ostade1 copied and improved upon him4 ,a ,concert of ,peasants is full of color1 light1 movement1 life1 and gayety1 with music1 singing1 and dancing4 ,it is warmer in color than most of his works4 ,the ,grace before the ,meal 7#affc7 shows a young woman with folded hands seated at the table1 and on the other side an old man4 ,on the window-sill is a flower-pot2 in front1 on the floor1 a foot-warmer4 ,this is a good picture1 but a little too red in tone1 as often happens with ,bega4 ,m4 van ,musscher's ,lack of ,originality4--,michiel van ,musscher 7#afde-agje7 was completely lacking in individuality3 he simply mirrored his successive masters1 ,martin ,zaagmorlen1 ,abraham van den ,tempel1 ,gabriel ,metsu1 and ,adriaen van ,ostade4 ,not only that1 but he sometimes painted also in the style of ,jan ,steen1 and even imitated the marvellous chiaroscuro of ,pieter de ,hooch4 ,sometimes also in subject and treatment his work resembles that of ,netscher and ,albert ,cuijp4 ,he has five portraits here1 but is not represented by an example of his many interiors1 feasts1 or scenes of peasant or genteel life4 ,brakenburgh1 a ,clever ,colorist4--,richard ,brakenburgh 7#afej-agjb71 a pupil of ,a4 van ,ostade1 ,hendrick ,mommers1 and probably ,jan ,steen1 whom he imitated1 lived in ,haarlem4 ,he also studied with ,b4 ,schendel1 and became a clever painter and very able in the management of chiaroscuro4 ,he is fond of merrymakings1 drunken assemblies1 doctors' visits1 and children's feasts4 ,he sometimes painted the figures in the landscapes of ,p4 de ,koninck and others4 ,in his best works1 some competent critics consider him worthy to rank with ,ostade in the brilliance of his color1 although it is always inferior in transparency4 ,in form and modelling his subjects suffer by comparison with those of his master4 ,the ,rijks owns a jovial tavern scene1 and ,the ,feast of ,st4 ,nicholas1 signed and dated #affe1 which the student will be interested in comparing with ,jan ,steen's treatment of the same subject4 ,several ,periods in the ,career of ,d4 ,teniers the ,younger4--,david ,teniers the ,younger 7#afaj-ij7 has seven pictures here that illustrate his various styles4 ,as with most other artists who reached old age1 critics recognize several periods in the career of ,teniers4 ,at first1 his figures1 from twelve to eighteen inches high1 are broadly painted in brownish and somewhat heavy tones4 ,toward #afdj his color becomes clearer and more luminous and golden4 ,from #afdj to #affj it assumes silvery tones of admirable lightness and limpidity2 and1 at the same time1 his execution grows more careful and precise4 ,the pictures of this last period are held in highest esteem4 ,after that ,teniers returned to a gamut of golden tones1 in which he sometimes displayed great power4 ,at the close of his life he became heavy and brownish in tone1 and his touch lost some of its clearness4 ,not many of his pictures are dated4 ,the earliest known date is #afda1 on ,our ,corps de ,garde1 a medium-sized picture of no special interest1 in which we note numerous military attributes4 ,this is far inferior to a similar picture1 now in ,st4 ,petersburg1 painted two years later4 ,his ,relish for ,pictures of the ,supernatural4--,the ,temptation of ,st4 ,anthony is one of many pictures he painted in his relish for the class of subjects painted two centuries earlier by ,jerome ,bosch--,dives in ,hell1 incantations1 witches1 phantasmagoria1 etc4--for the simple purpose of assembling the most hideous and grotesque apparitions imaginable4 ,his ,pictures of other ,kinds4--,the other pictures here are devoted to his villagers1 drinking1 playing bowls1 dancing1 singing1 and fighting4 ,a ,landscape1 with a rustic house1 shows a gardener standing1 spade in hand1 talking to a woman with a child on her lap4 ,on the left1 on the ground1 are some vegetables1 also pots and other household utensils4 ,peter ,balten4--,peter ,balten 7fl4 #aedj-ga7 is represented by a large picture1 ,st4 ,martin's ,fair4 ,his figures are full of spirit1 and his touch is sure4 ,little is known of him except that he was one of the greatest wits of his day4 ,he studied under ,pierre ,brueghel1 whom he resembles in style4 ,b4 van ,bassen4--,a contemporary of his was ,bartholomeus van ,bassen 7d4 #afeb71 who has a fine ,interior with figures supplied by ,esais van de ,velde4 ,his specialty was portraits1 with studies of perspective1 and church and other interiors4 ,three ,pictures by ,hendrick ,bloemaert4--,hendrick ,bloemaert 7#afja-gb7 was probably the son of ,abraham4 ,the ,rijks has three of his pictures1 signed and dated3 ,winter 7#afca71 ,portrait of ,johannes ,puttkamer 7#afga71 and ,the ,eggseller 7#afcb74 ,the latter is in the ,van der ,hoop ,room4 ,three ,popular ,artists4--,jan van der ,meer the ,younger 7#afef-agje7 is represented by a charming picture1 ,the ,sleeping ,shepherd1 dated #afgh4 ,frans van ,mieris the ,elder is represented by ,the ,letter1 ,the ,lute ,player1 ,jacob's ,dream1 ,the ,lost ,bird1 and ,fragility4 ,his son1 ,willem van ,mieris1 is represented by ,the ,poulterer 7#agcc71 ,a ,landscape with ,shepherds and ,shepherdesses 7#agbb71 and a ,lady and a ,gentleman4 ,illustration3 ,f4 ,,van ,,mieris ,grocer's ,shop ,the ,grocer's ,shop by ,f4 van ,mieris the ,younger4--,willem's son and pupil1 ,frans van ,mieris the ,younger 7#afhi-agfc71 who carried on the family traditions in ,leyden1 although somewhat inferior to his father and grandfather1 is represented by ,a ,hermit 7#agba71 ,a ,chemist's ,shop 7#agad71 and ,the ,grocer's ,shop 7#agae74 ,this latter picture presents an interesting scene of the day4 ,note the beautiful painting of the sculptured bas-relief of the counter1 at which stand the purchasers--an old woman and a child4 ,the shopkeeper holds scales and two baskets1 about the contents of which there seems to be some contention4 ,in the shop there is a larder1 on the shelves of which various articles are seen2 baskets hang on the wall2 and tubs1 barrels1 and casks are also visible4 ,over the shop has grown a grape-vine1 and its graceful festoons of leaves make a beautiful effect4 ,several of ,karel ,dujardin's ,pictures4--,karel ,dujardin may also be studied by his ,portrait of a ,man2 ,portrait of ,gerard ,reinst1 a celebrated art collector of ,amsterdam and also a patron of the painter2 ,the ,muleteers2 ,the ,laborer on his ,farm 7#afee71 in which a peasant is seen winnowing corn2 ,a ,trumpeter on ,horseback2 a ,portrait of ,himself 7#affj72 an ,italian ,landscape with ,animals2 and a ,landscape1 which was purchased at the ,duchesse de ,berry's sale in #ahcg for #d1jjj florins4 ,burger on ,a ,woman ,reading4--,again the sphinx6 ,here we have an interior with a woman standing in profile to the left4 ,she is reading a letter2 she wears a light blue jacket and a grayish-blue skirt4 ,before her are a table and a chair with a blue back4 ,behind her is another blue chair4 ,decidedly ,van der ,meer has an affection for the blue sky4 ,the wall of the background is a pale moonlight blue1 and the woman's figure stands out against a geographical map a little tinted with bistre1 which hangs on the wall4 ,the execution of this picture is very delicate1 indeed almost trivial3 the paint is laid on very lightly1 the color is weak and even a little dry4 ,it is true that this picture is a little rubbed4 ,on the contrary1 ,van de ,meer's touch was frank and the pate grasse abundant1 even somewhat exaggerated in the ,view of ,delft at ,the ,hague2 there is an incomparable firmness of design and modelling in ,the ,milkmaid in the ,six ,gallery2 and in the ,facade of a ,dutch ,house in the same gallery1 the color is extremely warm and harmonious4 ,these differences of practice make us hesitate for a time regarding the parentage of ,the ,woman ,reading in the ,van der ,hoop ,collection4 ,however1 the physiognomy of this woman is of an exquisite delicacy2 her bare arms and the hand that holds the paper are marvellously drawn4444 ,this pale light and these delicate blues betray ,van der ,meer4 ,this artist probably had several styles4 ,this picture is signed3 an open book on the table bears the word ,meer4 ,van der ,meer's ,later ,style4--,in later pieces his style is reminiscent of ,de ,hooch and ,metsu1 but it is brighter and the tone more enamelled4 ,in most instances the scene is in a small room lighted by a casement window4 ,sometimes the painter himself is seated in a studio2 sometimes a girl and her lover are together2 sometimes a woman is seated at the clavecin4 ,the ,milkmaid in the ,six ,collection is noted for its brilliancy of tone1 harmonious distribution of tints1 delicacy of gradations1 and solidity of touch4 ,his ,portrait-painting4--,van der ,meer was also a splendid portrait-painter and excelled in landscapes1 in which he sacrificed figures to trees1 cottages1 and lanes4 ,there is a charming little picture of this class in the ,six ,collection1 representing a row of brick houses with people1 in the style of ,pieter de ,hooch4 ,it is said that he was killed by the fall of his house at the time when ,simon ,decker1 a vestryman of the ,delft ,church1 was sitting to him for his portrait4 ,pieter de ,hooch 7#afce-gh74--,this master who was so long neglected and is now regarded as at least the equal of ,ter ,borch1 ,metsu1 and ,van ,mieris1 is well represented in the ,rijks1 though absent from ,the ,hague ,gallery4 ,his talent is exhibited chiefly in his ,conversations4 ,burger says he has never seen a single picture by ,de ,hooch that is not of the first rank4 ,burger on ,de ,hooch's ,choice of ,subjects4--,sometimes he paints interiors--people are playing at cards1 or having a family concert1 or reading1 or drinking1 or conversing4 ,sometimes he paints exteriors2 then the painter introduces us to domestic occupations1 and the innocent recreations of private life1 as1 for instance1 a servant washing linen in a back yard1 or cleaning fish1 or plucking a fowl2 or perhaps there are ladies and their cavaliers playing at bowls in a garden with trim gravelled walks4 ,his ,excellent ,painting of ,interiors4--,when he paints interiors1 this artist rarely neglects to show1 on the right or left1 doors opening on a staircase or revealing a leafy alley1 or the trees along a quay1 so that his pictures almost always seem to be the antechamber of another picture4 ,in this characteristic style of ,de ,hooch1 when the interior of the apartment is moderately lighted1 the sun shines outside1 and we feel its heat and brilliance in the vistas gradually lost to view in the background1 so inimitably managed in the artist's manner4444 ,pieter de ,hooch seems to have been in ,rembrandt's secrets1 and knew how to adapt the genius of that great master to familiar scenes1 just as ,gonzales ,coques had adapted the genius of ,rubens4 ,illustration3 ,p4 ,,de ,,hooch ,the ,country ,house ,seven ,fine ,examples of his ,work in the ,rijks4--,the ,rijks ,museum owns seven fine examples of this master's work4 ,the ,portrait of a ,man is said to be that of the painter at the age of nineteen2 but this is doubtful4 ,one of the most celebrated interiors shows a woman about to let a child drink from a jug of beer at the entrance to a cellar4 ,this picture is very attractive for the simple attitudes1 and for the depth of the equally sustained warm harmony4 ,the execution1 says ,crowe1 is a model of softness and juiciness4 ,the most glowing example1 however1 of this warm lighting is a woman cleaning the hair of a child1 in the ,van der ,hoop ,room4 ,the woman wears a skirt of deep blue and a bodice of red1 bordered with white fur1 while the child has a skirt of green and a gray bodice4 ,behind them is an alcove bed with green curtains1 and to the right1 in the foreground1 a little chair4 ,an open door on the left allows you to see into another room with a passage and courtyard beyond4 ,a little black dog seen from behind lies on the reddish tiles4 ,the picture is beautiful in its treatment of three successive planes of light4 ,another picture in the same collection represents apparently a pair of lovers who seem to be teasing each other4 ,the lady seen in profile is squeezing a lemon into a glass1 and the young man sitting opposite with his elbow on the table looks at her with a subtle smile4 ,the costumes are elegant--the lady wears a straw-colored skirt and a rose-colored jacket4 ,the man has on a garnet-colored doublet1 scarlet knee-breeches1 and white stockings4 ,he is bareheaded and wears a wig4 ,if it were not for the pipe in his hand he would remind you of ,moliere's gentlemen4 ,they are sitting in a kind of courtyard of a house with a red-tiled roof1 and a window with red shutters is also visible4 ,at the door of the house a woman is standing with a glass in her hand4 ,a servant is busy with a kettle by the window4 ,on the right there is an opening into a clump of trees1 suggesting a park1 and to the left another enclosure4 ,one of the most beautiful pictures in the collection1 a marvel very difficult to describe because its superlative value lies in its luminous effect1 is thus described3 ,a ,picture ,highly valued for its ,luminous ,effect4--,we are in a room1 the door of which1 in the background on the left1 opens onto the quay of a canal4 ,a girl passes along the path2 next we see a tree1 a stretch of the canal1 and on the opposite bank another street1 flooded with sunlight1 in which two cloaked men have halted in front of a house4 ,above the door1 which is slightly arched1 is a large window with small panes in four compartments1 one of which is open4 ,under the light falling from the window1 in the corner of the room1 a girl in a blue bodice and white apron is seated1 with her head turned toward a youth who is entering through on the extreme right in the foreground4 ,in one hand he holds his hat1 and presents a letter with the other4#bf ,a ,pleasing ,sunlight ,effect4--,another picture shows a sunlight effect1 in which both ,de ,hooch and ,vermeer of ,delft delighted4 ,there is a window on the left1 above a table covered with a ,turkey-red table-cloth1 which is silhouetted brightly on the lower part of the opposite wall1 close to a chimney piece4 ,a servant is sweeping in front of the latter4 ,another woman1 almost full-face1 is seated1 holding a baby in a yellow frock1 with a child's cradle beside her4 ,she wears a blue velvet jacket and red skirt4 ,behind her a door opens into a courtyard1 and gives us a glimpse of the town4 ,the rest of the background consists of a gray wall1 on which hangs a picture4 ,there is also a picture over the fireplace4 ,the ,sick ,lady4--,very similar to the pictures by ,jan ,steen and ,metsu is ,hooghstraten's ,the ,sick ,lady1 who1 very pale and with drooping head1 sits by a table on which her left elbow rests4 ,on the red cloth1 which is covered with a piece of white linen1 stand a pot and a phial4 ,she wears a white cap1 a yellow jacket bordered with ermine1 a ,persian-blue skirt1 and a white apron4 ,her hands are clasped at her waist1 and her feet rest on a foot-warmer4 ,behind the table stands the doctor in his conventional costume of black4 ,the bed1 draped with green curtains1 is seen in the background1 where1 to the left1 a short flight of stairs leads to a series of rooms opening one into another in the style of ,pieter de ,hooch4 ,the figures1 about a foot high1 are very finely drawn4 ,burger says3 ,the general harmony of color is strange1 distinguished1 and original4 ,there are tones of straw-color1 tones of pearl-color1 and silvery tones1 happily brought together1 a clever distribution of light1 and lightness in the shadows4 ,jan ,steen's ,style patterned after ,hals and ,a4 van ,ostade4--,jan ,steen shows the influence of his models1 ,hals and ,adriaen van ,ostade1 in several of the seventeen pictures of this artist owned by the ,rijks ,museum4 ,his own portrait and those in the ,oostwaard picture 7dated #afei7 are strong1 bright1 and clear with the qualities he admired in ,hals4 ,the other pictures are all distinguished by correct drawing1 admirable freedom and spirit of touch1 and clear and transparent color4 ,they range in subject from the stately interiors of grave and opulent burghers to tavern scenes of jollity and debauch4 ,some of the ,seventeen of his ,pictures owned by the ,rijks4--,there are two pictures of the charlatan who puffs his pills1 draws teeth1 and sells everything helpful to those sick in body or in mind1 from a love-philtre to the ,elixir of ,life4 ,here1 also1 we see doctors and patients1 card-parties1 marriage-feasts1 and the festivals of ,st4 ,nicholas and ,twelfth ,night4 ,his delightful rendering of children is also fully exemplified here4 ,in detail1 the pictures are as follows3 ,a ,portrait of ,himself1 showing a rather handsome man with oval face1 arched brows1 and well-cut mouth2 ,a ,charlatan ,selling his ,wares1 in which the chief figure is standing on a platform beneath the shade of a tree1 while around him are many little figures variously grouped1 forming comic episodes2 ,the ,baker ,oostwaard with his ,wife and a ,son of the ,painter 7#afei74 ,the baker is arranging his wares1 and the little boy is blowing on a horn4 ,the ,scullion represents a woman scouring a pewter pot4 ,she is in a kitchen1 and wears a white jacket and a blue skirt4 ,on the table by which she stands are utensils and a lantern4 ,illustration3 ,,jan ,,steen ,the ,parrot ,cage ,description of ,the ,parrot ,cage4--,the ,parrot ,cage is a domestic scene1 in what appears to be a tavern or a middle-class hall1 in which there is a bed1 a chair1 and a table1 at which two men are playing backgammon1 while a third looks on smoking a pipe4 ,at the big fireplace an old woman is broiling oysters1 which are likely to spoil1 as she is taking more interest in the backgammon than in her own task4 ,a boy seated on a low stool is feeding a kitten with milk from a spoon1 and watching a woman of graceful figure who is offering a biscuit to a parrot in a cage4 ,the ,orgy is famous for the dash and abandon with which it is painted4 ,the ,village ,wedding and ,other ,pictures4--,the ,rijks owns also ,the ,birthday of the ,prince of ,orange1 ,the ,happy ,return1 ,the ,rake1 ,the ,dancing ,lesson1 in which merry children are teaching a cat to dance2 ,the ,village ,wedding1 a little masterpiece1 in which the light is treated as if by ,ostade1 and where the bride and groom are seated at a table with friends1 while musicians play for many dancers4 ,description of ,the ,happy ,family4--,in ,the ,happy ,family we see a simply furnished room1 in which is a bed1 and next it a cupboard1 on the top of which stand a mortar1 some platters1 and a vase of flowers2 a happy family group is seated at a table4 ,hanging on the bed curtains is the legend in ,dutch1 ,as the old ones sing so will the young ones pipe4 ,this is the keynote of the picture4 ,every one is singing1 piping1 and making merry4 ,their gaiety is infectious4 ,the father1 seated at the end of the table1 has a viola in one hand1 while the right holds a glass of wine4 ,next him stands a boy playing bagpipes4 ,then the grandmother1 singing1 with a jolly expression on her face2 next1 the merry mother1 with a merry baby1 the image of her2 next1 a boy with a flute1 another with a pipe2 next1 a girl about to smoke a pipe1 in front two children1 and at the open window a boy with a pipe4 ,a dog stands by the master1 near an empty platter1 that shows he too has shared in the feast4 ,there is a handsome table-carpet on the table1 protected by a napkin1 and on it a ham and a loaf of bread4 ,illustration3 ,,jan ,,steen ,the ,happy ,family ,a ,family ,scene on ,twelfth ,night4--,nearly all the same persons1 only grown older1 appear in ,a ,family ,scene on ,twelfth ,night3 ,margarita van ,goyen1 ,steen's wife1 seen this time from behind1 with her profile upturned1 and wearing a red skirt and a blue jacket trimmed with ermine1 and ten other figures1 including the old father and the painter himself1 who are smoking in the background4 ,delicious in color and vivacity6 is ,burger's comment4 ,a ,doubtful ,picture of ,steen and his ,wife4--,the ,couple ,drinking is said to be ,steen and his wife4 ,the latter with a white handkerchief on her head1 a dark blue jacket1 red skirt1 and white apron is drinking from a tall glass4 ,the man in black behind her and talking to her is about to drink from a mug4 ,the ages of the couple make it doubtful if the painter and his wife are represented4 ,the ,young ,lady who is ,ill4--,the ,young ,lady who is ,ill1 seated languidly in a red arm-chair1 with her head on a pillow1 may be compared with similar pictures in ,the ,hague ,gallery4 ,she wears a yellow silk skirt1 and a jacket of lilac velvet bordered with ermine4 ,the doctor is one of ,steen's best creations of this type4 ,steen's ,most ,popular ,picture4--,the most popular of all ,steen's pictures1 however1 is the ,eve of ,st4 ,nicholas1 which shows a room in ,jan ,steen's house1 and himself1 his first wife1 and their children4 ,beside the chimney sits the mother in lilac skirt and green velvet jacket bordered with ermine1 and on her left is a low table1 on which is a variety of cakes1 fruits1 and other holiday sweets4 ,in the background sits the father1 who is enjoying the scene4 ,seven children are present4 ,the oldest1 holding a baby with a rag doll in its arms1 is pointing up the chimney1 explaining to the open-mouthed and staring little boy at his side whence ,st4 ,nicholas came4 ,on the extreme left a boy is crying because all that ,st4 ,nicholas has rewarded him with is a birch rod1 which his sister is presenting to him in his wooden shoe1 and with evident pleasure4 ,a little boy1 with his father's cane in his hand1 is enjoying his brother's disappointment and probable future punishment4 ,in the background1 the grandmother1 drawing the curtains of the bed and tauntingly beckoning to the crying boy1 seems to invite him to spend his ,st4 ,nicholas festival in bed4 ,in the very centre of the picture is the pet of the family--a little girl1 the very image of her mother4 ,she has a pail full of toys1 fruits1 and cakes on one arm1 and in her tiny hands she holds the figure of ,st4 ,nicholas1 whose head is surrounded with a nimbus4 ,illustration3 ,,jan ,,steen ,eve of ,st4 ,nicholas ,a basket of wafers1 cakes1 waffles1 buns1 crullers1 etc41 stands on the floor on the left2 and leaning against the little table on the right is an enormous flat loaf of bread or cake iced in lines and decorated with figures of the cock at the four corners and in the centre that of ,st4 ,nicholas4 ,early and ,later ,styles of ,jan ,miense ,molenaer4--,jan ,miense ,molenaer 7#afaj-fh7 was either a pupil or a very skilful imitator of ,jan ,steen in his early works1 which are painted in strong1 clear color with bold execution4 ,about #afej1 however1 he adopted a brown tone with a light and transparent execution1 and concentrated his effects of light after the manner of ,ostade when the latter was under the influence of ,rembrandt4 ,a ,fine ,example of his ,powers4--,the ,lady at the ,clavecin is a splendid example of the powers of this artist who was almost as fond of making musical instruments important features of his compositions as ,slingelandt was4 ,it was painted in #afcg as the signature shows1 and therefore is full of the ,hals influence4 ,the lady and two children1 whose amiable faces are turned with interested expression toward the spectator1 are evidently portraits1 probably of the artist's wife and children4 ,the other picture1 ,grace before ,meat1 is also a fine study with ,hals's technique4 ,it is in the ,van der ,hoop ,collection4 ,four ,pictures by ,metsu4--,four ,metsus hang in the ,rijks3 ,the ,huntsman's ,present1 purchased in #ahdc for #ab1djj florins1 ,the ,old ,drinker1 purchased in #ahbg for #b1ifj florins1 ,the ,breakfast1 acquired in #ahji1 and the ,old ,woman in ,meditation1 bought in #ahhj for #f1agj florins4 ,description of ,the ,huntsman's ,present4--,for taste1 depth1 warm harmony1 and careful execution1 ,the ,huntsman's ,present is of the first order4 ,in a room lighted by a window on the left1 a lady is seated by the side of a table on which is a rich carpet4 ,a large white apron of exquisite tone covers her lap1 and on it lies a little green cushion on which she has been making lace1 which she holds in her left hand4 ,her jacket1 bordered with ermine1 is of that flesh-color that ,metsu loved4 ,with her right hand she caresses a little ,king ,charles spaniel perched on the table4 ,on her right1 an old gentleman is seated4 ,he still wears his hunting clothes and holds his hat under his arm4 ,evidently he has just returned from the chase1 for his dog is with him1 and on the floor lie his game bag1 gun1 and a dead duck4 ,to the lady he is presenting a partridge4 ,on a handsome kas stands a statuette of ,cupid4 ,the ,old ,drinker4--,the ,old ,drinker represents a man with gray hair and short gray beard1 with a pipe in one hand and a mug in the other4 ,he has on a gray coat and a red cap edged with brown fur4 ,he is perfectly happy1 as his joyous expression shows4 ,the ,breakfast4--,the ,breakfast is a beautifully painted scene4 ,at a table covered with a ,persian carpet over which is thrown a linen cloth1 a woman in a light pink bodice1 a violet skirt1 green apron1 and white fichu1 seated at the right in profile1 is pouring wine from a jug into a tall glass4 ,a man in a puce-colored vest is placing a dish of meat on the table1 which is already set with plates1 bread1 knives1 and a glass4 ,on the left is a dark green curtain1 and in the background a door is indicated4 ,johannes ,verkolje4--,johannes ,verkolje 7#afej-ic7 is represented by ,the ,family ,concert 7#afgc74 ,he was the son of a locksmith in ,amsterdam1 and studied with ,jan ,lievensz1 but later imitated the highly finished style of ,gerard ,pietersz ,zijl 7fl4 #afee71 whose works were in such favor4 ,he produced portraits1 historical subjects1 and conversations1 delicate and graceful in sentiment1 charming in color1 and excellent in drawing4 ,jan ,victors's ,pork ,butcher4--,the ,pork ,butcher 7#afdh7 and ,the ,dentist 7#afed7 are by ,jan ,victors1 an artist about whom so little has been known until recent years that he has been confused with two others of the same name4 ,the pork butcher is seen in the centre of the picture1 which represents a village street2 the butcher is standing before his freshly butchered quarter of pork1 and a boy1 in a large hat and jacket1 with yellow sleeves1 with knife in hand1 is helping his master1 to whom a woman is bringing a drink in a glass4 ,on the right1 a little boy seated on a fence is blowing a bladder1 while a little girl looks on and laughs4 ,behind1 a man is ascending a ladder into a barn4 ,on the right a little boy is washing a ham in a tub1 and a woman is kneeling by him with a dish4 ,the ,dentist4--,the pendant shows a table over which a rose-colored umbrella is opened1 and under it a charlatan is drawing the tooth of a peasant4 ,a man and a woman witness the operation1 and three children on the left1 a peasant1 and a woman with some vegetables on her head are laughing heartily4 ,in the foreground two dogs are quarrelling over a bone2 and in the background small figures and a village clock-tower are visible4 ,the ,religious ,pictures4--,the religious pictures need not detain us long4 ,two or three in the style of ,rembrandt3 ,isaac ,blessing ,jacob1 by ,govert ,flinck2 ,the ,woman ,taken in ,adultery1 by ,g4 van der ,eckhout1 purchased in ,london in #ahbh for #c1jjj florins1 and belonging to that artist's best period2 and the picture of ,herodias with the ,head of ,john the ,baptist are worth the student's attention4 ,the latter is particularly interesting1 because1 although the catalogues give it to ,cornelis ,drost 7#afch-871 a pupil and imitator of ,rembrandt1 it is really by the hand of ,karel ,fabritius 7#afbd8-ed71 also a pupil of ,rembrandt and so close a follower that many of his pictures have passed for ,rembrandt's4 ,the artist met with a tragic death2 for he was killed in ,delft by the explosion of a powder magazine4 ,aertsen's ,altarpieces4--,of historic value are the altar wings by ,pieter ,aertsen 7,long ,peter71 ,the ,presentation at the ,temple2 on the reverse1 ,king ,balthasar1 painted for the ,delft church2 and the ,nativity of ,jesus ,christ1 a fragment of a picture destroyed in the fire of the ,town ,hall in ,amsterdam in #afeb4 ,on ,dr4 ,j4 ,six's authority1 the rest of this picture is in the ,new ,church in ,amsterdam4 ,aertsen was particularly famous for his altarpieces1 many of which were destroyed by the ,iconoclasts in #aeff4 ,other ,painters of ,biblical ,scenes4--,of other painters whose reputations are larger in other fields1 but who are represented in this gallery by one or two ,biblical works1 we may mention ,berchem1 with ,ruth and ,boaz2 ,velvet ,brueghel1 ,repose of the ,holy ,family1 ,christ ,preaching in a ,fisherman's ,boat1 and the ,adoration of the ,kings1 in a winter landscape2 ,frans ,francken ,,ii41 ,adoration of ,jesus ,christ1 and ,the ,prodigal ,son2 and ,maerten van ,heemskerck 7#adih-aegd71 ,the ,resurrection of ,christ4 ,benjamin ,gerritsz ,cuijp may be studied in ,joseph ,interpreting the ,dreams of the ,baker and ,butler2 ,dirck van ,hoogstraten 7#aeie-afdj71 ,the ,virgin1 with ,jesus and ,st4 ,anne2 ,eglon ,hendrick van der ,neer 7#afdc-agjc71 ,young ,tobias with the ,angel2 and ,rubens1 ,bearing of the ,cross 7a sketch for the picture in the ,royal ,museum in ,brussels71 and ,ecce ,homo and ,meeting of ,jacob and ,esau 7copies74 ,in addition to several ,biblical pictures in the ,italian1 ,flemish1 and ,german schools1 there are1 by ,francois ,joseph ,navez 7#aghg-ahci71 ,isaac and ,rebecca and the ,resurrection of the ,widow's ,son2 by ,a4 van ,dijck1 ,the ,repentant ,magdalen2 7,school of ,van ,dijck7 ,the ,holy ,family2 one by ,bronzino1 ,judith with the head of ,holofernes2 one of the ,school of ,palma ,vecchio1 ,the ,holy ,family2 and ,spain is represented by ,the ,annunciation to the ,virgin1 by ,murillo 7#afah-hb71 and ,the ,glorification of the ,virgin1 by ,antolines 7#afci-gf74 ,hans ,rottenhammer 7#aefd-afbc7 has a ,virgin with the ,infant ,jesus 7#afjd72 ,nicholas ,bertin 7#affg-agcf71 ,joseph ,fleeing from ,potiphar's ,wife1 and ,susannah at the ,bath2 ,sebastian ,bourdon 7#afaf-ga71 the ,mystical ,marriage of ,st4 ,catherine2 copy after ,hieronymus van ,aeken1 surnamed ,bosch 7#adfb8-aeaf71 ,adoration of the ,magi2 ,leonard ,bramer 7#aeie-afgd71 a ,biblical ,subject787 and ,king ,solomon ,sacrificing to ,idols2 ,mechior ,brassauw 7#agji-eg871 ,the ,prodigal ,son2 ,peter ,codde 7#aeii8-afgh71 ,adoration of the ,shepherds2 ,jacob ,cornelissen1 ,saul and the ,witch of ,endor2 ,gasper de ,craeyer 7#aehd-affi71 ,the ,adoration of the ,shepherds and ,descent from the ,cross2 ,geertgen van ,st4 ,jans 7fifteenth century71 ,allegory on the ,death of ,jesus ,christ2 ,barend ,graat 7#afbh-agji71 ,the ,prodigal ,son 7#affa72 ,nicolaes de ,gijselaer 7#aeij-ie-afdd871 ,the ,angel ,gabriel ,appearing to ,zacharias in the ,temple 7#afbe72 ,cornelis van ,haerlem 7#aefb-afch71 ,massacre of the ,innocents1 and ,adam and ,eve in the ,terrestrial ,paradise2 ,pieter van ,hanselaere1 ,chaste ,susannah2 ,frans ,haseleer 7#ahjd-871 ,esther before ,ahasuerus2 ,isaac ,isacsz 7#aeii-afdh71 ,abimelech ,giving ,sarah to ,abraham 7#afdj72 ,cornelis ,kruseman 7#agig-aheg71 ,the ,burial of ,christ2 ,j4 ,a4 ,kruseman 7#ahjd-fb71 ,elisha and the ,shunammite2 ,pieter ,pietersz ,lastman 7#aehc-afcc71 ,the ,sacrifice of ,abraham2 ,willem de ,poorter 78-#afde871 ,solomon ,sacrificing to ,idols2 ,joris van ,schooten 7#aehg-afea71 ,the ,adoration of the ,kings 7#afdf72 ,jan van ,scorel 7#adie-aefb71 ,st4 ,madeleine1 ,solomon and the ,queen of ,sheba1 and ,david and ,bathsheba2 ,gerard ,seghers 7#aeia-afea71 ,christ and the ,penitents2 ,benvenuto ,tisi 7the ,garofalo7 7#adha-aeei71 ,holy ,family1 and ,adoration of the ,magi2 ,tiziano ,vecelli 7#adgg-aegf71 ,repentant ,magdalen 7copy72 ,jan ,victors 7#afbj-hb871 ,joseph ,interpreting ,dreams 7#afdh72 ,jacob de ,wet 7#afaj8-ga871 ,christ ,blessing the ,children2 ,rogier van der ,weyden 7#acii8-adfd71 ,descent from the ,cross2 and ,joachim ,a4 ,wttewael 7#aeff-afch71 ,david and ,abigail 7#aeig74 ,mythological ,pictures combined with ,landscape4--,it is noticeable that in mythological pictures landscape forms a prominent feature4 ,rubens was1 doubtless1 responsible for much of the popularity of this class of art1 and the vogue that the ,italian landscape also enjoyed aided the taste4 ,nymphs and satyrs and gods and goddesses were more appropriate figures to introduce into the classic scenes of ,italy than ,dutch peasants and cattle4 ,we1 therefore1 find two classes of mythological pictures3 one in which the landscape is more important than the figures2 and one in which the figures take precedence4 ,born more than half a century after ,poelenburg1 ,gerard de ,lairesse 7#afda-agaa71 the most important ,flemish painter of historical and mythological subjects in the generation succeeding ,rubens1 followed ,poelenburg in his taste for ,italian settings for his figures1 although he had never been to ,italy4 ,he is represented in the ,rijks by ,mars1 ,venus1 and ,cupid2 another of the same title1 ,seleucus ,abdicating in ,favor of his ,son ,antiochus2 ,diana and ,endymion2 ,virtue1 an ,allegory2 and two in grisaille1--,the ,revolution and ,legitimate ,power4 ,g4 de ,lairesse1 ,portrait-painter4--,gerard de ,lairesse was the son of an artist of some celebrity1 studied under ,bertholet ,flemalle1 and by the age of sixteen had become known as a portrait-painter4 ,some historical works for the ,electors of ,cologne and ,brandenburg established his reputation1 and when he settled in ,amsterdam he was regarded as the greatest historical painter of his time4 ,at the age of fifty he lost his eyesight4 ,his style is grand and poetical1 and his background enriched with architecture4 ,more ,mythological ,pictures in the ,rijks4--,the other mythological pictures in this gallery are3 ,hendrick van ,balen 7#aege-afcb71 ,bacchus's ,homage to ,diana2 ,jan ,brueghel le ,vieux 7,velvet7 7#aefh-afbe71 ,latona in ,caria2 ,caravaggio 7#aefi-afji71 ,the ,death of ,orion2 ,johannes ,glauber 7#afdf-agbf71 ,mercury and ,io1 and ,diana ,bathing2 ,henricus ,goltzius 7#aeeh-afaf71 ,the ,dying ,adonis 7#afjc72 ,hendrick ,heerschop 7#afbj or #ba-gb871 ,erechthonius ,found by the ,daughters of ,cecrops2 ,jacob ,jordaens 7#aeic-afgh71 ,a ,satyr2 ,hendrik van ,limborgh 7#afhj-agei71 ,cupid and ,psyche2 ,w4 ,ossenbeeck 78-#afgh71 ,mercury and ,io 7#afcb72 ,hans ,rottenhammer 7#aefd-afbc71 ,mars and ,venus 7#afjd72 ,adriaan van der ,werff 7#afei-agbb71 ,cupid ,embracing ,venus2 ,pieter van der ,werff 7#affe-;after #agba71 ,cupid ,adorned with ,flowers 7#agac71 ,young ,hercules and ,young ,bacchus2 ,thomas ,willeborts 7#afad-ed71 ,mars ,armed by ,venus2 ,flemish ,school 7#afaj-bj71 ,dispute of ,apollo and ,pan2 ,dutch ,school 7sixteenth century71 ,adonis 7supposed to be by ,jan van ,scorel72 and ,dietz 7living in #ahcj71 ,hebe4 ,here must be mentioned ,rembrandt's mythological picture known by the name of ,narcissus4 ,painters of ,exteriors and ,painters of ,interiors4--,no survey of ,dutch art would be complete without a brief account of the painters of buildings2 and these may be divided again into two classes3 those who painted the exteriors and those who painted the interiors4 ,murant and his ,old ,farm-house4--,the first of those who painted exteriors seems to have been ,emanuel ,murant 7#afbb-agjj71 a pupil of ,philips ,wouwermans4 ,he chose for his specialty ,dutch village houses which he painted with vigor and warmth1 and introduced figures and cattle into his foregrounds4 ,these he painted himself4 ,his works are rare1 because he spent so much time on each work that he produced few pictures4 ,he also spent much time in travel4 ,his color is rich and silvery in tone2 his impasto fine1 and he gives the details with great truth and finish4 ,by the aid of a magnifying-glass every stone in his buildings and every leaf on his trees may be counted4 ,the ,rijks possesses ,the ,old ,farm-house1 which represents a dilapidated old house1 where a man is feeding the chickens1 and there are also pigs and an old woman at her spinning-wheel4 ,jan van der ,heyden4--,jan van der ,heyden 7#afcg-agab7 was the ,gerard ,dou of architectural painters4 ,the ,rijks owns ,view of the ,town of ,amersfoort1 with delightful figures by ,a4 van der ,velde1 ,a ,drawbridge1 ,a ,stone ,bridge1 and ,a ,canal in ,holland4 ,he loved to paint canals bordered with trees4 ,his tone is warm1 and his execution soft and free4 ,g4 ,a4 ,berck-,heyde1 ,painter of ,german and ,dutch ,towns4--,another skilful painter of exteriors1 ,gerrit ,adriaensz ,berck-,heyde 7#afch-ih71 is noted for his faithful representations of the principal towns of ,germany and ,holland4 ,his perspective is extremely fine4 ,the ,rijks owns3 ,view of the ,dam at ,amsterdam2 ,view of the ,heerengracht 7#afhe72 ,the ,flower-,market1 ,amsterdam2 ,the ,ruins of the ,castle of ,egmont1 near ,alkmaar2 and three ,views of the ,town-hall4 ,in some of his works he was assisted by his brother4 ,j4 ,a4 ,berck-,heyde4--,job ,adriaensz ,berck-,heyde 7#afcj-ic7 was a pupil of ,frans ,hals and ,jacob de ,wet4 ,he is represented in the ,amsterdam ,museum by ,the ,spaarne at ,haarlem1 ,interior of a ,church 7#afgd71 and ,interior of the ,old ,bourse at ,amsterdam4 ,j4 van der ,ulft the ,versatile4--,the works of ,jacob van der ,ulft1 so remarkable for his versatility1 are rare4 ,the ,rijks1 however1 owns two pretty cabinet-pictures by him1 representing an ,italian town and an ,italian port4 ,a very interesting and valuable picture by him1 representing the ,town-hall on the ,dam1 completed in #affg1 is in the present ,town-hall4 ,other ,painters of ,exteriors4--,among the other artists and pictures represented are3 ,kornelis ,beelt 7seventeenth century71 ,dutch ,flotilla at the ,herring ,fishery and ,view of the ,haarlem ,market2 ,anthonie ,beerstraten 7seventeenth century71 ,view of ,regulierspoort in ,amsterdam in ,winter1 and ,interior of a ,town in ,winter2 ,johannes ,bosboom 7#ahag- 71 ,notre-,dame1 ,breda1 ,great ,church1 ,edam1 and ,aire in ,guelders2 ,f4 der ,braekeleer1 ,ruins of the ,citadel of ,antwerp 7#ahcb72 ,hendrik ,gerrit ,ten ,cate 7#ahjc-ef71 ,the ,tower1 ,jan ,rodenpoort in ,amsterdam 7#ahbi71 and the ,city in ,moonlight2 ,jan ,ten ,compe 7#agac-fa71 ,view of the ,quay called ,keizersgracht1 in ,amsterdam2 ,constantinus ,coene 7#aghj-ahda71 the ,porte de ,hal in ,brussels 7#ahbc72 ,croos 7seventeenth century71 ,view of the ,castle of ,egmont1 near ,alkmaar2 ,claes ,dircksz van der ,heck 7seventeenth century71 ,the ,castle of ,egmont and ,the ,abbey of ,egmont 7#afch72 ,edward ,a4 ,hilverdink1 ,view of the ,singel in ,amsterdam2 ,johannes ,janson 7#agbi-hd71 ,the ,chateau de ,heemstede 7#agff72 ,kasparus ,karssen 7#ahaj-871 ,interior of the ,old ,bourse at ,amsterdam 7#ahcg72 ,j4 ,c4 ,k4 ,klinkenberg 7#aheb- 71 ,the ,market at ,nimeguen2 ,everhardus ,kloster 7#ahag- 71 ,amsterdam2 ,dirk ,jan van der ,laen 7#agei-ahbi71 ,view of a ,town3 ,a ,snow ,scene2 ,francois de ,momper 7#afjc-fj71 ,the ,valkenhof at ,nimeguen2 ,isaac de ,moucheron 7#afgj-agdd71 ,view of ,tivoli1 near ,rome1 and ,view in the ,hortus ,medicus at ,amsterdam2 ,isaak ,ouwater 7#agdg-ic71 ,unfinished ,tower of the ,new ,church at ,amsterdam and ,le ,poids ,st4 ,anthony at ,amsterdam2 ,antoon ,sminck ,pitloo 7#agia-ahcg71 ,st4 ,georgis ,church1 ,rome 7#ahbj72 ,p4 ,j4 ,poelman 7#ahja-871 ,the ,town ,hall at ,oudenarde 7#ahbd72 ,j4 ,h4 ,prins 7#ageh-ahjf71 ,view of a ,city 7#agic72 ,cornelis ,springer 7#ahag-ia71 ,town-hall and ,vegetable ,market at ,vere 7#ahfa71 and ,town-hall1 ,cologne 7#ahgd72 ,abraham ,storck 7#afcj8-agaj871 ,view of the ,dam2 ,pieter ,george ,westenberg 7#agia-ahgc71 ,view of ,amsterdam in ,winter 7#ahag72 and ,jan ,wildens 7#aehf-afec71 ,view of ,amsterdam 7#afcf74 ,painters of ,interiors--,p4 ,h4 van ,steenwyck4--,turning now to those painters who devoted their attention chiefly to interiors1 the first to be noticed is ,pieter ,hendrik van ,steenwyck the ,elder 7#aeej-;about #afjd71 the pupil of ,jan ,vredeman de ,vries1 who has never been surpassed in this particular field4 ,he usually painted the interiors of ,gothic churches and other buildings4 ,he also won distinction with torchlight effects4 ,the figures were usually supplied by the ,franckens and others4 ,van ,steenwyck lived in ,antwerp and also in ,frankfort4 ,the ,interior of a ,catholic ,church1 in the ,rijks1 is a good example of his style4 ,his ,pupil1 ,pieter ,neeffs the ,elder4--,among his pupils was ,pieter ,neeffs the ,elder 7#aegg-;between #afeg-fa71 who followed his master closely1 but with a heavy touch4 ,his colors are not so pleasing as ,steenwyck's1 but his mechanical skill is great4 ,f4 ,francken1 ,teniers1 ,velvet ,brueghel1 and ,van ,thulden are responsible for the figures in his pictures4 ,in the ,rijks we may study him by his ,church of the ,dominicans in ,antwerp 7#afcf71 ,a ,church3 ,effect of ,candle-light 7#afcf71 and ,interior of a ,church4 ,p4 ,j4 ,saenredam1 ,painter of ,church ,interiors4--,next must be mentioned ,pieter ,jansz ,saenredam 7#aeig-affe71 who painted the interior of churches in a large and luminous manner4 ,his pictures were highly esteemed1 but are now very rare4 ,the ,rijks owns3 two ,interiors of the ,church of ,st4 ,bavon1 ,haarlem2 three ,interiors of ,st4 ,mary's1 ,utrecht2 and ,view of the ,church in ,assendelft4 ,adriaen van ,ostade contributed the figures in the latter4 ,pieter ,saenredam was a pupil of his father1 a celebrated engraver1 and of ,frans de ,grebber in ,haarlem4 ,emanuel de ,witte's ,beautiful ,work4--,emanuel de ,witte 7#afag-ib71 a pupil of ,evert van ,aelst1 bears the same relation to the representation of interiors that ,ruisdael does to landscape1 and ,willem van de ,velde to marine painting4 ,beautiful modelling1 fine color1 linear and aerial perspective1 masterly treatment of chiaroscuro1 and animated figures are all at his command4 ,the ,vestibule in the ,prinsenhof in ,delft and two ,interiors of a ,church are picturesque canvases that exhibit the rich talents of this painter4 ,h4 ,c4 van ,vliet4--,hendrik ,cornelisz van ,vliet 7#afjh-ff871 a pupil of his father1 ,willem van ,vliet 7#aehd-afdb71 paints under the influence of ,de ,witte as is shown in the ,interior of ,part of the ,old ,church at ,delft1 signed ,h4 van ,vliet1 #afed4 ,here the treatment of sunlight is very reminiscent of ,emanuel de ,witte4 ,egbert van der ,poel4--,in this connection may be mentioned ,egbert van der ,poel 7#afba-fd71 whose specialty was conflagrations4 ,the effects of lurid light are seen in his ,ruins in ,delft after the ,explosion of a ,powder ,magazine 7#afed7 and ,interior of a ,farm-house 7#afdf74 ,collections on the ,ground-floor and ,basement4--,after lunching in the pleasant little restaurant in the west wing on the ground-floor we take a rapid view of the collections here4 ,the ,east and ,west ,courts contain military1 naval1 and colonial collections1 weapons1 uniforms1 and models of ships1 which need not detain us long2 nor will the department of ,ecclesiastical ,architecture and the ,hall of the ,admirals1 where there is a collection of modern ,french paintings4 ,in the western half of the building there are splendid collections of engravings1 porcelain1 lacquer1 and textiles1 two seventeenth century rooms furnished by the ,antiquarian ,society1 and in the basement a collection of old ,dutch costumes1 carriages1 and doll houses4 ,on the east side are a number of correctly furnished ,dutch rooms1 one a ,chinese ,boudoir from the ,stadtholder's ,palace at ,leeuwarden 7seventeenth century71 and a great collection of civic and industrial domestic art4 ,silver occupies a conspicuous place1 and one of the cases contains drinking-horns1 among which is the original drinking-horn of the ,guild of ,st4 ,joris1 which appears in ,van der ,helst's painting4 ,the visitor will seldom see a more wonderful collection of glass of all shapes and forms1 and beautifully engraved1 cut1 and mounted2 and the display of jewelry1 trinkets1 and children's toys will also claim attention4 ,the ,garden4--,we now enter the garden at the south side of the building4 ,this is laid out in the ,dutch style of the seventeenth and eighteenth centuries1 with clipped hedges of beech and box1 and adorned with flowers1 vases1 statues1 and busts4 ,there is also a maze1 and fragments of old ,dutch buildings1 such as the old ,bergpoort of ,deventer 7#afai7 and the ,heerenpoort of ,groningen 7#afba74 ,various old gables1 pilasters1 columns1 walls1 tympanums1 and gates have been grouped2 and in the eastern part of the garden is the house of the ,director of the ,museum4 ,,footnotes3 #bc ,j4 ,f4 ,white4 #bd ,burger4 #be ,j4 ,a4 ,crowe4 #bf ,blanc4 ,,the ,,stedelijk ,,museum ,ground-floor of the ,stedelijk ,museum4--,a short walk from the ,rijks down ,paulus ,potter ,straat brings us to the ,stedelijk 7,municipal7 ,museum1 built in #ahib-ie4 ,the ground-floor is devoted to uniforms1 weapons1 and pictures of the ,schutterij of ,amsterdam1 and a series of rooms furnished in the style of the sixteenth1 seventeenth1 and eighteenth centuries1 including an old ,dutch kitchen4 ,its ,pictures of the ,history of the ,netherlands4--,an extraordinary collection of pictures by ,allebe1 ,israels1 ,rochussen1 and other well-known painters1 treating of the history of the ,netherlands1 deserves a passing glance1 for there are no less than #bej small canvases1 all of the same dimensions and similar treatment4 ,a more curiously monotonous effect would be impossible to imagine2 but1 to use a ,dutch term1 they are decidedly symmetrisch4 ,the ,gallery of ,modern ,pictures4--,ascending the stairs we reach the gallery of modern pictures4 ,the collection consists of about #bjj paintings gathered by a society founded in #ahgd1 and is very rich in fine examples of the modern ,dutch school4 ,mauve's ,sheep on the ,dunes4--,one of the gems of the modern landscapes is ,mauve's ,sheep on the ,dunes4 ,the sheep1 all of which have their backs to the spectator1 the rolling dunes with their tall1 waving grass1 the shepherd boy and his dog1 are all painted with equal skill2 and over the still landscape hovers a poetic feeling that communicates itself instantly to the spectator4 ,mauve is also represented by ,a ,fold and ,woodmen4 ,anton ,mauve4--,anton ,mauve 7#ahch-hi7 was a native of ,zaandam1 and the son of a clergyman4 ,he studied under the cattle-painter1 ,van ,os1 who was not particularly pleased with his pupil4 ,after his apprenticeship was over1 he began to paint little pictures in the neat manner and conventional style of his master4 ,mauve lived in ,oosterbeck1 the ,barbison of ,holland1 for a time1 and at a later period spent his winters in ,amsterdam and his summers in ,the ,hague1 where he could enjoy ,scheveningen and the dunes4 ,a ,dutch writer1 ,a4 ,c4 ,loffelt1 says3 ,his ,style4--,the poetry of ,mauve's art1 its tenderness1 the unobtrusive1 quiet sadness of the scenery and people which attracted him most2 the homeliness1 humor1 and domestic happiness which he interpreted in his interiors and scenes of country and village life1 can only be appreciated by people of the same descent4 ,the same critic tells us that ,mauve lived for a time in a farm-house1 near ,dekkersdinn4 ,his ,favorite ,themes4--,here ,mauve found some of his most important and favorite themes1 such as poor cots built in or near the downs1 where slender1 poorly nurtured women tended a few sheep or a goat1 or occupied themselves in bleaching linen4 ,his painting had not yet gained that transparency and brilliancy of tone which the artist acquired in subsequent years4 ,at this time his work was gray1 but not always pellucid or silvery4 ,thus it came to pass that critics and public began to talk of ',the ,gray ,school1' for a few other artists painted in the same neutral scale of tints4 ,as we walk in the rural lanes1 beneath the slender birches wrapped in their mantle of silver-gray haze1 or watch the chequered sunlight dancing into the secluded nooks of some emerald meadow1 when we hear the echoes of the tinkling sheep-bells on the moors1 we think ',there lives ,mauve6' ,illustration3 ,,mauve ,sheep on the ,dunes ,his ,truthful ,painting of ,sheep and ,cattle4--,mauve is1 perhaps1 best known by his flocks of sheep painted under all conditions and at all seasons and times of day2 but not less true to nature are his cows in the ,melkbocht1 that paddock or reserved spot in the meadow where the cows are gathered for milking4 ,his horses ploughing1 or at rest1 and his coast scenes1 showing ,dutch fishing-boats about to be pulled across the sands by teams of horses1 are no less remarkable performances4 ,the ,early ,training of ,josef ,israels4--,for a whole generation ,josef ,israels has stood at the head of modern ,dutch art4 ,born in #ahbg1 at ,groningen1 the son of a money-changer1 he carried money-bags in his early years to the banking-house of ,mesdag4 ,he studied under ,jan ,adam ,kruseman1 and at first painted historical pictures2 lived in the ,ghetto in ,amsterdam1 and nearly starved in ,paris1 where he studied in the ,delaroche school4 ,the ,themes of his ,paintings4--,it was in ,zandvoort1 near ,haarlem1 that he discovered his true bent1 and began to depict the seafaring man and the peasant in their homely every-day life4 ,his people are all humble1 and most of them are broken by poverty and sorrows4 ,for more than thirty years his pictures have occupied the place of honor in all the ,dutch exhibitions2 and on his seventieth birthday he was made ,commander of the ,order of ,orange-,nassau1 and was the recipient of many gifts and congratulations4 ,in this gallery hang a number of pictures dating from various periods4 ,among them are ,fisherman's ,children1 ,rustic ,interior1 ,after the ,storm1 ,passing the ,mother's ,grave1 ,margaret of ,parma and ,william of ,orange 7one of his earliest efforts71 ,old ,jewish ,peddler1 and a ,study of a ,head4 ,illustration3 ,,israels ,fisherman's ,children ,veth's ,appreciation of ,israels4--,the artist himself is represented in a statuette by ,f4 ,leenhoff1 which stands in one of the rooms1 and also in a portrait by ,j4 ,veth1 who sympathetically writes3 ,the choicest pictures by this master are painted in a truly mysterious way1 simply by the nervous vigor of an untaught hand with heavy1 sweeping shadows and thick touches of paint1 which stand out in a wonderful mixture of sharp relief and dim1 confused distance2 with soft hesitation and touches of crudely decisive certainty2 with broad outlines and incisive emphasis4 ,ruggedness and tenderness1 corruption and sweetness1 whimsicality and decision1 are magically mingled there in dignified depth1 with the most refined feeling--the most ductile language of the brush that is known to me4 ,and yet1 notwithstanding1 all this exists1 as far as possible1 in the clear1 simple execution of the old ,dutch painters1 and there is one great family resemblance between the nineteenth century master and those who are the classics among the petits maitres4 ,each of his ,pictures a ,harmonious ,whole4--,the resemblance--the revived tradition--is to be seen in the fact that ,israels1 like the old ,dutch painters1 nay1 even more than they1 always aims at the sober1 general harmony of the whole work4 ,it is wonderful how discreet the effect is of a picture1 for instance1 by ,pieter de ,hooch1 with all its elaborate execution2 how splendidly it holds together1 how strong yet delicate the construction is4 ,it is this great quality of presenting an absolutely organic whole at one impulse which seems to have passed into ,israels from his precursors1 who otherwise painted so utterly differently4 ,indeed1 it is in this concentrated power1 in this self-contained harmony1 the outcome of one glance1 as it were1 and of one impetus1 that we may discern one of the principal features of ,israels's art4 ,there is nothing in his work that asserts itself alone1 nothing detached1 nothing that plays any part but that of strengthening the whole4 ,his ,aim to paint the ,truth1 rather than to produce ,studied ,effects4--,those who really understand the sincerity of his art know that he rejects everything approaching to working for effect--everything that looks like rule of thumb2 and that he in fact never consciously troubles his head about studied effects or beauty4 ,beauty to him lies in the silent woe with which the survivors stand in a house of death2 in the attitude of the old wife left alone1 who spreads her hands stiffly out to the fire1 as though she might win a spark of life from the smouldering hearth2 in the way in which the decrepit old man sits with resigned dejection in his gloomy hovel1 staring into his old dog's eyes2 in the stupefied wretch who sits on a broken bench1 where1 behind him1 his dead wife lies stretched on her bed2 in the woful gleam in the eyes of the huckster who sits in front of his dirty booth1 with a motley collection of rags above his head1 watching us so mysteriously2 in the sad old woman who1 with elbows wide apart on her table1 her hands quietly folded1 sits weary and alone in front of her meal2 in the kindly but hard-set woman1 who1 through wind and weather1 tramps along field and road by her jolting dog-barrow1 in a cruel struggle for existence2 in the business of the fisherman and seafaring folk and their hard and simple labor2 in the dignity of the patriarchal peasant family that gathers round the dish2 he sees beauty in everything which lays bare what lies mysteriously latent in poverty and privation and suffering1 at the very roots of human life4 ,roelofs1 ,painter of ,a ,marshy ,landscape4--,familiar to the ,holland traveller is the ,marshy ,landscape1 so true to nature and so charming in color4 ,illustration3 ,,roelofs ,marshy ,landscape ,if he had painted nothing else1 ,willem ,roelofs 7#ahbb-ig7 would deserve his reputation because of this work4 ,this painter was born in ,amsterdam and was a pupil of ,h4 van de ,sande ,bakhuijzen for about a year2 then he remained for six years in ,utrecht2 and settled in ,brussels1 where he remained forty years1 finally returning to ,holland4 ,this painter's chief desire is to express himself poetically4 ,the ,inexhaustible ,supply of ,his ,favorite ,subjects4--,his pictures are truly beautiful3 cattle standing up to their knees in rich green pasture land2 luxuriant meadows2 secluded pools reflecting the blue sky and the moving clouds2 lakes with floating lilies2 rivers1 streams1 noble trees1 canals1 and the thoroughly ,dutch windmill4 ,roelofs may be called the pioneer in our country of a broader school of painting1 especially that pertaining to landscape4 ,much of this he may be said to have taken from the ,french4444 ,of late years he has added more cattle to his pictures2 but whether cattle or trees1 land or water1 they are painted with the firm belief that they needed no embellishment1 but were good enough to be represented exactly as they were4 ,for ,roelofs will not invent a subject4 ,and why1 indeed1 should he do so8 ,is the supply exhausted8 ,he does not think so1 for no summer passes but he packs up his paint-box and with his little stool1 his easel1 and his umbrella1 goes off either to ,noorden1 or ,abcoude1 or to ,voorschoten1 to study nature again and again1 as if he did not know her well already4#bg ,j4 ,maris1 ,skilful in producing ,ethereal ,effects4--,of ,jacob ,maris1 ,zilcken writes3 ,no painter has so well expressed the ethereal effects1 bathed in air and light1 through floating silvery mist1 in which painters delight1 and the characteristic remote horizons blurred by haze2 or again the gray yet luminous weather of ,holland1 unlike the dead gray rain of ,england1 or the heavy sky of ,paris4 ,this artist may be studied in this gallery by ,a ,beach1 two ,views of a ,town1 ,the ,ferry1 and ,the ,two ,windmills1 which latter represents two windmills standing as sentinels over a rather dreary landscape at the edge of a river and a canal4 ,his ,training and his ,aim in ,art4--,jacob ,maris 7#ahcg-ii7 was born in ,the ,hague and was sent to ,stroebel's studio1 and later studied in the ,antwerp ,academy of ,drawing4 ,he was also a pupil of ,louis ,meyer in ,the ,hague1 and in #ahfe went to ,paris and studied with ,hebert4 ,returning to ,the ,hague1 he devoted himself to landscape4 ,he painted views of streets1 country lanes1 small hamlets1 windmills1 canals1 rivers1 and1 sometimes1 genre pieces4 ,in all his work his aim was to make an impression4 ,one day he said3 ,a picture is finished as soon as you can see what it is intended to represent4 ,marius on the ,beauty of his ,work4--,the ,dutch critic1 ,g4 ,h4 ,marius1 writes3 ,if you stand before one of ,maris's pictures for a long time you discover many objects which you had not noticed at first--houses1 bridges1 trees1 all looming out of the mellow misty light which is diffused over the entire canvas4444 ,what an endless variety of windmills he immortalizes6 ,some of his canvases have but a small solitary windmill1 while others have a crowd of these gigantic1 cumbersome structures4 ,some pictures have a fringe of them upon the horizon4 ,however simple the subject1 it is ofttimes made almost dramatic by the rays of the setting sun1 or by the brilliancy of a silver-lined cloud4 ,these effects of light and shade are rapidly passing1 and we gaze with admiration upon the skilful work of a man who can produce such a faithful picture1 which his eye could have seen but momentarily4 ,sometimes he paints a canal with a barge pulled by a weary-looking horse1 tramping along the muddy road the ruts of which are filled with water from recent rain 7his horses are generally white74 ,or it is a bit of rich agricultural land1 the long furrows stretching into the far distance2 against a wonderful sky you see the profiles of distant houses1 trees1 mills1 etc41 all dying away into the horizon1 showing the flatness of our ,dutch landscape1 where there is nothing to impede or obstruct the eye for miles4 ,willem ,maris's ,relish for painting ,cows4--,willem ,maris 7#ahdd- 7 studied with his brothers ,jacob and ,matthys1 and all three worked together4 ,as early as #ahfh he sold a picture which found its way to ,the ,hague ,gallery4 ,this1 representing cattle in a green meadow1 at once showed his talent for painting warm sunlight4 ,a typical picture of ,cattle hangs in this gallery2 for the chief subjects of ,willem ,maris's pictures are cows in meadow lands2 sometimes they are waiting to be milked1 or are being milked2 sometimes they are standing or lying under the trees2 and sometimes they are knee-deep in one of the lakes4 ,mr4 ,marius says3 ,willem's ,style contrasted with his ,brother ,jacob's4--,the two brothers ,maris ,jacob and ,willem treat their skies in exactly opposite manners4 ,the one depicts clouds1 threatening storm1 and changeable weather1 whereas the younger brother gives us only sunshine and a sky of turquoise blue2 if1 however1 clouds are introduced1 they are like small white feathers or like the petals of a white rose4 ,each in his own way true to nature1 and beautiful to gaze upon1 yet methinks that we must give the preference to the one who gives us that greatest of all blessings1 sunshine4 ,a very favorite aspect of his is a cloudless sky1 the brightest of suns1 and part of the canvas thrown into deep shade1 producing a wonderful contrast4 ,another bewitching feature1 so truly ,dutch1 in ,maris's landscapes1 is the rising mist after the heat of the day4 ,it rises from the meadows at sunset and covers the land like a cloak1 especially after a hot day when the ground has been baked4 ,a ,socialistic ,artist with ,romantic ,visions4--,matthys ,maris1 the second of the three1 joined his brother ,jacob in ,paris1 and eventually he settled in ,london4 ,thys ,maris found rest and isolation in a suburb of ,london2 a few faithful friends1 such as ,swan 7the animal painter7 and ,van ,wisselingh1 break in occasionally upon his solitude4 ,but his ideas are still socialistic1 not only theoretically1 but materially2 and1 without looking around1 he gives what he receives4 ,on this point he is likewise very sensitive4 ,to be waited on by another1 although that service is paid for1 he considers humiliating2 and1 in order to avoid such a possibility1 he lives without the comfort of attendance4 ,many might pass by the works of ,maris without even noticing them2 many may consider them impossible and inexplicable1 and pass on1 almost out of humor1 perhaps even angry with them2 the rational spectator will put questions to which he will receive no satisfactory replies4 ,though in his early years he painted still-life pieces1 his fame rests chiefly on his visionary women seen in his romantic dreams1 and portrayed with the clouds and mists of dreamland about them4#bh ,in this gallery ,the ,bride represents him worthily4 ,two ,pictures representing ,albert ,neuhuys4--,albert ,neuhuys1 born in ,utrecht in #ahdd1 studied in the ,academy of ,drawing in ,antwerp1 and settled in ,amsterdam1 the painter of landscapes and scenes from homely and humble life4 ,he is represented by ,the ,doll's ,dressmaker and ,by the ,cradle1 which represents a mother leaning over the cradle of her baby lying comfortably on pillows4 ,it is interesting to note how thickly the artist has spread the paint on the canvas4 ,illustration3 ,a4 ,,neuhuys ,by the ,cradle ,a ,characteristic ,picture by ,christoffel ,bisschop4--,christoffel ,bisschop 7#ahbh-aijd7 may be studied by ,the ,lord ,gave and the ,lord hath ,taken ,away1 ,sunday in ,hindeloopen1 ,sister of the ,bride1 and ,winter in ,friesland1 also called ,repairing ,skates4 ,this is a very characteristic and typical picture4 ,friesland is not only the home of a peculiar style of brightly painted furniture1 but also the home of a school of skating of which there are two schools1--the ,dutch and the ,frisian4 ,the latter1 which is the older1 aims at speed2 and the skater wears a peculiar kind of skate1 well shown on the foot of the young girl seated on the right1 who is having the other skate repaired4 ,the carved and colored sledges are also typical of ,friesland4 ,an escort waits at the door4 ,the painter was himself a native of ,friesland1 and therefore depicts the costumes1 furniture1 houses1 and people of this most picturesque corner of ,holland with accuracy1 charm1 and sympathy4 ,illustration3 ,,bisschop ,winter in ,friesland ,christoffel ,bisschop4--,christoffel ,bisschop is the ,dutch colorist par excellence4 ,he entered the studio of ,schmidt in ,delft1 and worked at ,the ,hague under ,huib van ,hove4 ,he also studied in ,paris with ,le ,comte and ,gleyre1 and in #ahee established himself in ,the ,hague4 ,a visit to the quaint town of ,hindeloopen charmed his artistic eye1 and henceforth the peasants1 with their gay costumes1 and the brightly painted furniture and quaint houses1 have furnished themes and settings for his pictures4 ,h4 ,w4 ,mesdag4--,born in ,groningen in #ahca1 ,hendrick ,willem ,mesdag was destined to follow the family business of banking4 ,art1 however1 claimed him2 and after painting for several years as an amateur he started work in ,brussels in #ahff4 ,except for the criticisms of ,roelofs1 ,alma-,tadema1 and other artists1 ,mesdag may be said to be self-taught4 ,in #ahfi he removed to ,the ,hague1 so that he could be near ,scheveningen1 for he had found his special talent4 ,i must go and live near the sea1 he said1 gaze upon it daily1 not only for weeks1 but for months and years2 watch and study its every movement1 this ever-changing element1 this amazing1 stupendous work of the ,almighty6 ,in #ahgj he exhibited at the ,paris ,salon1 and his ,breakers in the ,north ,sea received the gold medal4 ,his fame was now established4 ,france has decorated ,mesdag more than once1 and one of his sea pictures hangs in the ,luxembourg4 ,his ,style4--,mesdag is a realist1 and with broad1 bold strokes of the brush he portrays what he sees and feels4 ,he depicts the ever-changing ocean in all its moods1 at all times of day and in all seasons2 and the life of the fisherfolk on the shore and in the fishing-boats is also treated with sympathy4 ,his ,calm ,sea by ,sunset1 painted in #ahgh1 and ,fishing-boats at ,sea and ,beach1 the two latter painted in #ahie1 belong to this gallery4 ,high up in the scale1 and standing somewhat apart1 is ,henry ,william ,mesdag1 the marine painter4 ,into a branch of art which had been treated in so masterly a fashion in former centuries by ,willem van de ,velde and ,van ,capelle1 not to speak of ,lodewijk ,backhuysen and ,bonaventure ,peeters1 he introduced a thorough reform4 ,in the beginning of the century he was preceded by men of note1 such as ,schotel1 ,waldorp1 ,meyer1 ,greive1 ,van ,heemskerck1 ,van ,beest1 ,van ,deventer2 but their chief aim was to remain true to the tradition of the great period4 ,they painted pretty little ships sailing on calm seas1 their white sails catching a gentle breeze and reflecting the rays of the sun2 or again they would paint large vessels1 driven before a gale over mountainous waves4 ,but the one was as artificial as the other2 their water was like glass1 their ships as if made of tin1 their skies seemed cut out of oilcloth1 and not one showed that he felt any love for the sea4 ,mesdag was the first to paint the sea as it is1 the turbulent1 restless1 omnipotent1 unlimited sea1 that free1 majestic1 and mysterious element which cannot be brought within any formula1 but can only be rendered in its tossing and pitching1 peopled by its 'children of the sea' living on its shores or drifting on its billows4 ,he studied every movement of the waves1 every tint of the water1 every change in the ever-changing sky2 he bade good-bye to large vessels1 huge castles of the sea1 and took to painting small ships and fishing smacks1 the cottages1 so to speak1 of the ocean4 ,his painting is as broad and manly as the element wherein he moves and the space it covers2 not as soft and transparent as the works of landscape painters1--those who give us meadows and downs1--but yet a revelation4#bi ,illustration3 ,,mesdag ,sunrise on the ,dutch ,coast ,other ,works in the ,stedelijk by ,modern ,artists4--,other works by modern artists worthy of attention are3 ,canal in ,amsterdam and ,sinking ,piles for the ,erection of a ,house1 by ,g4 ,h4 ,breitner 7#aheg72 ,te ,deum ,laudamus1 ,groote ,kerk at ,the ,hague1 ,oude ,kerk at ,amsterdam1 ,groote ,kerk at ,edam1 and ,barn-floor in ,guelderland1 by ,j4 ,bosboom 7#ahag-ia72 ,mother and ,child1 by ,b4 ,j4 ,blommers 7#ahde72 ,arrival of the ,water ,gueux at ,leyden1 by ,c4 ,rochussen 7#ahad-id72 ,episode from the ,siege of ,leyden1 ,battle at ,castricum1 and ,mellis ,stoke ,presenting his ,rhymed ,chronicle to ,floris ,v41 ,count of ,holland1 by ,k4 ,klinkenberg 7#aheb72 ,river ,scene in ,winter1 by ,l4 ,apol 7#ahej72 ,scheveningen in ,rainy ,weather1 by ,s4 ,l4 ,verveer 7#ahej72 ,queen ,fredegonda and ,st4 ,praetextatus1 by ,alma-,tadema 7#ahcf72 ,mary ,magdalen at the ,foot of the ,cross1 by ,ary ,scheffer 7#agie-aheh72 ,a ,landscape1 by ,h4 van de ,sande ,bakhuijzen 7#agie-ahfj72 ,church at ,zandvoort1 ,view in ,enkhuizen1 ,town ,hall in ,cologne1 and ,heeren-,gracht at ,amsterdam1 by ,c4 ,springer 7#ahah-ia72 and ,a ,prison of the ,spanish ,period1 and ,norwegian ,women ,bringing their ,children to be ,christened1 by ,h4 ,a4 van ,trigt 7#ahbi74 ,a ,survey of ,modern ,dutch ,art4--,a brief survey of modern ,dutch art1 condensed from the learned pen of ,max ,rooses1 will not be unwelcome1 particularly as we shall meet many more examples of the modern artists4 ,the ,french ,neo-,classical ,school4--,he tells us that the group of ,dutch and ,belgian figure-painters of the beginning of the century were descendants of the ,french neo-classical school2 and until #ahej the principles of ,david1 ,gros1 and ,girodet were highly respected4 ,the best-known representatives were ,john ,william ,pieneman in ,holland1 and ,bree1 ,navez1 and ,paelinck in ,belgium4 ,the ,romantic ,school4--,thereupon followed the ,romantic school1 whose leaders in ,france were ,eugene ,delacroix1 ,horace ,vernet1 and ,descamps2 in ,belgium1 ,wappers and ,de ,keyser2 in ,holland1 ,huib van ,hove1 ,herman ,ten ,cate1 ,charles ,rochussen1 ,stroebel1 and ,van ,trigt4 ,this school departed from the academic tendency of its predecessors1 just as romantic literature declared war against classicism in poetry4 ,the ,secret of the ,success of the ,romanticists4--,another source helped to swell the stream of ,romanticism in ,holland4 ,the artists of the neo-classical school1 with their pompous but severe forms1 paid more attention to line than to color4 ,they took their example from the ,italians of the fifteenth and sixteenth centuries4 ,their successors set themselves to study the masters of their own country1 and learned to appreciate the rich coloring1 the warm lights1 and harmonious tones of the golden period of their own art4 ,we can see that they were filled with admiration for the effects of light and color in ,rembrandt's works and in those of ,de ,hooch1 ,gerrit ,dou1 and ,ter ,borch4 ,not only did they find subjects for rich and warm coloring and pleasing treatment in the history of former days1 but also in that of their own times4 ,they took1 in fact1 a great step forward in that they observed the daily life around them1 and kept in touch with their fellow-creatures1 their ways and habits4 ,to this group belongs ,hubert van ,hove1 who was the first to admire the works of the old masters1 and again to carry on the broken tradition2 ,charles ,rochussen1 ,stroebel1 to whom the effects of light and color were particularly attractive2 and ,herman ,ten ,cate and ,van ,trigt1 the talented painters of romantic scenes derived from history4 ,illustration3 ,,israels ,old ,jewish ,peddler ,josef ,israels1 a ,brilliant ,painter in this ,group4--,to this group belongs ,josef ,israels in his earliest works4 ,during this period of his brilliant career he was filled with enthusiasm for all that is sweet1 joyous1 and charming in the world1 all that is fair in youth and nature2 this is the period of his ,children of the ,sea1 his ,fishwomen1 and his ,knitting ,girls4 ,later his subjects became more serious1 and more serious1 too1 the claims of his art4 ,many followed ,israels's example4 ,the group of admirers of the master1 those who saw the world as he did1--though with their own eyes1--may be called the pith and kernel of the young ,dutch school4 ,blommers1 ,valkenburg1 ,neuhuys1 and ,artz may be placed at the head4 ,they did not take life quite so sadly1 they did not wish to obscure light and color but allowed the sun to blaze and triumph over mystery and darkness4 ,a ,new ,party opposed to the ,romanticists4--,in opposition to these champions of twilight and tenderness arose those who preferred the real and substantial3 ,breitner2 ,sosselin de ,jong1 the portrait-painter2 ,witkamp2 ,therese ,schwartze1 and ,van der ,waay4 ,a similar movement took place in landscape-painting4 ,the most important landscape-artists in the first half of the nineteenth century were ,kobell1 ,koekkoek1 and ,schelfhout4 ,their great ideal was a careful1 almost painful1 working out of detail2 they selected subjects rich in material1 masses of big trees against water1 producing great effects of light and shade4 ,they sought to captivate the eye by an abundance of detail1 and to depict woods and meadows with a smoothness which was more artificial than natural4 ,bilders1 ,roelofs1 and their ,followers4--,what was called the picturesque in a landscape became unnecessary to the younger men of the newer school2 they painted ,nature in its own beauty and in the simplicity of its charm1 as they saw it in their daily lives4 ,of this group ,bilders is the most important4 ,he admired in the landscape1 not a favorite spot1 or a pretty pool1 or a gayly colored cow2 he saw rather land and meadow and wood in the mass1 as one whole1 beautiful by reason of its grand lines1 its rich tones4 ,william ,roelofs went a step further2 his first works differ little from those of his predecessors1 but by degrees he tore himself away from the accepted style and became a true reformer4 ,it was no longer the color or the beautiful contours of a view that attracted him1 but the country itself1 the vegetation1 the verdure1 the cattle in the meadows1 the sky that seems always holiday-making1 the ever-changing clouds1 always full of beauty4 ,a whole school followed in this new track1--,van de ,sande ,bakhuijzen1 ,mevrouw ,bilders van ,bosse and ,mevrouw ,mesdag1 ,van ,borselen1 ,storlenbeker1 ,gabriel1 who depicted with extraordinary fidelity both land and sea2 ,john ,vrolijk1 whose cows are always grazing in sunny meadows under a brilliantly blue sky2 ,de ,haas1 whose cattle are more heavy and massive2 ,du ,chattel1 who prefers the effect of light in ,spring and in ,autumn2 ,apol1 who devotes himself almost exclusively to snow scenes1 producing singularly charming effects of the sun shining upon monotonous whiteness2 ,mari ,ten ,kate1 ,de ,bock1 ,wijsmuller1 ,weissenbruch1 and ,tholen4 ,another ,step in the ,modern ,direction4--,another step in the modern direction was taken by artists who gave themselves up entirely to the impression of the landscape1 and painted exactly what they saw2 ,ter ,meulen1 for instance1 who loves ,nature for the mood which she awakes in him1 and who understands so well how to convey light and tone into his clever and refined pictures2 ,anton ,mauve1 and the brothers ,william and ,jacob ,maris1 were also accomplished interpreters of nature1 and all that lives and moves therein4 ,illustration3 ,j4 ,,maris ,two ,windmills ,modern ,dutch ,painters pursuing ,independent ,lines4--,of other modern ,dutch painters pursuing different lines may be mentioned ,bosboom1 who devoted himself chiefly to the interiors of old churches1 bringing out the play of light and shadow among the pillars2 ,klinkenberg1 who paints ,dutch streets and canals and the old buildings upon them in full sunshine2 ,jansen1 who paints the ,amsterdam docks and quays2 ,alma-,tadema1 painter of classical scenes2 ,bisschop1 the great colorist2 ,david ,bles1 the witty portrayer of morals and manners of years ago2 ,henrietta ,ronner-,knip1 the famous painter of cats and dogs2 ,henkes1 who depicts in grayish tones old-fashioned scenes and characters2 ,bakker ,korff1 who paints similar scenes1 but in miniature2 the brothers ,oyens2 ,elchanon ,verveer1 painter of jolly old fishermen2 ,sadee2 ,mejuffrouw van de ,sande ,bakhuijzen1 and ,mejuffrouw ,roosenboom1 painters of flowers and fruit2 ,eerelman and ,van ,essen1 the animal painters2 ,allebe1 the colorist1 painter of human figures and animals2 and ,kaemmerer1 who is fond of painting figures in the costumes of the ,directoire4 ,,footnotes3 #bg ,h4 ,smissaert4 #bh ,g4 ,h4 ,marius4 #bi ,h4 ,smissaert4 ,,the ,,town ,,hall1 ,,haarlem ,,from ,,amsterdam ,,to ,,haarlem ,it would be well now to make a day's trip to ,haarlem4 ,the steam tram takes us through an interesting country1 and in about an hour we reach the centre of the town1--the ,groote ,markt1--in which are several old buildings1 the meat market1 the ,groote ,kerk1 and the ,town ,hall4 ,the latter is the chief object of our visit to ,haarlem1 for it contains ten large pictures by ,frans ,hals1 which no admirer of this great master can afford to neglect4 ,the ,town ,hall1 facing the ,groote ,kerk1 was originally a palace of the counts of ,holland4 ,it was begun in the twelfth century1 but was remodelled in #afbj and #afcj1 when a wing was added4 ,some of the large beams in the interior date from the thirteenth century4 ,the walls of the vestibule are decorated with coats of arms and portraits of the counts and countesses of ,holland4 ,the ,room containing ,hals's ,doelen ,pictures4--,we pass at once into the principal room1 where the famous ,regent 7or ,doelen7 pictures by ,hals are arranged in chronological order4 ,these pictures represent nearly all the artist's working period4 ,the ,banquet of the ,officers of the ,guild of the ,archers of ,st4 ,george was painted in #afaf1 when the artist was thirty-five2 the same subject1 with different portraits1 in #afbg2 the ,banquet of the ,officers of the ,arquebusiers of ,st4 ,andrew1 in #afbb1 when the corps departed for the siege of ,hasselt and ,mons2 ,reunion of the ,arquebusiers of ,st4 ,andrew1 in #afcc2 and ,officers and ,sub-,officers of the ,arquebusiers of ,st4 ,george1 in #afci4 ,illustration3 ,,frans ,,hals ,reunion of the ,arquebusiers of ,st4 ,andrew ,as the enormous canvases each contain from fourteen to twenty life-size portraits1 we feel as if we were entering a hall full of convivial officers1 laughing1 jesting1 and making merry over their fine wines and choice food4 ,they are richly dressed2 many of them wear lace cuffs and ruffs and bright scarfs2 flags flutter1 spears glitter1 spurs and swords clank and flash in the sunlight2 the plumes on the large hats nod2 and loud talk and bursts of laughter seem to issue from the frames4 ,these convivial men have fought against the hated ,spaniards1 and are ready to trail a pike at any moment4 ,the artist was commanded to paint each man accurately and according to his rank in the company4 ,every picture is1 therefore1 a group of portraits2 and ,colonel ,jan ,claasz ,loo1 in the picture of #afcc1 is considered one of ,hals's masterpieces of portraiture4 ,these pictures rank with ,rembrandt's and ,van der ,helst's works of this class4 ,in addition to these are ,regents of the ,hospital of ,st4 ,elizabeth 7#afda71 ,regents of the ,old ,men's ,almshouse1 and ,lady ,regents of the ,old ,men's ,almshouse1 both painted in #affd1 when ,hals was over eighty4 ,two fine portraits of ,nicholas van der ,meer1 ,burgomaster of ,haarlem1 and his wife1 are dated #afca4 ,a copy of a portrait of ,frans ,hals by himself hangs in an adjoining room4 ,crowe on ,hals's ,earlier and ,later ,styles4--,in every form of his art we can distinguish his earlier style from that of later years4 ,two ,boys ,playing and ,singing1 in the ,gallery of ,cassel1 and ,a ,banquet of ,officers1 in the ,museum of ,haarlem1 exhibit him as a careful draughtsman1 capable of great finish1 yet spirited withal4 ,his flesh1 less clear than it afterwards became1 is pastose and burnished4 ,further on he becomes more effective1 displays more freedom of hand and a greater command of effect4 ,at this period we note the beautiful full-length of a young lady of the ,berensteyn family in the house of that name in ,haarlem1 and a splendid full-length of ,a ,patrician ,leaning on a ,sword1 in the ,lichtenstein ,collection at ,vienna4 ,both these pictures are equalled by the ,banquets of ,officers of #afbg1 and a ,meeting of the ,company of ,st4 ,george1 of #afcc1 in the ,haarlem ,museum4 ,a picture of the same kind in the ,town ,hall of ,amsterdam1 with the date of #afcg1 suggests some study of the masterpieces of ,rembrandt1 and a similar influence is apparent in a picture of #afda at ,haarlem1 representing the ,regents of the ,company of ,st4 ,elizabeth4444 ,rembrandt's example did not create a lasting impression on ,hals4 ,he gradually dropped more and more into gray and silvery harmonies of tone2 and two of his canvases1 executed in #affd1--the ,regents and ,regentesses of the ,oudemannenhuis1 at ,haarlem1--are masterpieces of color1 though in substance they are but monochromes4 ,his ,pictures of ,various ,strata of ,society4--,hals's pictures illustrate the various strata of society into which his misfortunes led him4 ,his banquets or meetings of officers1 of sharpshooters and guildsmen1 are the most interesting of his works4 ,but they are not more characteristic than his low-life pictures of itinerant players and singers4 ,his portraits of gentlefolk are true and noble1 but hardly so expressive as those of fishwives and tavern heroes4 ,his first master was ,van ,mander1 the painter and historian1 of whom he possessed some pictures4 ,but he soon left behind him the practice of the time illustrated by ,schoreel and ,moro1 and1 emancipating himself gradually from tradition1 produced pictures remarkable for truth and dexterity of hand4 ,hals and ,rembrandt compared4--,we prize in ,rembrandt the golden glow of effects based upon artificial contrasts of low light in immeasurable gloom4 ,hals was fond of daylight1 of silvery sheen4 ,both men were painters of touch1 but of touch on different keys4 ,rembrandt was the bass1 ,hals the treble4 ,the latter is1 perhaps1 more expressive than the former4 ,he seizes with rare intuition a moment in the life of his sitters4 ,what nature displays in that moment he reproduces thoroughly in a very delicate scale of color1 and with a perfect mastery over every form of expression4 ,he becomes so clever at last that exact tone1 light and shade1 and modelling are all obtained with a few marked and fluid strokes of the brush4 ,the ,other ,corporation ,pictures4--,the other ,corporation pictures will not detain us2 but while here we can take a hasty glance at ,a4 ,brouwer's ,binnenhuis2 ,jan ,steen's ,peasants' ,kermesse2 ,philips ,wouwermans's ,stags and ,goats2 ,molenaer's ,rustic ,wedding2 ,f4 ,hals the ,younger's ,binnenhuis2 ,pieter ,aertsen's ,children in the ,fiery ,furnace2 ,a4 ,backer's ,semiramis2 ,cornelis ,bega's ,street ,musicians2 ,gerrit ,berckheyde's ,groote ,markt in ,haarlem and ,fish ,market in ,haarlem2 ,job ,berckheyde's ,groote ,kerk1 ,haarlem1 and ,joseph and his ,brothers in ,egypt2 ,bloemaert's ,message to the ,shepherds2 ,pieter ,claez's ,still ,life2 ,jacques de ,claen1 ,fruits2 ,droochsloot's ,kermesse2 ,a4 van ,everdingen's ,street in ,haarlem2 ,h4 ,goltzius's ,titus2 ,g4 ,w4 ,heda's ,still ,life2 ,g4 van ,honthorst's ,singer2 ,hendrik ,meyer's ,groote ,markt1 ,haarlem2 ,p4 de ,molyn's ,pillaged and ,burning ,village2 ,isaac van ,nickele's ,groote ,kerk1 ,haarlem2 ,isaac ,ouwater's ,groote ,markt1 ,haarlem2 ,christoffel ,pierson's ,hunting ,attributes2 ,isaac ,ruisdael's ,holland ,dunes and ,landscape in the ,dunes2 ,saenredam's ,nieuwe ,kerk1 ,haarlem2 ,p4 van ,santvoort's ,winter ,landscape2 ,j4 van ,scorel's ,adam and ,eve1 ,st4 ,cecilia ,playing the ,organ1 and ,christ's ,baptism in the ,jordan2 ,jacob van der ,ulft's ,the ,forum of ,nerva1 ,rome2 ,esais van de ,velde's ,landscape2 ,jan ,wijnants's ,landscape2 ,thomas ,wyck's ,roman ,ruins2 and many portraits by ,maes1 ,jan ,weenix1 ,jan ,victors1 ,verkolje1 ,ter ,borch1 ,ravesteyn1 ,pot1 ,netscher1 ,mierevelt1 ,t4 de ,keijser1 and other famous ,dutch artists4 ,the ,teyler ,museum4--,we can afford to neglect the ,teyler ,museum1 unless we are particularly interested in the study of modern ,dutch art4 ,in that case1 we can view there some excellent examples of ,israels1 ,mauve1 ,mesdag1 ,ten ,cate1 ,j4 ,koster1 ,bosboom1 ,verveer1 ,eeckhout1 ,koekkoek1 and others4 ,the ,teyler ,museum also contains a valuable collection of engravings and drawings by old masters1 including ,rembrandt1 ,michelangelo1 ,goltzius1 and ,a4 van ,ostade4 ,the ,paviljoen ,welgelegen4--,taking the tram to ,frederiks-,park1 we may glance at the ,paviljoen ,welgelegen1 a chateau built in #aghh by ,mr4 ,hope1 an ,amsterdam banker1 and which was purchased by ,louis ,napoleon when he became ,king of ,holland4 ,it was to this building that the modern pictures were removed from the ,trippenhuis in #ahch4 ,this now shelters a ,colonial ,museum and a ,museum of ,industrial ,art1 both of great interest4 ,,the ,,boijmans ,,museum1 ,,rotterdam ,,the ,,museum',s ,,origin ,,and ,,growth ,the ,boijmans 7or ,boymans7 ,museum1 on the ,schiedamsche ,dyk1 was founded by a bequest of ,mr4 ,f4 ,j4 ,o4 ,boijmans1 who died in #ahdg4 ,his fine collection of #cfj paintings suffered by fire in #ahfd1 and only #afc of them were left4 ,these were housed in a new building1 completed in #ahfg4 ,by means of various bequests and purchases1 the collection has been increased to more than four hundred paintings and two thousand drawings and engravings4 ,the ground-floor contains the drawings and engravings1 the ,library of ,rotterdam 7#cj1jjj volumes71 and the ,portrait-room4 ,the upper floor consists of six galleries1 two of which are devoted to modern pictures4 ,two ,classes of ,landscapes in this ,museum4--,the ,boijmans ,museum is rich in landscapes4 ,these naturally fall into two classes3 first1 the works of those men who studied in ,italy or at least owed their inspiration to others who did2 and secondly1 pictures of purely ,dutch scenery with the peasants1 flocks1 and herds familiar to the native4 ,the classical landscapes are framed with mountains1 and usually have cascades and ruins1 and often are peopled with nymphs1 shepherds1 and other figures classically draped4 ,many examples of this school have already been noted in ,the ,hague and ,amsterdam museums4 ,painters of ,italian ,landscapes4--,jan ,miel 7#aeii-affd7 went to ,rome and studied under ,andreas ,sacchi4 ,his ,italian ,landscape1 alive with travellers1 is similar in feeling and treatment to many others in this gallery by ,jan van de ,meer1 ,jr41 ,adam ,pynacker1 ,j4 ,lingelbach1 ,jacob van ,huchtenburgh1 ,willem de ,heusch1 ,jan ,hackaert1 ,j4 van ,bronckhorst1 ,pieter ,bout1 ,jan ,both1 ,adriaen ,bloemaert1 and ,johannes van der ,bent4 ,in many of these classical landscapes the figures are supplied by ,a4 van de ,velde and ,lingelbach4 ,poelenburg's ,figure-painting4--,poelenburg painted the figures in the pictures of some of his contemporaries1--in the ,rocky ,landscape by ,willem de ,heusch1 for instance4 ,in this panel we find the usual road with women1 children1 cattle1 sheep1 goats1 trees1 cascade1 rocks covered with vegetation1 shepherd with flock1 travellers with a pack-mule1 and mountainous background4 ,a4 ,bloemaert's ,italian ,landscape4--,adriaen ,bloemaert 7d4 #affh7 painted historical subjects and landscape4 ,his ,italian ,landscape exhibits goats on rocks covered with vegetation in the foreground1 from which a road rises to a castle on a mountain4 ,a man and a child are coming down the road4 ,the background is mountainous4 ,dirk ,maas's ,camp4--,dirk ,maas 7#afef-agag7 studied successively under ,mommers1 ,berchem1 and ,huchtenburgh1 and finally adopted the style of the latter4 ,his subjects generally are skirmishes1 marches1 and camps4 ,his ,camp is full of life4 ,the canvas of a tent is fixed to a tree-trunk4 ,before the tent sits a cavalier1 glass in hand and holding a horse by the bridle1 talking to a woman standing in front of him4 ,inside the tent1 soldiers are playing cards2 on the right1 two dogs are fighting4 ,there are other groups of soldiers1 beggars1 horses1 women1 and children4 ,the background is closed by tents at the foot of an elevation crowned by a fortress4 ,jan ,maartsen's ,cavalry ,combat4--,jan ,maartsen 7d4 #afde7 painted battles and cavalry skirmishes4 ,his ,cavalry ,combat1 dated #afcj1 shows a fight between ,dutch and ,spaniards4 ,infantry are engaged in the background4 ,vrancx's ,pillage and his ,promenade4--,sebastian ,vrancx 7or ,francken7 has a ,pillage1 somewhat similar to that of ,wouwermans4 ,soldiers are seen pursuing fugitives and chasing cattle before them2 one soldier takes a poor peasant from his house as prisoner2 and farther away1 near a tree1 are a horseman on a rearing horse1 and a house in flames2 in the middle distance the village street guarded by the cavalry2 and in the background houses1 and a town on the horizon4 ,his ,promenade shows a gentleman in black1 with brown mantle and large hat ornamented with green1 white1 and red feathers1 offering his hand to a lady in a white dress1 red overskirt1 black mantle1 and red bonnet4 ,on the right is a grape-vine2 on the left1 an inn1 in which several persons are seated2 and on the horizon1 a town4 ,the same subject is again treated1 but this time the gentleman wears a costume of white satin and red velvet1 a brown cloak and a brown hat with a green plume1 and high leather boots1 while the lady has a blue dress1 a white bodice1 a tunic of red satin1 a fluted ruff1 and a round hat4 ,fireworks are seen in the background4 ,esais van de ,velde's ,battle ,picture4--,esais van de ,velde has a ,nocturnal ,combat between ,cavalry and ,infantry1 in which a ,dutch troop of cavalry are attacking ,spanish ,mousquetaires and ,lansquenets1 the scene illuminated by a tent in flames4 ,far in the distance are the towers and spires of a town4 ,johan ,huchtenburgh and his ,cavalry ,combat4--,johan van ,huchtenburgh 7#afdf-agcc7 was a pupil of ,thomas ,wijk4 ,after joining his brother ,jacob in ,italy in #affg1 and working there for a time1 he left for ,france1 and painted under the direction of the celebrated battle-painter1 ,a4 ,f4 van der ,meulen4 ,on his return to ,holland in #afgj he grew famous2 afterwards he painted scenes from the wars in which ,william ,,iii41 ,marlborough1 and ,prince ,eugene were prominent4 ,his ,cavalry ,combat shows a fight between the ,imperial troops and the ,turks in a mountainous district4 ,it is full of action4 ,the foreground is in shadow1 while the middle distance and background are fully illuminated4 ,lingelbach's ,country ,people by a ,fountain4--,country ,people by a ,fountain is the title of a picture by ,j4 ,lingelbach4 ,in the foreground of an ,italian landscape several country people are variously grouped2 on the right1 at the foot of a rock1 a fountain gushes forth1 by which is a man wrapped in sheepskin2 in the centre1 a woman riding an ass1 is talking to another woman1 who stands by her side2 then comes a boy2 then a man is seen drinking from the fountain1 his ass beside him4 ,on the left1 another peasant is riding a white horse laden with panniers2 and by his side walks a man with a stick in his hand1 and followed by a dog4 ,on the left is a lake2 and mountains form the background4 ,three ,landscapes by ,adam ,pynacker4--,the ,rotterdam ,gallery owns three pictures by ,adam ,pynacker4 ,in ,an ,italian ,landscape a line of high mountains edges the horizon1 from which stretches a plain2 and in the foreground on the right1 a river flows from a high mountain through a rocky gorge4 ,two men are fishing2 and near them are a dog and an ass4 ,on the left a road leads to a small lake1 on the borders of which a herdsman and his cattle are advancing4 ,in the ,mountainous ,landscape a ruined tower stands at the foot of a high rock on the left2 and along the road that is lost behind the hill and rocks in the foreground1 peasants and their cattle are seen4 ,the setting sun throws its warm rays over the wooded hills and over the river that winds through the vast landscape and upon the figures1 and illuminates a cow and a goat browsing among the bushes and rocks4 ,on the ,border of a ,lake shows a sheet of water illuminated by the sun1 and on the left several persons are embarking4 ,in the distance are rocky peaks partly wooded2 and men are fishing from the shore of the lake4 ,jacob ,huchtenburgh's ,mountainous ,landscape4--,jacob van ,huchtenburgh followed his master1 ,berchem4 ,in the foreground of his ,mountainous ,landscape a road crosses a river by a three-arched stone bridge4 ,in the road are some sheep and peasants2 and a shepherd with an ass and two cows is crossing the bridge4 ,at a ford on the right a man is watering two horses4 ,some distance away there is a cloister at the foot of a high mountain1 before which are monks1 peasants1 and a carriage and horses4 ,higher up the mountain are a farm1 a castle1 and a group of buildings surrounded by walls4 ,peasants are dancing in a valley on the left4 ,finally1 we see a vast mountain landscape through which a river winds4 ,moucheron's ,mountainous ,landscape4--,another ,mountainous ,landscape is by ,moucheron4 ,in the foreground we observe a woman on a white horse4 ,she is talking to a man who descends a hill4 ,some country people are wading through a ford1 and on the other side of the stream stands a ruined tower4 ,the picture is lighted by the warm rays of the setting sun4 ,adriaen van de ,velde painted the figures4 ,two ,imitators of ,poelenburg's ,style4--,jan van ,bronckhorst has an ,italian ,landscape in the style of ,poelenburg1 by which he is most commonly known4 ,there are ruins partly surrounded by water1 two bathers1 a shepherd and goats1 a stone bridge1 and mountainous background4 ,another imitator of ,poelenburg was ,jacob ,esselens 7b4 #afbh71 who painted landscapes1 marines1 and town views4 ,a ,landscape shows a distinguished company of ladies and gentlemen beside a stream with carriages1 horses1 hounds1 herons1 and falcons4 ,on the river are a yacht and a row-boat2 and1 in the distance1 a castle among the trees4 ,the scene is full of color and movement4 ,jan ,beerstraten and his ,town ,gate4--,jan ,beerstraten 7d4 #affj7 painted marines and town views2 but nothing is known of him except that he married ,magdalena ,bronckhorst4 ,his drawing is good1 color excellent1 and brush work strong4 ,some of his marines will bear comparison with those of ,backhuysen4 ,a4 van de ,velde sometimes painted his figures4 ,a ,town ,gate1 signed and dated #afed1 worthily displays his powers4 ,in a mountainous country we see a town1 with its churches1 towers1 gates1 and fortifications1 situated on both sides of a river2 on the water several boats are sailing and rowing2 and1 on the banks1 people are bathing and promenading4 ,jan ,hackaert's ,mountainous ,landscape4--,jan ,hackaert has a fine ,mountainous ,landscape with a shepherd playing a clarinet by a stream1 and a couple of peasants dancing1 watched by a man with his back to us4 ,on a hill to the right1 under tall trees1 are a hunter and his dog2 to the left1 a man on horseback followed by a dog4 ,a road runs along the banks of a lake1 at the foot of a high mountain brightly illuminated by the sun1 on which three cavaliers are approaching at a fast trot4 ,the figures and animals in this canvas belong to ,j4 ,lingelbach4 ,berchem and ,two who painted in his ,style4--,johannes van der ,bent 7#afej-ij7 was a pupil of ,ph4 ,wouwermans and ,a4 van de ,velde2 but he also imitated the style of ,n4 ,berchem4 ,he has an ,italian ,landscape in which a shepherdess is milking a goat in the foreground1 with another woman and a boy near her2 farther on are a white horse and cattle4 ,the mountainous background has a cascade as usual4 ,berchem is not strongly represented here1--only by ,a ,grotto3 a woman and two men1 one mounted on an ass1 are driving cattle over a ford4 ,on the right1 a shepherd is driving a flock of sheep2 there are high mountains in the distance4 ,dirk van ,berghen has also a ,landscape and ,animals in this style with mountainous and woody perspective4 ,j4 ,both's ,italian ,landscape3 ,evening4--,johannes ,both has another of his pictures here that shows the influence of ,claude ,lorraine4 ,in the ,italian ,landscape3 ,evening1 the left foreground is occupied by tall trees2 a chariot is drawn by two oxen along a road leading to an old tower2 on the horizon is a town on the sea-shore4 ,p4 ,bout's ,italian ,seaport4--,pieter ,bout 7#afeh-agjb7 almost always worked in collaboration with ,n4 ,boudwijns1 for whose landscapes he supplied figures4 ,works exclusively his own are very rare4 ,he belonged to the ,flemish-,italian school1 and has here a busy and lively ,italian ,seaport in the style of ,j4 ,b4 ,weenix4 ,it is signed and dated #affi1 which hardly agrees with the date given for his birth unless he was very precocious4 ,other ,painters in the ,same ,group4--,in this group also we might include ,gerrit ,claes ,bleecker 7d4 #afef71 whose work recalls ,elzheimer and his followers4 ,his ,saul on the ,road to ,damascus is classical rather than ,biblical in sentiment1 and the landscape is ,italian4 ,weenix's ,tobias ,sleeping under a ,vine4--,the same may be said of the charming ,tobias ,sleeping under a ,vine by ,j4 ,b4 ,weenix4 ,in this there is a house on the right1 against the wall of which is a vine under which ,tobias is sleeping4 ,a magpie is flying above his head1 and beside him are various objects such as this artist loved to paint1--vegetables1 a great copper milk pan1 a yoke1 harness1 and other things1 including a basket of grapes and an earthen pitcher4 ,in the background a man is mounting a ladder4 ,the picture is signed and dated #affb1 two years before the painter's death4 ,hendrick ,mommers 7#afbc-ig7 also has an ,italian ,landscape4 ,he imitated the style of ,karel ,dujardin1 another painter of this school4 ,frederick de ,moucheron has a ,mountainous ,landscape4 ,his pictures also were peopled by the indefatigable ,van de ,velde and ,lingelbach4 ,landscape ,setting for ,the ,good ,samaritan4--,joris van der ,hagen is another who makes use of a ,biblical episode as an excuse for a landscape1 or for the frame of the subject1 as in his ,landscape ,serving as a ,frame for the ,parable of the ,good ,samaritan4 ,in the foreground on the left1 near two tall trees1 the ,good ,samaritan has dismounted and is stanching the wounds of the traveller2 four dogs are near the ass2 not far away the brigands are descending a path at the foot of a mountain4 ,on the right is the ,levite1 and farther back is the ,pharisee1 going away in a different direction4 ,in the background is a river crossed by a three-arched bridge1 on the other side of which are high buildings surrounded with trees4 ,mountains close the view4 ,boaz and ,ruth in an ,italian ,setting4--,gerbrand van den ,eeckhout 7#afba-gd71 although a pupil of ,rembrandt1 painted so-called ,biblical scenes in much the same spirit4 ,thus his ,boaz and ,ruth has an ,italian setting4 ,in the foreground ,boaz is talking to his servant2 ,ruth is standing beside the latter with her apron full of wheat4 ,on the left is a barn surrounded with trees2 in front of it three harvesters are eating their meal2 on the right beside a plough are a straw hat1 a game-bag1 and a pitcher4 ,in the background is a field of corn which is being reaped and sheafed4 ,mountains close the scene4 ,balaam1 by the ,same ,artist4--,again in ,balaam1 trees and a river1 high mountains and ruins1 form the background4 ,the prophet is seated on his ass1 and beating him with a stick to make him advance2 but on the left an angel in white with golden wings stops him1 sword in hand4 ,balaam is followed by two horsemen in ,roman costume1 and behind them is a chariot drawn by two horses4 ,the ,flight into ,egypt with an ,italian ,background4--,pieter ,lastman painted an ,italian landscape as a background for the ,flight into ,egypt4 ,here we see the ,virgin ,mary on an ass with the ,infant ,jesus in her arms1 and by her side walks ,joseph1 carrying his carpenter's tools4 ,a tree is seen on the left2 and a cascade1 ruins1 and rocks in the background on the right4 ,van der ,weyden's ,the ,apostle ,john4--,rogier van der ,weyden 7#acij-adfd7 is an early master who painted in this style4 ,in his ,the ,apostle ,st4 ,john1 the ,apostle is seated in the foreground of a landscape1 writing on a sheet of paper which lies on his knees4 ,he wears a red robe1 and a large red mantle lined with green falls from his shoulders and covers his knees with ample folds4 ,behind him1 a winged demon empties his inkstand4 ,on the left two gentleman are seen on horseback1 and the background shows a mountainous landscape traversed by a river and enlivened by a castle and a fortified town4 ,van der ,maes and ,van der ,werff4--,evert ,crijnsz van der ,maes 7#aegg-afdf7 has a ,st4 ,jerome in a landscape1 signed and dated #afji4 ,another picture of a hermit is by ,b4 ,matton1 who lived a little later4 ,pieter van der ,werff has a ,repentant ,magdalen1 who is kneeling in a grotto with hands crossed on her breast1 while she reads a parchment scroll covered with ,hebraic characters4 ,jan van ,byler's ,picture of ,rachel and her ,father4--,jan van ,byler1 born in ,utrecht in the second half of the seventeenth century1 and pupil of his father1 is rarely met with in either public or private galleries4 ,here1 however1 we find ,laban ,reproaching ,rachel for having ,carried off his ,household ,gods4 ,in the foreground1 ,rachel is seated holding by one hand a little boy1 while with the other she makes a gesture1 as if to ward off the reproaches of ,laban1 who is standing before her4 ,on the right is a young man carrying a basket4 ,a brown and white dog lies in the foreground2 and in the distance are seen two men and a camel near a tent attached to the trunk of a tree4 ,h4 ,goltzius4--,h4 ,goltzius is represented by an interesting picture1 ,juno ,receiving the ,eyes of ,argus ,killed by ,mercury4 ,mercury is seated on a red cloak2 in his right hand he holds one of the eyes of ,argus1 which ,juno1 descending on a cloud1 is about to receive in her robe4 ,before him are the severed head and corpse of ,argus and a naked sword4 ,a rocky landscape extends to the right1 and on the left1 in the clouds1 the chariot of ,juno1 drawn by peacocks4 ,moreelse's ,vertumnus and ,pomona4--,an interesting mythological picture by ,moreelse is called ,vertumnus and ,pomona4 ,the latter is seated under the trees to the left with her face turned toward the spectator4 ,she wears a yellow silk dress with a blue tunic2 her right hand holds a pruning-hook and her left a bunch of white grapes4 ,a little behind her ,vertumnus is seen in the guise of an old woman1 leaning on a stick and extending the left hand4 ,de ,vos's ,allegory1 ,crowned by ,riches4--,cornelius de ,vos 7#aehe-afea71 pupil of ,david ,remens1 has an ,allegory1 ,crowned by ,riches4 ,on the right1 under a red tent fringed with gold1 a young woman in a green dress and mantle embroidered with gold1 a crown of gold in her right hand and a sceptre in her left1 stands majestically4 ,before her kneels a farmer to be crowned1 and he extends his hand to the fruits and vegetables in the foreground4 ,on a table to the right1 covered with a crimson cloth1 are various objects of gold and silver4 ,farther back under the tent are two women1 a negro1 and ,love4 ,in the middle distance is ,time with his scythe4 ,to the left in the background1 a landscape1 where people are tilling the soil4 ,an ,allegory by ,de ,wit4--,jacob de ,wit also has an ,allegory4 ,minerva1 in a landscape1 is seated with her right hand on her harp2 in front of her1 four naked children are sporting1 and one is playing a harp4 ,a ,classical ,scene by ,van der ,ulft4--,jacob van der ,ulft has a picture1 painted in #afgd1 representing ,the ,betrothed of ,allucius ,led as ,prisoner ,before ,scipio4 ,ruins of temples and city walls and gates are seen to right and left4 ,in the foreground are ,scipio1 the betrothed of ,allucius1 and other prisoners4 ,farther back are ,roman soldiers with chariots1 elephants1 camels1 and spoils of war4 ,in the background a town is seen at the base of the mountains4 ,achilles ,recognized by ,ulysses1 by ,van ,limborch4--,achilles ,recognized by ,ulysses1 by ,h4 van ,limborch1 shows ,achilles kneeling on the ground in the dress of a woman with a blue chalmys1 having a sword in his right and the scabbard in his left hand2 he is recognized by ,ulysses who1 with another person1 is standing behind him4 ,on the ground lie a helmet1 a shield1 several precious objects1 and some jewels which are being examined and handled by the wives of ,lycomedes1 ,king of ,scyros4 ,in the background on the left is the peristyle of a palace2 and on the right are several persons near a statue and a boat4 ,de ,vriendt's ,the ,death of ,lucrezia4--,the ,death of ,lucrezia1 by ,frans ,floris de ,vriendt1 is painted in a similar vein4 ,lucrezia is on her knees1 in a despairing pose1 and about to stab herself4 ,in the background several buildings are seen4 ,painters of ,purely ,dutch ,scenery4--,turning now to painters of purely ,dutch scenery and outdoor life1 the ,boijmans contains many pictures by the followers of ,rembrandt1 ,potter1 ,ruisdael1 and ,wouwermans4 ,some of these display the open country1 and others the life by the wayside1 in the streets1 and in the vicinity of towns4 ,there are many charming pictures of the outdoor life of the gentry1 the tradesmen1 and the farmers4 ,we have scenes of hunting1 hawking1 fishing1 promenades1 and cavalcades1 with beautiful landscape surroundings1 and several pictures of the farm1 pure and simple4 ,three ,pictures by ,jacob ,ruisdael4--,jacob ,ruisdael has one picture1 ,the ,corn ,field1 which represents a hilly landscape4 ,in the foreground brushwood1 heath1 and moss2 on the right two oaks and1 on an incline1 a wheat-field partly cut1 and mowers who are resting4 ,on the horizon1 to the left1 is the sea with a few sails upon it4 ,another picture is called ,a ,sandy ,road1 and on this1 which leads through brushwood and oak-trees1 trudge two persons4 ,on the right is a pool partly hidden in shadow4 ,the third picture by ,ruisdael represents ,the ,old ,fish-,market at ,amsterdam4 ,on the right is the tower of the old church2 in the foreground are the fish-venders sitting at their stalls and many promenaders2 and in the background is the canal1 on which boats are lying and sails spread out to dry4 ,the figures were painted by ,gerard van ,battem4 ,a ,wooded ,landscape by ,izack van ,ruisdael4--,izack van ,ruisdael 7#afbh or #i-afgg7 is represented by ,a ,wooded ,landscape1 signed and dated #affe4 ,water is seen to the right1 as well as in the foreground1 and six cows are standing in it4 ,on the left are several tall trees1 beneath which are cows and sheep2 and far in the distance some men are fishing from the bank4 ,a ,wooded ,landscape by ,hobbema4--,a ,wooded ,landscape and ,landscape by ,hobbema are characteristic examples4 ,the first shows fine treatment of light4 ,the sun piercing through thick clouds lights the middle distance1 while foreground and background are in shadow4 ,among the tall trees in the background a barn is seen2 then a boy and a woman fording the stream2 a shepherd and some sheep near a willow tree2 then come two tree-trunks and some brushwood2 then a winding road1 on which a peasant and a boy are walking2 then a sheet of water bordered by willows4 ,another ,landscape by ,hobbema4--,the other ,landscape also shows a sheet of water in the foreground where two persons are fishing2 then a tree-trunk1 half of which is in the water2 then some trees on a rising ground4 ,a couple of ducks are swimming in the water4 ,in the background a peasant's house is seen1 before which a man is standing2 and on the left a second clump of trees1 where two persons are walking4 ,the background is brilliantly lighted2 but the middle distance and the foreground are in shadow4 ,van ,kessel's ,landscape near ,haarlem4--,jan van ,kessel 7#afdh-ih71 about whom little is known1 and some of whose works follow the style of ,j4 van ,ruisdael1 has here a ,landscape near ,haarlem and a ,view of ,amsterdam4 ,the first shows a brightly lighted foreground with a road leading to a village on the right1 the ruins of the ,castle of ,brederode4 ,huntsmen and dogs1 a shepherd and sheep1 and some swans in a moat1 by ,lingelbach1 enliven the scene4 ,the middle distance is in shadow1 and here we have trees1 fields1 and dunes4 ,the background shows a brightly lighted landscape stretching away into the distance4 ,his ,view of ,amsterdam4--,his ,view of ,amsterdam shows a canal where a man is rowing a boat1 a large boat fastened on the right1 some swans floating in the water on the left4 ,the canal1 shut by the gates1 is crossed by a stone bridge1 on which some people are walking4 ,in the corner is a quay bordered with trees1 and on the horizon a clock-tower4 ,one of ,isaak van ,ostade's ,rare ,pictures4--,isaak van ,ostade 7#afba-di71 a pupil of his brother ,adriaen1 usually painted inns and village scenes1 now extremely rare4 ,neither the ,mauritshuis nor the ,rijks owns an example4 ,hence the ,inn among the ,dunes is of great interest4 ,a chariot1 drawn by a white horse1 is arriving before an inn among the trees on the left4 ,the horse is being fed1 and some travellers and children stand in front of the door4 ,a little boy is leading some pigs across the foreground2 two horsemen are galloping away in the distance1 and the horizon shows the dunes and a clock-tower4 ,a4 van der ,neer's ,moonlit ,landscape4--,a ,moonlit ,landscape by ,aert van der ,neer is a striking picture with simple materials4 ,a road1 bordered with trees1 is seen in the foreground1 with two persons approaching2 in the middle distance are some cows on the banks of a canal1 and peasants' houses under the trees1 with a clock-tower in the background4 ,the sky is stormy1 and the moon is rising and throwing its rays on the water4 ,a4 van de ,velde's ,landscape and ,blacksmith4--,adriaen van de ,velde has a ,landscape with ,animals and ,a ,blacksmith4 ,the first shows a flat landscape with a light brown ox1 and a little farther away a sheep lying down1 and also a cow2 in the background a farmhouse is seen beneath the trees1 and a vast meadow dotted with cows stretches away to the right4 ,the ,blacksmith is in the background at the door of his forge1 before which a boy stands with a gray horse4 ,an ass1 a cock1 and some hens lend additional animation to the little scene4 ,two ,norwegian ,landscapes by ,everdingen4--,albert van ,everdingen is represented by two fine examples of the ,norwegian landscape1 for which he is famous4 ,the scenes are lively1 with human figures in both4 ,a ,hunting ,scene by ,keirinckx and ,poelenburg4--,alexander ,keirinckx 7b4 #afjj7 was a painter of landscapes and views of towns4 ,he painted with much truth to nature1 his foliage especially being executed with rare perfection4 ,poelenburg1 as a rule1 painted the figures in his pictures1 as he did in ,a ,forest1 signed and dated #afcj4 ,this is a hunting scene1 with a gentleman on horseback followed by hounds under tall trees in the foreground4 ,other figures are a huntsman sounding a call1 two other hunters1 and a stag in the distance among the trees4 ,verboom's ,evening4--,abraham ,hendricksz ,verboom 7seventeenth century7 is represented by ,evening1 showing trees in the foreground1 huntsmen and dogs in the middle distance lighted by the setting sun1 and behind a wooden fence a farmhouse4 ,in the background a clock-tower appears on the right1 while a rocky landscape extends to the left4 ,nymegen's ,swiss ,landscape4--,gerard van ,nymegen 7#agce-ahjh7 was the pupil of his father ,d4 van ,nymegen4 ,he visited ,germany and ,switzerland4 ,the ,boijmans owns a ,swiss ,landscape1 in which a majestic and foaming cascade plunges down the rocks2 while1 on the left1 in the foreground1 is a large fallen tree4 ,shepherds and sheep are crossing a bridge4 ,van der ,heyde's ,ruined ,castle4--,a good example of ,jan van der ,heyde is ,a ,ruined ,castle4 ,the scene is a courtyard with a large tree1 under which is seated a shepherd playing a flute2 a horseman is in a gateway on the left2 and several persons are standing on a stone bridge on the right4 ,a few clouds are floating across the clear sky4 ,the picture is much admired for its light and shadow4 ,donck's ,coming ,home from ,shooting4--,gerrit ,donck has a canvas called ,coming ,home from ,shooting1 with a cottage1 two gentlemen1 a woman1 a peasant1 and a boy4 ,in the centre1 some dead game lies on an inverted tub4 ,one gentleman is seated2 he points to the birds and talks to the woman4 ,the other gentleman holds his gun and listens to what the peasant has to say4 ,the boy looks on4 ,through the open door on the right we see a landscape in the style of ,j4 van ,goyen4 ,p4 ,wouwermans's ,gentleman on ,horseback4--,a ,gentleman on ,horseback is by ,philips ,wouwermans4 ,mounted on a gray horse the rider takes his way through a sandy landscape toward the dunes that are seen on the left4 ,he wears a gray costume embroidered with gold1 a black hat with a white feather1 and high black boots4 ,in the background are trees1 and on the right is a pavilion4 ,an ,admired ,picture by ,e4 van de ,velde4--,esais van de ,velde's ,cavalier has always been greatly admired4 ,vosmaer says3 ,this little figure1 seen from behind1 sitting so squarely and easily on his horse1 seems really a personage of life size2 it is almost an equestrian statue4 ,the horse is rearing1 and the rider1 whose back is turned to the spectator1 wears a felt hat1 a blue cloak1 and high black riding-boots4 ,p4 ,wouwermans's ,pillaging ,soldiers4--,philips ,wouwermans once again displays the pleasure he takes in painting horses in his ,pillaging ,soldiers4 ,in a hilly country and on the banks of a river a soldier on a white horse is aiming at the cheek of a peasant who is begging for mercy on his knees2 one individual lies stretched out on the ground2 and on the right a woman with her child in her arms is being pursued by a soldier4 ,in the middle distance1 a horseman is carrying off his booty1 and on the left two horsemen are pursuing the fugitives4 ,a village in flames appears in the background4 ,verschuring's ,horse-,shoer4--,hendrick ,verschuring 7#afbg-ij7 was a painter of social life1 portraits1 and figures1 and was a pupil of ,dirk ,govertsz and ,jan ,both4 ,he visited ,italy4 ,his picture here is called ,a ,horse-,shoer4 ,before the steps of the old town hall of ,amsterdam 7represented also in ,beerstraten's picture in this gallery7 a man is shoeing a white horse4 ,farther back stands a man in a red cloak2 to the right some beggars with a dog4 ,among the trees in the background a horseman is disappearing4 ,a ,spirited ,forest ,scene by ,looten4--,another landscape painter of this period was ,jan ,looten1 who died in ,england in #affj4 ,like so many of his contemporaries1 he employed others1 especially ,nicolaes ,berchem1 to enliven his scenery with figures4 ,his large picture1 ,a ,forest1 signed and dated #afeh1 is a spirited scene of ladies and gentlemen mounted1 with hawks on their fists and followed by falconers4 ,the landscape is prettily diversified with woods1 streams1 and hills4 ,the ,dunes1 by ,j4 ,wouwermans4--,jan ,wouwermans 7#afbi-ff71 pupil of his brother ,philips1 has a picture of ,the ,dunes4 ,in the middle of the picture is a watercourse1 which is crossed by a bridge and loses itself behind a hill over which is seen the roof of a house4 ,a ,sunny ,picture by ,molenaer4--,nicolaas ,molenaer 7d4 #afgf7 has a sunny picture of a ,bleaching ,ground4 ,in the foreground is a man in a boat on a stretch of water4 ,to the right is the bleaching ground1 in which people are busy spreading out the linen2 and on the left are cottages1 with tall trees behind4 ,p4 de ,molyn's ,farm4--,pieter de ,molyn the ,elder 78-#affa7 has a pretty picture of a farm1 where two peasant men are talking to a peasant woman4 ,a very large tree stands in the front in full light1 and behind the hedge are a hayrick and the house4 ,murant's ,farm4--,another farm is the work of ,emanuel ,murant4 ,a large tree and a sheet of water occupy the foreground4 ,near the latter a goat is lying2 then come three pigs before a stable1 and three sheep and a peasant4 ,a pigeon-house on four poles and a hay-wagon are seen in the background4 ,three ,good ,landscape-painters4--,jan ,breughel 7#afja-gh7 painted so much like his father 7,velvet7 that it is hard to distinguish the one from the other4 ,his two village scenes are full of the country and rural life4 ,michiel ,carree 7#afff-agdg7 was another painter of the country4 ,his ,wooded ,landscape with ,cattle has a mountainous background2 it is animated by a shepherd1 an ass1 two oxen1 two goats1 a ram1 and several lambs4 ,cornelis ,decker 7d4 #afgh7 was a pupil of ,salomon ,ruisdael1 whom he greatly resembles in style4 ,his landscape depicts a peasant's cot half hidden among trees on the bank of a stream4 ,on a plank crossing the latter a woman is washing clothes2 on the right are two persons in a boat2 on the horizon are trees and a clock-tower4 ,netscher's ,family ,scene4--,netscher's ,family ,scene1 painted in #affg1 shows a group in a garden in front of an imposing house4 ,a gentleman in a long brown wig leans on the base of a pillar2 behind him is a statue of ,justice1 and beside him a lady in white satin with a child on her knee4 ,near her are two young girls2 one is in red silk1 the other in blue satin4 ,they are making floral crowns1 while three other children are twining flowers around a statue of ,love4 ,on the left1 in the foreground1 is a handsome stone vase containing a plant4 ,two ,landscapes4--,pieter ,jansz van ,as has a typical ,dutch landscape with rustic cottages1 goats1 shepherds1 etc4 ,jan van ,gool 7#afhe-agfc7 was a pupil of ,terwesten and ,van der ,does4 ,his ,landscape and ,animals is a milking scene in a meadow1 wherein are also a dog1 goat1 sheep1 and lambs4 ,trees1 meadows1 and a town close the distance4 ,one of ,koninck's ,very ,scarce ,pictures4--,jacob ,koninck 7fl4 #afdj7 was a pupil of ,a4 van de ,velde2 his pictures are very scarce4 ,landscape with ,animals shows sheep and cattle browsing and lying down1 with a young shepherd presumably cutting his name on a tree-trunk4 ,banks of trees and a farmhouse close the background4 ,a ,charming ,landscape by ,p4 van der ,leeuw4--,another little-known landscape-painter1 ,pieter van der ,leeuw 7fl4 #afgj71 was a son and pupil of ,sebastiaen van der ,leeuw4 ,he has a charming ,landscape and ,animals2 the animals consist of two oxen drinking at a stream1 a ram1 two ewes1 a goat1 a sheep1 and two lambs4 ,a shepherd and shepherdess rest under a tree4 ,the color and composition are excellent4 ,michau's ,landscape with ,cottages4--,theobald ,michau 7#afgf-agfe7 modelled himself on ,d4 ,teniers the ,younger4 ,his ,landscape with ,peasants' ,cottages is full of the spirit of humble life4 ,a woman sits at her door with a child on her lap1 talking to three neighbors2 another is washing kitchen utensils2 a man and a dog are approaching4 ,on the left there are tall trees1 and five cows beside a stream2 and farther back are cottages and a church-tower above trees4 ,a ,characteristic ,picture by ,van der ,poel4--,egbert van der ,poel has here a characteristic picture1 ,fire at ,night in a ,village ,house4 ,the house in flames occupies the middle of the picture2 many persons are trying to put out the fire1 and some are throwing water upon it4 ,several neighboring houses and a clock-tower are lighted by the glow of the flames4 ,van ,straaten's ,washerwoman4--,bruno van ,straaten1 who was born in ,utrecht in #aghf1 is represented by ,the ,washerwoman4 ,she is represented as busy outside the walls of the town2 near her are houses1 trees1 and a windmill4 ,van ,os's ,farrier4--,pieter ,frederik van ,os 7b4 #ahjh71 a pupil of his father1 ,pieter ,gerardus1 has a canvas called ,the ,farrier4 ,in this1 two men are shoeing a white horse in front of an old forge4 ,cuijp's ,stable4--,aelbert ,cuijp's picture ,the ,stable shows two dappled horses seen from the back in a stable2 in the foreground are seen a stable-boy1 a goat1 some stable utensils1 and a brown dog4 ,an ,interesting ,kermesse by ,droochsloot4--,joost ,cornelisz ,droochsloot1 a native of ,utrecht1 who was born about #aehf and died after #afff1 has an interesting ,kermesse4 ,the scene is a village street1 where a great number of peasants are drinking1 singing1 and quarrelling4 ,the houses are half hidden by trees1 and in the background is seen a clock-tower1 on the summit of which a red flag is floating4 ,an ,interesting ,picture of ,low ,life4--,an interesting picture by ,govert ,camphuysen1 who lived in the seventeenth century1 called ,wagon ,full of ,drunken ,peasants before an ,inn1 shows a wagon drawn by a white and a brown horse standing before an inn4 ,about half a dozen men and women are seated in it drinking and singing1 and there is a fiddler upon the front seat4 ,the driver is cutting some bread2 by the door stands the hostess1 who is pouring beer into a pewter mug2 a man with glass in hand is seen at an open window2 a beggar stands by the wagon2 and a horseman is riding along the road4 ,a ,dutch ,landscape by ,van ,os4--,georgius ,jacobus ,johannes van ,os has a landscape4 ,the scene is in ,guelderland4 ,trees and a wheat field occupy the background and middle distance2 and in the foreground are seen sheep and cows1 painted by his brother1 ,pieter ,gerardus van ,os4 ,maria ,j4 ,ommeganck's ,landscape with ,sheep4--,maria ,jacoba ,ommeganck 7#agfj-ahdi7 is represented in this gallery by a ,landscape with ,sheep4 ,the scenery is mountainous4 ,in the foreground two sheep are lying down2 in the middle distance a brown sheep is standing near a portion of a house2 and in the background are a shepherd with his dog and some browsing sheep4 ,two ,landscapes4--,jan ,hendrik ,weissenbruch1 born in ,amsterdam in #ahbi1 has a ,landscape with ,animals1 representing cattle in a meadow bright with sunshine4 ,in the foreground to the right is a watercourse1 and in the middle distance a mill4 ,a ,landscape in ,guelderland by ,anthonie ,jacobus van ,wijngaerdt 7#ahjh- 7 represents a sandy road through a forest along which a man and a woman trudge bearing fagots4 ,the sky is full of clouds4 ,a ,sunset1 by ,schipperus4--,pieter ,adriannus ,schipperus 7b4 #ahdj7 has a ,sunset4 ,the red sun disappears behind the trees and is reflected across a pond surrounded by brushwood that occupies the foreground4 ,a ,fine ,example of ,h4 van ,hove's ,first ,period4--,hubertus van ,hove 7#ahad-fe71 the son of ,bartholomeus1 painted figure subjects1 after having first applied himself to landscape4 ,a fine example of his first period is the ,view of the ,lakes in the ,environs of ,rotterdam4 ,an ,early ,production of ,w4 ,roelofs4--,willem ,roelofs is represented here by one of his early productions1 ,landscape and ,animals4 ,in the middle distance are trees and a country house1 and in the foreground a meadow with cows standing on the banks of the river4 ,it is interesting to note that the cows were painted by ,j4 ,h4 ,l4 de ,haas4 ,illustration3 ,,mauve ,cows in a ,shady ,nook ,mauve's ,cows in a ,shady ,nook4--,anton ,mauve is represented by ,cows in a ,shady ,nook4 ,several black cows spotted with white are lying under the shade of the big boughs2 another stands in the foreground near the water2 in the background there is a ditch bordered with willows and tall grasses4 ,other ,modern ,landscapes4--,among the other modern landscapes we may note3 ,landscape1 by ,apol2 ,on the ,dunes1 by ,artz2 ,the ,water-mill and ,view of the ,village of ,nuenen in ,northern ,brabant1 by ,vincent van ,gogh2 ,an ,afternoon at ,katwijk-on-,sea1 by ,s4 ,l4 ,verveer2 ,landscape with a ,windmill near ,schiedam1 by ,weissenbruch2 ,heath in ,guelders in ,autumn1 by ,theophile de ,bock2 ,street ,view 7,the ,hague7 and ,march ,showers1 by ,j4 ,j4 van de ,sande ,bakhuijzen2 and ,summer 7a woman and three children playing on a beach71 by ,blommers4 ,jaeger's ,view of the ,town of ,alger4--,gerard de ,jaeger 7d4 after #affc7 was a painter of marines and canals4 ,nothing is known of him4 ,his ,view of the ,town of ,alger is signed and dated #affe4 ,it is a plan rather than a picture1 having an explanatory placard of the objects of interest depicted4 ,a ,village ,picture by ,van der ,meer4--,jan van der ,meer 7#afbh-ia7 has a picture of ,the ,village of ,noordwijk ,seen from the ,dunes1 dated #afgf4 ,a hunter is talking to two women in the foreground2 cattle and a bleaching-ground occupy the middle distance1 while a church amid trees is in the extensive stretch of background4 ,two ,town ,views of ,van ,hove4--,b4 ,j4 van ,hove has a ,town ,view1 where upon a square in front of a ,gothic church three men are talking4 ,one of them is accompanied by a dog4 ,on a stone parapet on the left is seated a person with a basket on his back4 ,in the background a canal is seen with two boats on it1 and behind the trees on the quays some houses are visible4 ,another ,town ,view by the same painter shows a canal with a bridge1 beneath which a boat is passing4 ,in the middle distance on the right there is an old ,dutch house1 a part of which1 as well as the church with its clock-tower in the distance1 is brilliantly lighted4 ,two of ,de ,hulst's now ,rare ,pictures4--,the pictures of ,frans de ,hulst1 a native of ,haarlem1 where he died in #affb1 are now exceedingly rare4 ,two hang here4 ,one is a ,view of the ,old ,gate of the ,east at ,hoorn1 showing the moat surrounding the town1 and various boats1 in one of which the fishermen are drawing their nets4 ,in the middle distance is the old fortified gate 7built in #aeaa and now demolished7 and the drawbridge1 and in the horizon a large sheet of water4 ,the ,view of ,nymegen shows some travellers arriving on the river bank in a chariot drawn by four horses2 the city is seen on the hills bordering the river on the right1 and beyond the walls and gates rises the ,valkhof with its square tower4 ,the river is lost on the left4 ,town ,views1 by ,vertin4--,petrus ,gerardus ,vertin 7born #ahbj7 has two ,town ,views4 ,one represents some old houses more or less dilapidated1 and persons carrying merchandise and talking2 the second1 a canal bordered with very old ,dutch houses4 ,on the horizon a clock-tower is seen4 ,winter ,scenes by ,leichert4--,charles ,henri ,joseph ,leichert 7#ahah- 7 has two winter scenes3 one represents a frozen canal animated with skaters1 with a frame of houses1 a church1 and a clock-tower2 and the other a street covered with snow1 with houses on either side1 and many figures4 ,van ,beest's ,market4--,sybrandt van ,beest 7d4 #affe7 painted landscapes1 marines1 and genre4 ,his pictures are rare4 ,he somewhat resembled ,van ,goyen in style4 ,in his ,market1 we see on the right a richly costumed gentleman bargaining for a melon with a woman who is seated before a table loaded with all kinds of fruit4 ,behind her are a man and two women in conversation2 an ass drawing a cart is passing4 ,to the left are a heap of vegetables and a woman is picking up a red cabbage4 ,the background is composed of houses and a wall partly covered with verdure1 and several women in front1 also selling vegetables4 ,the panel is signed and dated #afeb4 ,de ,witte's ,fish ,market at ,amsterdam4--,emanuel de ,witte's ,the ,fish ,market at ,amsterdam is an interesting picture4 ,in the foreground under an awning near her stall1 where lie many kinds of fish1 a fishwoman is standing and disputing with a lady who has a white handkerchief on her head and a blue satin jacket4 ,on the right a fisherman is taking off his hat to her4 ,in the background a part of the quay1 ,buitenkant1 and the ,y are seen4 ,three ,pictures of ,fish-,sellers4--,frans van ,mieris the ,younger has a picture of a fish-seller standing behind his stall2 he holds a whiting in his right hand and two baskets in his left2 on the right are a tobacco-box1 a knife1 and a pipe4 ,on the left are some trees1 and the sea extends on the right into the background4 ,louis de ,moni has ,the ,fishmonger4 ,an old woman stands at a window where dried fish are hanging2 on the left is a spinning-wheel4 ,she is talking to a servant who is standing before the window and who has a basket full of bread4 ,several houses are seen in the background4 ,the ,herring ,seller1 by ,pieter ,christoffel ,wonder 7#aghj-aheb71 belongs to this group4 ,a young woman is seated before the window of her house and at her stall1 on which are apples1 cabbages1 and onions4 ,she has a pot on her knee and holds it with her right hand1 while in her left she offers a herring for sale4 ,two of ,barent ,gael's ,good ,pictures4--,barent ,gael 7d4 #affc7 was a pupil of ,ph4 ,wouwermans2 and1 like his master1 painted battles and cavalcades with rich ordering1 careful drawing1 and picturesque effect4 ,he sometimes painted more humble scenes1 as in the ,woman with ,cakes4 ,she is making these appetizing dainties in front of a village house1 watched by a man and four children4 ,to the left are a hedge and some trees1 and in the background a few little houses4 ,a beggar with his wife and child is trudging along the road4 ,the ,village ,inn is not less interesting4 ,here a gentleman1 having alighted before the inn1 stands with the bridle in his left hand and a glass in his right1 as he talks to a man and woman seated on a bench4 ,in the foreground a dog is lying1 and in the background are two horsemen and some trees4 ,a ,town ,view by ,beerstraten1 with ,figures by ,lingelbach4--,a4 ,beerstraten1 about whom little is known except that he lived in ,amsterdam in the seventeenth century1 has an interesting picture of ,the ,old ,town ,hall of ,amsterdam1 built in the fifteenth century and destroyed by fire in #afeb4 ,the old building on the ,dam and the adjacent houses are covered with snow4 ,persons of quality1 and also merchants and peasants1 are seen walking through the snowy streets in all directions4 ,these little figures were painted by ,lingelbach4 ,job ,berckheyde's ,old ,bourse at ,amsterdam4--,another architectural picture by ,job ,berckheyde 7#afcj-ic7 shows ,the ,old ,bourse at ,amsterdam1 built by ,de ,keyser in #afjh-aa1 and destroyed in #ahcf4 ,we see only a portion of the interior of this building under the colonnade1 where many merchants are talking4 ,some of them are in oriental costume4 ,the picture is beautifully lighted by the sun1 which enters on the right4 ,his ,brother ,gerard's ,cologne4--,his brother ,gerard ,berckheyde 7#afca-ih87 has painted ,the ,town of ,cologne1 showing the quay1 the wall1 churches and other buildings1 with the ,rhine on the left4 ,the foreground is beautifully lighted4 ,a brown and white horse1 wagons1 and boats enliven the scene4 ,two ,town ,pictures by ,verheijen4--,a fine view of ,the ,geertekerk at ,utrecht by ,jan ,hendrik ,verheijen 7#aggh-ahdf7 shows the church on the right and the streets enlivened with strollers1 playing children1 and a fish-seller4 ,his ,town ,view1 where brightly lighted buildings are seen across the bridge of a canal1 should also be noted4 ,st4 ,mary's ,church1 ,utrecht1 by ,saenredam4--,pieter ,jansz ,saenredam 7#aeig-fe7 is represented by ,st4 ,mary's ,church1 ,utrecht4 ,this remarkable church1 demolished in #ahac or #ahaf1 was a copy of a church of the eleventh century in ,milan4 ,it dominates the picture1 although it stands on the right4 ,behind it are some houses1 and in front are trees and a square1 on which men and women are promenading1 and children playing4 ,a ,good ,example of ,h4 van ,vliet's ,style4--,the ,interior of a ,protestant ,church1 by ,hendrick van ,vliet 7#afje-ga71 is a good example of this painter's style4 ,on the left is the choir2 in the centre of the foreground1 an open tomb2 on the right1 near a pillar1 a gentleman whose back is turned toward us1 and who is accompanied by a dog4 ,between the pillars the preacher in his pulpit and his hearers are seen4 ,the name and date1 #afff1 appear on one of the pillars4 ,a ,splendid ,church ,interior by ,neeffs4--,pieter ,neeffs the ,elder has a splendid ,interior of a ,catholic ,church1 showing the nave animated with many figures2 chapels and altars are on right and left1 and the choir is in the background4 ,two ,church ,interiors by ,bosboom4--,johannes ,bosboom 7#ahag-ia7 has an ,interior of a ,protestant ,temple1 with people walking about in costumes of the seventeenth century2 and also an ,interior of the ,church of ,st4 ,laurence1 ,alkmaar1 also brightened with figures4 ,a ,noted ,picture by ,klinkenberg1 and ,others by him4--,john ,christian ,charles ,klinkenberg 7#aheb- 7 is the modern ,dutch painter of towns1 cities1 and hamlets1--the ,dutch ,canaletto4 ,he is a pupil of ,bisschop and ,louis ,meyer4 ,at first he was inclined to historical subjects1 but soon turned his attention to street views4 ,it would be impossible to enumerate them all1--the old water-gate at ,sneek1 the town hall at ,zutphen1 the town-gate at ,hoorn1 the market at ,nymegen1 the chancellory at ,leeuwarden1 the old gate at ,haarlem1 the old streets of ,amsterdam1 and the old buildings of ,the ,hague4 ,his noted picture representing a ,view of the ,vijver at ,the ,hague was presented to the ,museum by the ,rotterdam ,society for ,promoting ,art in #ahgf4 ,the ,royal ,museum is represented on the right4 ,illustration3 ,,klinkenberg ,view of the ,vijver at ,the ,hague ,the ,maas before ,dordrecht1 by ,s4 van ,ruisdael4--,the view of a town seen across the river has always attracted ,dutch artists4 ,dordrecht and ,rotterdam in particular have been painted by ,jan van ,goyen1 ,cuijp1 and others4 ,one of the most noted pictures of river scenes is ,the ,maas before ,dordrecht by ,salomon van ,ruisdael4 ,in the foreground1 to the right1 is a shabby old pier on which some cows are standing1 while others are in the water4 ,row-boats and sail-boats brighten the river1 and one of them on the left is flying the flag of ,dordrecht4 ,the town is seen on the horizon4 ,burger's ,opinion of this ,artist4--,burger says that this artist formed his brother1 and that he stands between ,van ,goyen and the glorious ,jacob4 ,the picture just mentioned he considers as masterly as one of ,jacob's works4 ,the distant horizon and the tiny sails1 extremely fine in color1 harmonize with the beautiful silvery sky4 ,a ,fine ,river ,scene by ,aelbert ,cuijp4--,aelbert ,cuijp has a beautiful ,view of the ,river in the ,morning4 ,on the right1 at the foot of a high mountain1 a tongue of land advances into the water2 two shepherds are visible2 some cows are browsing1 quenching their thirst1 or lying down2 and the river is dotted with row-boats and sail-boats4 ,on the left are some mountains1 and in the background the town lies on the banks of the river4 ,one of ,pompe's ,rare ,works4--,a ,view of ,rotterdam1 by a little-known painter1 ,gerrit ,pompe 7fl4 #agjj71 whose works are very rare1 deserves study4 ,the ,maas1 animated with ships1 occupies the foreground2 on the left1 the ,admiralty yacht is under full sail1 and there is also a row-boat2 in the middle distance is a battleship2 in the background are some other boats2 and still farther away extends the town of ,rotterdam4 ,the painter has signed his name on a floating plank4 ,pompe's ,rotterdam and ,sonje's4--,it is interesting to compare ,pompe's ,rotterdam with the ,view near ,rotterdam by ,johannes ,sonje4 ,here we have the ,rotter in the foreground1 on which a merchant ship and a row-boat are seen4 ,the river winds among the trees of the meadows1 which are animated with persons and animals4 ,under the trees on the left is a farmhouse4 ,farther back are two sail-boats1 and in the background is the city4 ,a ,beautiful ,river ,scene by ,van ,goyen4--,j4 van ,goyen1 the father-in-law of ,jan ,steen1 was particularly famous for his landscapes and river scenery1 a beautiful example of which is called ,view of a ,river in ,holland4 ,on the left is a jetty1 from which fishermen are loading a boat with baskets2 in the middle distance is a boat with fishermen drawing a seine2 and in the background are a mill and some houses on the bank4 ,several other sailing and rowing boats are on the water1 and on the horizon to the left is a village4 ,avercamp's ,famous ,view of a ,river4--,hendrik ,avercamp 7fl4 #affj7 was famous in his day for his ,dutch kermesses1 camp life1 landscape1 and still life4 ,his ,view of a ,river is full of life and color4 ,in the left foreground are two fishermen1 and on the left a seated fisherman's wife4 ,the men are dragging a big seine4 ,in the middle distance to the right people are bathing and swimming2 swans are on the stream1 also boats with occupants2 and there are houses on the banks4 ,river ,scenes by ,willaerts1 ,father and ,son4--,isaac ,willaerts 7fl4 #afej7 has a ,view of a ,river4 ,on the left is a village on a dike2 on the right1 a river with many sail-boats4 ,he was a pupil of his father1 ,adam4 ,the ,mouth of the ,meuse near ,brielle1 by ,adam ,willaerts1 also belongs to this group4 ,in the foreground on the left stands an inn with the sign ,in de ,witte ,zwaan 7,the ,white ,swan71 and before it on a cask sits a wandering singer1 surrounded by fishermen and peasants2 a little to the front are seen a gentleman and his family1 to whom an old fisherman offers fish2 on the banks of the river are groups of peasants1 sailors1 and fishermen1 talking1 embracing the women1 and offering their arms to them for a promenade4 ,boats are arriving and departing1 and on the horizon lies the town4 ,a ,river ,picture and ,two ,others by ,verschuier4--,lieve ,verschuier has ,the ,maas before ,rotterdam4 ,the river is seen on the right2 on the left are the ,bompjes 7the quay bordered with trees71 the ,oudehoofdpoort 7old gate71 and the ,haringvliet 7canal74 ,merchant vessels are riding at anchor1 and all sorts of boats are carrying merchandise and passengers4 ,in the foreground is a boat with two fishermen4 ,the same artist has here a ,mountainous ,landscape1 and the old ,oostpoort at ,rotterdam1 built in #afaa-ac and demolished in #ahcf4 ,jongkind's ,impressive ,picture of ,overschie in ,moonlight4--,the impressive picture1 ,view of ,overschie in ,moonlight1 was purchased in #ahic out of a bequest by ,mr4 ,prainat at ,rotterdam4 ,after ,jongkind settled in ,france he frequently visited ,holland1 and this picture was painted in #ahgb1 during one of his visits4 ,he was exceedingly fond of ,rotterdam and its environs4 ,overschie is a village near ,rotterdam1 and the ,schie1 it may be noted1 joins the ,maas at ,delftshaven2 upon it is situated ,delft4 ,it is interesting to compare this picture with ,gabriel's ,in the ,environs of ,overschie4 ,illustration3 ,,jongkind ,view of ,overschie in ,moonlight ,jan ,storck's ,picture of the ,old ,gate at ,rotterdam4--,jan ,storck1 whose ,castle of ,nyenrode is in the ,rijks1 has here ,the ,oude ,hoofdpoort at ,rotterdam seen from the ,maas4 ,in addition to the old gate 7built in #aeih and demolished in #ahef71 several boats are represented1 and a yacht is just leaving port amidst salvos of artillery4 ,the ,maas is seen to the right4 ,two ,pictures ,characteristic of ,a4 ,storck's ,style4--,abraham ,storck has two characteristic works4 ,an ,italian ,seaport has a jetty on the right with a large building and a stone fountain4 ,several persons are busy discharging the contents of the boats and galleys4 ,on the left a sloop is going toward a ,dutch boat at anchor4 ,his other picture is ,a ,dutch ,port in ,winter4 ,a great hole appears in the ice in the centre2 on the right is a pole on which nets are drying2 on the left1 a boat stuck fast in the ice3 ,farther along are more imprisoned boats1 some houses1 and a mill2 near the bridge are a lady and gentleman in a sleigh2 on the left1 two persons playing hockey2 farther along are some skaters and promenaders4 ,in the background are two ships in the ice2 and on the horizon1 some houses and a clock-tower4 ,two ,marines by ,backhuysen4--,ludolf ,backhuysen has a large ,view of the ,dutch ,coast in ,stormy ,weather1 dated #afhb4 ,ships of various sizes are endeavoring to escape an approaching heavy squall4 ,a marine1 about one-third the size of the above1 is a calmer but bustling scene of ships of war exchanging salutes at a place of embarkation4 ,a ,marine1 by ,zeeman4--,reinier ,zeeman 7#af-- after #afgc71 whose pictures greatly resemble those of ,jan ,both and ,claude ,lorraine1 is represented by a marine4 ,on the left some vessels are in the roadstead1 on the right other boats are off for the deep1 and on the banks sailors and fishermen are seen4 ,two ,marines by ,schotel4--,j4 ,c4 ,schotel has an ,agitated ,sea showing a brig at anchor and a fisherman's boat4 ,a lighthouse is seen on the shore to the right4 ,another1 called ,au ,moerdijk1 represents a steamboat plying toward the landing1 and in the background boats laden with hay4 ,the weather is calm4 ,the ,port of ,texel1 by ,w4 van de ,velde4--,a characteristic example of ,willem van de ,velde is ,the ,port of ,texel4 ,on the left is a jetty from which large merchant ships are preparing to leave1 on the right the ,admiralty yacht firing salvos1 in the foreground fishermen busy with their nets1 a boat containing several gentlemen1 and in the offing many boats leaving port4 ,a ,sea-,strand1 by ,mans4--,fredericus ,mans 7d4 #afgc7 has a panel called ,a ,sea-,strand4 ,in the foreground are fishermen1 peasants1 and women4 ,a road on the right leads to a village in the dunes4 ,on the left1 the beach is animated with many figures and fishing boats4 ,a ,marine1 by ,l4 ,g4 ,man4--,l4 ,g4 ,man 7eighteenth century7 has a marine consisting of several ,english men-of-war on a sunlit sea4 ,sunset at ,scheveningen and ,two ,other ,pictures1 by ,schelfhout4--,andreas ,schelfhout 7#aghg-ahgj7 has ,a ,beach1 with the sea in the background1 fishing-boats in the middle distance1 and a fisherman on the dunes1 with his dog in the foreground4 ,a ,winter ,scene represents a frozen stream where three children are playing with a sled2 farther away are some skaters2 and to the right1 the village houses beneath wintry trees4 ,sunset at ,scheveningen shows a beautifully lighted sea2 some boats with fishermen occupy the middle distance2 and the beach with promenaders is shown in the foreground4 ,h4 ,koekkoek's ,stormy ,sea4--,hermanus ,koekkoek 7#ahae-hb7 was a pupil of his father1 and1 like him1 a marine painter4 ,his ,stormy ,sea1 showing various vessels struggling with the elements1 is full of force and atmospheric effects4 ,two ,beautiful ,marines by ,mesdag4--,two beautiful pictures by the skilful marine-painter1 ,h4 ,w4 ,mesdag1 should be noted3 ,breakers on the ,north ,sea ,coast1 presented by ,mr4 ,c4 ,e4 van ,stolk in #ahhe1 depicts a scene that the traveller himself may verify at any moment2 and ,a ,sunrise on the ,dutch ,coast1 presented by the ,society for ,promoting ,art at ,rotterdam in #ahgf4 ,this was painted in #ahge4 ,beautiful in color and striking in composition1 it appeals equally to the artist and the amateur4 ,a picture by ,mrs4 ,mesdag1 ,moorland with a ,sheepfold in ,moonlight1 was presented to this gallery by her in #aijd4 ,david de ,heem1 ,one of the ,first ,painters of ,still ,life4--,this gallery owns many pictures of fruits1 flowers1 animals1 and birds4 ,david de ,heem 7#aegj-afcb7 was one of the first to devote his talents almost exclusively to still life4 ,neither ,the ,hague nor the ,rijks gallery contains an example of his work4 ,he treated with great minuteness flowers1 fruits1 glasses1 etc4 ,even during his own lifetime his paintings were much sought after1 and high prices were paid for them4 ,in his ,flowers and ,fruits we see a glass of ,rhine wine standing in a stone niche ornamented with carved mouldings4 ,the glass is garlanded with roses1 honeysuckle1 pinks1 and chrysanthemums2 and grouped about it are white grapes1 peaches1 apricots1 plums1 etc4 ,a ,large ,still-life ,picture by ,jan de ,heem4--,his more famous son1 ,jan ,davidsz1 who inherited his talents and tastes1 has here a large picture of still life4 ,on a table partly covered with a cloth of green velvet are arranged various fruits1--grapes1 peaches1 figs1 and a lemon partly peeled4 ,in the foreground is a pewter dish full of crabs1 prawns1 and hazelnuts2 then come a blue porcelain bowl and a pewter plate with oranges and strawberries2 next we have a basket covered with a blue velvet cloth1 on which is a pewter dish with a cut ham4 ,in the background is a box with gold and silver fringe1 and on it a wide-mouthed bottle of ,rhine wine1 with a vine branch1 a cooked crayfish1 and some chestnuts4 ,to the left are two wine glasses and a silver plate of plums1 figs1 and cherries4 ,well may ,blanc exclaim3 ,there is no eater so cloyed1 no gourmet so blase1 who would not have his appetite restored by the sight of one of ,de ,heem's pictures2 for here everything is exquisite1 both the form and the substance1 the viands and the fruits1 as well as the way in which they are served4 ,it is necessary that the eye should dine1 says the proverb2 and this is particularly true of feasts and collations given in painting4444 ,de ,heem has happily expressed the quality of every viand and every fruit1 its rough or smooth surface1 dull or shining1 and even its stage of ripeness1--the violet plum with its thin skin1 splashed with red and drab1 the light down of the peach with its pale and purple tones1 the plush envelope in which the hazelnut hides1 and the green and split shell inside which we see the kernel4 ,moreover1 this diversity of substances is not only rendered by local color but also by certain variations of the brush work by fine shades of touch4 ,on the oak or marble table is placed an enormous glass vessel cut in facets1 a patriarchal glass1 all the ridges of which glitter in the light1 and through the crystal of which we see a golden liquid1 fused topaz4 ,sometimes it is a roemer1 a cylindrical vase of ,bohemian glass mounted in silver1 a precious utensil transmitted from generation to generation4 ,this is a picture that transports us to the intimate life of these domestic ,dutchmen1 attentive to all the delicacies of interior comfort4 ,jan's son1 ,cornelis1 has also a piece called ,flowers and ,fruits in the same style4 ,seghers's ,flowers4--,the striking picture of ,flowers1 by ,david ,seghers1 shows a stone cartouche with a little bust of ,ceres framed in a garland of red and white roses1 tulips1 and many small flowers1 around which hover numerous butterflies4 ,w4 ,c4 ,heda1 an ,early ,still-life ,painter4--,willem ,claes ,heda 7#aeid-affh7 was one of the earliest ,dutchmen who devoted themselves exclusively to the painting of still life4 ,heda was the contemporary and companion of ,dirk ,hals1 with whom he had in common pictorial touch and technical execution4 ,but ,heda was more careful and finished than ,hals1 and showed considerable skill and not a little taste in arranging and coloring chased cups and beakers and tankards of precious and inferior metals4 ,nothing is so appetizing as his ,luncheon1 with rare comestibles set out upon rich plate1 oysters1--seldom without the cut lemon1--bread1 champagne1 olives1 and pastry4 ,even the commoner ,refection is also not without charm1 as it comprises a cut ham1 bread1 walnuts1 and beer4 ,van ,gelder and ,gillemans1 ,famous ,painters of ,still ,life4--,n4 van ,gelder 7d4 #affj7 painted birds1 animals1 and flowers with great finish and delicacy4 ,his ,poultry consists of a dead cock on a black marble plinth1 partly suspended by one of its feet from an iron hook fixed behind a partly open green curtain4 ,to the left are two shot pigeons1 a green velvet game-bag1 and a fowling-piece4 ,jan ,paul ,gillemans 7#afah-87 was famous for his still life4 ,this gallery possesses one of his fruit pieces1 in which grapes1 oranges1 lemons1 plums1 and apricots are temptingly displayed4 ,ykens1 ,painter of ,flowers4--,franchois ,ykens 7or ,ikens7 7#afja-ic71 a painter of flowers and pupil of his uncle1 ,osias ,beest1 has a picture here that was formerly attributed to ,francois ,seghers4 ,a stone cartouche1 surrounded with a garland of roses1 tulips1 pinks1 honeysuckle1 clematis1 etc41 and bearing a representation of the mystic marriage of ,st4 ,catherine1 is called simply ,flowers4 ,w4 van ,aelst and his ,famous ,pupil1 ,rachel ,ruysch4--,willem van ,aelst delights us with his ,flowers4 ,on a brown marble slab in a niche stands an elegant vase containing roses1 poppies1 a pink1 and other blossoms1 around which a butterfly is fluttering4 ,a snail is crawling in the niche4 ,on a brown table-cloth with gold fringe1 to the right1 is an open gold watch with a green ribbon attached4 ,the picture is signed and dated #affb4 ,willem's famous pupil1 ,rachel ,ruysch1 may be seen here by a charming flower piece4 ,a tree-trunk surrounded by red and white roses1 poppies1 convolvuluses1 etc41 and upon the stony ground1 covered with moss and mushrooms1 innumerable lizards1 toads1 snails1 and various insects swarm4 ,butterflies hover over the flowers4 ,rachel ,ruysch painted this picture in #afhe1 and gave it as a present to the famous painter1 ,ludolf ,bakhuysen4 ,pieter ,boel's ,dead ,game4--,her contemporary1 ,pieter ,boel1 shows the influence of his master1 ,f4 ,snyders1 in ,dead ,game4 ,a dead swan hangs by its foot to a tree4 ,in the foreground1 near a pedestal1 are arranged two partridges and some other game1 with a gun and a brass hunting-horn4 ,on the left is a hound2 and1 in the background to the right1 an owl on a cage with a little dead bird in front of it4 ,marseus1 ,painter of ,lowly ,animal ,life4--,another follower of ,snyders was ,otto ,marseus van ,schrieck4 ,he excelled in the loving rendering of lowly animal life4 ,his ,nest is of natural size1 with eggs lying on the moss near some thistles1 wild mulberries1 and red mushrooms4 ,around it flutter some butterflies2 on the right is a lizard1 and on the left a ,mayfly4 ,a4 ,breughel's ,still-life ,pictures4--,his pupil1 ,abraham ,breughel 7#afca-871 went to ,rome2 but little is known about him except that his favorite subject was still life4 ,like so many others1 his flowers and fruits are painted natural size4 ,the principal objects in his picture are a silver dish with figs1 a silver bowl containing roses and gladioluses at the foot of a column1 and black and white grapes1 apples1 etc41 in the foreground4 ,a4 ,cuijp1 a ,painter ,catholic in his ,tastes4--,aelbert ,cuijp was very catholic in his tastes4 ,he occupied a country house near ,dordrecht1 called ,dordwijck1 where he painted everything that struck his fancy1--men1 animals1 fruits1 flowers1 and landscape4 ,the poultry yard is noticed in a ,cock and ,hen scratching in the straw1 with a broom and some blocks of red stone conspicuously placed4 ,a hare1 two pigeons1 and other birds on a stone pillar compose his ,dead ,game4 ,a painting called ,fruits represents peaches on a blue plate on a table1 and1 beside the plate1 white grapes1 cherries1 and green gooseberries4 ,on the left is also a butterfly4 ,a charming jumble of peaches1 black and white grapes1 and various shells make the picture1 ,fruits and ,shells1 in which three butterflies and a housefly are also prominent4 ,one of ,jan ,weenix's ,many ,dead ,swans4--,no ,dutch gallery would be complete without a ,dead ,swan by ,jan ,weenix4 ,sir ,joshua ,reynolds admitted that he had seen no less than twenty during his visit to ,holland4 ,the dead swan is here suspended by the foot from a stone pedestal2 on one side lie a peacock1 a partridge1 and a thrush2 and near them a branch from a rosebush and a basket of fruit4 ,in the background is seen a park with a lake1 statues1 fountains1 and large trees4 ,two of ,mignon's ,best ,pictures4--,abraham ,mignon appears at his best in two pictures in this gallery called ,flowers and ,fruits4 ,in the former we admire a vase on a stone table1 filled with red and white roses1 tulips1 blue irises1 poppies1 pinks1 convolvuluses1 and ears of wheat2 on the left on the table a mouse1 snails1 butterflies1 beetles1 and other insects are painted with rare delicacy and truth4 ,insects and snails also occur in the second picture1 in which the fruits are placed in a niche1 and consist of a bunch of black grapes1 a peach1 a melon1 an apricot1 and some plums decorated with a vine leaf1 wheat1 and small flowers4 ,a ,still ,life by ,van ,beyeren4--,abraham ,hendricksz van ,beyeren was especially fond of painting flowers and marine life4 ,his ,sea ,fish is an evidence of his excellence in this line4 ,on a table is a basket containing whiting and a slice of salmon2 in front of the basket are a crab1 some soles1 some slices of cod1 and a knife4 ,van den ,broeck's ,flowers4--,elias van den ,broeck 7#afec-agaa71 a pupil of ,jan de ,heem1 delighted to immortalize on canvas the flowers he cultivated in his beautiful garden4 ,a stone plinth with roses and ,indian cress2 and1 in front1 chrysanthemums and creepers1 a lizard1 two snails1 and butterflies are the chief features of his ,flowers4 ,van ,os1 ,another ,good ,flower-painter4--,georgius ,jacobus ,johannes van ,os 7#aghb-ahfa7 was a worthy successor of the seventeenth-century masters of this school4 ,flowers and ,flowers and ,fruits are artistically composed and lovingly painted4 ,the former consists of an ,etruscan vase filled with roses1 blue irises1 tulips1 and anemones1 standing on a marble table4 ,the second picture represents1 on a marble plinth in a niche1 a melon1 a pear1 and a bunch of black grapes with roses1 convolvuluses1 poppies1 and other flowers4 ,his ,pupil1 ,hendrik ,reekers4--,his pupil1 ,hendrik ,reekers 7#ahae-ed71 has here ,fruits1 ,vegetables1 and ,game1 arranged on a marble table4 ,a basket is full of white and black grapes1 a cut lemon1 and some oranges1 plums1 peaches1 and an artichoke1 mingled with flowers4 ,above these hang a partridge and a grouse4 ,flowers1 by ,steenbergen4--,flowers1 by ,albertus ,steenbergen 7#ahad- 71 consists of roses1 poppies1 lilacs1 convolvuluses1 nasturtiums1 etc41 arranged in a vase that stands on a marble plinth4 ,on the right flutters a butterfly4 ,still ,life1 by ,maria ,vos4--,still ,life by ,maria ,vos 7b4 #ahbd7 consists of a stone plinth partly covered with a piece of matting on which stand a white cock and a black hen1 an overturned basket of oranges and lemons1 a copper dish1 and a porcelain bowl2 and on the wall a stone jug with a pewter top4 ,flowers1 by ,margaretha ,roosenboom4--,in ,flowers1 by ,margaretha ,roosenboom 7#ahdc71 we have a silver vase filled with roses1 standing on a table with a green cover4 ,in the background1 a green curtain is half drawn4 ,two ,excellent ,hunting ,scenes by ,hondius4--,abraham ,hondius 7#afch-ia71 who excelled in painting the different breeds of dogs and other animals1 and hunting scenes1 with much fire and action1 has two pictures here4 ,a ,boar ,defending ,itself ,against ,dogs shows the furious beast at bay1 with four dying or dead dogs under him in the foreground4 ,on the left three more dogs are rushing to the attack4 ,the features of the landscape are three trees1 with a mountainous background4 ,the other picture1 of exactly the same size1 depicts a ,bear ,attacked by ,dogs4 ,the bear is standing on his hind legs with a dog under him1 and throwing another into the air1 while he hugs the life out of another4 ,on the right and left1 more dogs are rushing to attack4 ,there is a dying dog in the left foreground4 ,on the right1 in the middle distance1 there are two trees near a rock1 and a cascade1 and the background is mountainous4 ,both pictures are signed and dated #afgb4 ,bird ,pictures by the ,hondecoeters1 ,father and ,son4--,gijsbert de ,hondecoeter shows his loving study of the gallinaceous tribe in ,cock and ,hens4 ,in the foreground is a black hen with a white comb2 and behind her are a sitting yellow hen and a standing white one2 still farther back are three more hens1 one perched on the branch of a tree4 ,to the left sits a brown hen with a black comb1 with a yellow-brown cock behind4 ,the ground is strewed with oyster shells and straw4 ,three hens are in the background4 ,the picture is signed and dated #afeb4 ,melchior de ,hondecoeter1 who surpassed his father as a painter of birds alive and dead1 enriches this collection with his ,dead ,game4 ,in a grotto at the foot of some ruins a dead bittern and two partridges are hanging4 ,in front are two gulls2 and on the right are a hunting-horn1 tied with a red tasselled cord1 a green velvet bag1 a kingfisher1 and two finches4 ,in the middle distance is a fowling-piece with a shoulder belt and net4 ,the entrance of the grotto is in the background on the left4 ,four ,portrait ,groups by the ,eversdijcks4--,in common with all other ,dutch galleries1 the ,boijmans is rich in portraits4 ,royalties1 admirals1 officers1 ladies of quality1 gentlemen1 elderly men and women1 and children are all represented4 ,three pictures of gatherings of officers at ,goes1 by ,cornelis ,willemsz ,eversdijck1 who died in his native town of ,goes about #afdi1 and one by his son ,willem1 representing the same corps of archers1 are the only important pictures of this class in the gallery4 ,two ,portraits by ,mostert1 and ,one by ,queborn4--,jan ,mostert 7#adgd-871 who was a painter of portraits and altarpieces1 has here two half-lengths of ,augusteyn van ,teylingen1 ,anno #aeaa1 and ,judoca van ,egmont van der ,nieuburch1 #aeaa 7his wife74 ,crispyn van den ,queborn 7#afjd-eh7 was a distinguished portrait-painter and engraver4 ,his half-length ,portrait of ,hartogh van ,moerkerken was painted in #afde4 ,santvoort1 a ,portrait-painter after the ,style of ,rembrandt4--,dirk van ,santvoort 7d4 #affj7 was probably one of ,rembrandt's pupils2 or1 at least1 he adopted that master's manner4 ,not many of his pictures are known1 and the majority of these are portraits4 ,his two pictures in the ,boijmans ,museum1 however1 belong rather to the classical school of the ,elzheimers and ,poelenburgs4 ,a ,young ,shepherd ,playing the ,chalumeau1 wearing a brown cap with an ostrich feather1 and a bright brown robe over a white shirt1 with a knife and horn at his belt 7green background71 is dated #afcb4 ,a ,young ,shepherdess1 half-length1 turned to the left1 wears a violet dress with red sleeves4 ,a blue hat with a green branch is on her head and a crook over her right shoulder4 ,the background is greenish4 ,two ,portraits by ,f4 ,bol4--,ferdinand ,bol's ,portrait of a ,woman represents a young woman seen in profile half-length1 and turned to the left4 ,she wears a red dress and a violet velvet mantle lined with fur4 ,beautiful ornaments of gold and pearls are in her hair and on her neck and arms4 ,one hand rests on the base of a column1 and the other holds a closed fan4 ,his portrait of ,dirk van ,walijen represents a young boy with long curls1 dressed in yellow satin1 red tunic1 and yellow boots4 ,portrait by ,gerrit ,dou4--,among the most striking portraits is that of ,an ,old ,lady by ,gerrit ,dou4 ,she is dressed in black velvet trimmed with fur2 her bodice is of black silk1 and she wears a large turned-down collar1 and round her neck a gold chain with a pendent jewel4 ,she has on a blue cap with a gold band4 ,the head stands out boldly from the grayish background1 and the expression of the smiling face is singularly impressive4 ,jacob ,cats and his ,cousin1 by ,mytens4--,mytens's ,portrait of ,jacob ,cats1 the ,dutch poet1 and his cousin ,cornelia ,bars1 is also of interest4 ,it was painted in #afej1 and represents ,jacob ,cats seated at a table before a tent4 ,he is dressed in crimson1 and turns toward his cousin at his side1 who wears brown silk4 ,on the table1 with its red carpet1 are an open book and an inkstand4 ,on the left is seen a hilly landscape with trees2 and in the background an angel with a long white robe4 ,portraits by ,opzoomer4--,simon ,opzoomer has a portrait of ,rembertus ,frescarode1 one called ,erasmus in his ,study1 and one of the ,brothers de ,witt in ,prison in ,gevangenpoort4 ,cornelis is in bed1 and ,jacob is seated by him with a book on his knees4 ,the time is just before their murder by the populace in #afgb4 ,portraits of ,two ,notables by ,mierevelt4--,mierevelt has a ,portrait of ,johan van ,oldenbarnevelt1 painted in #afga4 ,his ,maurice of ,nassau shows that prince standing by a table and wearing a richly worked cuirass1 the present of the ,states-,general after the victory of ,nieuwpoort1 and an orange silk scarf4 ,he holds a commandant's baton in his right hand1 and his helmet with orange plumes is seen on the table4 ,mierevelt has here also ,a ,lady of ,quality4 ,finely painted ,portraits by ,nason4--,pieter ,nason 7#afab-ij71 who painted portraits and still life1 and who has a ,portrait of ,willem ,frederick1 ,count of ,nassau 7#affb71 in ,the ,hague1 has here ,the ,portrait of a ,lord1 and one of ,a ,woman of ,quality4 ,the lady is holding some yellow flowers4 ,she is dressed in red silk with white undersleeves2 a brown scarf falls over her shoulders2 and pearls ornament her hair1 ears1 and neck4 ,the jewels1 silks1 and satins are beautifully painted1 as is also the costume of the lord in the accompanying picture4 ,he is dressed in yellow silk with a brown mantle1 and his lace cravat is held by a circle of diamonds4 ,trees form the background4 ,a ,woman of ,quality1 by ,pourbus4--,pieter ,pourbus 7#aeaj-hc7 was a painter1 geographer1 and architect4 ,his ,portrait of a ,woman of ,quality shows her costumed in the ,valois mode1 with ,mary ,stuart cap1 fluted ruff1 and black robe4 ,two ,portraits by ,netscher4--,caspar ,netscher has a sombre ,portrait of a ,protestant ,pastor and a brilliant ,lady of ,quality1 dressed in blue satin with a graceful brown scarf4 ,she is seated by a fountain4 ,one hand is placed on her breast2 the other is full of roses4 ,pool's ,interesting ,portraits of his ,wife and her ,father4--,of great interest is the portrait of ,rachel ,ruysch1 painted by her husband1 ,juriaan ,pool4 ,this is a bust only4 ,the lady is represented with powdered hair and dressed in brown satin with lace at the neck and sleeves4 ,her right hand is lifted and holds a veil4 ,the background contains a column and a green curtain4 ,pool's portrait of her father1 ,professor ,frederik ,ruysch1 is also a bust4 ,he wears a large powdered wig and a long robe with a band2 his left hand holds a skull4 ,a ,portrait ,group by ,maes4--,nicholas ,maes is represented by a ,portrait of a ,gentleman and a ,lady standing in front of a noble house4 ,the lady1 in black with a gray tunic having an embroidered gold border and a large collar1 holds a little child with her left hand4 ,the latter is dressed in white and wears a cap with a red feather4 ,the gentleman holds his wife by her other hand4 ,he is dressed in black1 with white ruff and cuffs1 and a mantle is thrown over his left shoulder4 ,his right hand holds a glove4 ,behind them are a rosebush and flowers1 and there are shrubs and bushes by the wall4 ,other ,portraits by ,maes4--,another by the same artist represents ,mr4 ,willem ,nieupoort1 ,envoy from the ,states-,general to ,oliver ,cromwell in #afec4 ,he is standing by a broken column1 and is dressed in yellow silk and brown velvet1 a corselet1 a lace cravat1 and a red scarf4 ,near the column are a sword and a helmet with red plumes4 ,his wife1 ,anna van ,loon1 is also painted by ,maes1 standing by a stone balustrade4 ,she wears a dress of red velvet with a tunic of yellow silk1 a gray veil1 and pearls in her hair4 ,in her left hand she holds some oranges1 and her right clasps that of a little girl in white4 ,trees occupy the background4 ,a ,portrait of a ,priest1 by ,metsu4--,gabriel ,metsu has a ,portrait of a ,priest1 seated at a table in his study4 ,one hand rests on his breast1 the other on a death's head4 ,on the table1 covered with a green cloth1 are placed an open book1 a crucifix1 and a sheet of paper4 ,a glove1 books1 and a half-drawn curtain occupy the background4 ,a ,lawyer in his ,study1 by ,a4 van ,ostade4--,adriaen van ,ostade has ,a ,lawyer in his ,study4 ,this important personage1 dressed in black velvet and a violet robe1 is seated by a table covered with a ,smyrna rug1 on which are books1 papers1 documents1 and a pewter inkstand4 ,he is reading a document which he holds in his left hand2 his right1 resting on the arm of his chair1 holds his spectacles4 ,behind the table there is a blue screen4 ,an open door is seen in the background4 ,honthorst has a ,portrait of an ,old ,man1 dressed in brown1 and having a long gray beard4 ,several ,portraits by ,van der ,helst4--,bartholomeus van der ,helst has one of ,a ,protestant ,minister1 painted in #afch2 one called ,a ,man1 and another ,a ,woman 7the two latter painted in #afdf72 ,portrait of ,daniel ,bernard2 and ,portrait of a ,lady and ,gentleman4 ,the latter1 painted in #afed1 represents the couple on a bench in the garden4 ,the lady is beautifully dressed in white satin1 with pearls and diamonds1 and she is plucking a rose from a bush near by4 ,she has a huge diamond ring on her thumb4 ,the gentleman is dressed in black satin3 in one hand he holds his large-brimmed hat2 the other supports the right arm of the lady4 ,the landscape1 with its varied trees and playing fountain1 was painted by ,aldert van ,everdingen 7#afed74 ,a ,portrait by ,jan de ,vos4--,jan de ,vos1 who died about #afea1 has here a ,portrait of a ,man1 dressed in black with white ruff1 and standing by a table4 ,his right hand holds a pen1 his left rests on an open copy-book4 ,a ,portrait by ,stolker4--,jan ,stolker 7#agbd-he71 pupil of ,j4 ,m4 ,quinkhard1 has a ,portrait of the ,burgomaster of ,rotterdam1 ,willem ,schefers1 seated at a table covered with a red cloth1 on which are several books4 ,he is dressed in black velvet1 and wears a powdered wig4 ,portraits by ,simon de ,vos4--,simon de ,vos 7#afjh-gf71 a pupil of ,cornelis de ,vos and ,rubens1 has a ,portrait of a ,man1 dressed in black with striped sleeves and a large fluted ruff4 ,his right hand rests on a table1 and his left on his hip4 ,he has also another ,portrait of a ,man1 whose left hand rests on a chair1 while his right holds a glove4 ,a ,man in ,oriental ,costume by ,van ,vliet4--,jan ,joris van ,vliet1 born in ,delft in #afaj1 and one of ,rembrandt's pupils1 can be studied here by ,an ,old ,man in ,oriental ,costume4 ,this is only a bust2 the hair is short1 the moustache gray2 and the costume consists of a black turban with gold ornaments1 a crimson coat1 black mantle1 and a golden chain4 ,his right hand rests on his chest4 ,a ,huntsman by ,verkolje4--,verkolje has a ,portrait of a ,huntsman seated beneath a tree4 ,he is young1 and wears a large black hat1 a gray costume1 and orange scarf4 ,his undersleeves are white1 his stockings brown1 and his garters orange4 ,his left hand rests on his hip1 and his right holds a gun4 ,two hunting-dogs are by his side1 and some dead rabbits4 ,trees occupy the background4 ,van der ,werff's ,portraits of himself and ,others4--,pieter van der ,werff has portraits of ,w4 ,b4 ,schefers and his wife1 of ,johannes ,texelius and of himself4 ,the painter stands with his elbow on a stone balustrade1 dressed in grayish blue embroidered with gold4 ,a brown velvet cloak is thrown over his shoulder1 and he holds his palette and brushes in his left hand4 ,an ,admiral and his ,wife1 by ,van den ,tempel4--,a4 van den ,tempel has ,an ,admiral and his ,wife1 in which the former is dressed in gray and silver1 and his wife in black and pink and jewels4 ,she holds an orange in her hand2 and in the distance a negro is seen with a dish of oranges4 ,in the background a lifted curtain of crimson velvet reveals a warship from which a gun is being discharged4 ,a ,portrait by ,zimmerman4--,j4 ,w4 ,g4 ,zimmerman has a ,portrait of ,mr4 ,joost van ,vollenhoven1 ,burgomaster of ,rotterdam in #ahfd-ha1 dressed in the robes of office1 his right hand holding a letter and his left resting on some books on the table4 ,other ,portraits of ,interest4--,other portraits of interest are ,adriaen ,backer's ,portrait of a ,man2 ,hendrik ,berckman's ,portrait of ,admiral ,adriaen van ,trappen2 ,portrait of ,himself1 by ,gijsbertus ,johannes van den ,berg1 and ,portrait of his ,wife with her son on her knee2 ,c4 ,bisschop's ,portrait of ,prince ,henry of the ,netherlands1 in the costume of the ,royal ,yacht ,club2 ,ferdinand ,bol's ,portrait of a ,woman 7two71 and ,dirk ,van der ,waeijen2 ,cornelis ,cels's ,gijsbert ,karel1 ,count of ,hogendorp2 ,cornelius ,janszoon van ,ceulen's ,portrait of a ,gentleman1 and ,portrait of a ,young ,woman2 ,p4 van ,champaigne's ,portraits of two ,artists2 ,jacobus ,delff's ,portrait of a ,man2 ,albrecht ,durer's ,portrait of ,erasmus2 ,anthonie van ,dijck's ,portraits of ,charles ,i41 ,king of ,england1 ,henrietta ,maria1 and ,their ,two ,children2 ,gerbrand van den ,eeckhout's ,portrait of a ,child2 ,robbert van ,eysden's ,portrait of ,j4 ,f4 ,hoffman1 ,burgomaster of ,rotterdam1 #ahde-ff2 ,carel ,fabritius's ,portrait of a ,man1 dressed in black with open shirt showing his neck and chest2 ,govert ,flinck's ,portraits of ,dirck ,graswinckel1 and his ,sister1 under a tree1 in a landscape with ruins in the distance2 ,george ,gilles ,haanen's ,portrait of a ,young ,man2 ,frans ,hals's ,portrait of an ,old ,gentleman2 ,adriaen ,hanneman's ,portrait of ,johan de ,witt2 ,constantin ,netscher's ,william ,,iii41 ,king of ,england2 ,dionys van ,nymegen's ,willem van der ,pot 7#agcc7 and ,sara1 his ,wife 7#agcc72 ,nicholaes ,pieneman's ,william ,,iii41 ,king of the ,netherlands2 ,david van der ,plaes's ,cornelis ,tromp1 and ,a ,gentleman2 ,crispyn van den ,queborn's ,hartogh van ,moerkerken2 ,jan van ,scorel's ,a ,young ,man1 and ,a ,gentleman2 ,pieter van ,slingelandt's ,johannes van ,crombrugge2 ,hendricus ,turken's 7#agia-87 ,margarethe ,agnes de ,vries2 ,adriaen ,pietersz van de ,venne's ,prince ,frederick ,henry on ,horseback with his ,suite 7en grisaille72 and ,abraham de ,vries's ,a4 ,a4 ,vroesen 7#afci71 and ,an ,old ,woman 7#afdd74 ,musscher's ,portraits of ,three ,children1 crowning the statue of a child with flowers1 should also be noticed1 as well as ,jacob ,gerritz ,cuijp's ,portraits of a ,general1 a ,lady of ,distinction1 and ,three ,children4 ,the last1 a boy and two little girls1 are beautifully dressed1 and are playing under the trees in a charming landscape1 with several buildings1 including a mill and a church-tower in the distance4 ,good ,pictures of ,social ,life by ,palamedesz4--,anthonie ,palamedesz 7#afja-gc7 was a painter of social life1 corps-de-gardes1 portraits1 landscapes1 and still life4 ,his art belonged to the school of ,frans ,hals4 ,the quality of his work is very unequal1 but many of his interiors are full of life and color4 ,he was such a good painter of figures in landscapes that his aid was much sought after by brother artists1 notably ,b4 van ,bassen and ,a4 de ,lorme4 ,in ,the ,hague ,gallery he has two works that show him at his best1--,music after ,dinner1 and ,merry ,company2 also a ,portrait of ,martinus van ,stavenisse1 ,knight of ,st4 ,michael4 ,an ,interior of ,high ,life1 by ,palamedesz4--,the ,rotterdam ,gallery has ,an ,interior of ,high ,life by this artist4 ,in an apartment hung with gilded leather several ladies and gentlemen are talking and playing musical instruments4 ,in the foreground there is a lady dressed in blue with a light red tunic2 next to her is a gentleman holding a guitar4 ,on the left there is a lady with a sheet of music in her hand4 ,she wears a white dress and a yellow tunic1 and beside her is seated a gentleman4 ,in the centre of the room there is a table covered with a red carpet1 at which two persons are seated4 ,farther back in the room several groups of ladies and gentlemen are seen2 and in the background a chimney-piece4 ,a ,musical ,reunion1 by ,van ,deelen4--,a ,musical ,reunion by ,dirk van ,deelen 7#afje-ga7 is a scene in high life4 ,six gentlemen and four ladies are in a hall paved with blue and white marble4 ,a gentleman who turns his back to the spectator is seen in the foreground4 ,he is dressed in black satin slashed with yellow1 a black velvet cloak1 yellow stockings1 red-heeled shoes1 lace collar1 and large black hat4 ,at the right a lady is leaning on a table with a red cloth4 ,she wears a black-and-yellow flowered dress with a red tunic and large lace collar and sleeves4 ,near the table1 on which are a guitar and some books of music1 are four gentlemen1 one of whom is without his hat4 ,in the centre a lady dressed in green silk is playing the guitar1 with her foot on a foot-warmer4 ,beside her stand a gentleman and two ladies1 one of whom wears a black dress with a yellow satin tunic and holds a book of music4 ,in the background on the right there is a bed with green curtains and an open door flanked with columns at each side4 ,on the left are two tall windows1 and on the wall hang two male portraits4 ,an ,architectural ,painting by ,van ,deelen4--,the ,peristyle of a ,building1 by this artist1 shows his love for classic architecture4 ,a stone bath with steps occupies the foreground1 and two men enveloped in long cloaks talk with a woman who is seated on the steps4 ,near it is a statue of ,hercules on a red marble pedestal4 ,many people are seen in a distant gallery through the columns4 ,a ,delightful ,conversation ,piece1 by ,ochtervelt4--,the ,collation1 by ,jacob ,ochtervelt1 is one of those delightful conversation pieces so popular in the seventeenth century4 ,a young woman in a yellow satin skirt and a red velvet jacket bordered with white fur is seated on a tabouret of green velvet with her back turned toward the spectator4 ,her left hand rests on her hip and her right holds a glass of wine4 ,on her right is a table with an ,oriental carpet upon which stands a flagon of wine4 ,by its side is an officer in a blue costume and large blond wig1 who is handing some oysters in a silver dish to the young woman4 ,a ,ball1 by ,francois ,francken1 ,junior4--,francois ,vranckz1 or ,francken1 the ,younger 7#aeha-afdb71 pupil of his father ,francois ,francken and a native of ,antwerp1 has here ,a ,ball4 ,in the foreground a gentleman and lady are beginning a dance surrounded by spectators2 at the entrance of the hall on the right a servant comes in with wine1 and farther down against the wall and under the windows is a long table served with refreshments4 ,in the centre farther back two gentlemen are talking to a lady2 on the left a platform with musicians2 in the background a large chimney-piece between two windows4 ,a ,fine ,interior1 by ,tilborch4--,of ,egidius1 or ,gilles1 ,tilborch 7#afbe-gh71 a fine ,interior 7once attributed to ,biset7 hangs here4 ,in a very rich room hung with gilded leather1 and from the ceiling of which is suspended a copper chandelier ornamented with a two-headed eagle1 a lady is seated before the mantelpiece near a table covered with a ,smyrna rug4 ,she is dressed in white1 with a red petticoat1 and some red bows on her breast4 ,around her are six children of different ages1 including one in the arms of a servant4 ,opposite to her is a gentleman dressed in black with white sleeves1 accompanied by a dog2 a little behind is a servant with an inkstand4 ,on the left an aged woman dressed in black is seen1 and two ladies and a gentleman enter the chamber on the left4 ,over the chimney-piece is a beautifully painted landscape1 and on the left against the wall a large armoire or kas of black wood ornamented with gold1 above which hangs a large portrait4 ,a ,village ,interior1 by ,c4 de ,man4--,cornelus de ,man 7#afba-agjf7 painted portraits1 churches1 and social life4 ,in ,the ,hague ,gallery he has a ,peasants' ,wedding1 and here his qualities may be studied in ,a ,village ,interior4 ,a joyous company of peasants1 with a sprinkling of the better class1 are gathered in a big barn4 ,in the centre1 a couple are dancing1--the man holding aloft a pewter pot4 ,on the right a group are playing hot cockles4 ,in front1 there is a dog asleep2 on the right1 a little girl with a hoop2 and on the left1 a peasant asleep on a barrel4 ,farther back is a long table covered with food1 at which several men and women are seated4 ,a violinist sits on a barrel1 and a guest is sitting on the table mimicking him with tongs2 on the floor in front of him is an earthen pitcher with a pewter lid4 ,in the background are two individuals1 one with a drum4 ,a black bird is on a perch close to the ceiling4 ,two ,pictures of ,rustic ,life by ,molenaer4--,two pictures by ,jan ,miense ,molenaer are owned by this gallery1--,the ,clarinet ,player and ,rustic ,gaiety4 ,the former represents a peasant's house1 where a man with his foot resting on a stool is playing the clarinet2 his audience consists of two peasants1 one of whom is sitting and the other standing by the side of the fire4 ,music is the feature of ,rustic ,gaiety also4 ,a table with a green cover is set with pewter plates and bread2 seated thereat is a peasant1 dressed in green blouse and wearing a red cap1 his face turned toward the spectator4 ,his left hand rests on his leg and he holds a glass of wine in his right4 ,opposite is a woman singing and playing the guitar2 a little farther away another woman1 with a glass of wine in one hand and a jug in the other1 is also singing4 ,in the background a peasant1 seated near a barrel1 is lighting a pipe1 and still farther back a man is playing a fiddle4 ,a ,village ,interior1 by ,sorgh4--,hendrik ,maertinsz ,sorgh1 who died in ,rotterdam in #afgj1 and who was a pupil of ,david ,teniers1 reflects his master in ,a ,village ,interior4 ,here we have the interior of a barn where five peasants are eating and drinking around a table1 at which is also seated an old woman whose hands are resting on a jug4 ,on the left is a brick oven1 and utensils of various kinds hang on the wall4 ,many articles are scattered about1 including a leather slipper1 a wooden spoon1 some mussel shells1 a tub of onions1 etc4 ,from the ceiling hangs a wicker bird-cage and in the foreground a cock and hen are strutting about4 ,the ,market in ,rotterdam1 by ,sorgh4--,another picture represents an animated scene at ,the ,market in ,rotterdam4 ,in the foreground a vegetable stall is placed against the facade of a house4 ,a woman carrying a copper pail is selecting some vegetables and disputing with the vender4 ,farther back more buyers and sellers are arguing2 and the background is closed with some houses and the entrance to the ,nieuwsteeg4 ,a ,village ,interior1 by ,wyck4--,a ,village ,interior1 by ,thomas ,wyck 7#afaf-gg71 shows a room in which a woman is seated2 a little boy kneeling has his head in her lap2 by her side is a little girl1 and other little girls are sitting on the floor2 under the window on the left a child is sitting at a table with a red carpet2 on the right1 in the foreground1 stands a barrel on which is a jug4 ,a wooden stairway is seen in the background4 ,two ,paintings illustrating the ,versatility of ,quellinus4--,erasmus ,quellinus 7#afjg-gh7 was a pupil of ,rubens1 and painted history1 architecture1 landscape1 portraits1 and religious subjects1 like his master4 ,he was a strong colorist and his draughtsmanship is excellent4 ,two sides of his art are exhibited in ,the ,ascension of the ,virgin and ,a ,woman in a ,kitchen4 ,the latter is a fine study of still life in the rendering of the various utensils4 ,on the right a young woman with bare arms1 a white cap1 a red dress1 and white tunic is represented down to the knees2 on the left on the table and by its side are all sorts of pewter1 copper1 and earthenware utensils4 ,behind the table stands a young negress who is offering a bunch of cherries to the woman4 ,a ,fine ,example of ,kalff's ,still-life ,painting4--,another study of still life is shown in ,the ,village ,kitchen1 by ,willem ,kalff1 a fine example of this master4 ,in the background a woman is preparing vegetables1 a man stands near a ladder with a basket filled with vegetables1 and another woman is coming through an open door2 but these figures are subordinate in interest to the pots1 kettles1 and pans of shining copper2 the meat hanging from the ceiling2 the bottles1 the casks1 milk jugs1 white linen1 beer1 artichokes1 onions1 cabbages1 and other vegetables and fruits variously arranged4 ,koninck's ,famous ,gold ,weigher4--,of single figures perhaps the most famous is by ,salomon ,koninck 7#afji-fh871 pupil of ,n4 ,moijaert4 ,the ,gold ,weigher1 an old man with white hair and beard1 is seated at a table4 ,he wears a doublet of green velvet and gray fur1 and a crimson velvet cap2 he weighs the gold with the greatest care in a pair of scales which he holds in his right hand4 ,he holds a piece of gold in his left hand also4 ,on the table1 which is covered with a red cloth1 are books1 a sheet of paper1 a box of weights1 and a bag of gold4 ,the light falls through a window on the left4 ,van der ,neer's ,guitar ,player4--,the ,guitar ,player1 by ,eglon ,hendrik van der ,neer1 is probably a portrait4 ,here we see a young woman dressed in a red satin skirt and a white satin jacket1 seated by a clavecin4 ,she is tuning a guitar2 and not far away is a gentleman who has a glass of wine in his hand4 ,pencz's ,savant in his ,cabinet4--,george ,pencz 7d4 #aeej7 was a pupil of ,albert ,durer1 who also went to ,rome and studied under ,raphael4 ,he painted therefore much the same class of subjects and in the same style as ,van ,orley4 ,his ,savant in his ,cabinet is an interesting interior4 ,the savant is seated at a table covered with a green carpet1 his head rests on his right hand1 and his left is extended toward a death's head4 ,he is dressed in red and wears a red cap4 ,behind the table is a desk on which are an open book and a copper chandelier with an extinguished candle4 ,through an open window in the background a landscape is visible4 ,the ,drinker1 by ,d4 ,ryckaert4--,another good study is ,the ,drinker1 by ,david ,ryckaert 7#afab-gg71 a pupil of his father1 ,maerten ,ryckaert1 and who formed himself on ,teniers1 ,brouwer1 and ,ostade4 ,the man in a brown coat with red sleeves and a red cap is seated at a table with a pewter mug in one hand and a pipe in the other4 ,a pewter plate and an earthenware jug stand on the table4 ,pictures containing ,human ,figures1 by ,muys4--,nicholas ,muys 7#agdj-ahjh7 has three scenes in grisaille from plays1 ,a ,study in ,light1 two ,interiors1 and a ,landscape with ,figures4 ,the last shows a monument in the shadow of an oak1 and before it a gentleman1 lady1 and little child in the costume of the end of the eighteenth century4 ,a beggar and his family sue for charity4 ,near the monument are three other persons4 ,two ducks are being pursued by dogs in the foreground1 a hut is seen among the trees in the distance1 and a village lies on the horizon4 ,one of the ,interiors represents an apartment of the eighteenth century1 where a lady dressed in a green robe is showing a little picture to two gentlemen4 ,the other ,interior is a richly carved vestibule1 in which stands a lady in a violet silk dress and a blue hat2 by her side on the floor are a dead heron1 a partridge1 a hare1 and some rabbits1 and the live greyhound that helped to catch them4 ,through a door in the centre is seen the kitchen1 where the huntsman and his wife are preparing the vegetables2 and there are two other persons1 one of whom is hanging a cage from the ceiling4 ,in ,a ,study in ,light the painter has grouped a number of objects1--a bust of ,homer on a white marble table1 a guitar1 music-books1 and a chair with a violin on it1--and lighted them from a candle in a silver chandelier4 ,in the background a lady is standing before an open clavecin with a sheet of music in her hand4 ,an ,interior1 by ,j4 ,b4 ,scheffer4--,johan ,baptist ,scheffer1 who died in ,amsterdam in #ahji1 has here ,an ,interior1 showing a room in which a young peasant woman is sitting at a table preparing vegetables4 ,beside her stands a pedler who has placed his right hand on her shoulder1 while his left dangles a gold chain before her eyes4 ,on the left1 a little girl is amusing herself by scaring a cat with her dog2 in the background an open door gives a view through the next room into the street4 ,ary ,scheffer's ,training4--,scheffer's more famous son1 ,arie 7#agie-aheh71 inherited talent also from his mother1 ,cornelia ,lamme1 a very distinguished miniature-painter4 ,he received his first instruction from his father and in ,paris studied under ,pierre ,guerin4 ,gericault and ,eugene ,delacroix joined him in striking into a new path of art4 ,his ,two ,paintings of ,ulrich of ,wurtemburg4--,here ,arie ,scheffer has two sketches--,heads of ,two ,children1 and ,a ,shepherd ,under a ,stormy ,sky1 and two large canvases on ,uhland's ballad representing ,ulrich1 son of ,count ,eberhard of ,wurtemburg4 ,he first represents the young warrior who1 having lost the ,battle of ,reutlingen1 returns to ,stuttgart and finds his father at the table alone4 ,he has a cold welcome2 and ,count ,eberhard without greeting him takes a knife and cuts the table-cloth in halves4 ,in ,scheffer's picture ,ulrich is standing by the table on the right1 and the angry father is cutting the table-cloth4 ,exasperated by this insult1 ,ulrich returned to the army and1 throwing himself into the thickest of the fray at ,doffingen1 was killed4 ,the old count spent the night weeping over the body of his only son4 ,the companion picture1 called ,the ,weeper1 represents the bereaved father with clasped hands seated by ,ulrich's body1 which still is in armor and lying on a bearskin in the tent4 ,hendrik ,scheffer's ,the ,first ,child4--,arie's younger brother1 ,hendrik ,scheffer 7#agih-ahfb71 also a pupil of ,guerin1 was a capable painter whose work1 ,the ,first ,child1 hangs in this gallery4 ,a young mother in bed receives a visit from her husband1 who is kissing her hand4 ,on the right the nurse is seen with the child in her arms4 ,a ,similar ,picture by ,cornelis ,troost4--,another similar picture is by ,cornelis ,troost4 ,the lady is lying in bed eating her breakfast4 ,near her are a cradle1 a nurse with the baby1 and a little girl4 ,the wall is hung with portraits1 and a clock and a painted screen are seen4 ,brakenburg's ,malade ,imaginaire and ,interior4--,richard ,brakenburg 7#afej-agjb71 a pupil of ,ostade1 has a ,malade ,imaginaire1 in which a young woman in blue rests languidly on her pillow1 attended by a physician1 who is feeling her pulse4 ,a little dog plays by her side1 and several persons are variously grouped and laughing4 ,a parrot cage hangs from the ceiling4 ,this picture is dated #afif4 ,a different phase of life appears in his ,interior1 showing a large room full of peasants1 including women and children4 ,they are laughing at an owl on a perch1 because a man dressed in a black satin doublet is giving it a piece of cake on the point of a knife4 ,a bird-cage hangs from the ceiling4 ,bollongier's ,carnival4--,hans or ,johan ,bollongier1 who lived in the middle of the seventeenth century1 has a ,carnival4 ,a man and woman are dancing in a street1 the former being dressed as a savage and carrying a club2 an individual follows them with a rommel pot4 ,in the foreground we see a dog1 and a man in a blue toga1 holding a sword and an imperial globe in his hands4 ,behind these persons a house is visible1 the doors and windows of which are filled with people4 ,the picture is dated #agbj4 ,jan ,steen's ,feast of ,st4 ,nicholas4--,turning now to humorous pictures1 ,jan ,steen affords two4 ,the ,feast of ,st4 ,nicholas differs slightly from the one in the ,rijks1 and represents the painter's family4 ,on the right is seated a young woman in a white satin dress and a blue velvet jacket trimmed with white fur4 ,she is holding out her hands to a little girl1 whose arms are full of spiced bread and other dainties4 ,on the left a boy is crying behind the table1 on which is a shoe containing a switch1 and near him a servant1 a boy1 and an elderly man are laughing at his distress4 ,the last has a glass of wine in his hand4 ,behind the group is an old woman1 who is showing a piece of silver to the poor little boy to console him for ,st4 ,nicholas's present4 ,another ,humorous ,picture by ,jan ,steen4--,another picture which shows ,jan ,steen in his most humorous vein is ,the ,operator1 who is removing the stones from a man's head4 ,in ,holland in the sixteenth and seventeenth centuries to say that a man had a stone in his head was only the equivalent for saying that he was cracked2 and to extract the stone from one's brain merely meant to cure him of his folly4 ,the patient is seated in a surgeon's office1 and the surgeon1 who is behind him performing an imaginary operation1 ostentatiously places some stones in a basin that an old woman is holding in the full view of the patient4 ,on the left stands a boy with a basket full of stones1 from which the surgeon supplies himself4 ,the patient's arms are tightly bound with a rope of straw2 a crow is pecking at his hand1 and he is screaming with all his might4 ,some spectators at an open window are laughing heartily4 ,a ,similar ,picture in the ,style of ,frans ,hals4--,this may be compared with a picture of the school of ,frans ,hals1 called ,the ,quack ,doctor4 ,the doctor pretends to be cutting stones from the head of a man4 ,to his cap is fastened a piece of parchment with ,hebrew letters and three seals1 and he wears spectacles4 ,the patient is crying out2 and a boy1 dressed as a negro1 stands in front with a basin full of stones4 ,on the right is a table covered with a red cloth1 upon which are scissors and other instruments1 books1 gourds1 and a water bottle4 ,cuijp's ,eater of ,mussels4--,aelbert ,cuijp's ,eater of ,mussels has a double interest because the painter has represented himself here4 ,the scene is laid in a forge1 where the master is eating mussels from a plate that stands beside a glass of beer on a keg4 ,two little girls and a boy are watching him with great attention1 and through an open window two gentlemen are peeping in from outside4 ,one has a glass of wine in his hand1 and the other is the artist himself1 who is laughing heartily at the man devouring the mussels4 ,in the foreground are seen a dog1 a large jug1 an anvil1 some shells1 an overturned basket of wood1 a cat1 and a hen4 ,in the background are seen a blacksmith and many utensils4 ,two ,bright ,pictures by ,van ,stry4--,abraham van ,stry 7#agec-ahbf71 a pupil of his father1 the architectural painter1 has an amusing ,table ,well ,served4 ,in a middle-class room a fat man is seated at a table1 on which stand a fine roast and other dishes4 ,he casts an approving glance upon a dish which a servant is just bringing in4 ,behind him another servant is pouring out some wine4 ,this artist's ,village ,inn represents a peasant on a white horse4 ,he is taking a glass of beer from the innkeeper's wife4 ,a servant1 a barking dog1 a woman1 and a boy are the other figures4 ,the sunlight is very vivid4 ,some ,characteristic ,examples of the ,early ,netherlands ,school4--,the early ,netherlands school is well represented by a few characteristic examples4 ,toost van der ,beke1 called ,the ,master of the ,death of the ,virgin ,mary1 may be studied by three pictures1--,saint ,jerome in his ,study1 the ,virgin ,mary and the ,infant ,jesus1 and ,portrait of ,joris van der ,helde 7who died in ,ghent in #aefi74 ,dierick1 or ,dirck1 ,bouts is represented by ,the ,apostle ,saint ,john1 which was formerly attributed to ,rogier van der ,weijden4 ,saint ,john is seated in a landscape writing the first verse of his ,gospel on a sheet of paper1 and a devil is tormenting him4 ,the ,master of the ,half-,length ,female ,figures1 a ,dutch painter who is supposed to have worked at ,bruges between #aebj and #aedj1 and who is known only by his pictures of saints on altarpieces and young women playing musical instruments1 may be studied here in pictures called ,golgotha and ,young ,woman ,playing on a ,lute4 ,the latter is dressed in the costume of #aedj1 and she is singing from a music-book the words3 ,si jayme mon amy ,trop1 plus que mon mary1 ,se n'est pas de mervelles4 ,golgotha represents the ,crucifixion4 ,the ,cross1 bearing the livid figure of ,christ1 is in the foreground1 and beside it stand the ,virgin on the left and ,st4 ,john on the right4 ,the landscape is very fine1 but is entirely ,flemish in character1 although soldiers are supposed to be returning to the distant ,jerusalem4 ,at the foot of the hills ,flemish cottages are noticeable1 and the sky is gradually darkened from the sun on the horizon1 until it gets very black just above the ,cross4 ,this may be compared with ,the ,crucifixion of ,christ of the ,netherlands school1 an altarpiece of the sixteenth century1 formerly attributed to ,bernard van ,orley 7died in ,brussels in #aebe74 ,like the former1 it presents a green landscape with horsemen wending their way to the distant ,jerusalem4 ,the ,virgin and ,st4 ,john are kneeling at the foot of the ,cross1 and in the clouds are two female saints1 ,god the ,father1 and the dove representing the ,holy ,ghost4 ,,the ,,end ,,index ,names will be found indexed under the surname1 not under the prefix thereto2 as1 ,dijck1 van1 ,heem1 de4 ,a ,aelst1 ,evert van1 #eh1 #ig1 #ih ,aelst1 ,willem van1 #if-ih1 #bej ,aertsen1 ,pieter1 #acb1 #ahc1 #ahd1 #bae ,alchemist1 ,the 7,wijck71 #acf ,allebe1 #bji ,allegory of the ,vigilance of the ,grand ,pensionary 7,asselijn71 #aee ,alma-,tadema1 #bje1 #bjh ,amalia of ,solms1 #d1 #abb ,amateur ,musicians 7,metsu71 #gd1 #ge ,amsterdam1 ,old ,bourse at1 #bda ,amsterdam1 ,town ,hall at1 #bda ,anatomy pictures1 #aa1 #aae ,anatomy ,pictures1 ,hall of1 #aad1 #abg ,anatomy 7,rembrandt71 #e1 #i1 #aa-ac ,antiochus to the ,augur1 ,visit of 7,moeyaert71 #cb ,apol1 #bje1 #bjh1 #bch ,architectural pictures in the ,boijmans1 #bda-bdc1 #bfb ,architectural pictures in the ,mauritshuis1 #eg1 #eh ,architectural pictures in the ,rijks1 #ahg-aij ,arquebusiers of ,amsterdam 7,flinck71 #abf ,arquebusiers of ,st4 ,andrew 7,hals71 #bac ,arrival at an ,inn1 #ej1 #ea ,artists' portraits of themselves1 #abb1 #adj1 #ade ,artist's ,studio 7,ostade71 #afi ,artz1 #bjg1 #bch ,as1 ,pieter ,jansz van1 #bce ,asselijn1 ,jan1 #df1 #adf1 #aee ,ast1 ,balthasar van der1 #ih ,avenue of ,ash-trees 7,hackaert71 #acb ,avercamp 7or ,averkamp71 ,h41 #adi1 #bdd ,b ,backer1 ,adriaen1 #bae1 #bfj ,backhuysen 7or ,bakhuysen71 ,l41 #eb1 #ee1 #abb1 #adi1 #aej ,bakhuijzen1 ,j4 ,j4 van de ,sande1 #aii1 #bje1 #bjh1 #bji1 #bch ,balen1 ,hendrick van1 #ahf1 #bjd1 #bbd1 #bdf1 #bej ,balten1 ,peter1 #agb ,banning ,cock ,company1 ,sortie of the1 #aae1 #aaf ,barentsz1 ,dirck1 #abg ,bas1 ,elizabeth1 ,portrait of 7,rembrandt71 #aae1 #aah ,bassen1 ,bartholomew van1 #eg1 #ajd1 #agb1 #bfa ,batist1 ,karel1 #aei ,battle ,picture1 ,e4 van de ,velde1 #bba ,bavegom1 ,jan van1 #ajc ,bear ,hunt 7,potter71 #aci ,beelt1 ,kornelis1 #ahh ,beerstraten1 ,a41 #ahh1 #bcc1 #bda ,beerstraten1 ,jan1 #bbc1 #bbd ,beest1 ,osias1 #bej ,beest1 ,sybrandt van1 #bdj ,bega1 ,cornelis1 #afi1 #agj1 #bae ,begeyn1 #f ,beijeren 7or ,beyeren71 ,abraham van1 #f1 #ih1 #aeg1 #beb ,beke1 ,toost van der1 #bga ,bent1 ,johannes van der1 #bbj1 #bbd ,berchem1 ,n41 #cb1 #ce1 #cf1 #dj1 #df1 #adf1 #afb1 #ahd1 #bbb1 #bbd1 #bcd ,berckheyde 7or ,berck-,heyde71 ,gerard 7or ,gerrit71 #eh1 #ahh1 #bae1 #baf1 #bdb ,berck-,heyde1 ,j4 ,a41 #ahh ,berckheyde1 ,job1 #baf1 #bda ,berckman1 ,hendrik1 #bfj ,berg1 ,g4 ,j4 van den1 #bfj ,berghen1 ,dirk van1 #bbd ,bernarts1 ,nicasius1 #aeb ,bertin1 ,nicholas1 #ahd ,beyerex1 ,abraham van1 #ec ,biblical pictures in the ,mauritshuis1 #h1 #cb ,biblical pictures in the ,rijks1 #ahc-ahe ,bicker ,collection1 #aac ,bicker's ,company ,captain 7,b4 van der ,helst71 #abe ,bijlert1 ,j4 van1 #acc1 #acd ,bilders1 #bjg ,binnenhof1 ,the1 #c ,birds1 pictures of1 #h1 #ef1 #hi1 #ij1 #aec-afb1 #bej1 #bed ,biset1 ,c4 ,e41 #ajc1 #ach ,bisschop1 ,christoffel1 #bjb1 #bjc1 #bjh1 #bdc1 #bfj ,blanc1 quoted1 #bj1 #ba1 #bf1 #bg1 #ee1 #ef1 #gc1 #ge1 #gh1 #hg1 #hh1 #hi-ia1 #ie1 #if1 #ach1 #aea1 #afd1 #afe1 #afg1 #afh1 #agf1 #agg1 #bdh1 #bdi ,bleecker1 ,g4 ,c41 #bbe ,bles1 ,david1 #bjh ,bloem1 ,matthys1 #aee ,bloemaert1 ,abraham1 #cj1 #cd1 #cg1 #acc1 #adc1 #agb ,bloemaert1 ,adriaen1 #bbj ,bloemaert1 ,hendrick1 #agb ,blommers1 ,b4 ,j41 #bje1 #bjg1 #bch ,bloot1 ,pieter de1 #acc ,bock1 ,theophile de1 #bjh1 #bch ,bode1 quoted1 #ad1 #ae1 #ah1 #dh ,boel1 ,pieter1 #ajc1 #aeb1 #bea ,boeyermans1 ,theodoor1 #ajc ,bol1 ,ferdinand1 #ba-bc1 #abf1 #bee1 #bfj ,bol1 ,ferdinand1 ,portrait of1 #abb ,bolen1 van1 #ajb ,bollongier4 ,see ,boulengier1 ,hans4 ,boone1 ,daniel1 #acg ,boonen1 ,arnold1 #hb ,borman1 ,j41 #aei ,borselen1 van1 #bjh ,borssom1 ,a4 van1 #aei ,bosboom1 #bjh ,bosboom1 ,johannes1 #ahh1 #bje1 #bdb ,bosch 7,hieronymus van ,aeken71 #ahd ,bosch1 ,jerome1 #agb ,bosch1 ,l4 ,j4 van den1 #aef ,bosschaert1 ,ambrosius1 #aef ,bosse1 ,mevrouw ,bilders van1 #bjh ,both1 ,andreas 7or ,andries71 #ca1 #cd1 #adf ,both1 ,jan 7or ,johannes71 #ca1 #cd-cf1 #df1 #ade1 #adf1 #bbj1 #bbd1 #bcc1 #bdf ,boudwijns1 ,n41 #bbe ,boulengier 7or ,bollongier71 ,hans1 #aef1 #aeg1 #bfi ,bourdon1 ,sebastian1 #ahd ,bourse1 ,esaias1 #acg ,bout1 ,pieter1 #bbj1 #bbe ,bouts1 ,dierick 7or ,dirck71 #bga ,braekeleer1 ,f4 der1 #ahh ,brakenburgh 7or ,brakenburg71 ,richard1 #afi1 #aga1 #bfh ,bramer1 ,leonard1 #ahe ,brandt1 ,isabella1 #ajj1 #aja ,brassauw1 ,mechior1 #ahe ,breakfast1 ,the 7,metsu71 #ahb ,bredael1 ,pieter van1 #ajc ,bredius1 quoted1 #aj1 #ah1 #ba1 #db-dd1 #fe1 #fh1 #gj1 #ga1 #ajj1 #aed ,breenborch1 ,b41 #ca ,breitner1 ,g4 ,h41 #bje1 #bjg ,brekelenkam1 ,q4 ,g41 #aff1 #afg ,breughel1 ,abraham1 #bea ,breughel1 ,jan 7,velvet71 #eg1 #aec1 #bcd ,breughel1 ,jan1 the ,elder1 #cf1 #ajb1 #ahd1 #ahf1 #aij1 #bcd ,breughel1 ,pieter1 ,,iii41 #ajd ,bril1 ,paul1 #df ,brise1 ,c41 #aeg ,broeck1 ,elias van den1 #aeg1beb ,bronckhorst1 ,jan van1 #bbc ,brouwer1 ,adriaen1 #ff1 #fh1 #hc1 #he1 #aje1 #aai1 #acd1 #ace1 #bae ,bull 7,paul ,potter71 #i1 #aj ,burgh1 ,r4 van der1 #aei ,burgher1 quoted1 #aj1 #ad1 #be-bf1 #cg1 #da1 #aja1 #ajf1 #abf1 #abh1 #abi1 #add1 #aed1 #agc-agd1 #age1 #agg1 #ahj1 #bdc ,burgomasters ,deliberating with ,regard to the ,visit of ,marie de ,medici 7,t4 de ,keijser71 #ai-ba ,byler1 ,jan van1 #bbg ,c ,campen1 ,jacob van1 #c ,camphuysen1 ,govert1 #bcg ,candlelight ,scenes1 #fc1 #fd1 #afc ,capelle1 ,jan van de1 #ee ,carree1 ,m41 #bce ,cascades 7,ruisdael71 #da1 #db1 #abi ,cate1 ,hendrik ,gerrit ,ten1 #ahh ,cate1 ,herman ,ten1 #bje1 #bjf ,cattle 7,a4 ,cuijp71 #adc ,cels1 ,cornelis1 #bfj ,ceulen1 ,c4 ,j4 van1 #bfj ,champaigne1 ,p4 van1 #bfj ,chase1 ,the 7,a4 van de ,velde71 #ada ,chattel1 ,du1 #bjh ,chemical laboratories1 pictures of1 #ace ,chinese ,boudoir1 #aia ,civic ,guard ,banquet 7,b4 van der ,helst71 #abc1 #abd ,claen1 ,jacques de1 #baf ,claez1 ,pieter1 #ih1 #baf ,codde1 ,pieter1 #acc1 #ahe ,coene1 ,constantinus1 #ahh ,coignet1 ,gilles1 #bi1 #cj ,collections in the ,rijks1 #aia ,colonial ,museum1 #baf ,compe1 ,jan ,ten1 #ahh ,conflagrations1 pictures of1 #adi1 #aij1 #bcf ,coninck1 ,david de1 #aee1 #aef ,conversation pictures1 #f1 #fh1 #gj1 #bfb ,coques1 ,gonzales1 #ajc1 #ajd1 #age ,cornelissen1 ,jacob1 #ahe ,cornelisz1 ,cornelis1 #bh1 #bi1 #cc1 #aef ,corporation pictures1 #abe-abg1 #bae1 #baf ,cossiers1 ,jan1 #ajc ,cows in a ,shady ,nook 7,mauve71 #bch ,crabeth1 ,wouter1 the ,younger1 #acc ,cradle1 ,by the 7,neuhuys71 #bjb ,craeyer1 ,gasper de1 #ahe ,croos1 #ahh ,crowe1 quoted1 #cf1 #ci1 #dj1 #ea-ed1 #eh1 #ff1 #fg1 #ge1 #hj1 #ib1 #ic1 #aci1 #adj1 #age1 #bad1 #bae ,cuijp1 ,aelbert1 #cg1 #ada-adc1 #adh1 #adi1 #aga1 #bcf1 #bdc1 #bea1 #bgj ,cuijp1 ,benjamin ,g41 #adc1 #add1 #ahd ,cuijp1 ,gerrit ,gerritsz1 #adc ,cuijp1 ,jacob ,g41 #cd1 #cg1 #ada1 #adc1 #bfa ,d ,dam1 ,palace on the1 #c1 #aab1 #bad ,dead ,game and ,vegetables 7,snyders71 #aeb ,decker1 ,cornelis1 #bce ,deelen1 ,dirck 7or ,dirk7 van1 #eh1 #bfa1 #bfb ,delff1 ,cornelis ,j41 #aef ,delff1 ,jacobus1 #bfj ,delft1 ,view of 7,vermeer71 #dc1 #dd ,despatch1 ,the 7,ter ,borch71 #f1 #ga ,dietz1 #ahg ,dijck1 ,a4 van1 #f1 #ajb1 #aba1 #abf1 #ahd1 #bfj ,dijk1 ,philip van1 #hb ,dinner1 ,picture of a 7,tilborgh71 #ajg ,doctor's ,visit1 ,the 7,jan ,steen71 #he ,doelen pictures1 #abe-abg ,donck1 ,gerrit1 #bcb1 #bcc ,dordrecht1 ,view of 7,cuijp71 #cg1 #adc ,dordrecht 7,j4 van ,goyen71 #ch ,dou 7or ,dow71 ,gerrit 7or ,gerard71 #f1 #ei-fd1 #gd1 #ge1 #gg1 #gh1 #hj1 #hg1 #ach1 #afb-afd1 #aff1 #bjf1 #bee ,dou1 ,gerrit1 ,portrait of1 #abb ,dou of ,architectural ,painters1 ,the1 #ahg ,dreamer1 ,the 7,maes71 #ach ,drinking ,horn1 ,silver1 #abc1 #aia ,droochsloot1 ,joost ,c41 #ajd1 #aje1 #baf1 #bcf1 #bcg ,drost1 ,cornelis1 #ahc ,dubbels1 ,jan1 #ee1 #adi ,dujardin1 ,karel1 #ca1 #ce1 #cf1 #ef1 #abf1 #abg1 #add1 #ade1 #age1 #bbe ,dupper ,collection1 #aac ,dupper ,hall1 #aad ,durer1 ,albrecht1 #bfj ,dusart1 ,c41 #agj ,dutch artists in ,rome1 colony of1 #ca ,dutch buildings1 #aia ,dutch garden1 #aia ,dutch ,hogarth1 ,the1 #hf ,dutch ,kitchen in the ,stedelijk ,museum1 #aie ,dutch landscapes1 #cg-dd1 #ee1 #abh1 #adf1 #bbi-bca1 #bce1 #bcg ,dutch ,watteau1 ,the1 #hf ,duval1 ,robert1 #e ,duyster1 ,willem ,cornelisz1 #acc ,duyts1 ,jan de1 #ajc ,e ,eeckhout 7or ,eckhout71 ,g4 van der 7or van den71 #bc1 #aee1 #ahc1 #bbf1 #bfj ,eerelman1 #bji ,ehrenberg1 ,willem van1 #ajc ,elias1 ,claes1 #aa ,elias1 ,n41 #abg ,elliger1 ,ottomar1 #afj ,elsheimer 7or ,elshaimer1 ,elzheimer71 ,adam1 #cj1 #ca1 #bbe ,esselens1 ,jacob1 #bbc ,essen1 van1 #bji ,evening ,school 7,dou71 #fd1 #afb1 #afc ,everdingen1 ,a4 van1 #df1 #ee1 #abi1 #baf1 #bca ,eversdijcks1 ,c4 ,w41 #bed ,eversdijcks1 ,willem1 #bed ,eysden1 ,robbert van1 #bfj ,f ,fabricius1 ,karel1 #dc1 #ahc1 #bfj ,fantasmagories1 #aeg ,farm-house1 ,the ,old 7,murant71 #ahg ,fergusson1 ,w4 ,g41 #aei ,fiddler1 ,the 7,ostade71 #fe ,fish markets1 pictures of1 #bdj ,fish1 pictures of1 #ih1 #aef1 #aeg1 #aei1 #bdj1 #beb ,fisherman's ,children 7,israels71 #aig ,flamen1 #ef ,flemalle1 ,bertholet1 #ahf ,flemish pictures in the ,rijks1 #ahd1 #ahe ,flinck1 ,govert1 #abb1 #abe1 #abf1 #ahc1 #bfj ,floating ,feather1 ,the 7,m4 d',hondecoeter71 #hi1 #aed ,floris1 ,frans1 #bh ,flowers1 pictures of1 #h1ia-ih1 #aef-aeh1 #bdh-bec ,fourment1 ,helena1 #ii-aja1 #aba ,francken1 ,frans1 the ,younger1 #eg1 #ajd1 #bfb ,francken1 ,frans1 ,,ii41 #ahd ,francken1 ,frans1 ,,iii41 #eg ,french pictures in the ,mauritshuis1 #h ,french pictures in the ,rijks1 #aia ,fromantiou1 de1 #ej ,fruit1 pictures of1 #h1 #ia-ih1 #aef-afa1 #bdh-bec ,fyt1 ,jan1 #hh1 #aeb1 #aec1 #aee ,g ,gabriel1 #bjh1 #bde ,gael1 ,barent1 #cg1 #dg1 #aca1 #bda ,gaesbeeck1 ,adriaen van1 #acc ,gelder1 ,aert de1 #f ,gelder1 ,n4 van1 #bej ,german pictures in the ,mauritshuis1 #h ,german pictures in the ,rijks1 #ahd1ahe ,gheyn1 de1 #bh ,gijselaer1 ,nicolaes de1 #ahe ,gillemans1 ,j4 ,p41 #bej ,gilpin1 quoted1 #bg ,glauber1 ,johannes1 #ahf ,goethe1 #afg ,gogh1 ,vincent van1 #bch ,goltzius1 ,h41 #bh1 #bi1 #ahf1 #baf1 #bbg ,golz1 ,hubert1 #bh ,gool1 ,jan van1 #bce ,goubau1 ,antoni1 #ajc ,goyen1 ,jan van1 #f1 #ce1cg1 #ch1 #df1 #add1 #bcc1 #bdc1 #bdd ,goyen1 ,jan van1 pupils of1 #cg-ci ,goyen1 ,marguerite van1 #ch1 #hd1 #agi1 #ahj ,graat1 ,barend1 #ahe ,grebber1 ,pieter de1 #ce ,greef 7or ,gryff1 ,grif1 ,grifir1 ,gryef71 ,anton1 #hi ,greville1 quoted1 #aeg ,grimani1 ,h4 ,jacobs1 #acb ,grocer's ,shop 7,f4 van ,mieris the ,younger71 #agc ,grocer's ,shop 7,w4 van ,mieris71 #gh1 #gi ,gysels1 ,peter1 #ajc ,h ,haag1 ,t4 ,p4 ,c41 #e ,haanen1 ,g4 ,g41 #bfj ,haarlem1 #bac ,haarlem ,museum1 #ag ,haarlem1 ,view of 7,ruisdael71 #da1 #db ,haas1 ,j4 ,h4 ,l4 de1 #bjh1 #bch ,hackaert1 ,jan1 #cg1 #acb1 #bbd ,haerlem1 ,c4 van1 #ahe ,haerlem1 ,pieter ,claes van1 #aei ,hagen1 ,joris van der1 #bg1 #dh1 #bbe ,hague ,gallery1 #e1 #h ,hals1 ,dirck 7or ,dirk71 #aai1 #bdi ,hals1 ,frans1 #f1 #ah1 #dd1 #ff1 #fg1 #gd1 #aah1 #aai1 #abe1 #agh1aha1 #bac-bae1 #bfj1 #bgj ,hals1 ,frans1 ,portrait of ,himself and ,wife1 #aai ,hanneman1 ,a41 #bfj ,hanselaere1 ,p4 van1 #ahe ,happy ,family1 ,the 7,jan ,steen71 #agi ,haseleer1 ,frans1 #ahe ,hauser1 #bb ,hawking ,scene 7,wouwermans71 #adf ,hay-wagon1 ,the 7,wouwermans71 #ia1 #bdi1 #bej ,heck1 ,c4 ,d4 van der1 #ahh1 #ahi ,hecke1 ,j4 van den1 #ajc ,hecke1 van der1 #ef ,hecken1 ,a4 van der1 #acc ,heda1 ,g4 ,w41 #baf ,heda1 ,w4 ,c41 #ia1 #bdi ,heem1 ,cornelis de1 #ib1 #bdi ,heem1 ,david de1 #ia1 #aef1 #aeg1 #afa1 #bdh ,heem1 ,jan ,davidsz 7or ,david7 de1 #f1 #ia-id1 #aef1 #aeg1 #bdh1 #bdi ,heem1 ,johan de 7false signature71 #aei ,heemskerck1 ,m4 van1 #ahd ,heerschop1 ,h41 #ahf ,helst1 ,b4 van der1 #aj1 #ag1 #bj1 #ajg1 #aba-abg1 #beh ,henkes1 #bjh ,herkulens1 ,mariette1 #hd ,hermit1 ,the4 ,see ,swanevelt4 ,hermit1 ,the 7,dou71 #afc ,heusch1 ,willem de1 #bbj ,heyden 7or ,heyde71 ,jan van der1 #dh1 #eg1 #eh1 #ahg1 #bcb ,hilverdink1 ,e4 ,a41 #ahi ,history of the ,netherlands1 pictures of the1 #aie ,hobbema1 ,meyndert1 #cg1 #acj1 #aca1 #bcj ,homer ,reciting ,his ,poems 7,rembrandt71 #af ,hondecoeter1 ,g4 d'1 #ij1 #aec1 #aee1 #bed ,hondecoeter1 ,gillis d'1 #aec ,hondecoeter1 ,m4 d'1 #f1 #ef1 #hh-ij1 #adb1 #aec1 #aed1 #bed ,hondius1 ,abraham1 #bec1 #bed ,honthorst1 #ba1 #aba1 #acd1 #baf1 #beh ,honthorst1 ,portrait of1 #abb ,hooch1 ,pieter de1 #bj1 #be1 #bf1 #ge1 #hb1 #acg1 #aga1 #age1 #agg1 #aih ,hoogstraten1 ,s4 van1 #bf1 #fd1 #agg1 #ahd ,hoop1 van der1 ,collection1 #aac1 #aad ,horse-pond1 ,the 7,wouwermans71 #adf ,houbraken1 #f1 #gg1 #aeh ,houckgeest 7or ,hoogest71 ,gerard1 #f1 #eh ,house in the ,wood1 ,the1 #d1 #aaa ,housekeeper1 ,the ,good 7,dou71 #ei1 #fj ,hove1 ,b4 ,t4 van1 #bch1 #bci ,hove1 ,hubertus van1 #bjf1 #bch ,huchtenburgh1 ,jacob1 #bbb1 #bbc ,huchtenburgh1 ,johan1 #bba1 #bbb ,hulst1 ,frans de1 #bci ,huntsman's ,present1 ,the 7,metsu71 #aha1 #ahb ,huysum1 ,jan van1 #f1 #ic-ie1 #ig1 #afj1 #afa ,hymans1 quoted1 #gg-gh ,i ,industrial ,art1 ,museum of1 #baf ,insects in art1 #if1 #ih1 #aef1 #aeh1 #aei1 #bej1 #bea ,interiors in the ,boijmans1 #bfa-bfd ,inventor of ,cascades1 #acj ,isacsz1 ,isaac1 #ahe ,israels1 ,josef1 #aig-aii1 #bjf ,italian influence on ,dutch painters1 #bg-cf ,italian ,landscapes1 #cj1 #ca1 #cf1 #df1 #ade1 #adf1 #aea1 #aeb1 #bbb-bbg ,italian pictures in the ,mauritshuis1 #g1 #h ,italian pictures in the ,rijks1 #ahd1 #ahe ,j ,jacobsz1 ,dirck1 #abg ,jaeger1 ,gerard de1 #bch ,jansen1 #bjh ,janson1 ,johannes1 #ahi ,jester 7,hals71 #aai ,jewish ,bride 7,rembrandt71 #aae1 #aag1 #aah ,jewish ,peddler1 ,old 7,israels71 #aig ,jong1 ,sosselin de1 #bjg ,jongkind1 #bde ,jordaens1 ,j41 #ahf ,jordaens1 ,maes's visit to1 #bd1 #be ,jouckeer1 #ef ,k ,kaemmerer1 #bji ,kalff 7or ,kalf71 ,willem1 #ih1 #aeh1 #aei1 #bfe ,karssen1 ,k41 #ahi ,kate1 ,mari ,ten1 #bjh ,keijser1 ,theodor de1 #aba1 #abb1 #adc ,keijser1 ,thomas de1 #aa1 #ah-ba1 #abg ,keirinckx1 ,alexander1 #bcb ,kessel1 ,jan van1 #aei1 #bcj ,key1 ,william1 #bh ,kicking ,white ,horse 7,wouwermans71 #adg ,kitchen1 ,the ,good 7,teniers71 #f1 #ajf ,kitchen utensils1 painted by ,kalff1 #aeh1 #aei ,kitchen1 ,village1 #bfe ,klinkenberg1 ,j4 ,c4 ,c41 #g1 #ahi1 #bje1 #bjh1 #bdc ,kloster1 ,e41 #ahi ,kobell1 #bjg ,koekkoek1 ,h41 #bjg1 #bdg ,koninck1 ,jacob1 #bce ,koninck1 ,philip1 #bf1 #bg1 #aga ,koninck1 ,salomon1 #bc1 #bd1 #cb1 #bff ,korff1 ,bakker1 #bjh ,krabbetje4 ,see ,asselijn4 ,kruseman1 ,c41 #ahe ,kruseman1 ,j4 ,a41 #ahe ,kuyl1 ,g41 van der1 #acc ,l ,lachtropius1 ,n41 #afj ,lady at the ,clavecin 7,molenaer71 #aha ,lady with a ,parrot 7,a4 de ,vois71 #afe ,laen1 ,d4 ,j4 van der1 #ahi ,laer1 ,p4 de1 #ace ,lairesse1 ,g4 de1 #ce1 #gi1 #abg1 #ahf ,lamme1 ,cornelia1 #bfg ,lampson1 ,d41 #bh ,landscapes4 ,see ,dutch ,landscapes and ,italian ,landscapes4 ,lastman1 ,pieter1 #cc1 #ahe1 #bbf ,leducq1 ,jean1 #ef ,leemans 7or ,leemens71 ,a41 #ii1 #aei ,leenhoff1 ,f41 statuette of ,israels by1 #aig ,leeuw1 ,p4 van der1 #bce ,leeuw1 ,s4 van der1 #bce ,leichert1 ,c4 ,h4 ,j41 #bci1 #bdj ,lemke1 quoted1 #dd ,lievens1 ,jan1 #cc ,lijs1 ,jan1 #acb1 #acc ,limborch1 ,h4 van1 #bbh ,limborgh1 ,h4 van1 #ahf ,lingelbach1 ,j41 #ea1 #eb1 #ee1 #ef1 #bbb ,lingelbach1 ,j41 figures by1 #bf1 #cf1 #cg1 #de-dg1 #eg1 #aca1 #adh1 #bbj1 #bbd1 #bbe1 #bcj1 #bda ,little ,van ,dijck1 ,the1 #ajd ,loffelt1 ,a4 ,c41 quoted1 #aif ,lombard1 ,lambert1 #bh ,long ,peter4 ,see ,aertsen4 ,looten1 ,jan1 #bcd ,lorme1 ,a4 de1 #bfa ,lorraine1 ,claude1 #cc1 #cd1 #de1 #bbd ,m ,maartsen1 ,jan1 #bbj ,maas1 ,dirk1 #bbj ,maes1 ,evert ,c4 van der1 #bbg ,maes1 ,nicholas1 #bb1 #bd-bf1 #dd1 #abb1 #acg1 #ach1 #beg ,man1 ,cornelus de1 #bfc ,man1 ,l4 ,g41 #bdg ,mans1 ,fredericus1 #bdg ,marines in the ,boijmans1 #bdf-bdg ,marines in the ,mauritshuis1 #h1 #eb1 #ef ,marines in the ,rijks1 #adi1 #aej ,marines in the ,stedelijk1 #bjc1 #bjd ,maris1 ,j41 #bjj1 #bja1 #bjh ,maris1 ,matthys1 #bjb ,maris1 ,willem1 #bja1 #bjh ,marius1 ,g4 ,h41 quoted1 #bjj-bjb ,marrel1 ,jacob1 #aeh ,marseus4 ,see ,schrieck4 ,marshy ,landscape 7,roelofs71 #aii ,marvel of ,her ,century1 ,the1 #aei ,master of the ,half-,length ,female ,figures1 #bga ,maurice 7or ,maurits7 of ,nassau1 ,prince1 and portraits of1 #c1 #aba1 #bef ,mauritshuis1 ,the1 #c1 #aab ,mauve1 ,anton1 #aie-aig1 #bjh1 #bch ,meer1 ,jan van der1 the ,younger1 #agc ,meer1 ,van der1 #agd ,meer1 ,jan van der1 #bch1 #bci ,meer1 ,madame van der1 ,portrait of1 #aah ,memling1 #df ,menagerie1 ,a 7,jan ,steen71 #hf ,mesdag1 ,h4 ,w41 #bjc1 #bjd1 #bdg1 #bdh ,metsu1 ,gabriel1 #f1 #bj1 #fh-ge1 #gg1 #gh1 #hb1 #hc1 #he1 #aha1 #ahb1 #beh ,michau1 ,theobald1 #bcf ,michel1 ,emile1 quoted1 #ac ,mierevelt1 ,michael1 #aa1 #af1 #ba1 #abj1 #aba1 #bef ,mieris1 ,f4 van1 #f1 #gf-gh1 #agc1 #bdj ,mieris1 ,willem van1 #gf1 #gh-hj1 #agc ,mignon1 ,abraham1 #ib1 #id1 #afj1 #afa1 #beb ,mignon au ,chat1 #afj ,mirrored ,cow 7,potter71 #i1 #aj ,modern ,dutch ,art1 #bje-bji1 #bch ,modern pictures in the ,stedelijk1 #bjd1 #bje ,moeyaert1 ,nicolas1 #cb1 #acc ,molenaer1 ,jan ,miense1 #aha1 #bfd ,molenaer1 ,nicolaas1 #bcd ,molyn 7or ,molijn71 ,pieter1 #ee1 #bcd ,mommers1 ,hendrick1 #bbe ,moni1 ,louis de1 #hb1 #ach ,moonlight ,scenes1 #adi ,moor1 ,k4 de1 #fc ,moreelse1 ,paulus1 #aai1 #abj1 #abg1 #bbg1 #bbh ,moreelse's portrait of himself1 #f1 #ba ,moro1 ,a41 #bj1 #ba ,mostert1 ,jan1 #bed ,moucheron1 ,f4 ,r4 de1 #cf1 #df1 #dh1 #bbc ,murant1 ,emanuel1 #ahg1 #bcd ,musscher1 ,m4 van1 #afi1 #agj ,mute of ,kampen1 ,the1 #adi ,muys1 ,n41 #bff1 #bfg ,mytens1 #bee ,mythological pictures in the ,mauritshuis1 #h1 #bi-cd ,mythological pictures in the ,rijks1 #ahe-ahg ,n ,nason1 ,pieter1 #bef ,neeffs1 ,pieter1 #eg ,neeffs1 ,pieter the ,elder1 #eg1 #eh1 #ahi1 #aij1 #bdb ,neer1 ,a4 van der1 #adh1 #adi1 #bca ,neer1 ,eglon van der1 #eg1 #ha1 #bff ,neo-,classic ,school1 ,french1 #bje ,netscher1 ,caspar1 #ba1 #bb1 #ga1 #gb1 #acf1 #acg1 #bce1 #beg ,neuhuys1 ,albert1 #bjb ,night ,watch1 ,the 7,rembrandt71 #aab1 #aae1 #aaf ,noort1 ,pieter1 #aef ,nymegen1 ,g4 van1 #bcb ,o ,ochtervelt1 ,jacob van1 #hb1 #bfb ,olis1 ,jan1 #acd ,ommeganck1 ,maria ,j41 #bcg ,oosterwyck1 ,maria van1 #ic ,operator1 ,the 7,jan ,steen71 #bfi1 #bgj ,opzoomer1 ,simon1 #bef ,orange1 ,princes of1 #d ,orley1 ,bernard van1 #bgb ,orpheus 7,potter71 #aci ,os1 ,georgius1 ,j4 ,j4 van1 #afb1 #bcg1 #beb ,os1 ,jan van1 #afb ,os1 ,marie ,m4 van1 #afb ,os1 ,peter ,g4 van1 #afb1 #bcf1 #bcg ,os1 ,pieter ,f4 van1 #bcf ,ostade1 ,adriaen van1 #dg1 #fd-fh1 #gd1 #hc1 #he1 #ajg1 #ace1 #afh1 #afi1 #bca1 #beh ,ostade1 ,isaak van1 #agj1 #bca ,oudenrogge1 ,johannes van1 #acd ,overschie in ,moonlight 7,jongkind71 #bde ,p ,palamedesz1 ,a41 #bfa ,pape1 ,abraham de1 #hj ,parrot ,cage 7,jan ,steen71 #agh1 #agi ,paternal ,advice 7,ter ,borch71 #afg ,pavilion ,hall1 #aad ,paviljoen ,welgelegen1 #aab1 #baf ,peleus and ,thetis1 ,marriage of1 7,bloemaert71 #cd1 #ce ,pencz1 ,george1 #bff ,physicians1 ,jan ,steen's1 #hd1 #he ,picture ,gallery1 picture of a 7,coques71 #ajc1 #ajd ,pierson1 ,christoffel1 #ih1 #ii ,pinas1 ,jan1 #cc ,poel1 ,egbert van der1 #ace1 #aij1 #bcf ,poelemburg 7,poelenburg1 or ,poelenburgh71 ,cornelis van1 #cj1 #ca1 #adh1 #bbj1 #bbc1 #bcb ,poll ,collection1 van der1 #aac ,poll ,hall1 van der1 #aad ,pompe1 ,gerrit1 #bdd ,pool1 ,juriaan1 #beg ,pork ,butcher1 ,the 7,victors71 #ahb1 #ahc ,portrait of a ,girl 7,vermeer71 #dd1 #de ,portrait of ,f4 van ,mieris and his wife1 #f1 #gf ,portrait of ,sieur de ,roovere 7,cuijp71 #cg ,portrait of ,ter ,borch by himself1 #ga ,portrait ,hall in the ,rijks1 #aad1 #abh ,portraits1 ,f4 ,hals1 #bad ,portraits in the ,boijmans1 #bed-bfa ,portraits in the ,mauritshuis1 #h1 #ah1 #ai1 #ba1 #bc1 #bd1 #cg1 #ga1 #ge1 #gf1 #hj1 #ii1 #ajj-ajb ,portraits in the ,rijks1 #aah-abb1 #ade ,post1 ,frans1 #c ,post1 ,pieter1 #c ,pot1 ,hendrik1 #ag ,potter1 ,paul1 #i1 #aj1 #ach1 #aci ,potter1 ,paul1 portraits of1 #aj1 #ajg ,potter1 ,pieter ,symonsz1 #aj1 #aef ,pourbus1 ,pieter1 #bef ,presentation in the ,temple 7,rembrandt71 #ac1 #ad ,princess1 ,the ,little 7,moreelse71 #aai1 #abj ,pynacker 7or ,pijnacker71 ,adam1 #cf1 #df1 #ade1 #bbb ,q ,quack ,doctor 7of the school of ,f4 ,hals71 #bgj ,quast1 ,peter ,j41 #ace ,queborn1 ,c4 van den1 #bee ,quellinus1 ,e41 #bfe ,quinckhard1 ,julius1 #ach ,r ,ramelaer4 ,see ,coninck1 ,david de4 ,ravesteyn1 ,j4 ,a4 van1 #af1 #ag1 #ba ,realistic ,school1 #bjg ,reekers1 ,h41 #bec ,regent pictures1 #abe-abg1 #bac1 #bad ,reinst1 ,g41 #ade ,rembrandt1 #aa-af1 #bg1 #bh1 #abe ,rembrandt1 compared with ,dou1 #fa ,rembrandt1 compared with ,hals1 #bae ,rembrandt1 masters of1 #cc ,rembrandt1 portraits by1 #ae1 #af ,rembrandt1 pupils of1 #ba1 #bc1 #bd1 #bf1 #cb ,reptiles1 pictures of1 #ih1 #aeg1 #aeh ,reynolds1 ,sir ,joshua1 quoted1 #f1 #aj1 #ab1 #ac1 #ae1 #af1 #dj1 #dc1 #ea1 #ee1 #fb1 #ha1 #hc1 #ia1 #ajj1 #ajb1 #ajg1 #abd1 #aej1 #afa1 #beb ,rijck1 ,pieter ,c4 van1 #acb ,rijks ,museum1 #aaa-aac ,rinder1 ,frank1 #de ,ring1 ,pieter de1 #ih1 #aeg ,river ,scenes1 #bdb-bde ,robe de ,satin 7,ter ,borch71 #fi1 #afg ,roelofs1 ,willem1 #aii1 #bjg1 #bch ,roepel1 ,conrad1 #afb ,roestraeten1 ,pieter1 #ih ,romantic ,school1 #bje1 #bjf ,ronner-,knip1 ,henrietta1 #bjh ,roosenboom1 ,margaretha1 #bec ,rooses1 ,max1 #bje-bji ,rubens1 #ii-ajb1 #aba1 #ahe ,rubens1 wives of1 #ii-aja ,ruijsch1 ,rachel1 #ie1 #if1 #bej ,ruijsch1 ,rachel1 ,portrait of1 #beg ,ruijven1 ,pieter ,jan1 #aef ,ruisdael1 ,izack van1 #bbi1 #bcj ,ruisdael1 ,jacob1 #cg1 #ci-dc1 #abh1 #bbi ,ruisdael1 ,salomon1 #cg1 #ci1 #acj1 #bdc ,ruth and ,boaz 7,rembrandt71 #aae1 #aaf ,ruyter1 ,admiral de1 ,portrait of 7,bol71 #bc ,ruyter1 ,engel de1 ,portrait of 7,bol71 #bc ,ryckaert1 ,d41 #bff ,s ,saenredam1 ,pieter1 #eh1 #bdb ,saenredam1 ,pieter ,jansz1 #aij ,saftleven1 ,cornelis1 #acd ,saftleven1 ,hermann1 #ci ,saint ,nicholas1 ,eve of 7,jan ,steen71 #ahj1 #aha ,saint ,nicholas1 ,feast of 7,brakenburgh71 #aga ,saint ,nicholas1 ,feast of 7,jan ,steen71 #bfi ,santvoort1 ,dirk van1 #bee ,saskia van ,ulenborgh1 #ad1 #ae ,satin ,dress1 ,the 7,ter ,borch71 #afg ,savery1 ,roelandt1 #aeb1 #aec ,schalcken1 ,g41 #fc1 #fd1 #afc1 #afd ,scheffer1 ,arie 7or ,ary71 #bfg1 #bfh ,scheffer1 ,hendrik1 #bfh ,scheffer1 ,j4 ,b41 #bfg ,schelfhout1 ,andreas1 #bdg ,scheveningen1 ,coast of 7,a4 van de ,velde71 #aej1 #aea ,schipperus1 ,pieter ,a41 #bcg1 #bch ,school1 ,early ,netherlands1 #bga1 #bgb ,gray1 #aif ,leyden1 #ei ,romantic1 #bje1 #bjf ,utrecht1 #cd ,schotel1 ,j4 ,c41 #bdf ,schrieck1 ,otto ,marcellis van1 #ih1 #aeg1 #bea ,schurman1 ,anna ,maria van1 #aei ,schuttersmaaltijd 7,b4 van der ,helst71 #abc ,seghers1 ,d41 #ih1 #bdi ,seghers1 ,f41 #bej ,sheep on the ,dunes 7,mauve71 #aie ,shells1 picture of1 #ih ,shepherds and ,flocks 7,cuijp71 #adb ,shepherds and ,flocks 7,potter71 #aci ,sick ,lady 7,hoogstraten71 #agg ,simeon in the ,temple 7,rembrandt71 #ac1 #ad ,skates1 ,repairing 7,bisschop71 #bjb ,slabbaert1 ,karel1 #acf ,slingelandt1 ,p4 ,c4 van1 #afd ,smissaert1 ,h41 quoted1 #aii1 #bjd ,snijders 7or ,snyders71 ,frans1 #ajb1 #aeb ,snuffelaer1 ,de4 ,see ,schrieck4 ,soap ,bubbles 7,f4 van ,mieris71 #f1 #gf ,sonje1 ,johannes1 #bdd ,sorgh1 ,hendrik ,m41 #bfd1 #bfe ,spanish pictures in the ,mauritshuis1 #h ,spinner1 ,the 7,maes71 #acg1 #ach ,stedelijk ,museum1 #aie-bji ,steen1 ,jan1 #ch1 #gf1 #hb-hf1 #agh-aha1 #bfi1 #bgj ,steen1 ,jan1 family of1 #hd ,steen1 ,jan1 ,portrait of1 #abb ,steenbergen1 ,a41 #bec ,steenwyck1 ,hendrik van1 ,,ii41 #eg ,steenwyck1 ,pieter ,h4 van1 #ahi ,still ,life in the ,boijmans1 #bdh1 #bfe ,still ,life in the ,mauritshuis1 #h1 #ih ,still ,life in the ,rijks1 #aeb1 #aec1 #aef-afb ,stolker1 ,jan1 #beh ,storck1 ,abraham1 #ee1 #ef1 #bdf ,storck1 ,jan1 #bdf ,straaten1 ,bruno van1 #bcf ,stry1 ,abraham van1 #bgj ,sunrise on the ,dutch ,coast 7,mesdag71 #bdh ,susanna 7,rembrandt71 #ad1 #ae ,swanevelt1 ,herman1 #cc ,syndics 7,rembrandt71 #aab1 #aae1 #aaf1 #aag1 #abh ,t ,tap ,room 7,jan ,steen71 #he1 #hf ,tavern ,interior 7,ostade71 #afi ,tedesco4 ,see ,elsheimer1 ,adam4 ,tempel1 ,a4 van den1 #bei ,temptation of ,st4 ,anthony 7,teniers71 #agb ,teniers1 ,david1 the ,younger1 #ff1 #aje-ajg1 #aga1 #agb ,ter ,borch 7or ,terburg71 #fi1 #gj1 #afg1 #afh ,ter ,borch1 portrait of1 #abb ,ter ,meulen1 #bjh ,teyler ,museum1 #baf ,tilborch1 ,gilles1 #ajg1 #bfc ,town ,hall1 ,haarlem1 #bac-baf ,toys in the ,rijks1 #aia ,trippenhuis1 ,the1 #aab1 #baf ,troost1 ,cornelis1 #hf-hh1 #adc1 #bfh ,tulp1 ,dr4 ,n41 #aa ,turkey and a ,cock1 ,fight between a 7,cuijp71 #adb ,u ,ulft1 ,jacob van der1 #ca1 #cb1 #eh1 #ahh1 #bbh ,utrecht1 ,adriaen van1 #aec ,v ,vache qui se mire 7,paul ,potter71 #f1 #i1 #aj ,velde1 ,adriaen van de1 #de1 #dg-di1 #aci-adj1 #bca ,velde1 ,adriaen van de1 figures by1 #eg1 #bbj1 #bbc1 #bbd ,velde1 ,e4 van de1 #cg1 #ci1 #adi1 #bba1 #bcc ,velde1 ,willem van de1 #bc1 #eb-ee1 #aej1 #bdg ,velde1 ,willem van de1 the ,elder1 #ed1 #aej ,verboom1 ,a4 ,h41 #bcb ,verheijen1 ,jan ,h41 #bdb ,verkolje1 ,johannes1 #ahb1 #bei ,vermeer of ,delft1 #dc1 #dd ,verschuier1 ,lieve1 #bde ,verschuring1 ,hendrick1 #bcc1 #bcd ,vertin1 ,p4 ,g41 #bci ,veth1 ,j41 #aig-aii ,victors1 ,jan1 #ahb1 #ahc ,view on the ,y 7,w4 van de ,velde71 #ec ,vijver1 ,the1 #c1 #f1 #g ,vijver1 ,view of the 7,klinkenberg71 #bdc ,vinck ,boons1 ,d41 #ajd1 #aje ,vlieger1 ,simon de1 #ef ,vliet1 ,hendrik van1 #eb1 #bdb ,vliet1 ,h4 ,c4 van1 #aij ,vliet1 ,j4 ,j4 van1 #bei ,vois1 ,arie de1 #hj1 #afe1 #aff ,vonck1 ,jan1 #aee ,vos1 ,c41 #bbh ,vos1 ,jan de1 #beh ,vos1 ,maria1 #bec ,vos1 ,simon de1 #bei ,vosmaer1 #bcc ,vrancx1 ,sebastian1 #bba ,vriendt1 ,frans ,floris de1 #bbi ,vries1 ,jan ,vriedeman de1 #eg ,vrolijk1 ,j41 #bjh ,w ,walscapelle1 ,jacob1 #ic ,watermills 7,hobbema71 #acj ,weenix1 ,jan1 #ij1 #ia1 #aee1 #beb ,weenix1 ,j4 ,b41 #aea1 #aeb1 #bbe ,weijden 7or ,weyden71 ,rogier van1 #bbf1 #bga ,weissenbruch1 ,j4 ,h41 #bcg ,werff1 ,a4 van der1 #ha ,werff1 ,pieter van der1 #bbg1 #bei ,wijck 7or ,wyck71 ,thomas1 #ace1 #bfe ,wijnants 7or ,wynants71 ,jan1 #cg1 #dc-dg1 #adg-adh ,wijngaerdt1 ,a4 ,j4 van1 #bcg ,wild ,boar ,hunt 7,berchem71 #cf ,willaerts1 ,adam1 #bde ,willaerts1 ,isaac1 #bde ,william ,,iii41 portrait of1 #afc ,william ,v4 of ,orange1 #e1 #aaa ,windmills1 ,the two 7,j4 ,maris71 #bjj ,winghen1 ,joos van1 #acb ,winter in ,friesland 7,bisschop71 #bjb ,wit1 ,jacob de1 #bbh ,witte1 ,emanuel de1 #eh1 #aij1 #bdj ,wolfert1 ,j4 ,b41 #acf ,woman ,reading 7,van der ,meer71 #agc1 #agd ,wonder1 ,pieter ,c41 #bdj ,wouwermans1 ,jan1 #bcd ,wouwermans1 ,philips1 #dg1 #di-ea1 #adf1 #adg1 #bcc ,wouwermans1 ,pieter1 #adg ,y ,y at ,amsterdam 7,w4 van der ,velde71 #aej ,ykens1 ,f41 #bej ,young ,lady who is ,ill 7,jan ,steen71 #hd1 #he1 #ahj ,z ,zeeman1 ,reinier1 #bdf ,zilcken1 #bjj ,zimmerman1 ,j4 ,w4 ,g41 #bfj ---------------------------------------- ------------------------ ,transcriber's ,notes3 ,obvious punctuation errors repaired4 ,printer errors corrected4 ,these include3 - ,page #ei1 word foregound corrected to be foreground 7in the foreground7 - ,page #aad1 word ,musuem corrected to be ,museum 7,van der ,hoop ,museum7 - ,page #aag1 word ,snydics corrected to be ,syndics 7,the five ,syndics7 - ,page #aba1 word ,portaits corrected to be ,portraits 7,portraits by ,honthorst7 - ,page #age1 word juciness corrected to be juiciness 7softness and juiciness7 - ,page #aig1 word ,zantvoort corrected to be ,zandvoort 7,zandvoort1 near ,haarlem7 - ,page #bjc1 word ,hinloopen corrected to be ,hindeloopen 7town of ,hindeloopen7 - ,page #bef1 word ,nienwpoort corrected to be ,nieuwpoort 7victory of ,nieuwpoort7 ,index entries that do not match their referred text have been corrected 7except if the referred text is an obvious typo74 ,these include3 - ,index entry ,beijren corrected to be ,beijeren - ,index entry ,binnerhof corrected to be ,binnenhof - ,index entry ,boreelen corrected to be ,borselen - ,index entry ,burgomasters ---- ,medici corrected to be ---- ,medici - ,index entry ,candlelight corrected to be ,candle-light - ,index entry ,floating ---- d',hondecoeter7 corrected to be ---- d',hondecoeter7 - ,index entry ,heda1 ,w4 ,c4 corrected to be ,heda1 ---- - ,index entry ,hove1 ,huburtus corrected to be ---- ,hubertus - ,index entry ,menagarie corrected to be ,menagerie - ,index entry ,polemburg 7,polenburg1 ,polenburgh1 or ,poelenburg7 corrected to be ,poelemburg 7,poelenburg1 or ,poelenburgh7 - ,index entry ,portraits ---- ,boijmars corrected to be ---- ,boijmans - ,index entry ,reeckers corrected to be ,reekers - ,index entry ,ruisdael1 ,isack corrected to be ---- ,izack - ,index entry ,schelthout corrected to be ,schelfhout - ,index entry ,sonje corrected to be ,sonje - ,index entry ,sorg corrected to be ,sorgh - ,index entry ,watermills should be ,water ,mill - ,index entry ,weijden ---- ,roger corrected to be ---- ,rogier - ,index entry ,zilchen corrected to be ,zilcken ,the book's variable spelling has been kept4 ,this includes3 7,note3 ,where the variable spelling has been described in the text or ,index1 it is omitted from the below list47 - ,both bare-headed and bareheaded - ,both chimney-piece and chimney piece - ,both farm-house and farmhouse - ,both fish-wives and fishwives - ,both halberds and halberts - ,both ,heeren-,gracht and ,heerengracht - ,both merry-making and merrymaking - ,both ,oude ,hoofdpoort and ,oudehoofdpoort - ,both sea-shore and seashore - ,both table-cloth and tablecloth - ,both town-hall and town hall - ,both water-mill and water mill - ,both ,aart and ,aert van der ,neer - ,both ,albert and ,albrecht ,durer - ,albert1 ,aldert1 and ,allart van ,everdingen - ,bartelmees1 ,bartholomew1 and ,bartholomeus van ,bassen - ,both ,boijmans and ,boijman's ,museum - ,both ,carel ,fabritius and ,karel ,fabricius 7or vice versa7 - ,both ,dirk van der ,waeijen and ,walijen - ,dr4 ,j4 ,deyman1 ,dr4 ,j4 ,deyment1 and ,prof4 ,deeman - ,both ,esais and ,esaias van de ,velde - ,both ,eversdijck and ,eversdijcks - ,frans ,snijders1 ,snyders1 ,snyder1 and ,synders - ,both ,frederik ,hendrik and ,frederick ,henry 7or vice versa7 - ,both ,gabriel and ,gabriel 7,,not ,metsu7 - ,both ,gerard and ,gerard de ,lairesse - ,both ,helena ,fourment and ,eleanor ,forman - ,both ,henricus and ,hendrik ,goltzius - ,both ,hondecoeter and ,hondekoeter - ,both ,isaac and ,izack van ,ruisdael - ,both ,jacob ,gerritz and ,gerritsz ,cuijp - ,both ,jan ,vredeman and ,vriedeman de ,vries - ,both ,lievens and ,lievensz - ,both ,ludolf and ,lodewijk ,backhuysen_/ ,bakhuysen - ,both ,marguerite and ,margarita van ,goyen - ,both ,matthys and ,thys ,maris - ,both ,michelangelo and ,michael ,angelo - ,both ,moeyaert and ,moijaert - ,both ,nicholas ,eliasz and ,nicolaes ,elias - ,both ,nicholas and ,nicolaes ,berchem - ,nicholas and ,nicholaes de ,helt ,stocade1 ,stokade1 and ,stockade - ,both ,otho ,marcellis and ,otto ,marseus 7or vice versa7 van ,schrieck - ,both ,peter ,gerhardus and ,pieter ,gerardus van ,os - ,both ,quinkhard and ,quinckhard - ,both ,rottenhamer or ,rottenhammer - ,both ,ruisdael and ,ruysdael - ,samuel van ,hoogstraten1 ,hoogstraaten1 and ,hooghstraten - ,both ,slingelandt and ,slingerlandt - ,both ,tilborch and ,tilborgh - ,van de ,velde1 ,van der ,velde1 and ,vandervelde - ,van der ,heyden1 ,van der ,heyde1 and ,venderheyden - ,vanhuysum1 ,van ,huysum1 and ,huysum - ,wijck1 ,wyck1 and ,wijk - ,both ,william and ,willem de ,poorter - ,both ,william and ,willem ,roelofs - ,both ,wouvermans and ,wouwermans ---------------------------------------- ------------------------