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diff --git a/37313-h/37313-h.htm b/37313-h/37313-h.htm new file mode 100644 index 0000000..e3f6bfa --- /dev/null +++ b/37313-h/37313-h.htm @@ -0,0 +1,13347 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!-- $Id: header.txt 236 2009-12-07 18:57:00Z vlsimpson $ --> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Galleries of Holland, by Esther Singleton. + </title> + <style type="text/css"> + +body {margin-left: 10%; + margin-right: 10%;} + +h1,h2,h3,h4 {text-align: center; + clear: both;} + +p {margin-top: .75em; + text-align: justify; + margin-bottom: .75em;} + +hr {width: 60%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both;} + +table {margin-left: auto; + margin-right: auto;} + +ins {text-decoration: none; + border-bottom: thin dotted gray;} + +.tnote {border: dashed 1px; + margin-left: 10%; + margin-right: 10%; + padding-bottom: .5em; + padding-top: .5em; + padding-left: .5em; + padding-right: .5em;} + +.pagenum {position: absolute; + left: 92%; + font-size: smaller; + text-align: right;} + +.blockquot {margin-left: 5%; + margin-right: 5%;} + +.center {text-align: center;} +.right {text-align: right;} + +.smcap {font-variant: small-caps;} +.u {text-decoration: underline;} + +.caption {font-weight: bold;} + +/* Images */ +.figcenter {margin: auto; + text-align: center;} + +/* Footnotes */ +.footnotes {border: dashed 1px;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor {vertical-align: super; + font-size: .8em; + text-decoration: none;} + +/* Poetry */ +.poem {margin-left:10%; + margin-right:10%; + text-align: left;} + +.poem .stanza {margin: 1em 0em 1em 0em;} + +.poem span.i0 {display: block; + margin-left: 0em; + padding-left: 3em; + text-indent: -3em;} + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's The Standard Galleries - Holland, by Esther Singleton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Standard Galleries - Holland + +Author: Esther Singleton + +Release Date: September 4, 2011 [EBook #37313] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE STANDARD GALLERIES - HOLLAND *** + + + + +Produced by Juliet Sutherland, Judith Wirawan and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + +<div class='tnote'><h3>Transcriber's Notes:</h3> + +<p>Obvious punctuation errors repaired.</p> + +<p>Some illustrations have been moved closer to the text that describes them. +In such cases, The List of Illustrations cites their original page numbers, +however the hyperlinks will take the reader to the new position.</p> + +<p>The author's spelling has been kept.</p> + +<p>The remaining corrections made are indicated by dotted lines under the corrections. +Scroll the mouse over the word and the Transcriber's Note will <ins title="like this">appear</ins>.</p></div> + +<div class="figcenter" style="width: 300px;"> +<br /> +<img src="images/cover.jpg" width="300" height="500" alt="Cover" title="" /> +</div> + +<h1><span class="u"><a name="Frontispiece" id="Frontispiece"></a>THE STANDARD GALLERIES</span></h1> + +<h1>HOLLAND</h1> + + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus001.jpg" width="500" height="356" alt="JAN VERMEER- +View of Delft" title="" /> +<span class="caption">JAN VERMEER<br /> +View of Delft</span> +</div> + + + + + +<h1><span class="u">THE STANDARD GALLERIES</span></h1> + +<h1>HOLLAND</h1> + +<h3>BY</h3> + +<h2>ESTHER SINGLETON</h2> + +<h4><i>Author of "Dutch and Flemish Furniture, " "Great Pictures<br /> +Described by Great Writers, " etc., etc.</i></h4> + +<h4>WITH FORTY-SIX ILLUSTRATIONS</h4> + +<div class="figcenter" style="width: 100px;"> +<img src="images/illus002.jpg" width="100" height="99" alt="A. C. McClurg & Co Logo" title="" /> +</div> + +<h3>CHICAGO<br /> +A. C. MCCLURG & CO.<br /> +1908</h3> + +<hr /> + +<h4><span class="smcap">Copyright</span><br /> +<span class="smcap">A. C. McClurg & Co.</span><br /> +1908</h4> + +<h4>Entered at Stationers' Hall, London, England</h4> + +<h4><i>All rights reserved</i></h4> + +<h4>Published October 10, 1908</h4> + +<h4>THE UNIVERSITY PRESS, CAMBRIDGE, U. S. A.</h4> + + + +<hr /> +<h2><i>Preface</i></h2> + + +<p>When a tourist who, having mapped out his itinerary +in accordance with the time at his disposal for a +European trip, arrives at a city for seeing which he has +allowed two or three days at the utmost, the first question +he puts to a fellow traveller, the hotel clerk, or his Baedeker +is, "What must I see?"</p> + +<p>First, there is the city itself: its streets, bridges, canals, +parks, and drives. Then there are famous churches, city +halls, and other ancient buildings, including city gates and +castles in the immediate neighborhood. Perhaps there is a +palace, and most certainly one or more museums of art and +antiquities. The tourist gazes his fill on architecture, stone +and wood carving, exterior and interior; but above all he +feels that he must make the best use of his opportunities of +seeing the pictures, the fame of which has spread into all +civilized countries. His time is short. He is therefore +grateful for a guide that will direct him to the beauties and +celebrities of the famous local picture-gallery, 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 belong. It is important first for him to know +what he should see, and secondly what he should see in it +beyond the bare facts he can gather from the catalogue.</p> + +<p>On returning home with a few photographs of the canvases +that have struck his fancy, 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 layman. Such a guide +and companion this book aims to be; it leads the tourist +rapidly through the most important picture-galleries of +Holland, and points out the pictures that all the world talks +about; and gives some account of the Dutch masters, +their qualities and characteristics as exemplified in their +works, there and elsewhere. It does not pretend to be +exhaustive, and confines itself almost exclusively to the +consideration of the examples of native schools.</p> + +<p>On going through a gallery the visitor, in accordance +with his individual tastes, will frequently be halted by a +picture whose fame has not reached him, but whose beauty +appeals to him quite as much as the celebrities with which +he is familiar from numberless reproductions, such as +Potter's Bull, Rembrandt's Night Watch, or <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyder</ins>'s Boar +Hunt. The traveller is tempted to linger over the little pictures +of the Little Masters, the charming interiors, marines, +landscapes, and still life of the galaxy of painters of the +seventeenth century. It is for this reason, therefore, that +for illustrating the following pages I have selected many of +the less familiar examples of the art of that period. Sir +Joshua Reynolds, 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 school. He says:</p> + +<div class="blockquot"><p>"The most considerable of the Dutch school are Rembrandt, +Teniers, Jan Steen, Ostade, Brouwer, Gerard Dow, Mieris, Metsu, +and Terburg,—these excel in small conversations. For landscapes +and cattle, <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouvermans</ins>, P. Potter, Berchem, and <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruysdael</ins>; and for +buildings, <ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">Venderheyden</ins>. For sea-views, W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Vandervelde</ins>, jun., and +Backhuysen. For dead game, Weenix and <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondekoeter</ins>. For +flowers, De Heem, <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Vanhuysum</ins>, Rachael Roos, and Brueghel. These +make the bulk of the Dutch school.</p> + +<p>"I consider those painters as belonging to this school, who painted +only small conversations, landscapes, etc. Though some of these +were born in Flanders, their works are principally found in Holland—and +to separate them from the Flemish school, which generally +painted figures large as life, it appears to me more reasonable to +class them with the Dutch painters, and to distinguish those two +schools rather by their style and manner, than by the place where the +artist happened to be born.</p> + +<p>"Rembrandt may be considered as belonging to both or either, as +he painted both large and small pictures.</p> + +<p>"A clearness and brilliancy of coloring may be learned by examining +the flower-pieces of De Heem, <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Huysum</ins>, and Mignon; and +a short time employed in painting flowers would make no improper +part of a painter's study. Rubens's pictures strongly remind one +of a nosegay of flowers, where all the colors are bright, clear, and +transparent.</p> + +<p>"A market woman with a hare in her hand, a man blowing a +trumpet, or a boy blowing bubbles, a view of the inside or outside +of a church, are the subjects of some of their most valuable pictures; +but there is still entertainment, even in such pictures—however uninteresting +their subjects, there is some pleasure in the contemplation +of the imitation. But to a painter they afford likewise instruction +in his profession; here he may learn the art of coloring and composition, +a skilful management of light and shade, and indeed all +the mechanical parts of the art, as well as in any other school +whatever.</p> + +<p>"The same skill which is practised by Rubens and Titian in +their large works, is here exhibited, though on a smaller scale. +Painters should go to the Dutch school to learn the art of painting +as they would go to a grammar school to learn languages. They +must go to Italy to learn the higher branches of knowledge."</p></div> + +<p>In attempting to be of some service to the art lover +who has no leisure for extended and independent study, +I have by no means relied entirely upon my own impressions +and observation.</p> + +<p>In describing the pictures, I have drawn largely on the +writings of the best English, French, German, and Dutch +art critics and historians,—Crowe, Reynolds, Blanc, Burger, +Havard, Fromentin, Michel, Mainz, Wurtz, Bode, Bredius, +and many others.</p> + +<p>When so many authorities disagree with one another +in the spelling of the names of the Dutch artists, I have +endeavored to avoid all criticism by adopting the spelling +used in the official catalogues of The Hague, Amsterdam, +and Rotterdam galleries; and in a few instances these +are not agreed.</p> + +<p>For valuable aid in compiling this work, my thanks are +due to Mr. Arthur Shadwell Martin.</p> + +<p class="right"><span style="margin-right: 5em;"><br />E. S.</span></p> +<p><span class="smcap">New York</span>, August 1, 1908.</p> + + + +<hr /> +<h2><i>Galleries Included</i></h2> + + + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Galleries Included"> +<tr><td align="left"> </td><td align="right"><span class="smcap">Page</span></td></tr> +<tr><td align="left"><span class="smcap">The Hague Gallery</span></td><td align="right"><a href="#Page_1">1</a></td></tr> +<tr><td align="left"><span class="smcap">The Rijks Museum</span></td><td align="right"><a href="#Page_109">109</a></td></tr> +<tr><td align="left"><span class="smcap">The Stedelijk Museum</span></td><td align="right"><a href="#Page_193">193</a></td></tr> +<tr><td align="left"><span class="smcap">The <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins>, Haarlem</span></td><td align="right"><a href="#Page_211">211</a></td></tr> +<tr><td align="left"><span class="smcap">The <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> Museum, Rotterdam</span></td><td align="right"><a href="#Page_217">217</a></td></tr> +</table></div> + + +<hr /> +<h2><i>Illustrations</i></h2> + +<h3><br /><span class="smcap">The Hague Gallery</span></h3> + + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Illustrations"> +<tr><td align="left"> </td><td align="right"><span class="smcap">PAGE</span></td></tr> +<tr><td align="left">Vermeer, View of Delft</td><td align="right"><a href="#Frontispiece"><i>Frontispiece</i></a></td></tr> +<tr><td align="left">Paul Potter, <i>Vache qui se mire</i></td><td align="right"><a href="#Page_10">10</a></td></tr> +<tr><td align="left">Rembrandt, Portrait of Himself as Officer</td><td align="right"><a href="#Page_15">14</a></td></tr> +<tr><td align="left">Rembrandt, Homer</td><td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="left">F. Bol, Admiral de Ruyter</td><td align="right"><a href="#Page_23">24</a></td></tr> +<tr><td align="left"><ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>, The Visit of Antiochus to the Augur</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left"><ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, Distant View of Haarlem</td><td align="right"><a href="#Page_41">40</a></td></tr> +<tr><td align="left">A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, A Dutch Roadstead</td><td align="right"><a href="#Page_48">48</a></td></tr> +<tr><td align="left">P. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, The Hay Wain</td><td align="right"><a href="#Page_50">50</a></td></tr> +<tr><td align="left">P. Wouwermans, The Arrival at the Inn</td><td align="right"><a href="#Page_51">52</a></td></tr> +<tr><td align="left">Dou, The Good Housekeeper</td><td align="right"><a href="#Page_59">60</a></td></tr> +<tr><td align="left">Ostade, The Fiddler</td><td align="right"><a href="#Page_65">66</a></td></tr> +<tr><td align="left">Ter Borch, The Despatch</td><td align="right"><a href="#Page_71">70</a></td></tr> +<tr><td align="left">Metsu, The Amateur Musicians</td><td align="right"><a href="#Page_74">74</a></td></tr> +<tr><td align="left">Rubens, <ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Helena Fourment</ins></td><td align="right"><a href="#Page_100">100</a></td></tr> +<tr><td> </td></tr> +</table></div> + +<h3><span class="smcap">The Rijks Museum</span></h3> + + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Illustrations"> +<tr><td align="left">Moreelse, The Little Princess</td><td align="right"><a href="#Page_119">118</a></td></tr> +<tr><td align="left">Mierevelt, Prince Maurits of Nassau</td><td align="right"><a href="#Page_120">120</a></td></tr> +<tr><td align="left">Van der Helst, Company of Captain R. Bicker</td><td align="right"><a href="#Page_125">126</a></td></tr> +<tr><td align="left">Hobbema, The <ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">Water Mill</ins></td><td align="right"><a href="#Page_130">130</a></td></tr> +<tr><td align="left">Hackaert, Avenue of Ash-trees</td><td align="right"><a href="#Page_132">132</a></td></tr> +<tr><td align="left">Maes, The Spinner</td><td align="right"><a href="#Page_137">136</a></td></tr> +<tr><td align="left">Cuijp, Fight between a Turkey and a Cock</td><td align="right"><a href="#Page_142">140</a></td></tr> +<tr><td align="left">Cuijp, Shepherds with their Flocks</td><td align="right"><a href="#Page_143">142</a></td></tr> +<tr><td align="left">Jan van Goyen, View of Dordrecht</td><td align="right"><a href="#Page_144">144</a></td></tr> +<tr><td align="left">W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, The Ij, or Y, at Amsterdam</td><td align="right"><a href="#Page_150">150</a></td></tr> +<tr><td align="left">F. <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>, Dead Game and Vegetables</td><td align="right"><a href="#Page_152">152</a></td></tr> +<tr><td align="left">M. d'<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>, The Floating Feather</td><td align="right"><a href="#Page_154">154</a></td></tr> +<tr><td align="left">Asselijn, The Swan</td><td align="right"><a href="#Page_155">156</a></td></tr> +<tr><td align="left">A. de Vois, Lady and Parrot</td><td align="right"><a href="#Page_165">164</a></td></tr> +<tr><td align="left">F. van Mieris, The Grocer's Shop</td><td align="right"><a href="#Page_173">172</a></td></tr> +<tr><td align="left">P. de Hooch, The Country House</td><td align="right"><a href="#Page_176">176</a></td></tr> +<tr><td align="left">Jan Steen, The Parrot Cage</td><td align="right"><a href="#Page_178">178</a></td></tr> +<tr><td align="left">Jan Steen, The Happy Family</td><td align="right"><a href="#Page_179">180</a></td></tr> +<tr><td align="left">Jan Steen, Eve of St. Nicholas</td><td align="right"><a href="#Page_181">182</a></td></tr> +<tr><td> </td></tr> +</table></div> + +<h3><span class="smcap">The Stedelijk Museum, the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins>, Haarlem and the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> Museum</span></h3> + + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Illustrations"> +<tr><td align="left">Mauve, Sheep on the Dunes</td><td align="right"><a href="#Page_196">196</a></td></tr> +<tr><td align="left">Israëls, Fisherman's Children</td><td align="right"><a href="#Page_197">198</a></td></tr> +<tr><td align="left">Roelofs, Marshy Landscape</td><td align="right"><a href="#Page_199">200</a></td></tr> +<tr><td align="left">A. Neuhuys, By the Cradle</td><td align="right"><a href="#Page_202">202</a></td></tr> +<tr><td align="left">Mesdag, Sunrise on the Dutch Coast</td><td align="right"><a href="#Page_204">204</a></td></tr> +<tr><td align="left">Israëls, Old Jewish Peddler</td><td align="right"><a href="#Page_206">206</a></td></tr> +<tr><td align="left">J. Maris, Two Windmills</td><td align="right"><a href="#Page_208">208</a></td></tr> +<tr><td align="left">Frans Hals, Reunion of the Arquebusiers of St. Andrew.</td><td align="right"><a href="#Page_214">214</a></td></tr> +<tr><td align="left">Bisschop, Winter in Friesland</td><td align="right"><a href="#Page_203">226</a></td></tr> +<tr><td align="left">Mauve, Cows in a Shady Nook</td><td align="right"><a href="#Page_238">236</a></td></tr> +<tr><td align="left">Klinkenberg, View of the Vijver at The Hague</td><td align="right"><a href="#Page_243">246</a></td></tr> +<tr><td align="left">Jongkind, View of Overschie in Moonlight</td><td align="right"><a href="#Page_246">256</a></td></tr> +</table></div> + +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<hr /> + +<h1> +The Standard Galleries<br /> +of Holland<br /> +</h1> + +<h2><br />THE HAGUE GALLERY</h2> + +<h3>THE OLD MAURITSHUIS</h3> + +<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> + +<p>Not far from the Binnenhof, on the Vijver, where +the principal historic buildings of The Hague are +grouped, stands the Mauritshuis, now the home of one of the +most famous collections of paintings in Europe. Originally it +was the palace of Prince John Maurice of Nassau, Governor +of Brazil, who, on his return to his fatherland in the year +1644, found it completed and took up his residence there.</p> + +<p>This splendor-loving prince had had this building erected +to please his own tastes by the court architect of The +Hague, Pieter Post, after the plans of Jacob van Campen, +the designer of the Dam Palace in Amsterdam and other +buildings; and for the decoration of the interior he had +sent rare and costly woods from Brazil. Everything was +heavily gilded and painted; and, in particular, a very artistic +staircase attracted universal admiration. Brazilian +landscapes painted by Frans Post, richly carved <ins title="Transcriber's Note: Both 'chimney-piece' and 'chimney piece' were used in this text. This was retained.">chimney-pieces</ins>, +and exotic objects of every kind adorned the halls; +but, alas! in 1704 all this magnificence was destroyed by +a fire, and only the walls of the palace remain.</p> + +<p><b>The Restored Building made into an Art Gallery.</b>—The +exterior of the building was restored just as it was +originally; but the interior was finished in a much simpler +style that does not in the least suggest the splendor of the +past.<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span></p> + +<p>It was not until the year 1820 that the Mauritshuis was +devoted by royal decree to its present use,—the sheltering +of the royal picture collection, which was at that +time combined with the Cabinet of Rarities, now in the +Rijks Museum in Amsterdam.</p> + +<p><b>History of the Collection.</b>—The collection has an interesting +history as a whole; and the majority of the pictures +have their own special history. The nucleus of the gallery +formed the collection of the last Stadtholder of the Netherlands, +William V. of Orange.</p> + +<p>The Princes of Orange were art-collectors as early as the +beginning of the sixteenth century. Although we do not +know much regarding the art tastes of Prince Maurice of +Orange, who died in 1625, yet we learn from a document +that he employed <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> as a court painter. On +the other hand, we do know that his brother, Prince <ins title="Transcriber's Note: Both 'Frederik Hendrik' and 'Frederick Henry' (or vice versa) were used in this text. This was retained.">Frederick Hendrik</ins>, +was a collector of fine taste and a Mæcenas. +He employed a great number of important artists, among +whom were Rembrandt, Honthorst, Dirck Bleker, Cornelis +Vroom, Christiaen Couwenberch, Cornelisz Jacobsz Delff, +Thomas Willeborts, Moses van Uyttenbrouck, Jacob Backer, +Gonzales Coques, Frans Pietersz de Grebber, Dirck Dalens, +Gerrit van Santen, Adriaen Hanneman, <ins title="Transcriber's Note: Both 'Nicholas' and 'Nicholaes' de Helt were used in this text. This was retained.">Nicholaes</ins> de Helt +<ins title="Transcriber's Note: 'Stocade,' 'Stokade,' and 'Stockade' were used in this text. This was retained.">Stocade</ins>, and Dirck van der Lisse. Besides works by these +artists, he acquired in Antwerp pictures by Rubens, Paulus +de Vos, Adriaen van Utrecht, and others. To the Jesuit +Father Soghers he even gave a golden palette made in The +Hague by the goldsmith Hans Coenraet Brechtel. No +wonder that his widow, Princess Amalia of Solms, following +the ideas of her dead husband, employed Jordaens, Van +Thulden, De Grebber, Casar van Everdingen, Honthorst, +<ins title="Transcriber's Note: Both 'Lievens' and 'Lievensz' were used in this text. This was retained.">Lievens</ins>, Solomon de Bray, Pieter Soutman, and Cornelis +Brisé to decorate the House in the Wood.</p> + +<p>At her death in 1675, she left a collection of two hundred +and fifty pieces, which were divided among her four +daughters. Some of these pictures are now in Dessau and +Moscow, and others in Prussian castles.<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> + +<p>William III., who gained the English throne, had a fine +picture-gallery, of which the portrait-painter, Robert Duval +was the director. The greater part of this collection was +sold in Amsterdam in 1713; but a few of these pictures are +still in The Hague Gallery. The latter, however, owes its +importance and distinction to the collection of William V.</p> + +<p><b>The Collection of William V. of Orange.</b>—This prince +purchased his treasures at the best auctions of the day, such +as the Lomier, De la Court, Braamcamp, and <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingerlandt</ins> +collections. A German painter, Tethardt Philip Christian +Haag, was made the director of this gallery, which was established +in the Buitenhof. When the French entered The +Hague in 1795 these pictures were carried to Paris by the +troops and placed in the Louvre. When Napoleon's lucky +star set, the French had the grace to return the pictures that +they had carried away as spoils from various countries; and +on November 20, 1815, the one hundred and ten pictures +belonging to the prince's collection were returned to The +Hague amid the ringing of bells, firing of cannon, and rejoicing +of the people. Although a certain number remained +in France, the chief gems were restored undamaged.</p> + +<p><b>Growth of The Hague Gallery.</b>—In 1817 the gallery +contained only one hundred and twenty-three pictures. +Gradually others were purchased; for example, in 1829, +King William I. bought Rembrandt's Anatomy for 3200 +gulden. Very few purchases were made from 1831 to +1874; but during the reign of the art-loving William III. +the gallery was greatly augmented by both purchase and +gift. The growth of the collection is principally the result +of the great generosity of the Baron Victor de Stuers, who +in 1874 issued an admirable catalogue (revised ed., 1895).</p> + +<p><b>The Cabinet Pieces.</b>—The nucleus of this collection, +originally a "princely cabinet," consists of the cabinet +pieces. Therefore we find here pictures (that were highly +valued in their day) by Poelenburgh, Dou, Van Mieris, De +Vois, Schalcken, Netscher, Van der Werff, P. van Dyck, +Ostade, Jan Steen, Ter Borch, and Metsu. There were also<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> +four Rembrandts, two De Keijsers, three Potters, the beautiful +Moro, and examples by Adriaen and Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>. +The modern additions, generally speaking, do not equal in +interest the original collection. The most important are +two portraits by Hals; a triptych, by Jacob Cornelisz van +Ootsanen, a bequest; an Aert de Gelder, a gift, unfortunately +much restored and spoilt by Houbraken; a signed +still life, by Jan <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">van Huysum</ins>; a portrait by Bol; a broad +and spirited Begeyn; a Dusart; a strong, dark, and somewhat +sunken view of The Hague by Jacob van <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>; a +beautiful Van Goyen; a head by Vermeer of Delft; a landscape +by G. du Bois; a wonderful flower-piece by Abraham +van Beyeren; several still-life pictures; and some portraits, +among the latter Moreelse's portrait of himself.</p> + +<p><b>Sir Joshua Reynolds's Visit to the Gallery.</b>—Sir +Joshua Reynolds left an account of his visit to the Prince +of Orange's Gallery in 1781; and among the pictures that +he especially admired are those that critics unite in extolling +to-day. He calls attention to the <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, two +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Veldes</ins>, the portraits of Rubens's two wives, Rembrandt's +Portrait of a Young Man, a Conversation by Ter Borch +(The Despatch it is now called), Van Dijck's Portrait of +Simons the Painter, Teniers's Kitchen, two Ostades, a landscape +by Rubens, Paul Potter's <i>Vache qui se mire</i>, the Inside +of a Delft Church, by Hoogest (Houckgeest), Fruit, +by De Heem, "done with the utmost perfection"; a Woman +with a Candle, by Gerard Dow; a Woman writing, looking +up and speaking to Another Woman, by Metsu; a picture +of Dutch Gallantry by Mieris,—"a man pinching the ear +of a dog which lies on his mistress's lap"; a Boy blowing +Bubbles, also by Mieris, and The Flight into Egypt, by +Van der Werff,—"one of his best."</p> + +<p><b>The Vijver Lake.</b>—But while we have been talking of +the past history of the Mauritshuis and its treasures, we +have failed to notice the Vijver, a pretty lake bordered +with trees and dotted with islands, the haunt of swans and +other waterfowl—descendants, perhaps, of <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>'s<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> +and Weenix's models—that float upon its glassy surface, +and cut through those quiet reflections of the long line of +picturesque buildings, including the Mauritshuis. The long +quay on the other side is the favorite and fashionable +promenade of The Hague. We must note the Vijver, because +it has been an attractive subject for Dutch painters +of all periods; and the traveller will frequently see representations +of it. One of the most recent is Klinkenberg's +View of the Vijver at The Hague, which was presented to +<ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijman's</ins> Museum in 1876, by the Rotterdam Society for +Promoting Art. The Mauritshuis is represented on the +right. And now, having looked at this building from across +the Vijver, we will pass to the entrance.</p> + +<p><b>Paucity of Foreign Pictures in Dutch Galleries.</b>—The +Dutch galleries differ from many other great European galleries, +such as the National Gallery, the Louvre, the Hermitage, +and the big German galleries, by being devoted almost +exclusively to works of the Dutch and Flemish masters. +Pictures of foreign schools are insignificant in number and +of very slight importance. The foreign pictures in the +Mauritshuis can be dismissed in a few words.</p> + +<p><b>Italian Pictures in the Mauritshuis.</b>—The Italian pictures +include:</p> + +<div class="blockquot"><p>Holy Family, by Fra Bartolommeo; Holy Family, by P. +Berettini; Christ Blessing, by P. Bordone; Adoration of Magi, +by C. Caliari; Virgin and Child, and Birth of Virgin, by L. +Cambiaso; Temptation of Adam and Eve, by C. Cignani; +Virgin, Child, and Saints, by M. Fogolino; Massacre of Innocents, +by L. Mazzolini; Holy Family, by F. Santafede; Madonna, +by G. B. Sassoferrato; Annunciation, by F. Solimena; +Holy Family, and two Portraits, by Titian; Venus, Mistress of +the World, by A. Turchi; an Italian Landscape, by F. Zuccherelli; +Cupid (poor copy), by Guido Reni; Venus and Cupid +(copy), by Raphael; two Male Portraits, by Piero de Cosimo; +Female Portrait, by G. Palma; Female Portrait, by A. Allori; +Landscape, by F. Lauri; two Landscapes with Pilgrims, Monks +in a Grotto and Capuchins in a Grotto, by A. Magnasco; two +Ruins, by L. Carlevaris; and Prometheus and Sisyphus, by L. +Giordano.</p></div><p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + +<p>Of unknown Italian artists of the sixteenth century, the +subjects are:</p> + +<div class="blockquot"><p>God the Father and Holy Spirit, Landscape with Mary Magdalen, +Landscape with St. Paul and the Hermit, Death of Abel, +Venus, Dalilah, St. John the Evangelist, Ecce Homo, Martyrdom +of St. Sebastian, and The Musicians.</p></div> + +<p><b>Other Foreign Pictures in the Mauritshuis.</b>—France is +represented only by a portrait by J. A. Aved, A Group of +Merchants by S. Bourdon, and two ideal landscapes by C. +Vernet. The Spanish school is represented by a portrait +by Velasquez, a Virgin and Child by Murillo, a Magdalen +by M. Cereso, and a landscape and a portrait by unknown +artists. The German artists are scarcely more numerous. +There are two portraits by Holbein and three others of his +school, three portraits by B. Beham, an Italian landscape +by J. H. Roos, three portraits by J. F. A. Tischbein, and +four Biblical and one mythological pictures by H. <ins title="Transcriber's Note: Both 'Rottenhamer' and 'Rottenhammer' were used in this text. This was retained.">Rottenhamer</ins>. +The subjects of these are: The Meeting of David +and Abigail, St. Philip Baptizing the Eunuch, The Rest in +Egypt, Christ Delivering Souls from Purgatory, and The +Fall of Phaeton. The meagre list of foreign works also includes +two portraits by the Danish artist, J. G. Ziesenis.</p> + +<p><b>Strength and Weakness of the Gallery.</b>—The strength +of The Hague Gallery lies mainly in its portraits, either +single or in groups. Of these there are considerably more +than a hundred; of <i>genre</i> pictures there are about seventy, +and of landscape more than sixty. There are nearly fifty +Biblical and religious subjects, and more than thirty taken +from pagan mythology. The Gallery is weak in historical +pictures, of which there are only seventeen. Only seven +canvases represent the great marine painters; and the +pictures of birds, flowers and fruits, and still life are +comparatively few.</p> + +<p>The student naturally turns first to the great pictures +that have a world-wide reputation. The two most famous<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +are undoubtedly Paul Potter's Bull and Rembrandt's Lesson +in Anatomy.</p> + +<p><b>Paul Potter's Bull.</b>—The picture represents an enormous +black and white bull standing on a hillock beneath +two trees. Beneath the trees lie a cow, a sheep, and a +lamb, and behind the trunks stand a ram and a shepherd. +An immense meadow, on which cattle are grazing, stretches +away to the dim horizon, where the buildings of a town +are barely visible. In the broad expanse of sky a bird +soars with outspread wings. The bull is proud and defiant, +with silky hide and loose dewlap, and stands with firmly +planted feet. His eye is savage. This picture has been +the subject of much criticism: the figures of the man, the +sheep, and the lamb have been condemned by most critics, +while the ram's horns have been called "a splendid piece +of sculpture," and the head of the cow "the gem of the +whole work." The face of the cow is marvellous. The +eyes, and the wet and dripping nose and mouth, rivet +the spectator's gaze. He fancies he smells the grass-laden +breath of the animal, and sees her jaw begin to move as +she chews the cud. "No painter ever concentrated so +much life and truthful expression in the face of a ruminant," +remarks a critic. Strange, then, that the fawn-colored +body and crumpled leg are hard and wooden.</p> + +<p>The Bull was painted in 1647, when Paul Potter was but +twenty-two years of age, and was living in Amsterdam and +Haarlem. The picture was purchased in 1749 for 630 +florins, and in 1795 was carried by the French to Paris +and placed in the Louvre, where it was ranked as the +fourth most valuable painting,—the others being Raphael's +Transfiguration, Domenichino's Communion of St. Jerome, +and Titian's Martyrdom of St. Peter. The Dutch government +offered 60,000 florins to Napoleon for its restoration.</p> + +<p><b>The Mirrored Cow.</b>—A more beautiful picture, and +greatly preferred by most critics to the Bull, is the Mirrored +Cow, known generally by the French title, <i>La Vache +qui se mire</i>. This was painted in 1648, and represents a<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +beautiful landscape on a hot summer day. The meadows +are flooded with sunshine; a limpid pool on the border of +a forest is shown in the foreground, where cows, goats, and +sheep are lying or standing under the shade of the trees. +Two cows and a sheep stand in the water and are reflected +there; one cow is drinking, and the other has her back to +the spectator and is idly standing in the mud. Boys and +men are swimming or playing on the banks, and two have +evidently finished their bath. On the right is a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farmhouse</ins> +with some cows. One of these an old woman is milking, +and a man stands by with his arm over the cow's back. In +the middle distance a coach and six horses with lackeys +is seen, and in the background the spires and towers of +Rijswick are basking in the sunlight. The castle of Binkhorst +is visible, and Delft lies on the horizon.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus022.jpg" width="500" height="343" alt="PAUL POTTER +La Vache qui se mire" title="" /> +<span class="caption">PAUL POTTER<br /> +La Vache qui se mire</span> +</div> + +<p><b>Criticism of these two Pictures.</b>—Burger very wittily +said that <i>La Vache qui se mire</i> was a <i>chef d'œuvre</i>, and not +a <i>hors d'œuvre</i>, like the Bull. And Sir Joshua Reynolds +noted: "Cattle finely painted by Potter, remarkable for the +strong reflection of one of them in the water: dated 1648." +"How bright, how sunny is this landscape!" exclaims Dr. +Bredius. "How splendidly are all these animals drawn +and modelled! The whole composition is beautiful and full +of charm." It is painted in the small size which Potter +usually preferred, and is one of his greatest creations.</p> + +<p><b>Other Pictures by Potter, his Father, and Van der Helst.</b>—The +third picture by Potter, painted four years later, is +also ranked among his best works. Like the two others it +represents cattle in a meadow.</p> + +<p>A portrait of Paul Potter by Van der Helst, painted +shortly before his death (January 27, 1654), hangs near +his masterpieces. It is the only work by which Van der +Helst is represented in The Hague Gallery.</p> + +<p>A picture by Paul Potter's father, Pieter Symonsz Potter, +Shepherds with their Troops, signed and dated 1638, is +owned by the Mauritshuis, but a better work is his Straw-Cutter +in the Rijks.<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + +<p><b>Rembrandt.</b>—The Hague Gallery is particularly rich in +works by Rembrandt (1606-69). The Rijks Museum is +the place to study the great productions of his middle and +last periods; but The Hague Gallery is strong in works of +his first period, owning no less than five painted during the +first ten years of his career.</p> + +<p><b>The Anatomy Lesson.</b>—First, let us look at the most +important work of Rembrandt in this gallery, The Anatomy +Lesson by Dr. Tulp (1632), which made Rembrandt the +most sought-after painter of his time.</p> + +<p>Rembrandt was barely settled in Amsterdam and had +painted only a few pictures there when the famous Amsterdam +surgeon, Dr. Nicholaes Tulp, gave him the order to +represent him with his students at an operation for the +Amsterdam Guild of Surgeons, to be hung on the walls of +their dissecting room with other works of a similar nature, +such as the great anatomy pictures by Aert Pietersz (1603), +by Thomas de Keijser (1618), by Claes Elias (1625), two +by Mierevelt (1617), and one by Vosmaer. Rembrandt's +work overshadowed them all. There is a resemblance to +Vosmaer's picture and also to that of De Keijser too striking +to be accidental; but Rembrandt's work shows the +master's genius in the style, the arrangement of the figures, +and the illumination. Bode says:</p> + +<div class="blockquot"><p>"Instead of an accidental arrangement of single persons, a +masterly rounded-out composition has been created, in the happiest +way, and at the most important moment, when at a point +in the lecture to the learned anatomists the interest is concentrated +on the body. The circumstances and the way it is +painted deprive the picture of all disgust. In contrast with his +predecessors, Rembrandt has painted his doctors, not as if +they were having their photographs taken and gazing at the +spectator, but in the most natural way—some looking at the +body and some at the lecturing Dr. Tulp, Tulp himself quiet, +and explaining his subject with the greatest authority. The +body is painted in a masterly manner and the portraits are +beyond all praise."</p></div><p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> + +<p><b>Physicians portrayed in the Anatomy Lesson.</b>—On a +paper held by Hartman Harmansz, the names of the physicians +are inscribed: his own; Matthijs Kalkoen, who is +leaning forward; Jakob de Wit, almost in profile, with +extended neck, looking with extreme attention, with his +collar almost touching the head of the corpse; below him, +Jakob Blok, with fixed glance and furrowed brow; above +Blok, Frans van Loenen, the only one present not a Master +of the Guild; and, finally, lower down in the foreground, +Adriaan Slabbraan, with his back turned to the spectator, +but his head in profile; and Jakob Koolveld, entirely in +profile, the last on the left. All are <ins title="Transcriber's Note: Both 'bare-headed' and 'bareheaded' were used in this text. This was retained.">bareheaded</ins>, robed in +black with plated ruffs, with the exception of Harmansz, +who wears an old-fashioned ruff.</p> + +<p>This work remained in the Surgeons' Hall in Amsterdam +until 1828, when King William I. bought it for 32,000 +florins.</p> + +<p>Sir Joshua Reynolds saw it in Amsterdam in 1781, and +thus described it:</p> + +<div class="blockquot"><p>"To avoid making it an object disagreeable to look at, +the figure is but just cut at the wrist. There are seven other +portraits colored like nature itself, fresh and highly finished. +One of the figures behind has a paper in his hand, on which +are written the names of the rest; Rembrandt has also added +his own name with the date, 1672. The dead body is perfectly +well drawn (a little foreshortened), and seems to have been just +washed. Nothing can be more truly the color of dead flesh. +The legs and feet, which are nearest the eye, are in shadow; +the principal light, which is on the body, is by that means preserved +of a compact form. All these figures are dressed in +black.</p> + +<p>"Above stairs is another Rembrandt of the same kind of subject; +Professor <ins title="Transcriber's Note: 'Deyman,' 'Deyment,' and 'Deeman' were used in this text. This was retained.">Deeman</ins><a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> standing by a dead body, which is so +much foreshortened that the hands and the feet almost touch +each other; the dead man lies on his back with his feet toward<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> +the spectator. There is something sublime in the character of +the head, which reminds one of <ins title="Transcriber's Note: Both 'Michelangelo' and 'Michael Angelo' were used in this text. This was retained.">Michael Angelo</ins>; the whole is +finely painted, the coloring much like Titian."</p></div> + +<p><b>Rembrandt's first Important Work.</b>—Critics are uncertain +as to whether the Presentation in the Temple, also +called Simeon in the Temple, was painted in Leyden or +in Amsterdam, to which city Rembrandt removed in 1631, +the date of this picture; but all agree that it is his first important +work, far exceeding in certainty of composition and +treatment the Simeon of 1628, Peter's Denial of 1628, and +the Good Samaritan of 1631.</p> + +<p>In the centre of a temple whose roof is supported by gigantic +columns, the Virgin and St. Joseph make their offering +and present the newborn child, who is in the arms of +Simeon, to the Lord. They gaze tenderly at the infant. +In front of the group stands the High Priest in a long violet +robe, holding up his hands in ecstasy. The light is focussed +on the faces of Mary, Simeon, and Jesus, and falls on the +High Priest's back and hand. Behind the Virgin, who is +dressed in light blue, are two rabbis; and in the background +in the nave are several groups almost imperceptible +in the shadows; and to the right in the chiaroscuro are a +number of persons ascending and descending a flight of +steps, at the top of which stands a priest. In the foreground +on the right two old men are sitting on a bench, +the arm of which bears the monogram "R. H.," and the date +1631. It is supposed that Rembrandt's sister was the +model for Mary. Emile Michel says:</p> + +<div class="blockquot"><p>"The simple garb of the Virgin and St. Joseph and the squalor +of the two beggars beside them emphasize the splendor of the +High Priest and of Simeon, whose heavy cymar seems to be +woven of gems and gold. The execution is a miracle of subtlety +and skill. Note how supreme a colorist has been at work +on the High Priest's cope! With what science is the violet +carried through the lights and shadows, and with what truth are +the tones observed and rendered, with what scrupulous care is +the general harmony preserved in spite of the marvellous treatment +of detail!"</p></div><p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> + +<p>Of this picture, so particularly remarkable for its artistic +treatment and composition, Bode exclaims:</p> + +<div class="blockquot"><p>"How appropriately are the groups in the halls of the high +fantastic vaults distributed! How masterly is the chief group +in the middle distance! How complete in drawing and action +is every single figure, though so minute! 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 handling."</p></div> + +<p><b>Lights and Coloring of the Picture.</b>—Notwithstanding +their smallness, the figures are most completely and expressively +treated, so that in the half-lights the background +shimmers here and there. The coloring equals that of the +other pictures of this period; in the lights, greenish brown +tones come to the aid of the local colors—blue, violet, +and, very seldom, yellow (next to gray and brown, which are +used only in a very modest way).</p> + +<p><ins title="Transcriber's Note: Both 'William' and 'Willem' de Poorter were used in this text. This was retained.">William</ins> de Poorter made a striking copy of this picture, +which hangs in the Dresden Gallery.</p> + +<p><b>Susanna.</b>—The chief beauty of Susanna, which bears +the signature "R. f. 1637," lies in the brilliant, warm coloring +which bestows a rich effect on the somewhat ugly form +of the crouching heroine. Bode, like Burger before him, +thinks that he recognizes in the little head the likeness of +Rembrandt's wife, Saskia. The flesh is wonderfully painted, +the figure lifts itself splendidly out from the dark but transparent +background. Moreover, the modelling of the body +leaves nothing to be desired.</p> + +<p>Susanna is represented as about to step into the bath and +is alarmed by the presence of the two Elders, one of whom +is seen lurking in the shrubbery. Burger notes:</p> + +<div class="blockquot"><p>"Placed by the side of the School of Anatomy and the Simeon, +the merits of this work are too often overlooked. Yet Susanna, +strongly relieved against a dark background, is one of the most +interesting female figures ever painted by Rembrandt, being remarkably +faithful to nature, though not of classic beauty."</p></div><p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + +<p>Of this picture Sir Joshua Reynolds remarks, and many +will agree with him:</p> + +<div class="blockquot"><p>"It appears very extraordinary that Rembrandt should have +taken so much pains and have made at last so very ugly and ill-favored +a figure; but his attention was principally directed to the +coloring and effect, in which it must be acknowledged he has +attained the highest degree of excellence."</p></div> + +<p><b>Portraits of Rembrandt and Others.</b>—The portraits are +of Rembrandt, aged about twenty-two, painted about 1629; +one of his mother, about 1628; one of a young woman, +painted about 1635, supposed to be Saskia van Ulenborgh, +whom Rembrandt married in 1634; a portrait of Rembrandt +as an officer, about 1635, and one of an old man's head, supposed +to be that of his brother Adriaen Harmensz van Rijn +(1597-8-1654), painted in 1650.</p> + +<div class="figcenter" style="width: 377px;"> +<img src="images/illus028.jpg" width="377" height="500" alt="REMBRANDT +Portrait of Himself as Officer" title="" /> +<span class="caption">REMBRANDT<br /> +Portrait of Himself as Officer</span> +</div> + +<p>The portrait of himself is one of Rembrandt's earliest +known pictures and was painted in Leyden between 1628 +and 1629. It belongs to similar works that are now in Cassel, +Gotha, Nuremberg, and in the possession of Count Esterhazy +at Nordkirchen, etc., but is the most beautiful because +of its perfect condition. Rembrandt, aged twenty-two or +twenty-three, is dressed in a somewhat fanciful costume and +wears a steel cuirass. The artistic way in which the light +falls and the management of the chiaroscuro foretells what +was destined to be Rembrandt's peculiarity of manner, +which Sir Joshua Reynolds has so happily described as "of +admitting but little light and giving to that little a wonderful +brilliancy." Bode says: "Although the brush work is broad, +the finish is strong. It stands out above all others of this +period; we feel already in this youthful work the paw of the +lion."</p> + +<p><b>Rembrandt's Portraits of Himself.</b>—The artist was not +handsome; indeed he selected himself so often for a model +only for the sake of making a study of light and shade, etc., +and because he had not always any other casual model than +himself at hand. As keen as the glance of his eyes is the<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +painting of this picture,—sharp, broad, but not so heavily +<i>impasto</i> as is the case a few years later.</p> + +<p>At this period he painted many portraits of himself. The +Wallace Collection in London alone possesses two of the +master's self-studies, as does also the Berlin Picture-Gallery, +all of which are contemporary with this picture. The date +of this portrait is about 1634, when the artist was twenty-eight. +It is familiar to every one. Sir Joshua Reynolds +described it as "a portrait of a young man by Rembrandt, +dressed in a black cap and feathers, the upper part of the +face overshadowed; for coloring and force nothing can exceed +it."</p> + +<p>Homer reciting his Poems (1663) represents an old man +in yellow robe. Part of the picture has suffered by having +been cut.</p> + +<div class="figcenter" style="width: 380px;"> +<img src="images/illus032.jpg" width="380" height="500" alt="REMBRANDT +Homer" title="" /> +<span class="caption">REMBRANDT<br /> +Homer</span> +</div> + +<p><b>Van Ravesteyn (1572-1657).</b>—J. A. van Ravesteyn was +in The Hague what Rembrandt was in Amsterdam, Hals in +Haarlem, Mierevelt in Delft, Moreelse in Utrecht, and Cuijp +in Dordrecht. We have to thank him for the beautiful Shooting +Meetings in The Hague Gemeente Museum, and we also +have to thank him for a series of fine portraits full of character +of officers in the Mauritshuis. Although he had a +dangerous rival in Mierevelt, who was employed principally +by the Court of the Prince of Orange, yet Ravesteyn was +the official painter of The Hague. When the marksmen +wanted to have their portraits painted, or when the magistracy +wanted to be immortalized, it was Ravesteyn's brush +that had to undertake the work. He was not very highly +paid, in common with all other Dutch artists of that period.</p> + +<p><b>Van Ravesteyn's Masterpiece.</b>—His great masterpiece, +the splendid shooting picture of 1618, the most important +one that had been painted up to that time in Holland, +brought him only 500 gulden; but in freeing him from all +guard duties and from beer and wine taxes, the rulers of The +Hague showed that they wanted to honor their artist.</p> + +<p><b>Portraits by Van Ravesteyn.</b>—The portraits of this +magnificent portrait-painter are noble in conception and<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +full of life and character; and in his first period were brilliant +in color. Indeed, the flesh tones of his first period +are even too red in his male portraits. Yet the pictures +which he painted before 1625-30 are stronger and more +full of spirit than the later pictures, which are cooler +and flatter in the tones and softer in the painting. There +is a series of twenty-three portraits of officers who are +unknown.</p> + +<p><b>Pot's Schützenstück.</b>—It was not until 1886 that the +great Schützenstück, a Civic Guard picture in the Haarlem +Museum, which had always been so greatly admired by +critics, was discovered to be the long-lost picture painted +by Pot (1585-1657) in 1630, which had been falsely attributed +to Van der Helst. At the date when he painted +the picture Pot was so famous that the historiographer, +Ampzingh, had rhymed two years earlier, 1628, "then shall +also Hendrik Pot rightfully wear his crown. We wonder +what his busy hand is creating to-day." He calls the Allegory +of the Death of William I., the great Prince of Orange, +painted by Pot in 1620, and now unfortunately lost, "a +very fine and artistically painted picture." We have no +means of following his development, because his pictures +are rare, and seldom dated. 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 unmistakable. +The young woman on his right is in violet; the +one on the left, in pink; and the third, in yellow and blue. +All this is in a strongly pronounced local color. The +drawing is careful and good. This is far superior in all +respects to a similar picture in the Berlin Gallery. The +background of this picture is a fine gray. The details are +convincingly and beautifully painted. The painting of the +high lights reminds us of the Hals School. The picture +was probably painted about 1630, and takes a commanding +place among the contemporary pictures of this style. It was +bought for 1300 gulden. A similar picture hangs in the +National Gallery.<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + +<div class="blockquot"><p><b>Two Portraits by Frans Hals.</b>—"The Government was +happily inspired," writes Mr. Bredius, "in 1881, when it bought +for The Hague Gallery two portraits by the great Frans Hals +[1580-1666], who had not been represented up till that time. +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 master, these pictures of his being too +trifling and not worthy of the collection," etc. But people forgot +that such an opportunity does not often occur, and then that the +price is often so high that the slim purse of The Hague Gallery +makes a purchase not to be thought of.</p> + +<p>"The smaller and more beautiful of the pair, the male portrait, +is quite capable of giving us a good idea of the virtuosity +of the portrait-painting of Hals. How fine, how self-assertive, +is the attitude of this twenty-nine-year-old patrician Haarlemite! +How sympathetically the costume is painted! How +well are the head and hands modelled and drawn! The portraits +were painted in the year 1625."</p></div> + +<p>The portraits here described are of Jacob Olycan and his +wife, Aletta Hanemans.</p> + +<p><b>Bode's Opinion of Hals's Pictures.</b>—In his celebrated +study of Hals of this period, Bode says:</p> + +<div class="blockquot"><p>"About the year 1625 the master had advanced to a style of +impression and way of handling that in general remained stationary +for about ten years. A gay, delightful humor laughs +out at us from all these pictures: from the rich, full local colors, +the clear blonde tones, playful easy handling, which quickly, in +a few minutes with a few scattered strokes and sweeps of the +brush and palette knife blade, brings the personality of the +subject upon the canvas, and soon the conception is rendered to +the smallest detail in lovely, delicate completeness."</p></div> + +<p><b>Characteristics of Thomas de Keijser's Work.</b>—Of all +important painters who flourished in Amsterdam when +Rembrandt settled there at the end of 1631, Thomas de +Keijser (1596-1667) was by far the greatest. His portraits, +particularly those of small dimensions, take high +rank among those which the Dutch school in its glory produced. +His work is distinguished by a masterly technique,<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +a splendid characterization in portraiture, a powerful but +brilliant selection of color, and a broad, heavy brush.</p> + +<p><b>Description of a Portrait painted by him.</b>—These +qualities are found in the Portrait of a Man of Distinction, +signed and dated 1631. The man, nearly life size, is +seated before a table covered with a reddish Oriental carpet, +and with his left hand is turning over the leaves of a +book that rests upon a desk. He is not looking at the +book, however, but at the spectator. His hair is gray and +quite short, he wears a moustache, his eyes are full of fire, +and his face is expressive. He has on a large black hat, +and a white collar spreads out over his black silk doublet; +his stockings are black silk, and his shoes are ornamented +with rosettes. The right hand, which is superb, rests on +his hip. The floor is paved with black and gray tiles and +in the sober background, which serves to bring out the +face, a library is indicated on the left.</p> + +<p><b>Group of Four Burgomasters.</b>—The portrait is painted +on oak, as is also that of the Amsterdam Burgomasters +Deliberating with Regard to the Visit of Marie de Médici +to that city. This very small picture, in which the figures +are only eight and a half inches high, was painted by De +Keijser in 1638, when the widow of the French King +Henri IV. visited Amsterdam.</p> + +<p>"It is no small glory," says Blanc, "for De Keijser to +have painted a picture which in value of execution may be +placed between the Peace of Münster and the Syndics by +Rembrandt."</p> + +<p><b>Description of the Figures.</b>—Here we find four burgomasters +sitting around a table covered with a green cloth +in an austere hall, whose gray walls are broken by niches +containing statues. These four old men—Abraham Boom, +Petrus Hasselaer, Albert Coenraet Burgh, and Antonie Oetgens +van Waveren—are dressed in black and wear black +felt hats unadorned with plumes. Their grave deliberations +regarding the entertainment of the royal guest are interrupted +by the entrance of the lawyer, Cornelis van Davelaer,<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +who, hat in hand, salutes them with the greatest respect, as +he announces the arrival of Marie de Médici.</p> + +<p><b>Blanc's Opinion of the Picture.</b>—Blanc, who greatly +admires this picture, calls attention to the fact that no useless +piece of furniture or accessory of any kind disturbs +the solemnity of this little scene, which, on account of the +simple manner in which it is conceived, is great, notwithstanding +its size. He says:</p> + +<div class="blockquot"><p>"With the exception of Rembrandt, I do not know of a +single Dutch painter, not even Van der Helst (who painted +such great canvases), who would not have belittled his picture, +either by elegance of touch and finish, or by the richness of +the costumes and arms, or by the effect of a carpet variegated +with a thousand shades. I imagine that Gerard Ter Borch, in +spite of his habitual dignity, would have found some pretext +for introducing into his composition a beautiful sword with a +baudrick, a crossbow, or a chandelier; that Metsu would certainly +have found some excuse for placing a richly chiselled +silver <i>aiguière</i> or a golden goblet on the table; and I am sure +that through the door by which the lawyer, Davelaer, enters, +Pieter de Hooch would have let you see the antechamber of the +Council, with its high chairs covered with Utrecht velvet, or a +winding stairway, or a distant door opening into a garden or +street. The attention would then have been somewhat distracted +by the very striking accessories, or by the optical charm +of the chiaroscuro. Here we find nothing of the kind; not a +single concession to conventional treatment. By the gravity of +their attitude, we see that these four citizens, chosen by a free +people who sit here with covered heads, express in themselves +the majesty of the United Provinces, and they consider themselves +of equal rank with the Queen of France, whose arrival +is being announced; you feel at once that they bring a plebeian +pride to their magnificent reception of that princess +who was, like them, originally from a republic of merchants. +All the costumes being black,—that beautiful, warm, transparent, +silky black peculiar to Velasquez and Anthonis Moro,—you +only notice in this picture the hands and the heads. The +heads have an expression that will remain engraven in the +mind forever, for the painter has accented them so deeply, and +brought into contrast both physical and moral features. Notwithstanding +their individuality, they all have a certain grandeur.<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> +The peculiar trait of this master, however, is the neutral background, +the exquisite sobriety of the tone of the wall, recalling +the beautiful gray of the great Spanish painter; and from this +stand out the black of the doublets and the white collars."</p></div> + +<p>Blanc also calls attention to the splendid painting of the +faces: the eyes sunken by age, the wrinkles of the skin, and +the withered cheeks. Bredius writes:</p> + +<div class="blockquot"><p>"What character has the artist put into these heads! We +feel at once that it must have been this kind of men who conducted +Amsterdam to greatness and fame. What worth and +dignity in the way they hold themselves! What self-confidence +in the proud glance!"</p></div> + +<p><b>Other Portraits in the Mauritshuis.</b>—Of other notable +portraits in the Mauritshuis there are three by Moreelse +(one of himself); six by Honthorst, including one of a +child gathering fruit, originally in the Castle of Honsholredijk; +nine by Mierevelt (chiefly of various Princes of +Orange); three by Ravesteyn, one a group; two by Moro, +one of a goldsmith, the other supposed to be Prince +William I. in his youth; three by Netscher; Ter Borch's +of himself; two by Frans van Mieris; one by Cuijp, and +other examples by Rubens and Van Dijck.</p> + +<p><b>Ferdinand Bol's Pay for Portraits.</b>—Of Rembrandt's +numerous pupils, one of the most eminent in portraiture +was Ferdinand Bol (1616-80), whose earliest signed +work is dated 1642. In his earliest period he devoted +himself chiefly to large pictures of Biblical subjects; but, +like many other artists, he very soon found that there was +a great deal more money to be made in portraiture. At +that time, when photography was unknown, it was only +natural that everybody who could afford it had his picture +painted. From the burgomaster to the ordinary tailor or +skipper—all wanted to have pictures of themselves and +their families hanging on their own walls; and the purchaser +could indulge himself in this natural vanity at comparatively +small cost, for the demand naturally increased the<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +supply; and there were only too many painters who were +glad enough to serve their patrons. As the artists became +famous their prices naturally increased; and some received +higher pay than others who to-day have a greater reputation. +Rembrandt probably received as much as anybody +else for a time; but at the end of his life there was a +greater demand for portraits by others, such as Maes, who +were more pliant to the changing mode. Rembrandt received +500 gulden each for his famous portraits, whilst +others were content with 150, 100, and even 30 or 40 +gulden. Caspar Netscher, for instance, received only from +50 to 70 gulden for his elegantly finished pictures. The +usual custom was for an artist to paint portraits for a living, +meanwhile working and developing himself along the lines +of his special genius. Thus we find several of the Little +Masters practically relinquishing portraiture as soon as they +had made a big reputation in <i>genre</i>, or other fields.</p> + +<p><b>Bol's Work in Portraiture.</b>—Bol was a portrait-painter +exclusively; he married first in 1653, and a second time +in 1669. Probably both wives belonged to rich and important +families, for Bol was kept busy his whole life long +and became wealthy, dying in 1680 in his beautiful house +with its fine grounds and stables.</p> + +<p>With him, as with so many other successful painters, his +last pictures were not his best. In his earlier portraits he +represents his sitters in beautiful chiaroscuro. The painting +is broad and spirited; the color strong and brilliant. He +painted so much in Rembrandt's style at first that many +of Bol's pictures have been taken for those of his master; +and later, when Bol's reputation had faded, unscrupulous +dealers did not hesitate to change his signature on the +canvases for that of Rembrandt. A celebrated instance +of this practice is the so-called Portrait of Flinck and his +Wife in Munich, which by many connoisseurs was long +admired as Rembrandt's work; but, by Hauser's skill, the +false Rembrandt signature was obliterated and the real one +of Bol brought to light.<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<p><b>Bol's Portrait of De Ruyter's Son.</b>—The Mauritshuis +owns one of the best portraits by Bol, painted in his later +period, that of the handsome twenty-year-old son of the +great Admiral de Ruyter. This son, Engel de Ruyter, was +born in 1649 and died in 1683. Bol painted him in the +year 1669, as may be seen by the date on the picture. +It is only quite recently that the pendant, a portrait of the +great Admiral de Ruyter, has come to be regarded as a copy +after Bol. The charming little marine in the picture is undoubtedly +by the hand of Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> the younger, +and adds greatly to the interest of the painting because it is +of itself a fine picture of that great master. In many of his +later portraits, Bol is somewhat dull in his color and painted +them too rapidly, besides giving to his flesh too strong a +red-rose tint; but that cannot be said of him in this case, +where he has done his very best. In particular, he has +handled the rich costume with affectionate and masterful +touch.</p> + +<div class="figcenter" style="width: 405px;"> +<img src="images/illus042.jpg" width="405" height="450" alt="F. BOL +Admiral de Ruyter" title="" /> +<span class="caption">F. BOL<br /> +Admiral de Ruyter</span> +</div> + +<p><b>Description of the Sitter.</b>—The genial countenance, +which displays none of the real martial type of his celebrated +father, rises finely out of the red drapery. The +bearing is elegant, though perhaps there is a little too +much pose in it. The portrait is particularly interesting, +because the sitter had a career of great promise which was +cut short all too soon. Nine years after the portrait was +painted, the youth had already risen to the rank of Vice-Admiral +and had been created a Spanish count, having +also refused the title of duke; but before he had attained +thirty-four years of age, he died, not a hero's death like his +father, as he had desired, but in his own luxurious dwelling +in Amsterdam. However, he had already while very +young fought valiantly beside his father in the Battle of +Solebay.</p> + +<p><b>A Picture by Salomon Koninck.</b>—Another pupil of +Rembrandt whom we shall see in the Rijks is G. van den +Eeckhout. A picture formerly attributed to him, the Adoration +of the Magi, is now known to be by Salomon Koninck<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +(1618-88). One of the Magi in a red cloak is kneeling +before the Infant Jesus and another on the right wears a +golden mantle. The color is vigorous and the work shows +the knowledge of chiaroscuro for which Rembrandt's school +was so famous.</p> + +<p><b>Two Pictures by Nicholas Maes.</b>—Nicholas Maes +(1632-93) is represented in the Mauritshuis by only two +pictures,—one of them of questionable origin, moreover; +and therefore the student must go to Amsterdam for varied +examples of his work. The portrait here is that of the +Grand Pensionary, Jakob Cats, an original replica of which +hangs in the Budapesth gallery. Diana and Her Nymphs +shows some of the qualities to be expected of one who +worked in Rembrandt's studio for eighteen years; but it is +now sometimes attributed to Vermeer of Delft. The signature, +"N. M. 1650," is said to be false.</p> + +<p><b>Maes's Work as a Portrait-Painter.</b>—Maes was a pupil +of Rembrandt and became a very successful portrait-painter +by copying the master's style. He soon became rich by +his talents, his wit, his polished manners, and by flattering +his sitters. He charged high prices for his pictures; and +he deserved his great reputation. The chiaroscuro of his +paintings is very vigorous. If the shadows are not heavily +massed as with Rembrandt, they are at least strongly accented; +and, as the half-tones are very summary, the passage +from light to dark is very brusque, and by this means +the painter attains a powerful effect and strong relief.</p> + +<p><b>His Visit to Jordaens at Antwerp.</b>—Having become +rich, and getting tired of everlastingly painting the rich +burghers of Amsterdam and their wives, Maes thought he +would like to go to see the works of the great artists of +Antwerp, who at that time were so much talked about +throughout Europe. Having been initiated into the high +freemasonry of art by Rembrandt, he was cordially received +by the Antwerp painters and soon recognized by +them as a brother. Among others, he went to visit Jordaens +and was shown into a room filled with pictures, which<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> +he examined while awaiting the appearance of the latter, +who was watching his visitor through the keyhole. When +he entered, Jordaens said: "I see plainly that you are a +great connoisseur, or perhaps an able painter, for the best +pictures in my gallery detained you longer than the others."</p> + +<p>Maes simply replied, "I am a portrait-painter."</p> + +<p>"In that case," replied Jordaens, "I sincerely pity you. +So you also are one of those martyrs of painting who so +richly deserve our commiseration!"</p> + +<p>In fact, Maes's weariness at having to put up with the +whims of human vanity probably had much to do with his +turning to <i>genre</i>, by which he is now best known and for +which he is most highly prized.</p> + +<p><b>Maes's Pictures of Familiar Scenes.</b>—The average art-lover, +however, cares little for the portraiture of Maes, but +prizes him as a painter of familiar scenes, like Pieter de +Hooch. Although less varied and less supple, but not less +robust than the latter, Maes was his equal in the power of +his effects. The triviality of the subject which he often +selects is relieved by the charm of an astonishingly vigorous +and spirited execution. Burger says:</p> + +<div class="blockquot"><p>"On passing through a kitchen, perhaps, you see an old +woman scraping carrots, having various kitchen utensils about +her. If you have seen this humble interior in one of Maes's +pictures, it will be impossible for you not to halt and spend +some time in looking at it. The painting of Nicholas Maes is +one of those that become encrusted in the memory. The light +gleams in it, the canvas glows, the subject stands out, the eye +runs over it, and if the figures were of natural size one would +go forward to meet them, so strong is the impression, so solid +is the tone, so palpable, and modelled in relief are the forms.</p> + +<p>"In his little familiar scenes, Maes is not always insignificant +or vulgar in his choice of subject. Most often, indeed, his +composition is ingenious, witty, and piquant. In the first place, +it is set in the most picturesque corner of the room; the painter +likes to take up his position in a place whence he can see at +once the house from top to bottom,—both the stairs descending +to the cellar and those mounting to the first floor. Then<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +the figures he brings into the scene usually have some malicious +trick to play, some secret conversation to overhear, some theft +to discover, or some infidelity to discover."</p></div> + +<p><b>Samuel van <ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraaten</ins>.</b>—It is singular how few pictures +are known by Rembrandt's remarkable pupil, Samuel +van Hoogstraaten (1625-78), a versatile painter of +landscapes, portraits, marines, architecture, fruits, flowers, +and, more particularly, interiors, in which he followed Pieter +de Hooch. In his Lady in a Vestibule he has demonstrated +his knowledge of perspective, of which he was very proud. +The chief feature of the picture, however, is the beautiful +chiaroscuro, for which he has to thank Rembrandt's +teaching. The lady is walking in a portico of very fine +architecture, and reading. With one hand she is holding +up her straw-colored dress. This figure is only two +feet high, while the spaniel that accompanies her is life +size!</p> + +<p><b>Effects of Rembrandt's Teaching on his Pupils.</b>—Thirty +of Rembrandt's pupils made great names for themselves +by copying that great master in one or other of his manners. +Some made a system of what with him was merely +a mood or caprice. Not being able to follow him in the +expression of the human soul, they made a specialty, some +of portraiture, some of costume, some of chiaroscuro, some +of <i>genre</i>, and some of landscape.</p> + +<p><b>Philip Koninck's Landscapes.</b>—Philip Koninck (1619-88) +is almost the only pupil of Rembrandt who painted +landscapes almost exclusively, and he listened to the teachings +of his master with great docility. His principle was +to regard nature from a little distance, so as to grasp +the masses, rather than to enter into details. The +Mauritshuis possesses a beautiful and characteristic specimen +of his genius. In composition and treatment, it reminds +us of Rembrandt's Landscape of the Three Trees.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> +Blanc says:</p> +<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> +<div class="blockquot"><p>"Among the Dutch landscape painters perhaps there is not +one, unless it is Van der Hagen, who would have dared to paint +this monotonous plain, all the lines of which are horizontal, all +the clumps and rows of trees of the same height, and in which +the only objects in the foreground are a cottage half hidden +among trees, and, a little farther on, a low sandy hill which +does not rise beyond the level of the middle distance. The +vast stretch of country is traversed by so many courses of water +that it almost looks as if it were threatened with an inundation. +The meadows are on a level with the sea; the distant villages +look like flotillas at anchor, and the houses seem to be floating +on the canals. The painter has placed his point of view so high +that neither the sails of the windmills, nor the points of the belfries, +nor the tops of the highest trees stand out against the sky. +The picture is cut in half by the almost straight line of a horizon +which gradually recedes until lost to view, and the towns +we perceive in the distance, the rows of trees, the hamlets, and +rivers all run parallel with this horizon. That is to say, that +Philip Koninck (and this picture resembles all the others of his +we know) is conceived entirely at variance with the ideas that +are generally held regarding the picturesque."</p></div> + +<p>Gilpin says:</p> + +<div class="blockquot"><p>"'The greatest enemies of the picturesque are the symmetry +of the forms, the resemblance and parallelism of the lines, the +polish of the surfaces, and the uniformity of the colors.'</p> + +<p>"Very well! Here is a landscape by Koninck that fulfils all +the conditions of the non-picturesque; and which, nevertheless, +produces a certain impression of grandeur and sadness, solely +by means of the canvas being furrowed into infinite depths, the +gradations of the perspective being extremely well observed, +and the uniformity of the ground being happily contrasted with +a sky full of movement, a fine disorder of clouds which the +breeze slowly drives before it as a shepherd does his flock."</p></div> + +<p><b>Dutch Painters who imitated Italians.</b>—Rembrandt, +although he arose at a time when the influence of Italian +art was supreme, never went to Rome; nevertheless, he +owed a great deal to the studies of those artists who had +been there. The Hague Gallery contains several pictures +of this period; and these are sufficient to give us a very<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +good idea of the qualities of Dutch art just before Rembrandt, +in 1629, set up for himself in Amsterdam at the +age of twenty-one.</p> + +<p><b><ins title="Transcriber's Note: Both 'Henricus' and 'Hendrik' Goltzius were used in this text. This was retained.">Hendrik</ins> Goltzius.</b>—An influential founder of a large +school of painters who modelled themselves on the great +Italians was Hendrik Goltzius (1558-1616). He started for +Rome in 1590, and indulged to the full his intense admiration +for <ins title="Transcriber's Note: Both 'Michelangelo' and 'Michael Angelo' were used in this text. This was retained.">Michelangelo</ins>, which led him to surpass that master +in the extravagance of his designs. The works by his own +hand he most valued were his eccentric imitations of the +designs of Michelangelo. His portraits show exquisite +finish, and are fine studies of character. The beauty and +freedom of his execution make amends for his extravagance. +In the Mauritshuis are three pictures painted shortly before +he died—Mercury, Hercules, and Minerva.</p> + +<p><b>His Academy at Haarlem.</b>—On his return from Italy +Mander, who was a great friend of Goltzius, induced him to +open an academy at Haarlem, in combination with Mander +and Cornelisz, and with the assistance of his old pupils, +Matham, Müller, Sanraedam, and De Gheyn, as professors. +As might be expected, Italian taste predominated in this +academy, not solely on account of the personal preference +of the founders, but because the Italian style had been +popularized in the Low Countries by Lambert Lombard, +and his pupils, Hubert Golz, Lambert Zutman, Dominic +Lampson, William Key, and Frans Floris (1518-70). Of +these the most famous was Floris, who also studied in +Italy, and himself founded a large school. The Hague +possesses in Venus and Adonis a charming example of his +style.</p> + +<p><b>The Italian Style followed by Cornelisz.</b>—Cornelis +Cornelisz (1562-1638) had never been to Italy, but his +education and environment had given him Italian tendencies. +We learn that even after he had attained proficiency +he never dispensed with the model; nevertheless, he was +neither a slavish imitator of nature, nor altogether a painter +of style. He has two large pictures in The Hague Gallery that<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> +were painted about the time he joined Goltzius in the Haarlem +academy. These are the Massacre of the Innocents +(1591) and the Marriage of Peleus and Thetis (1593). +The dominating idea of the artist in the Massacre of the +Innocents, which covers a canvas 8-3/4 by 8-1/4 feet, is the +wish to appear a great master of drawing by curves and +modeling that exaggerate the relief of the muscles. There +are more than two hundred figures which are almost all +entirely nude. The executioners, and the infants in particular, +show an attempt at noble form which rises above +nothing more than affectation. There is an obvious striving +after the genius of <ins title="Transcriber's Note: Both 'Michelangelo' and 'Michael Angelo' were used in this text. This was retained.">Michelangelo</ins> which, in the Dutch +master, is merely pretentious imitation of what would be +facile and superb in the great Florentine. There is not a +single attitude nor a movement that is not <i>contrasted</i>; for +instance, if the left arm is behind, the right leg is in front. +In fact, the study of nature is completely subordinated to +academic conventions. The color is far more natural than +the drawing. The artist has been extremely successful in +rendering the flesh tints of life as well as of death, and he +has varied the <i>nuances</i> in accordance with sex and age, +giving very faithfully the tenderness and freshness of the +flesh tints of infancy, and the softness of the female form, +the stronger tones of the executioners in action, and even +the cadaverous hue of the bloodless corpses. As for the +expressions of the faces, they are vulgar though energetic.</p> + +<p><b>His Love of painting the Nude.</b>—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 <ins title="Transcriber's Note: Both 'Michelangelo' and 'Michael Angelo' were used in this text. This was retained.">Michelangelo</ins> is +again shown in the large canvas, measuring 8 by 14 feet, +entitled Banquet of the Gods of Olympus, or Marriage of +Peleus and Thetis.</p> + +<p><b>Gilles Coignet.</b>—Cornelisz had received his tastes and +instruction principally from Gilles Coignet (1540-99), +who set out for Italy with another painter named Stello in +1555 and worked principally at Terni, between Loretto and<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +Rome, for five years. He painted historical and mythological +subjects of easel size, but was more successful in landscapes, +and more particularly in candle-light subjects and +moonlight. He took up his abode in Amsterdam in 1586. +His influence on the Haarlem school was pronounced.</p> + +<p><b>Elsheimer's Excellence in Chiaroscuro.</b>—The Mauritshuis +possesses two Italian Landscapes by Adam Elsheimer +(Elshaimer or Elzheimer) (1574-1620), a German painter, +whom the Italians call Adam Tedesco, who possessed great +influence over his contemporaries, particularly the elder +Teniers and Rembrandt, who followed out the same characteristics +of chiaroscuro. Elsheimer delighted in the effects +of moonlight and evening dusk; also in torchlight, conflagrations, +and every other kind of artificial light,—all of +which he represented with greater excellence than had ever +been done before him. Visiting Italy, he became charmed +with the country and settled in Rome, where his little pictures, +usually painted on copper with microscopic and +beautifully finished figures, had great success. Elsheimer +was visited by all the artists of his country, including Poelemburg, +who saw him in 1617. He was almost as great +in chiaroscuro as Rembrandt; and his immense reputation +did not diminish until after the eighteenth century.</p> + +<p><b>Cornelis van Poelemburg.</b>—A picture of Women +Bathing, by Cornelis van Poelemburg (1586-1667), is a +fine example of his style. He studied first under Bloemaert, +but during a protracted visit to Italy he fell under +the influence of Elsheimer; and on his return to his own +country he became quite the rage as a painter of classic landscape. +In Rome he had been fascinated by Raphael's +pictures, and studied him with affectionate admiration. +Poelemburg possessed a happy and tranquil nature.</p> + +<div class="blockquot"><p><b>His Attractive Landscapes.</b>—"The little pictures that his +imagination painted breathe a quiet happiness, and are imprinted +with a suave poesy. They nearly always represent a +countryside adorned with ancient ruins and frequented by +demi-nude nymphs. His landscapes, enveloped in vapor which,<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +while decreasing the dryness of the outlines and crudity of the +tones, would soften the aspect of the most rugged spots, serve +as a background for the whiteness of the goddesses who dance +with fauns or repose in the shade of some abandoned monument. +Sometimes, as though the vale that they dwell in were reserved +for the gods, Poelemburg's nymphs do not fear to remove their +light vesture and bathe in some open pool where only the +painter may see them. But, most frequently, it is in the neighborhood +of a grotto, at the foot of rocks perpetually washed by a +spring of fresh water, that one likes to surprise them, nude, +trembling, their bodies rendered whiter by the transparent veil +of the atmosphere, playing with the water they are disturbing, +swimming after one another and half-hidden by the current of +their chaste fountains."</p></div> + +<p><b>Dutch Artists who migrated to Rome.</b>—Bartholomeus +Breenborch (1599-1659) 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 Tiber, +and exchanged the land that was to produce Rembrandt +for the country of Raphael's birth. A few Dutch artists +successfully resisted the lures of the Eternal City; but the +majority of painters of that period followed the example of +Elsheimer, Poelemburg, Karel Dujardin, Herman Swanevelt, +Andreas and Jan Both, and others, and formed a +little Dutch colony among the Seven Hills.</p> + +<p><b>Breenborch compared with Poelemburg.</b>—Breenborch +devoted himself to history and landscape alternately. His +historical subjects were chiefly Biblical and mythological. +He was fond of painting classical landscapes with ruins; +and the only artist who could excel him in painting charming +little figures in a landscape was <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins>. The +chief characteristic of Poelemburg, with whom Breenborch +is so often compared, is grace. The only picture of this +artist in The Hague Gallery, Mercury appearing to the +Nymph Hersé, resembles Poelemburg both in subject and +treatment.</p> + +<p><b>Van der Ulft's Architectural Paintings.</b>—Van der Ulft +(1627-90), another artist of this school, was originally a<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +painter on glass. Later, he turned to historical compositions +of small dimensions; but his real talent lay in the +representation of architectural monuments, and scenes inside +city walls. It is strange that he never visited Italy, +but formed himself by the study of the works of returning +Roman art pilgrims and of engravings. His perspective +is exact; his ancient ruins, triumphal arches, +and statues are correctly placed in his pictures, and his +architectural backgrounds, abounding in strong and golden +grays, form an excellent frame for the little figures that +animate his spirited paintings. He delighted to paint +Roman processions. The Hague picture shows an army +on the march in a landscape adorned with architectural +remains.</p> + +<p><b>Nicolas <ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>'s Best Points.</b>—A follower of Elsheimer, +who later became a disciple of Rembrandt, was +Nicolas Moeyaert (1630-?), who settled in Amsterdam +in 1624 and joined the Painters' Guild in 1630. In some +of his pictures he imitated Rembrandt very closely. He +excelled in portraits, animals, landscapes, and historical +and Biblical scenes. The Hague Gallery contains three: +Mercury appearing to the Nymph Hersé; Triumph of +Silenus, and a Biblical scene, also called the Visit of +Antiochus to the Augur.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/illus052.jpg" width="450" height="436" alt="MOEYAERT +The Visit of Antiochus to the Augur" title="" /> +<span class="caption"><ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">MOEYAERT</ins><br /> +The Visit of Antiochus to the Augur</span> +</div> + +<p><b>Description of one of his Pictures.</b>—Antiochus, about to +engage in a war, is consulting the augur. In the centre stands +the king dressed in a long blue robe, with a white girdle +and a purple cloak lined with fur; also a furred bonnet. +He is talking to an old man, the augur, who has a long +white beard. He is wrapped in a yellow cloak, is barefooted, +and he is writing in a book. By him are some animals, +including a dog and some rabbits, and on the right of +Antiochus are two goats and a sheep. On a rock on the +left is a group of ten persons; and in the centre of the picture +between the two high rocks stand a tower and a temple. +For pupils <ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins> had Berchem, Van der Does, +Salomon Koninck, and J. B. Weenix.<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> + +<p><b>Pieters and Lastman.</b>—Gerrit Pieters, the best pupil +of C. Cornelisz, also went to Rome. He painted assemblies, +<i>genre</i>, and small portraits; his success prevented him +from devoting himself to historical painting, which he preferred. +A pupil of his was Pieter Lastman (1583-1633), +who also made a long sojourn in Italy under Elsheimer's +influence. He groped about in different styles for a +long time, devoting himself principally to Biblical subjects. +He learned a good deal about light effects from +Elsheimer; on his return he imparted what he knew to +Rembrandt, who studied with him for a short time. Later, +when his brilliant pupil grew famous, Lastman humbly followed +his lead. Jan <ins title="Transcriber's Note: Both 'Lievens' and 'Lievensz' were used in this text. This was retained.">Lievens</ins> (1607-74), was another of +his pupils. A picture by him, painted in 1622, when Rembrandt +was still only fourteen years old, and therefore could +not have influenced him, is in the Mauritshuis. It is called +The Resurrection of Lazarus.</p> + +<p>An artist who accompanied Lastman to Italy in 1605 +was named Jan Pinas (f. 1608-21). He painted portraits, +landscapes, and historical subjects.</p> + +<p><b>Herman Swanevelt's Study of Nature.</b>—Herman Swanevelt +(Herman of Italy) (1600-55) was a pupil and imitator +of Claude Lorraine in Rome, whither he went in 1624, 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 city. Unlike Claude, with +whom he used to walk in the environs of Rome, and who +never sketched from nature, Swanevelt always had his pencil +in his hand, taking note of all that he saw, studying the +oaks and large plants, and copying the buildings, campaniles, +and vine-wreathed arcades and ruins. He left nothing +to his imagination. While Claude's landscapes speak +of the Golden Age, Swanevelt's are actual reproductions of +the country as he saw it. His buildings are not imaginary +villas, temples, and palaces, but are the Roman ruins and +the façades and cloisters that he knew. In his arrangement +and composition he resembled Claude; and, like him, often<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +placed in the corner of his picture wooded mountains or +large trees, and sometimes even placed them in the very +centre to make a striking contrast to the very light background.</p> + +<p>Naturally rude and savage, Swanevelt contributed some +of his character to his work. He liked bold mountains +clothed with dark forests, deep ravines, solitary places, and +torrents bounding from the rocks; and he understood how +to mingle the heroic style with rural beauty.</p> + +<p>Two Italian landscapes, one dated 1650, the other +formerly attributed to Claude Lorraine, hang in the +Mauritshuis.</p> + +<p><b>J. van Swanenburch.</b>—Rembrandt spent three years +in the studio of J. van Swanenburch (d. 1638), who had +finished his studies at Rome, and worked in Naples for +a long time, returning to Holland in 1617.</p> + +<p><b>Bloemaert, Founder of the School of Utrecht.</b>—Abraham +Bloemaert (1564-1651) constitutes in many respects +the link of transition with the succeeding epoch; for however +his frequent mannerisms and gaudy coloring betray +the tasteless period in which he was born, his later pictures +show a power, taste, and broader touch. He painted a +great number of religious and mythological subjects, portraits, +landscapes, and animals. By reason of his talent +and his long life (ninety-two years), he exercised great +influence over the School of Utrecht, and may be regarded +as its founder.</p> + +<p><b>Some of his Pupils.</b>—Among his principal pupils may +be mentioned: J. and A. Both, the Honthorsts, J. B. Weenix, +Knupfer, Cornelis van Poelemburg, and the father of Albert +Cuijp. Two pictures painted in the prime of his life are in +The Hague Gallery; they deserve attention if only for their +size and the number of figures they contain. The subjects +are: Hippomenes receiving the Prize (signed and dated +1626), and the Marriage of Peleus (signed and dated 1628). +The latter was carried off by the French, but returned after +1815.<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + +<div class="blockquot"><p><b>Description of the Marriage of Peleus and Thetis.</b>—"It +is composed of fourteen large figures, half nude, representing +the gods of Olympus celebrating the marriage of Thetis. +Seated at table and distinguished by their divine attributes, the +gods appear to be troubled at the sight of Discord, who descends +from above, borne on a cloud, and throws down among +them the golden apple destined for the most beautiful. In the +foreground, with her back turned to the spectator, is shown the +figure of Venus, who displays unveiled her divine shoulders, her +voluptuous neck, and her incomparably beautiful body, which +will carry off the prize, and which has no need of the girdle of +beauty to render the goddess beloved. Elsewhere than in The +Hague Gallery this mythological painting would perhaps not +excite more remark than any other picture, but there, in the +midst of a family, <i>bourgeoise</i>, and Protestant school, which +avoids the nude and ignores academic conventions and style, +a picture of this kind cannot fail strongly to attract attention. +Abraham Bloemaert, like the famous Cornelis of Haarlem, has +the air of an Italian who has gone astray in these northern +regions. These noble contours and learned lines, this modelling +of the flesh pursued with a certain pedanticism by the +former, and with grace and facility by the latter, and finally +these more or less violent foreshortenings,—those, for instance, +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 banqueting,—all this is at +variance with the jollity and naturalism of the Dutch; all this +betrays the influence of a foreign style, an influence that reigned +in Holland in the sixteenth century, disappeared at the arrival +of Rembrandt, and did not return till the appearance of <ins title="Transcriber's Note: Both 'Gérard' and 'Gerard' de Lairesse were used in this text. This was retained.">Gérard</ins> +de Lairesse, more than a century later."<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p></div> + +<p><b>Others who painted in the Italian Style.</b>—<ins title="Transcriber's Note: Both 'Nicholas' and 'Nicolaes' Berchem were used in this text. This was retained.">Nicholas</ins> +(or Claes) Berchem (1620-83), Karel Dujardin (1622-78), +and Jan (or Johannes) Both (1610-52), painted in +the Italian style. Berchem was a pupil of his father, +Pieter Claes, and of J. B. Weenix, <ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>, Pieter de +Grebber, and probably Jan van Goyen. Karel Dujardin +was a pupil of Berchem. All three travelled in Italy; and +all three are represented in The Hague Gallery. Berchem<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +has an Italian Landscape and Figures; an Italian Landscape +or Pastoral (dated 1648), with life-sized figures.</p> + +<p><b>Berchem's Picture of a Boar-Hunt.</b>—A Wild Boar Hunt, +of the year 1659, shows that he could successfully treat an +animated scene. Crowe says:</p> + +<div class="blockquot"><p>"It is a model of precision combined with elegance of execution; +though at the same time that blue dark tone which, to +the eye of a connoisseur, so much detracts from the value of +his later works, already partially appears. This is more seen +in a landscape dated 1661 in the same museum, though otherwise +belonging to his more attractive works. But here also the +conventional and monotonous treatment of his cattle begins to +be visible.... But the most striking example of the master's +deterioration is afforded us by one of his latest works, the Cavalry +Engagement, in The Hague Museum, which is a very type +of crude and discordant effect and hardness of detail."</p></div> + +<p>His fourth picture is An Italian Quay, dated 1661.</p> + +<p><b>Pictures by Dujardin, Jan Both, and Others.</b>—Karel +Dujardin, famous for his animals, portraits, and landscapes, +can be well studied in a fine Italian landscape, called A +Cascade in Italy, rich and warm in tone and dated 1673.</p> + +<p>Johannes Both has two Italian landscapes, one of which +glows with sunshine and is remarkable for breadth and +delicacy.</p> + +<p>Other pictures showing this Italian influence are The Ambuscade +and an Italian landscape by Moucheron, with +figures by J. Lingelbach; the Terrestrial Paradise by Jan +Brueghel the Elder; and The Torrent, by Adam Pynacker.</p> + +<p><b>Adam Pynacker and Jan Both compared.</b>—Pynacker, +though inferior to Jan Both in his Italian landscapes, surpasses +him in variety. His tone is cooler than Both's, and +he excels in painting early morning scenes. In addition to +pastoral scenes, he loves rocky heights, mountain ranges, +Italian harbors, bold bridges, and waterfalls.</p> + +<p>Pynacker enlivened his landscapes with human figures +and cattle, both of which he was able to draw and paint extremely +well.<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + +<p><b>Albert Cuijp's Portrait of Sieur de Roovere.</b>—The +famous Albert Cuijp (1620-91) belongs to this group, +being a pupil of his father, Jacob <ins title="Transcriber's Note: Both Jacob 'Gerritz' and 'Gerritsz' Cuijp were used in this text. This was retained.">Gerritsz</ins> Cuijp, who was a +pupil of Abraham Bloemaert.</p> + +<p>There is but one Cuijp in the Mauritshuis, Portrait of +Sieur de Roovere directing the salmon fishery near Dordrecht, +which need not detain us long, for we shall find more +interesting examples of this master in the Rijks. Burger +calls this A View in the Environs of Dordrecht, and says it +is "a beautiful painting, but perhaps a little brusque." A +gentleman wearing a black hat with red plumes and mounted +on a bay horse, is seen on the left, to whom a fisherman in +heavy boots is offering fish. On the right lies a spaniel. +In the middle distance are some fishermen, a black horse, +the other side of a canal, and a house. The two principal +figures are about a foot high.</p> + +<p><b>The Beginning of the School of Dutch Landscape.</b>—Jan +Hackaert (1629-99) forms a connecting link between +those painters who represent Northern and those who represent +Southern scenery. He travelled when young into +Germany and Switzerland. The Hague has a good example +of an Italian landscape with figures by Lingelbach; but +better examples of his work are in the Rijks. This brings +us to the beginning of the great school of Dutch landscape, +when the painters began to take an interest in the scenery +of their own country. Two great names are Jan van Goyen +(1596-1666) and Jan Wijnants (1600-77), important not +only because of their own productions, but because they +were the first painters of Dutch landscape, and each had +followers and pupils who attained great fame.</p> + +<p>Jan van Goyen was a pupil of <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> and +the master of Salomon <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, who produced Jacob +Ruisdael, who in turn produced Hobbema. Another famous +pupil was Simon de Vlieger, who was also a follower of Willem +van de Velde.</p> + +<p><b>Jan Wijnants and his Followers.</b>—Around Wijnants +cluster Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, Lingelbach, +Barent Gael, Schellinkx, and Helt <ins title="Transcriber's Note: 'Stocade,' 'Stokade,' and 'Stockade' were used in this text. This was retained.">Stockade</ins>.<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> + +<p><b>Characteristics of Van Goyen's Works.</b>—Jan van +Goyen was fortunate in being the son of an amateur of +painting, who encouraged his talent. After studying with +various artists of no special reputation, he travelled in +France and on his return studied with <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>. +He is always simple in painting and manner. Ordinarily he +selects tranquil river scenes on which merchant ships or +fishing-boats are quietly sailing. You often see hamlets on +piles, and, very frequently, the steeple of a church, standing +out in picturesque contrast to the horizon line. Sometimes +a ruined tower forms the chief motive of his composition.</p> + +<p><b>His Marines and Watery Landscapes.</b>—One of the principal +characteristics of Van Goyen's marines and landscapes +is their peacefulness, calmness, and slight touch of sadness. +It is not the sadness inspired by <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s groves, but a +gentle melancholy feeling that touches the imagination and +induces dreams. The sun never appears in Van Goyen's +pictures. Humid clouds veil his skies, which in their light +portions have the silvery tones of Teniers. His beach or +shore is generally enveloped in a grayish mist, and in the +moving clouds you feel the breath of wind and fancy you +hear it sigh. His long flat surface, so dull and solitary, +is animated only by a fishing-boat or a shallop. Holland, +because of its water-ways, is a silent country and the impression +of silence and peace is marvellously reproduced in +Van Goyen's pictures. He never allows a brilliant tone to +disturb the uniformity and harmony of his watery landscapes; +but behind the clouds that float across the sky you +divine the far-away sun, like a light behind a curtain. The +famous View of the City of Dordrecht, by the latter, signed +and dated 1634, is a splendid example of his qualities and +style.</p> + +<p><b>His Illustrious Pupils.</b>—After his marriage, Van Goyen +established himself in Leyden, his native town, where he +opened a school, to which flocked painters who afterward +became illustrious. Among them was Jan Steen, who married +Van Goyen's daughter <ins title="Transcriber's Note: Both 'Marguerite' and 'Margarita' van Goyen were used in this text. This was retained.">Marguerite</ins>.<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> + +<p>Only one of <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s (1590-1630) pictures—A +Dinner in the Open Air, painted in 1614, hangs in this +gallery, so that one cannot learn here how much Jan van +Goyen owed to his master.</p> + +<p>Hermann Saftleven (1606-81), a pupil of Jan van Goyen, +painted, as a rule, views of the Rhine and Moselle with +small boats and figures. He was a good portrait-painter +and was successful with animals. His Landscape with +Cattle is a charming example of his work.</p> + +<p>To Salomon <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, who so greatly resembles Jan van +Goyen with his pictures of canals, bordered with houses and +trees, river banks, etc., we shall return when visiting the +Rijks; for the Mauritshuis possesses no picture of this artist. +He taught his more famous brother.</p> + +<div class="blockquot"><p><b>The Greatest of the Dutch Landscape-Painters.</b>—"Jacob +<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> (1628-82) is beyond all dispute the greatest +of the Dutch landscape-painters. In the works of no other do +we find that feeling for the poetry of Northern nature and perfection +united in the same degree. With admirable drawing he +combined a knowledge of chiaroscuro in its most multifarious +aspects, a coloring powerful and warm, and a mastery of the +brush, which, while never too smooth in surface, ranges from +the tenderest and most minute touch to the broadest, freest, and +most marrowy execution. The prevailing tone of his coloring +is a full, decided green. Unfortunately, however, many of his +pictures have, in the course of years, acquired a heavy brown +tone, and thus forfeited their highest charm. Many also were +originally painted in a grayish but clear tone."</p> + +<p><b>His Favorite Subjects.</b>—"He generally presents us with +the flat and homely scenery of his native country under the +conditions of repose; while the usually heavy clouded sky, +which tells either of a shower just past or one impending, and +dark sheets of water overshadowed by trees, impart a melancholy +character to his pictures. Especially does he delight in +representing a wide expanse of land or water. If the former, +the scene is frequently taken from some elevation in the surrounding +country, commanding a view of his native city, Haarlem, +which is seen breaking the line of the horizon with its +spires.</p> + +<p>"Taken altogether, his wide expanses of sky, earth, or sea,<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +with their tender gradations of aërial perspective, diversified +here and there by alternations of sunshine and shadow, may be +said to attract us as much by the deep pathos as well as picturesqueness +of their character. On the other hand, we often find +the great master taking pleasure in the representation of hilly +and even mountainous districts, with foaming waterfalls, in +which he has won some of his greatest triumphs; or he gives +us a bare pile of rock, with a dark lake at its base; but these +latter subjects, which embody the feeling of the most elevated +melancholy, occur very rarely. In his drawing of men and +animals he was weak, and occasionally obtained the assistance +of other masters, especially of A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> and +Berchem."</p> + +<p><b>Difference between his Earlier and Later Works.</b>—"As +he seldom dated his pictures, and early attained his full +development, we find a difficulty in determining the order in +which they were painted. His earlier works, however, may be +identified by the extraordinary minuteness with which all objects—trees, +plants, and every diversity in the soil—are represented; +by a decision of form bordering on hardness, and by +less freedom of handling and delicacy of aërial perspective."<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p></div> + +<p><b>Reynolds's Estimate of him as a Landscape-Painter.</b>—Four +very fine examples of Jacob van <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> are owned +by the Mauritshuis: a Cascade, a Strand, View of Haarlem, +and View of the Vijver at The Hague.</p> + +<p>After a study of these beautiful works, Sir Joshua Reynolds's +estimate of the painter will not seem excessive: +"The landscapes of <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>," he says, "have not only +great force, but have a freshness which is seen in scarce +any other painter."</p> + +<p><b>His Character seen in his Paintings.</b>—<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> is considered +by many critics the greatest of the Dutch landscape-painters. +His execution is always masterly, and his works +always express a poetic sentiment. Ruisdael delights in +portraying sombre forests, rushing cascades, trees bent by +the wind, gathering storm-clouds, and all the dark mysteries +of the woodlands. His misfortunes probably had much to +do with increasing his natural melancholy, to the great gain<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +of his artistic development. As a rule, the paintings of his +mature period have greatly blackened because he loved to +paint sombre backgrounds, and always used a very dark +green for his foliage and other verdure. His earlier works +have remained brighter in tint; for at the beginning of his +career he painted the dunes and meadows, woods and +roads near Haarlem, bathed in light from sunny skies half +veiled with clouds.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/illus062.jpg" width="450" height="403" alt="RUISDAEL +Distant View of Haarlem" title="" /> +<span class="caption"><ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">RUISDAEL</ins><br /> +Distant View of Haarlem</span> +</div> + +<p><b>His Picture of Haarlem.</b>—The View of Haarlem, taken +from the dunes of Overveen, shows a bird's-eye view of +an immense stretch of country. In the foreground is +shown a level meadow on which strips of white linen are +being bleached; and on the left are the houses of the +washerwomen. Beyond, a vast stretch of country almost +destitute of trees or dwellings, reaches to the horizon line, +where the town of Haarlem, with its bell-tower, is discerned.</p> + +<p>"All these miles of country," exclaims Burger, "are +represented on a little canvas only one foot eight inches +high!"</p> + +<p>This picture is regarded as one of the gems of The +Hague Gallery.</p> + +<p>The Cascade is noted for its warm lighting and careful +execution; and the beautiful Beach at Scheveningen for +its heavy gathering clouds and dim and broken light upon +the water and shipping.</p> + +<p><b><ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s Sea Pieces.</b>—Ruisdael's sea-pieces are few; +and, unlike Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, he never represents the +ocean in repose; his sea is always stormy and sometimes +raging, and the sky is full of heavy, angry clouds. The +waves are always fluid and full of motion.</p> + +<p><b>Some of his Notable Works.</b>—The Mauritshuis has +the rare luck to possess three pictures by <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, which +are splendidly preserved, and each of which exemplifies a +separate style of the master. A fourth one, bought more +recently, is also exceedingly interesting in its way, because +it gives a view of the Vijverberg in The Hague; but the rest +of this picture is of such dubious art, and the color so<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> +sunken, that it cannot hold its own beside the others in the +collection. The Strand and the View of Haarlem belong +to the artist's middle period (between 1660 and 1670) as +well as the Cascade. Bredius says:</p> + +<div class="blockquot"><p>"The still, heavy impasto and the clearness of the color +make me think it is one of the first waterfalls that <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> +painted. We never, or hardly ever, find pictures of the painter's +earliest period (covering the years 1646 to 1655) in the Dutch +galleries.</p> + +<p>"A fine, strong, cleverly painted little picture of <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s, +painted in 1653, was sent to the Amsterdam Gallery with the +Dupper Collection. Another very clear, lovely, and beautifully +worked study of the Dunes, with a Grove, similar to the picture +in the Louvre, is owned by Madame van Vollenhoven in Amsterdam. +A somewhat dark but strong and spirited study, the +Hut in the Dunes, also of his early period, was lately acquired +by the Haarlem Gallery, which hitherto had owned nothing of +Ruisdael's. These early pictures, of which, for instance, the +Leipzig Exhibition in the Autumn of 1889 was able to show +very important examples (the figures are often supplied by +Berchem), are very highly esteemed by connoisseurs."</p> + +<p><b>Love of Nature seen in his Earlier Works.</b>—"In these +works we see the youthful painter turning exclusively to Nature: +a clump of bushes on a dune; a glimpse of the 'Haarlemer +Hout'; a grove of trees on the shore, he paints exactly as he +saw them. But how he saw them! In these early pictures +his color is brighter, his manner of painting thicker and stronger +than in his later works. Instead of the beautiful clouds for +which <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> was so famous, we often see the sky still +painted in a more antique manner, with striped clouds in the +style of his uncle Salomon.</p> + +<p><b>His Growth toward Composition.</b>—"Gradually his subjects +become more 'composed,' but in the best sense of the +word. Only occasionally does he wander away, as, for instance, +in the Dresden Jewish Cemetery, which lay in the neighborhood +of Amsterdam, but which he set in a fanciful landscape unknown +to himself. He had quite another intention in the picture before +us: the View of Haarlem from Overveen, with its bleaching-green +in the foreground. Above it a beautifully clouded sky +with the floating clouds casting their shadows here and there +over the broad landscape. Amsterdam owns a similar picture; +the Berlin Gallery another; the Ritter de Steurs in Maestricht,<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +a fourth; and there are still others in private collections in England +and Paris. Each of these pictures has a new excellence,—Nature +glorified through an artistic eye and immortalized +with the practised hand of an artist. What mastery there is in +the representation of the broad, broad space!"</p> + +<p><b>His Carefulness of Detail.</b>—"Nevertheless <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> does +not neglect the detail of his landscapes. 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 +branches; but with him the whole is never subordinated to the +details. When he paints the sea—he does not paint it often—he +does it better and more artistically than any other painter. +What a mighty effect his great marine in Berlin produces! +The real air from the sea seems to blow upon us. Views of the +<ins title="Transcriber's Note: Both 'sea-shore' and 'seashore' were used in this text. This was retained.">seashore</ins> by him are even rarer. The Hague picture shows us +a beautiful view of a sea and sky happily illuminated without +the dark, melancholy tone which so often dwells in his works, +and which we would consider as a reflection of his own sad +moods. Who can it be that painted the fine figures in this picture? +Perhaps it was Eglon van der Neer."</p></div> + +<p><b>Vermeer's View of Delft.</b>—Vermeer of Delft (1632-75) +was a pupil of <ins title="Transcriber's Note: Both 'Carel Fabritius' and 'Karel Fabricius' (or vice versa) were used in this text. This was retained.">Karel Fabricius</ins> (whom we shall meet in the +Rijks), who was a pupil of Rembrandt. One of the most +important and beautiful pictures in The Hague Gallery is +Vermeer's View of Delft. On an appreciative eye and receptive +mood it leaves a tenacious impression which will +never be forgotten. Until about thirty years ago, Vermeer +of Delft was hardly thought of, although in his own day his +pictures were highly prized and sought after, and later his +work received great praise from Sir Joshua Reynolds. It +was the French critic Burger (Thoré), who rehabilitated this +great artist.</p> + +<p>Bredius exclaims:</p> + +<div class="blockquot"><p>"How this picture shines out from the others around it like a +stream of light out of dark clouds!</p> + +<p>"All the light which the artist saw fall upon his town, he has +succeeded in concentrating at once in this picture, the broad, +masterful, sure painting, the luminous colors, the clear sky +which arches over the town, all excite our highest admiration."</p></div><p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> + +<p>A drawing said to be a sketch for this picture is in the +Stadel Institute of Frankfort. The picture which brought +200 florins in 1698 was sold for 2,900 gulden at the Stinstra +sale in 1822. (See <a href="#Frontispiece">Frontispiece.</a>)</p> + +<p><b>A Painter of Light and Sun.</b>—The beautiful picture of +Diana and her Nymphs, which was bought as a Maes in +Paris in 1876 for 4,725 gulden, is now attributed by some +people to this master, and by others to Vermeer of Utrecht.</p> + +<p>Lemke says:</p> + +<div class="blockquot"><p>"Vermeer was a painter of the light and sun school; and +this was his chief study—to catch and hold fast the moment. +What Frans Hals did for physiognomy, grasping the flying +moment in an incomparable manner with winks, smiles, leers, +gesticulations, etc., and fixing it in paint, that Vermeer, as a +landscape-painter, delighted to do for the sunshine. 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 shade. +Unlike the moment of Rembrandt and <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, which is fixed +for all eternity, with Vermeer the moment vibrates in the light. +The shadows lose their sharp outlines, and the fine brush-work +suggests the living change and play of the light. Rembrandt +paints light in darkness and lets it glow in the dark, or streaming +into it, or in a broad flood of brilliance; but Vermeer prefers +to set darkness or twilight against the light. For interiors, Vermeer +has another palette and mode of painting than for the outdoor +pictures. When he selects the moment for this, where the +scene consists of trees, houses, water, etc., it would seem that +the artist wanted to make us blink, as if we were looking at the +sun."</p></div> + +<p><b>Vermeer's Portrait of a Girl.</b>—Vermeer did not confine +himself to landscape. In 1903, The Hague Gallery acquired +by bequest a remarkable portrait by this master, the +portrait of a girl wearing a buff coat, a blue and cream turban, +and magnificent pearl earrings, on which are "concentrated," +says the enthusiastic Frank Rinder,</p> + +<div class="blockquot"><p>"those dreams of gray, which are Vermeer's. Although in this +portrait, with its liquid spots of light, we at once apprehend<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +the presence of Vermeer, with his nostalgia for the interpretation +of a beauty visioned inwardly rather than seen with the +eye, the picture passed through the auction rooms at The +Hague in 1878, fetching only 230 florins. It was bequeathed +in 1903 to the Mauritshuis by M. des Tombes."</p></div> + +<p>"In his laying on of paint he was distinguished," says +Frank Rinder, "even among his technically well-equipped +contemporaries; by virtue of his isolated vision, he is +of all the Little Dutchmen the one inimitable weaver of +spells."</p> + +<p><b>Jan Wijnants's Love for the Dunes.</b>—Jan Wijnants +(1615-80) has two pictures in the Mauritshuis, Clearing in +the Forest (1659) and Road through the Dunes (1675). +Wijnants, the Haarlemite, loved his dunes, and when he +lived for years in Amsterdam (probably he died there), +he painted them even more frequently,—every little hill, +with its sandy rises and with little stunted trees, and those +roads marked with deep wagon-ruts, almost always bright +and illumined with warm sunshine. How had he observed +them? How did he always know how to discover the paintable +spot? Frankly, his fancy sometimes made the hills +somewhat higher than we really find them at Haarlem; +indeed, sometimes, he created landscapes with so poetic a +flight, or we might say he sometimes composed them to +such an extent that in truth we might seek them in vain in +Holland; as, for instance, the great pictures in the Munich +museum. We are, therefore, forced to conclude that he +had seen Claude Lorraine's pictures, and wanted to paint +somewhat in the same spirit. In Haarlem he was painted +by <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, and as a fine little cavalier.</p> + +<p><b>His Pictures enlivened by other Artists.</b>—When he +settled down in Amsterdam in 1660, the always ready +Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> often assisted him by enlivening his +landscapes with charming little figures. 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 +them. Lingelbach undertook this work later, straining<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +after Van de Velde but not reaching him. In his early +pictures, Wijnants is somewhat labored; 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 landscape. In his last +pictures he was quite broad and decorative in style, but less +convincing. One picture with fine little figures by Lingelbach +bears the date 1675. In his Clearing in the Forest +(1659) he has depicted his favorite subjects: the old oaks +mutilated by the storm and partly stripped of their bark; +the fallen trunk of a tree and large, handsome plants, whose +leaves pour raindrops over the blades of grass that have +pushed their way up between them. Van de Velde has +added to this lovely landscape a distant farm, cattle walking +along the road, and a pond crossed by a rustic bridge. +"With such simple objects," exclaims Blanc, "Wijnants +and his pupil have produced a masterpiece, expressing a +poetry that few could perhaps explain, but which every well-organized +man can feel."</p> + +<p><b>Neglect of Dutch Scenery by Dutch Artists.</b>—Wijnants, +like Van Goyen, is not only an excellent painter but chief +of a school. Until their time the artists of the Netherlands +hunted for scenery outside of their country; for instance, +Memling and Saftleven chose the borders of the Rhine; +others, like Savery, liked to wander in the Tyrol; others, +like Paul Bril, visited the Alps; others, like Everdingen, +went to Norway to get inspiration from pine forests and foaming +cascades; and Asselijn, Berghem, Jan Both, Moucheron, +and Pynacker sought the sunny clime of classic Italy. Into +the "Italian landscapes," which they either brought home +or finished from memory when they returned, they frequently +introduced among the classic ruins and sunlit verdure +the cattle and peasants of their own country.</p> + +<p><b>Wijnants the Leader of a new School.</b>—Wijnants was +one of the first to take pleasure in his own country. In +the environs of Haarlem, his native town, he saw much that +would make pictures of charm; so, while other painters<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +were roaming in foreign lands, he took walks in the neighboring +meadows and followed the paths that led to the +dunes, noticing everything on the way,—the tufts of grass, +the shrubs, the moss-covered stones, the trees, the roads, +the hillocks, the flowers, and taking note of the reflections +of light on the bark of the trees, the lichens growing on the +stump of a tree, the common bugloss, burdock, and thistle, +and the swarming insects. Wijnants was the first to show that +poetry was to be found in the lonely walk that led to the sea.</p> + +<p><b>His Influence on other Artists.</b>—Nature seems to have +been his chief master; but he soon became the master of +others. Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, for instance, feeling his +vocation for landscape, entered his studio in Haarlem. It +is said that one day his wife said to him, "Wijnants, this +child is your pupil to-day, but one day he will be your +master." Instead of being jealous, the painter never ceased +to boast of his pupil's talent, and even allowed him to contribute +the figures in many of his landscapes,—for Wijnants +could paint only earth, trees, and sky. A great number of +the figures in Wijnants's pictures, therefore, are the work +of Adriaen van de Velde, who always introduces them +modestly and in such a way that they render the landscape +even more attractive. Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> and Lingelbach +also were employed by Wijnants to add figures to his pictures, +and a few times Adriaen van Ostade aided him, also +Gael, Schellinkx (who painted the dunes very well himself), +Jan Wouwermans, <ins title="Transcriber's Note: Both 'Nicholas' and 'Nicholaes' de Helt were used in this text. This was retained.">Nicholas</ins> de Helt <ins title="Transcriber's Note: 'Stocade,' 'Stokade,' and 'Stockade' were used in this text. This was retained.">Stockade</ins>, the painter +of battles, and Wyntranck, the clever painter of farmyard +animals.</p> + +<p><b>Dutch Landscape-Painters who followed Wijnants.</b>—Wijnants +was, as has been said, one of the creators of the +Dutch landscape, one of the first to imitate Nature in her +humbler expression, finding beauty in common things. +After him came such landscape-artists as Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, +Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, Daniel Schellinkx, Isaac +Ostade, Karel Dujardin, Paul Potter, and in some respects +the great <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>.<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> + +<p><b><ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins>'s Favorite Subjects.</b>—Adriaen +van de Velde (1635-72) was a painter of animals, figures, interiors +(rarely religious and historical subjects). He is +worthily represented in The Hague Gallery by two pictures: +a Dutch Roadstead and a Landscape with Cattle. +Van de Velde is also responsible for the figures in the pictures of +Van der Hagen (No. 47), <ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">Van der Heyde</ins> (No. 53), and +Wijnants (No. 212), in this gallery. Bode says:</p> + +<div class="blockquot"><p><b>Impressionism and Naturalism.</b>—"Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> +is one of the few artists by whom landscape and figures composed +in a masterly manner are both felt and thought out +harmoniously. He stands so close to our modern impression +as does scarcely another of his day, being so simple in his +motives and going so straight to nature, that he knows how +to reveal the intimate connection between the outside world +and our own feeling. A real painter of moods, he excels in +awakening in us dark and gloomy feelings; his shadowy forest-glimpses +on summer days, with herdsmen reclining beside their +panting cattle in obvious rest. His bright mornings with the +hunting-parties called together to the halloo, with the gentlemen +and nobles promenading on the walks near their equipages, ring +fresh and gay in the heart of the spectator; in his homelike +evening-feeling with the sound of the returning cattle, he affects +us with the feeling of happy departure and well-earned rest."</p></div> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus072.jpg" width="500" height="436" alt="A. VAN DE VELDE +A Dutch Roadstead" title="" /> +<span class="caption">A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">VAN DE VELDE</ins><br /> +A Dutch Roadstead</span> +</div> + +<p><b>His Helpfulness to other Artists.</b>—The strong feeling +in the figures, and, particularly, the lifelike color of the landscape, +is so individual that almost all the landscape-painters +of his home—Amsterdam—made use of his assistance in +peopling their landscapes,—Wijnants, <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, Hobbema, +Hackaert, F. R. de Moucheron, Ph. de Koninck, Verboom, +and, above all, Jan <ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">van der Heyde</ins>, have made excessive +use of his services and ability. Even with these artists, who +were so foreign to each other in style, 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 +degree; indeed, many of these pictures have attained a +higher fame solely through these contributions by the hand +of Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>.<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> + +<div class="blockquot"><p><b>His Skill as a Colorist.</b>—"The paintings of this artist have +an additional attraction in their rich and harmonious coloring, +the fineness of the tone, and the peculiar tender manipulation of +the pigments, which have such a soothing artistic effect.</p> + +<p>"Some pictures painted in his last years have suffered by the +sinking in and change of color (notably the increase of blue in +the green leafage), by which some of their effect has been lost. +The Landscape with Cattle has not sunk in; but it has, nevertheless, +lost some of its original color in the green of the trees. +The idyllic landscape with its joyous, bright sunlight and its +peaceful animal life, is a good specimen of this style of +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins>'s work. The picture is signed 'A. V. Velde, 1663.'"<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p></div> + +<p><b>His Sea Pieces.</b>—The second picture of this artist in +this gallery, A Dutch Strand (1665) with numerous figures, +is more important. Two similar views of the <ins title="Transcriber's Note: Both 'sea-shore' and 'seashore' were used in this text. This was retained.">seashore</ins> by +him are at Cassel and in the Six collection; and all these +examples show that great and simple representation of the +sea, in which he is also remarkable for his fine poetic +feeling, equalling that in similar works by his brother +Willem.</p> + +<p><b><ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Delight in painting Horses.</b>—Philips +Wouwermans's (1619-68) half century of life was industriously +spent in producing about eight hundred pictures. +Although his preference for the representation of the horse +is evident in almost all his works, there is great variety in +the treatment. Wouwermans is at the same time a striking +landscape-painter. In many of his pictures the landscape +is astonishingly often foreign and sometimes even Italian +in subject, and the figures are merely lay-figures. The +Country Riding-School plainly exhibits the artist's delight +in horses. How beautifully painted are the grays on the +right! He draws a brown horse so often that it must have +been in particular favor. Some of his pictures must certainly +have cost the painter a great deal of time, especially +when numerous figures occur in them; as, for instance, in +his horse-fairs and battle pictures.<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p> + +<p><b>The Fruits of his Great Industry.</b>—It would appear that +<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> was well paid, for he was able to give his +daughter, who married the flower-painter, De Fromantiou, +a handsome dower,—Houbraken says 20,000 gulden! He +was buried with pomp in Haarlem, on May 23, 1668, having +bequeathed to his widow, who was destined not to +survive him two years, a very good estate; and to us such +a treasury of his art that we can enjoy it all over the world, +in almost every important public and private collection.</p> + +<p><b>The Variety and Abundance of his Works.</b>—Whether +he shows us the horse wildly rearing in the battle or quietly +watering at the river, or being trained by an expert hand, +or returning home to a well-cared-for stall after a long ride, +we always admire again the rich variety of the master, who, +an eminent horseman of knowledge and enthusiasm, never +wearies us as such. Many of his pictures are a true reproduction +of the farm life, or of the warfare of his day; and, on +that account, have, moreover, a historical value. Dresden +alone possesses sixty-two, and St. Petersburg fifty, of his +pictures. The Hague Gallery has to be content with nine. +These are a Battle; the Hunt with Falcon; Arrival and +Departure from an Inn; A Country House; The Hay-Wagon; +the Hunters' Halt, a charming example of his +earliest period; A Landscape with Horses; and a Camp. +In all these the horse plays an important part.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus076.jpg" width="500" height="430" alt="P. WOUWERMANS +The Hay Wain" title="" /> +<span class="caption">P. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">WOUWERMANS</ins><br /> +The Hay Wain</span> +</div> + +<p><b>Description of The Hay-Wagon.</b>—The Hay-Wagon +is a popular work representing a large canal and a large +hay-wagon drawn by two horses, and a man on horseback +with a woman behind him on a pillion; farther away are +seen men loading boats with the hay. In the foreground +on the right are a woman with a little boy, a chariot drawn +by a horse which is led by a peasant.</p> + +<p><b>The Arrival at an Inn.</b>—The beautiful Arrival at an +Inn represents an inn and a barn. On the one side a +coach is arriving, and on the left a mounted lady and +cavalier. Others are getting booted and spurred and saddling +mettlesome steeds prefatory for departure. In the<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> +left foreground, a dwarf, a charlatan, and a monkey, eating +a simple meal, regardless of the bustle around them, give a +touch of the life of the travelling mountebank. A handsome +castle closes the view on the left.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus080.jpg" width="500" height="368" alt="P. WOUWERMANS +The Arrival at the Inn" title="" /> +<span class="caption">P. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">WOUWERMANS</ins><br /> +The Arrival at the Inn</span> +</div> + +<div class="blockquot"><p><b>Crowe's Appreciation of <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>.</b>—"Wouwermans's +authentic works are distinguished by great spirit and animation, +and are infinitely varied and full of incident, though dealing +recurrently with cavalry battle pieces, military encampments, +scenes of cavalcades, and hunting and hawking parties. He is +equally excellent in his vivacious treatment of figures, in his +skilful animal painting, and in his admirable and appropriate +introduction of landscape backgrounds. Three different styles +have been observed as characteristic of the various periods of +his art. His earlier works are marked by the prevalence of a +foxy brown coloring, and by a tendency to an angular form in +the draughtsmanship; the productions of his middle period +have greater purity and brilliancy, and his latest and greatest +pictures possess more of force and breadth, and are full of a +delicate silvery gray tone."<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p></div> + +<p><b>Reynolds on <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Three Different Manners.</b>—On +his visit to the Royal Collection in 1781, Sir Joshua +Reynolds was greatly impressed with the pictures of this +artist, and said:</p> + +<div class="blockquot"><p>"Here are many of the best works of <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> whose +pictures are well worthy the attention and close examination +of a painter. One of the most remarkable of them is known by +the name of The Hay-Cart; another, in which there is a coach +and horses, is equally excellent. There are three pictures +hanging close together in his three different manners: his +middle manner is by much the best; the first and last have not +that liquid softness which characterizes his best works. Besides +his great skill in coloring, his horses are correctly drawn, +very spirited, of a beautiful form, and always in unison with their +ground. Upon the whole, he is one of the few painters whose +excellence in his way is such as leaves nothing to be wished +for."</p></div> + +<p>Johannes Lingelbach (1623-74), a native of Frankfort-on-the-Main, +settled in Amsterdam on his return from Italy.<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +He was frequently employed by Wijnants to insert figures +and animals in his landscapes. He was a successful +imitator of <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>.</p> + +<div class="blockquot"><p><b>Crowe's Estimate of Lingelbach's Powers.</b>—"Lingelbach's +coloring, as was almost always the case with Wijnants's, +and also with <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s in his latest manner, is characterized +by a cool and often delicate silvery tone, which with him +sometimes degenerates into coldness and want of harmony. In +his flesh, especially, a cold red tone often prevails, added to +which, neither in clearness nor impasto, does he equal the +above-named masters. He ranks, however, high for skill in +composition, good drawing, careful execution, to which is sometimes +added a happy vein of humor. He may be studied under +all his different aspects in the galleries of the Louvre, The +Hague, and Amsterdam. Of the four pictures by him in the +gallery of The Hague, the Italian Seaport, dated 1670, is +remarkable for a power and warmth quite unusual in this +painter."<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p></div> + +<p><b>Examples showing the Variety of Lingelbach's Style.</b>—The +variety of his style is well exhibited in The Hague +Gallery by four pictures of different dates. These are the +Italian Seaport, with large figures, signed and dated 1670; +the Departure of Charles II. from Scheveningen for England +in 1660, a very rich, luminous, and fine work; a small +Cavalry March, in which the little figures are beautifully executed +and are thoroughly original; and a Landscape with a +Hay-Wagon, much in the manner of Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>.</p> + +<p><b>Weakness of the Mauritshuis in Marines.</b>—The Mauritshuis +is weak in marines: two by Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>; +three by Backhuysen, two by Abraham Storck, a view of the +Amstel at Amsterdam by Torenburg (1737-86), a few +Italian Seaports, and a few Beaches at Scheveningen painted +by the landscape artists are all that the gallery owns.</p> + +<p><b>Excellence of W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Marines.</b>—Willem +van de Velde (1633-1707) stands very high in the ranks +of the marine painters of the seventeenth century. In the<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> +last years of that century we have artists like Simon de +Vlieger, Jan van de Capelle, Hendrik Dubbels, and Abraham +van Beyerex (in his rare marines); but Van de Velde is a +master in his sphere, especially when he represents the calm +sea under bright sunlight.</p> + +<p>In his View on the Y we obtain enjoyment from the fine +aërial perspective, the correct drawing of the ships, and the +numerous little figures. The accuracy of the detail does +not detract from the wonderful composition, the play of the +sunlight on sail and water, and the beautiful sky, lightly +flecked with clouds. Probably, the gaily decorated ship +on the left is the yacht of the Princes of Orange; the boat +which is being rowed away from it is bringing important +visitors to shore, while the trumpeter on the ship loudly +announces their departure.</p> + +<p>Although not of the very first rank, this picture belongs +to the best work of the master's middle period.</p> + +<p>The other picture, of exactly the same size, is also identical +in subject and treatment. Both are small. The other +picture owned in the Mauritshuis is the Capture of the Royal +Prince (June 18, 1666).</p> + +<div class="blockquot"><p><b>His Greatness as a Marine Painter.</b>—"There is no question +that Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> the younger is the greatest marine +painter of the whole Dutch school. His untiring study +of nature of which his numerous sepia drawings are the best +evidence, his perfect knowledge of lineal and aërial perspective +and the incomparable technical process which he inherited +from his school,—all these qualifications enabled him to represent +the great element under every form, whether that of the +raging storm, the gentlest crisping wind, or of the profoundest +calm, with the utmost truth of form and color. Nor are his +skies, with their transparent ether and light and airy clouds, less +entitled to admiration than his seas; the surface of which he +diversified, with the purest feeling for the picturesque, by +various vessels, near and distant, which are drawn with a +knowledge that extends to every rope. Finally his various +lightnings create the most charming effect of light and shade. +With this combination of qualities, so calculated to please a<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> +seafaring nation, it is no wonder that he should have become +the most popular painter with the Dutch and English."<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p></div> + +<p><b>The Fulness of his Knowledge of the Sea and Ships.</b>—Both +England and Holland, the two greatest sea nations, +agree that Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> was the greatest marine +painter up to his time. In fact, no one had so well observed +the motion of the waters, their breaking, or their +repose; and no one knew so well the habits of sailors, the +rigging of boats, their behavior and their variety. He +knew how to make them picturesque, whether isolated +between the sky and the water in the most beautiful lines, +or in cleverly foreshortening them while they gently rock +on the waves singly, or in picturesque groups. Nobody +has better understood the profound calm of the ocean, +or better expressed the emotion produced by an infinite +horizon.</p> + +<p><b>The <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins> Family.</b>—The family was talented. +Willem the Elder, born at Leyden in 1611, was a magnificent +draughtsman, and taught his sons, Willem and +Adriaen, drawing. Willem, however, became a pupil of +Simon de Vlieger, and the pictures that he sent to his father, +then in the service of the English king, astonished the +Court. James II. sent for the young man and offered him +a pension. In England he frequently colored his father's +drawings; and on the Thames from Greenwich to London +he had a great opportunity for the study of shipping.</p> + +<p><b>The Simplicity of W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Pictures.</b>—With +very simple details, Willem van de Velde produces marvellous +effects. He paints the ocean from the shore to the +distant horizon; and this straight line is in beautiful contrast +to the rounded clouds, while the severity of the tall +masts is relieved by the curves of the puffing sails. Sometimes +a group of fishermen on the beach or the end of a +wharf of piles is seen in the foreground; but he more frequently +begins his picture in the middle distance and gives<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> +the foreground up to waves slightly agitated or with a buoy +tossing in the rising tide, in such a way as to suggest that +the picture was painted not from the shore but from a +vessel at anchor.</p> + +<p><b>W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> compared with other Painters.</b>—Sir +Joshua Reynolds said: "Another Raphael might be +born; but there could never be a second Willem van de Velde"; +and Havard calls him "not only the greatest +marine painter of the Dutch school, but also one of the +greatest in the whole world." Blanc draws the following +distinction between Van de Velde and Backhuysen: +"Backhuysen makes us fear the sea, whilst Van de Velde +makes us love it."</p> + +<p><b>Backhuysen, a Painter of Ships and Shipping.</b>—Backhuysen +(1631-1708) probably owed his darker moods to +his master <ins title="Transcriber's Note: 'Albert,' 'Aldert,' and 'Allart' van Everdingen were used in this text. This was retained.">Allart</ins> van Everdingen, who was a pupil of Pieter +Molijn (1600-54), whose works are now so rare, and +who was also one of the founders of Dutch landscape-painting. +Backhuysen was a painter of ships and shipping, +as well as of the sea, and had a practical knowledge of +nautical matters.</p> + +<p><b>Examples showing his Style.</b>—Three pictures in The +Hague Gallery afford good examples for study of his style. +One, Entrance to a Dutch Port, dated 1693, shows an +agitated sea, very remarkable for the happy distribution +of sunlight and shadows of clouds upon the water, and +broad yet delicate treatment; another is a View of the +Wharf Belonging to the Dutch East India Company, and +is dated 1696; and the third has for its subject The Landing +of William III. of England in the Oranje Polder in +1692.</p> + +<p><b>Imitators of Backhuysen.</b>—Pictures by Jan van de Capelle +and Jan Dubbels often pass for Backhuysen's; and +another imitator is Abraham Storck, who is greatly inferior +in elegance of touch. Good examples of Storck's style—a +Marine and a Shore—hang in The Hague Gallery. +Storck was much influenced by Lingelbach. The latter<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> +was also quite successful with his harbors and quays, with +their shipping and human figures.</p> + +<p><b>Simon de Vlieger as a Painter of the Ocean.</b>—A greater +painter, however, is Simon de Vlieger (1601-59), who is +supposed to have studied under Jan van Goyen, and painted +landscapes in the style of that master; he is famous for his +marines. He frequently painted sea pieces which included +the coast. He was the first to represent the ocean in its +varying moods. His execution is free and soft, and his +aërial perspective very fine. Like the majority of the +Dutch painters he loved to paint Scheveningen. His +Beach at Scheveningen, signed and dated 1643, is a fine +example of his work.</p> + +<div class="blockquot"><p><b>The Diversity of his Subjects.</b>—"De Vlieger often paints +birds of the farmyard, which, both in truth and delicacy, are +equal to anything produced either by <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> or Flamen. +His horses, hares, and sheep may certainly pair with those of +Van der Hecke, Jouckeer, or Jean Leducq; his pigs are observed +differently from those of Karel Dujardin, but perhaps +they are more true to nature because he has not put any malice +or irony into his representation of them. The diversity of his +subjects, the talent he displays in grouping figures and animals +in an extensive landscape, or in a boat passing along a canal, or +on the beach of Scheveningen where, in The Hague picture, we +see them huddling together as if the ocean had just cast them +ashore with its shells and fishes; 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 +masters."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p></div> + +<p>De Vlieger was as eminent in interiors, ruins, and processions +as in marines and landscapes. He loved to frame +familiar and rustic scenes in beautiful landscapes; and he +had no need to call upon others, such as Barent Gael, +Schellinkx or <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins>, for his figures, as so many +of his contemporaries did.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> + +<p><b>Painters of Architectural Pictures: De Vries.</b>—Pictures +in which architecture forms the chief interest had +their beginning with Jan Vriedeman de Vries, who devoted +himself to the study of Vitruvius and Serlio. His works +were very successful, though in the mannered taste of his +time.</p> + +<p><b>Hendrik van Steenwyck and his Son.</b>—A scholar of +his, Hendrik van Steenwyck (1550-1604), who became a +master in Antwerp in 1577, painted chiefly interiors of +Gothic churches of fine perspective, both lineal and aërial, +and was the first to represent the light of torches and tapers +on architectural forms. One of the very numerous Francken +family usually added the human figures. His son Hendrik +van Steenwyck was his pupil and follower, though he painted +in a cooler tone and was inferior in all respects.</p> + +<p><b>Pieter Neeffs and his Son.</b>—Pieter Neeffs (1620-75), +however, was the elder Steenwyck's best pupil. He followed +him in style but excelled him in warmth of tone, +power, and truthfulness in expressing torchlight effects. +Many of his pictures contain figures by Frans Francken +the younger, Jan Breughel, and David Teniers the elder. +In the Mauritshuis we find a good example of Pieter +Neeffs,—The Interior of a Church, with figures by Frans +Francken III.</p> + +<p>His son of the same name was his pupil and follower, +but produced pictures of inferior merit. To this group belongs +<ins title="Transcriber's Note: 'Bartelmees,' 'Bartholomew,'and 'Bartholomeus' van Bassen were used in this text. This was retained.">Bartholomew</ins> van Bassen, who painted interiors of +the Renaissance churches and halls.</p> + +<p><b><ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">Van der Heyden</ins>'s Architectural Paintings.</b>—Jan +van der Heyden (1637-1712) is "the Gerrit Dou of architectural +painters." His subjects chiefly are well-known buildings, +palaces, churches, etc., in Holland and Belgium, canals +in Dutch towns with houses on their banks, fine perspective, +the views selected with great taste. The trees are rather +minute in foliage. The figures in many of his works +were supplied by A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, and after his death +by Eglon van der Neer and Lingelbach. A View of the<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +Church of the Jesuits at Düsseldorf, signed and dated +1667, is a valuable work. The figures are by A. van +de Velde. "The warm, clear chiaroscuro in which the +whole foreground is kept is admirable, while the sunlight +falling on the middle distance has a peculiar charm."<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> He +is also represented in The Hague Gallery by a still life.</p> + +<p><b>Other Architectural Painters.</b>—Other architectural +painters are Gerrit Berckheyde, who painted exteriors of +buildings in his own country, and occasionally interiors +of churches; Jacob van der Ulft (1627-90), whose large +picture in the Mauritshuis of troops marching has already +been mentioned; Pieter Saenredam, whose works form a +transition from the earliest architectural painters like Pieter +Neeffs to the maturest expression of this class; Dirck van +Deelen, a pupil of Frans Hals, who has a view of the Binnenhof +with the last great Meeting of the States General; +Emanuel de Witte, who, strange to say, was a pupil of +Evert van Aelst, the painter of dead game and still life; +Hendrik van Vliet, pupil of his father, Willem, who has an +interior of part of the Old Church at Delft in the Mauritshuis, +of peculiar warmth, brilliancy of effect, and delicate +treatment of reflected lights; and last of all, Gerard Houckgeest +(?-1655), who is represented by the Interior of the +New Church at Delft and Tomb of William I. in the New +Church at Delft.</p> + +<div class="blockquot"><p><b>The Excellence of Houckgeest's two Paintings.</b>—"This +almost unknown artist is a new proof of the astonishing efflorescence +of excellent painters in Holland about the middle of the +seventeenth century. Two views of the Interior of the New +Church at Delft, in The Hague Museum, are on a level with +the highest development of the school. 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 Orange. The other picture also, +inscribed with the master's monogram, and 1631, is in every +respect, and especially in the soft and full treatment, of the +utmost excellence."<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p></div> +<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> + +<p><b>Dou, Founder of the Leyden School.</b>—The founder of +the Leyden school of painters, Gerrit Dou (1613-75), is +represented in the Mauritshuis by a masterpiece of the first +rank, which is considered one of the gems of the gallery. +It is known as The Good Housekeeper, The Household, +and The Young Mother.</p> + +<p><b>Description of The Good Housekeeper.</b>—In a large +room that serves as hall, dining-room, and sitting-room, as +well as kitchen, is seated a lady, handsomely dressed in a +morning costume. She has evidently just returned from +market; for there is a plucked fowl in a basket on the window +seat and an unplucked bird on the table, where a cabbage +also lies. A hare hangs on the wall above, and below +the table one notes a fish on a platter, and near a pot a +bunch of carrots. A lantern has fallen on the floor in the +foreground. The lady is sewing, with a basket beside her +and a sewing-pillow on her knee; while a little servant +watches the baby in its basket cradle. The pillar that supports +the roof is carved, the brass chandelier is of splendid +design, the draperies are heavy, and a coat-of-arms is +painted on the windows. Everything betokens wealth and +comfort.</p> + +<p>The young mother looks at us in a very friendly way with +her attractive little face. Our attention is first attracted +to the group in the <ins title="Transcriber's Note: original reads 'foregound'">foreground</ins>; but gradually we admire +the complete representation of all the little things around; +the wonderful, finely expressed chiaroscuro, the beautiful +stream of light, and the boldness of the shadowed yet +plainly visible group in the background. The picture belongs +to the artist's middle period and is dated 1658; and +although it has darkened, it is still full of rich color.</p> + +<div class="figcenter" style="width: 389px;"> +<img src="images/illus090.jpg" width="389" height="500" alt="GERRIT DOU + The Good Housekeeper" title="" /> +<span class="caption">GERRIT DOU<br /> +The Good Housekeeper</span> +</div> + +<p><b>The Good Housekeeper presented to Charles II.</b>—When +Charles II. left Holland for his Restoration in +England, the directors of the East India Company could +think of no finer present to offer him than a picture by Gerrit +Dou, which they bought for 4,000 florins from M. de Bie. +It was this very picture of The Good Housekeeper, which<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> +was afterwards brought back to Holland by William III. and +hung in his castle at Loo.</p> + +<p><b>Dou's Style imitated by his Pupils.</b>—It is by such pictures +that we test the numerous works of his pupils, which +are now, and have been from the end of the seventeenth +century, offered for sale as Dou's. Very early in life Dou +made use of magnifying glasses, and with great care he +ground his own colors. Sandart relates that he once went +with Pieter de Laer to pay a visit to Dou, who was painting +a broomstick "which was slightly longer than a finger-nail." +When Sandart praised his great industry, he answered that +he "had to work about three days longer on it."</p> + +<p><b>His Devotedness to his Work.</b>—When the weather was +not fine, he stopped his work. He devoted his whole life +to work. His palette, colors, and brushes he carefully protected +from dust, which gave him much trouble; he put +them away with the utmost care, and when he sat down to +paint he would wait a long time until the dust had entirely +settled. His studio was a large one with high lights, facing +the north and looking out on the still waters of the canal.</p> + +<p><b>His Fondness for Domestic Subjects.</b>—He almost always +depicts a view of the interior of a burgher's dwelling. +He is the painter of nice, quiet domesticity, and his people +almost invariably look gay and happy. When he attempts +to portray strong emotions, his people do not look as if they +felt them; even his Dropsical Woman in the Louvre is dying +peacefully and with resignation. Dou was an excellent observer +of all surroundings, and the slightest objects in his +pictures are represented with the utmost completeness. +Dou could readily please, and form a school, in a Northern +and Protestant country, where people lead an indoor life, a +silent, concentrated family life, where man is attached to his +dwelling, adorns it with care, and closes it in, with the feeling +of a sanctuary. In fact, Dou painted only familiar subjects +on canvases or panels of small size, such as are suited to the +small cabinet of a <i>curieux</i>, and he was one of the first to set +in honor the most <i>recherché</i> style of painting in Holland,—that<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> +of little pictures executed in that precious manner which +the French of the eighteenth century called the <i>beau fini</i>.</p> + +<p><b>Dou and Rembrandt contrasted.</b>—Dou differed greatly +from his master, Rembrandt. The one had the fire of +genius; the other had patience. Even when Rembrandt +highly finished his pictures, he knew when to neglect some +accessory, to sacrifice some detail to the expression of the +essential parts, and thus to give full value to everything in +the picture that could appeal to the heart or interest the +mind. Dou, on the contrary, applying himself to what he +considered the last word of painting, tried to give equal +importance to everything that entered into his composition, +without admitting any of those negligences that are often +such happy artifices, and taking as much care in the finish +of a pewter pot as in expressing the feeling in a woman's +features, or the thought in a man's physiognomy. Therefore, +Dou's natural tendency, instead of being modified by Rembrandt, +became only more pronounced. As his master +broadened, his manner grew more smooth and polished.</p> + +<p><b>The Fruit of Dou's Precautions.</b>—His care in making +his own brushes, colors, and varnishes, and his precautions +to keep his wet canvases free from dust (he chose a studio +overlooking stagnant water) have been rewarded by the +present condition of admirable preservation of his pictures. +His minuteness wearied his sitters and he soon failed as a +portrait-painter. It is related that he made a distinguished +Dutch lady, Madame Spiering, pose five days for her hand +alone.</p> + +<p><b>He forsakes Portraits for Scenes in Common Life.</b>—As +his sitters left him one after another, Dou devoted himself +entirely to represent the scenes of common life without +giving himself any trouble in selection, being sure that in +them he would find opportunities to display his veritable +genius, that of detail. He was content to take what first +offered as a subject, and the circle of his invention did not +go beyond that. He simply observed life in the neighboring +shops: the pepper-seller, when she is dangling the scales<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> +with the tips of her fingers; the marketwoman verifying the +transparence of her eggs by the light of a candle, and the +mysterious interior of the barber-surgeon. If he sees in +the street a servant coming home from market loaded with +vegetables, counting what she has spent and what she is +going to steal from the change, there is a picture already +made. In the public square he stops to study the faces of +the simple dupes gathered around a charlatan vaunting his +elixir, teaching the practice of love-philtres, and drawing +teeth painlessly. His artist's eye finds motives readily at +hand; sometimes in the room of the embroiderer, absorbed +in her needlework; sometimes in the juvenile schoolroom, +where the martinet overawes his frolicsome pupils. He also +delights in representing the joys of the domestic hearth, that +ever simple and ever charming picture of the <i>mater familias</i> +busy with household cares, while the children are rolling +about on the floor at their grandmother's feet. Finally, 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 servant.</p> + +<p>The simplicity of trivialities Dou made the subject of +the finest and most precious pictures in the world. The +Herring Seller is as finely and minutely painted as The Philosopher +in Meditation.</p> + +<p><b>He preferred Interiors to Open-Air Scenes.</b>—Dou seldom +painted open-air pictures. Interior light suited him +better; and moreover he had learned chiaroscuro from +Rembrandt. However, one of his most famous pictures, +The Charlatan (in the Old Pinakothek, Munich), is an exception.</p> + +<div class="blockquot"><p>"Upon the whole, the single figure of the Woman Holding a +Hare, in Mr. Hope's collection, is worth more than this large +picture, in which perhaps there is ten times the quantity of +work."<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p></div> +<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p> + +<p><b>His Foreground in Many Cases bordered by a Window.</b>—His +small pictures of one or two figures were usually framed +by a window. He has often painted his own portrait thus, +sometimes holding a trumpet, and sometimes playing a violin. +Having once found this natural border, the painter framed +all his models with it. To-day we see the girl with beautiful +blond hair blowing soap bubbles and smilingly watching +the prismatic globes rise in the air; to-morrow, the pretty +girl who is not sorry to have on her window-sill more than +one pretext for showing herself,—the canary-cage, hanging +outside; a letter to read; a pot of geraniums to water, and +what not. And this fresh face, which has for a background +the transparent shadow of a room wherein a group of people +are conversing, comes forward to be gracefully framed by +the vine that runs along the sash, and with its contours +relieves the cold regularity of the architecture.</p> + +<p>It is certain that this patient imitator of nature must have +been very industrious, if we may judge from the number of +his pictures and the time he devoted to each. His pupil, +Karel de Moor, says so. The pronounced liking of his +countrymen for his pictures left him no repose.</p> + +<p><b>The Best Example of his Candle-light Scenes.</b>—He +frequently painted by the aid of a concave mirror, and to +obtain exactness, looked at his subject through a frame +crossed with squares of silk thread. The Evening School, +in the Amsterdam Gallery, is the best example of the +candle-light scenes in which he excelled. President van +Spiering of The Hague paid him 1,000 florins a year simply +for the right of preëmption.</p> + +<p><b>Godfried Schalcken, Pupil and Imitator of Dou.</b>—The +other picture credited to Dou, A Young Woman Holding a +Lamp in her Hand, and which was so greatly admired by +Sir Joshua Reynolds, is thought to be by Godfried Schalcken +(1643-1706). Those who are curious on this question +may turn to a picture by Schalcken called a Lady at +her Toilette, by candle-light, an effect which he was so +fond of painting.<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> + +<p><b>His Device for securing Candle-light Effects.</b>—Schalcken +was a pupil of Dou, under whom he acquired delicacy +of finish and skill in the treatment of light and shade. He +gained a reputation for his small domestic scenes, chiefly +with candle-light effects; and, to treat these accurately, 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 saw. A pupil +of Samuel van <ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraaten</ins> and Gerrit Dou (who were +pupils of Rembrandt), he became an imitator of the latter, +following him in his depth of tone, extreme finish, and preference +for night scenes.</p> + +<p><b>Schalcken's Weakness in Drawing.</b>—Blanc says he +was aware of his weakness in drawing, particularly the +extremities of the human body, and this was one reason +he liked partly to conceal his subjects in shadows and +half-lights. His master, Dou, had made a sensation with +his Evening School (in the Rijks) in which the effect of +candle-light is treated with such skill; but what was a caprice +with Dou, Schalcken made a habit. His pictures are +a series of fantastic scenes and illusions. This painter saw +the night only; his pictures whether mythological, historical, +religious, or commonplace scenes, are always nocturnal +ones. Blanc says: "His brush was a permanent candle."</p> + +<p><b>His Great Popularity.</b>—Schalcken, however, attained an +enormous vogue, and many of the wealthy Dutch had their +portraits painted by him, pleased with the mysterious or +piquant light he threw upon them. He went to London, +where he painted William III. with a candle in his hand. +This is now in the Rijks. Schalcken found Kneller too +strong a rival, and returned to Holland, having, however, +acquired a good deal of money. The Mauritshuis also +contains four others of his pictures: a Portrait of William +III., King of England; <i>La morale inutile</i>; A Visit to the +Doctor; and a Venus.</p> + +<p><b>The Best Examples of Ostade's Work.</b>—Among the +best recognized examples of Ostade's work are: The Fiddler<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> +and his Audience (1673) and Peasants in an Inn (1662), +in The Hague; The Village School (1662), in the Louvre; +the Tavern Courtyard (1670), at Cassel; and The Sportsman's +Rest (1671), at Amsterdam.</p> + +<p><b>Description of The Fiddler.</b>—One of the gems of +The Hague Gallery is The Fiddler by Adriaen van Ostade +(1610-85). 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 penthouse. +A wandering fiddler is playing to the innkeeper +and his wife, who lean over the door, while five children +and a dog are variously grouped. A young man with a +large tankard in his hand also enjoys the music in his lazy +position.</p> + +<div class="figcenter" style="width: 428px;"> +<img src="images/illus098.jpg" width="428" height="450" alt="A. VAN OSTADE +The Fiddler" title="" /> +<span class="caption">A. VAN OSTADE<br /> +The Fiddler</span> +</div> + +<div class="blockquot"><p><b>Description of Peasants in an Inn.</b>—"Peasants in an +Inn was painted in 1662; but it exhibits all the qualities of +Ostade's best work. The figures are drawn true to life. Very +charming is the poodle gazing with great interest at the child, +who is eating his bread and butter. By allowing the full daylight +to fall from the left through the door while the background +is lighted by a high window, Ostade gives himself every opportunity +to express his chiaroscuro as beautifully as he desires. +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 field. His small pictures of still life, principally +representing pots and other kitchen stuff, are pearls of the first +water; but they are somewhat rare. The coloring of this picture +is warm, but it melts into cool tones, which we find still +more strongly in The Organ Grinder of the same gallery, which +was painted eleven years later."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p></div> + +<p>The Demand in Marriage, painted between 1650 and +1655, also hangs in the Mauritshuis. This picture is owned +by Dr. A. Bredius.</p> + +<p><b>Ostade's Pictures Generally taken from Low Life.</b>—The +number of Ostade's pictures as given by Smith is 385; +but it is thought that he painted even more. About 220 +pictures have been traced in public and private collections.<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> + +<p>Adriaen Ostade was the contemporary of David Teniers +and Adriaen Brouwer, and, like them, chiefly devoted himself +to painting rustic and village life, tavern and gambling +scenes, brawls and open-air games. Smokers, drinkers, +<ins title="Transcriber's Note: Both 'fish-wives' and 'fishwives' were used in this text. This was retained.">fish-wives</ins>, quacks, strolling musicians, itinerant players, +wood-cutters, children at play, alehouse-keepers and their +wives, all find sympathetic treatment. Like Brouwer, +Ostade wandered about the towns and country, finding his +models in the taverns and cottages.</p> + +<p><b>Increase in the Value of his Pictures.</b>—He painted +with equal vigor at all times; and so highly appreciated is +he that pictures worth little in his day now bring large sums. +For instance, in 1876 Earl Dudley paid £4,120 for a cottage +interior. According to Houbraken, Ostade was a pupil +of Frans Hals, while he was also teaching Brouwer.</p> + +<div class="blockquot"><p><b>Crowe's Opinion of Ostade's Style.</b>—"There is less of +the style of Hals in Adriaen Ostade than in Brouwer, but a great +likeness to Brouwer in Ostade's early works. During the first +years of his career, Ostade displayed the same tendency to exaggeration +and frolic as his comrade. He had humor and +boisterous spirits, but he is to be distinguished from his rival +by a more general use of the principles of light and shade, and +especially by a greater concentration of light on a small surface +in contrast with a broad expanse of gloom. The key of his +harmonies remains for a time in the scale of grays. But his +treatment is dry and careful, and in this style he shuns no difficulties +of detail, representing cottages inside and out, with the +vine leaves covering the poorness of the outer side, and nothing +inside to deck the patch-work of rafters and thatch, or tumble-down +chimneys and ladder staircases, that make up the sordid +interior of the Dutch rustic of those days. His men and +women, attuned to these needy surroundings, are invariably +dressed in the poorest clothes. The hard life and privations of +the race are impressed on their shapes and faces, their shoes +and hats, worn at heel and battered to softness, as if they had +descended from generation to generation, so that the boy of ten +seems to wear the cast-off things of his sire and grandsire. It +was not easy to get poetry out of such materials. But the +greatness of Ostade lies in the fact that he often caught the +poetic side of the life of the peasant class, in spite of its ugliness<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> +and stunted form and misshapen features. He did so by giving +their vulgar sports, their quarrels, even their quieter moods of +enjoyment, the magic light of the sungleam, and by clothing the +wreck of cottages with gay vegetation."<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p></div> + +<p><b>Ostade the Greatest Dutch Painter of Peasant Life in +his Day.</b>—Adriaen van Ostade is rightly regarded as the +greatest of the Dutch painters of the seventeenth century +who represented the peasant life of that day. In song and +dance, weddings and <i>kermesses</i>, at bowling, love-making, and +drinking, Ostade always was an observer of country folk, +although he himself was a townsman, and held a rather +exalted position in the world. His second wife seems to have +raised him into a very high social class of Amsterdam families, +as numerous records of executions of wills, which the +painter must have signed in Amsterdam, inform us. To +some extent, his peasants involuntarily progress parallel +with the force of his own life. In his earliest pictures, +when Ostade was still a modest artist, his peasants are also +still quite peasant-like; in his tavern-scenes things are still +very lively. Later, when the painter became closely related +to refined and well-to-do patricians, his peasants also became +more prosperous and polite; in a word, more decorous. +Unfortunately, his painting also became somewhat +more polished and smooth, so that the early pictures, and +particularly those of the middle period, more strongly delight +the heart of an artist than the cool, smooth works of +the later period. Ostade is eminent in his coloring, chiaroscuro, +and composition: he knows how to arrange his groups +in the most spontaneous and natural manner; and truly +artistic is his method of illumination, for which, knowingly +or unknowingly, he has to thank Rembrandt. In his earliest +pictures, which have a somewhat cold tone grading into +gray, reminding us of his teacher Hals (from 1631 to 1640), +there still remains some local color. The subjects, mostly +peasants in poor homes or in the tavern, are energetically +conceived. Bode rightly says:<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> + +<div class="blockquot"><p>"Instead of the pleasant humor and the poetry of the prosperous +middle class which are common to the later pictures, +these earlier works display an effort for characterizing according +to life and movement; a keen humor in the spirit of Hals and +Brouwer; and, particularly, a characteristic inquiry into the +separate individualities, such as the lifelike representation of an +expressive scene, the feasting, round dances, and fighting of his +jovial peasant folk."</p> + +<p><b>Bredius on the increasing Brightness of his Pictures.</b>—"He +died in 1685. Before 1640 his chiaroscuro was already +finer, and between 1640 and 1655 (his flowering-time) many of +his pictures show no traces of Rembrandt's influence. The tone +of his works was quite different and approaches a warm brown; +the chiaroscuro, as, for instance, in his well-known Painter's +Studio in Amsterdam; and later, very closely repeated (Dresden, +1663), attains the highest degree of freedom; then his pictures +become somewhat slowly cooler, the tone gets constantly +grayer, but the drawing always remains strikingly correct, the +grouping natural, and the pictures become brighter, smoother, +and more polished. In the meantime Ostade had become a +finer, more respectable gentleman. Well on in years, he could +leave this life without worry, and was buried at Haarlem by his +admirers and pupils on May 2, 1685."</p></div> + +<p><b>Ter Borch's Freedom from Grossness.</b>—Ter Borch +(1617-81) is excellent as a portrait-painter, but still +greater as a painter of <i>genre</i> subjects. He depicts with +admirable truth the life of the wealthy and cultured classes +of his time, and his work is free from any touch of the +grossness which finds so large a place in Dutch art. His +figures are well drawn and expressive in attitude; his +coloring is clear and rich, but his best skill lies in his +unequalled rendering of textiles in draperies.</p> + +<p><b>The Elegance of his Sitters.</b>—Ter Borch was not only +an excellent painter of Conversations, he was, indeed, the +creator of his <i>genre</i>. With a little less wit and a little less +taste, perhaps, than Metsu, he charms you with his family +concerts, his <i>tête-à-tête</i> lovers, his light afternoon repasts, +and in selecting for heroes the most elegant cavaliers of the +world in which he lived. His pretty pages with great puffed<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> +sleeves striped with velvet, and those blond ladies with +transparent complexions, plump hands, and round waists, +constitute a type that no artist has so well represented as +Ter Borch. Before depicting these delightful and familiar +scenes, he first learned to imitate all that could add to the +charm of these pictures of private life,—silken draperies, +Turkish rugs, leather, ermine, velvet, and satin,—more particularly +satin, and <i>white</i> satin above all else. The most +striking example we shall see at the Rijks, in the picture +called Paternal Advice, known also as the <i>Robe de Satin</i>.</p> + +<p><b>Resemblance between his Paintings and those of Metsu.</b>—There +is so much resemblance between Gerard Ter Borch +(or Terburg) and Metsu that at first it is hard to distinguish +them. Their subjects are much the same; for instead of +painting scenes of low life—inns with carousing peasants, +etc.—both turn with sympathy to high life; <i>sujets de mode</i> +is the name given to their works in which satins, velvets, +silks, and lace, rich robes and mantles, elegant hangings, +and table-carpets figure so largely.</p> + +<p><b>The Difference between Ter Borch and Metsu.</b>—The +difference between Ter Borch and Metsu is defined by +Blanc, who says it is the difference between <i>bonhomie</i> and +<i>finesse</i>; the one is naive and gracious, the other ingenious +and piquant. Both, however, are charming in the way they +introduce us into a house and show us some little comedy +that is being played by the unconscious lovers, family group, +or party of friends. Like Metsu, Ter Borch is particularly +fond of making music a motive of his pictures. A timid +love often expresses itself to the notes of a mandolin or lute; +sometimes we surprise a musical party singing and playing +instruments; a lady composing music or trying a new piece +for the first time, while her gallant and richly dressed lover +stands by her side. Sometimes we see a young lady quite +alone in jacket of puce-colored velvet plucking her lute, +which rests on her satin skirt. Sometimes again the conversation +takes place in front of a clavecin, where the lady's +hands are painted in correct position, though she pauses to<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +hear what her lover has to say, while her spaniel sleeps on +the foot-warmer.</p> + +<p><b>Ter Borch's Conversations characterized.</b>—"Pretty +little dramas," Blanc calls these Conversations of Ter Borch, +"dramas without action or noise, which excite the thought +only, and whose intrigue consists only in a clasp of the hand, +the lowering of an eyelid, or the exchange of a glance and +a smile." He also calls attention to the type of woman +represented by Ter Borch, Van Mieris, and Metsu, all of +whom have high foreheads on which a few little curls +wander, like those made fashionable at this period by +Ninon de Lenclos, and known as "<i>boucles à la Ninon</i>."</p> + +<p><b>The Women of Ter Borch's Pictures.</b>—The women of +Ter Borch's pictures are like Rousseau's pen-portrait of +Madame de Warens, who</p> + +<div class="blockquot"><p>"had an air caressing and tender, a very gentle glance, ash-colored +hair of uncommon beauty, which she arranged in a very +<i>négligé</i> style that produced a piquant effect. She was small and +a little thick in the waist; but it would be impossible to find a +more beautiful head or a lovelier bust, hands, and arms."</p></div> + +<p>Dr. Bredius, 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 critics, nor, on the other hand, sufficiently +appreciated, says:</p> + +<div class="blockquot"><p>"Without striking originality, without any commanding dramatic +quality, without humor, and without any startling light effects, +Ter Borch is yet entitled to the name of the first <i>genre</i> +painter of Holland,—indeed, of all schools,—merely by his +perfect talent and fulfilment as an artist. Rightly is Ter Borch +called the most eminent painter of the Dutch school. Not only +does he paint high society almost exclusively, but he does it in a +distinguished style. The pose of his figures, the composition of +his picture, the fine color, the admirable drawing, all breathe an +elegance which is not met with elsewhere in the Dutch school. +Thereby, he is the one and only master of his subject. What +he paints is always completed to the highest degree. We never +find in him a trace of effort. What he does must be so and not +otherwise. We look for humor in him in vain; but nobility<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> +we always find, and not least in his likenesses, which, notwithstanding +their small dimensions, are 'the last word of a +portrait.'"</p></div> + +<div class="figcenter" style="width: 413px;"> +<img src="images/illus104.jpg" width="413" height="450" alt="TER BORCH +The Despatch" title="" /> +<span class="caption">TER BORCH<br /> +The Despatch</span> +</div> + +<p><b>Description of The Despatch.</b>—The Despatch, dated +1655, belongs to his second period. On a low chair beside +a table on which stand a decanter and beaker, an officer is +sitting with his wife or sweetheart. She is sitting on the floor +reclining against his knee. Both are young. He holds +the despatch in his hand and she looks somewhat distressed. +In front of them stands the trumpeter, who, it +appears, has brought the message. The officer is fully +dressed, and on the table beside him lie his weapons.</p> + +<p><b>His own Likeness, painted by Himself.</b>—The other +picture of Ter Borch's in this gallery is his own likeness, +painted by himself about 1660. He is dressed entirely in +black and stands out strongly against a gray background. +He wears a large wig, the curls of which shade his rather +melancholy face, distinguished by a long nose and grayish +moustache. It was probably painted while Ter Borch was +a burgomaster of Deventer.</p> + +<p><b>Caspar Netscher's Family Group.</b>—Much in the same +style as Ter Borch's Conversations is Netscher's Family +Group. Caspar Netscher (1639-84) was a pupil of Ter +Borch, and this is one of the best works of his best period. +The painter, in a red slashed jacket, is accompanying on his +lute his daughter, who is singing, and whose timidity is well +expressed. She wears a dress of white satin and has feathers +in her hair. On the other side of the table covered with a +Persian carpet, and in the half light, sits Netscher's wife. +On the back of the arm-chair in which Netscher is sitting +is his signature and the date 1665. Netscher is also represented +by two portraits—Mr. and Mrs. Van Waalwijk.</p> + +<p><b>Few Examples of Metsu.</b>—Metsu, like many other +Dutch masters, is poorly represented in the great public +galleries of his own country. While The Hague Gallery has +but three and the Rijks only four, the Louvre, for example, +has eight and Dresden six.<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> + +<p>Those who have seen pictures by Metsu (1630-67), +Ter Borch, or Caspar Netscher, will have a better knowledge +of the customs and costumes of the upper classes at the +period of the Stadtholders, their faces, their polished manners, +their interiors, and even their thoughts, than if they +had read many books of travel, whole volumes of geography, +description, and history.</p> + +<p><b>The Rich Dutchman as painted by Metsu.</b>—As he appears +in the pictures of Gabriel Metsu, the rich Dutchman +is domesticated, methodical, and well regulated in his life. +His house is the universe for him. In this cherished and +well-arranged abode, he concentrates as many joys as the +ancient kings of Asia assembled in the palaces of Susa or +Ecbatana. His country's and his own ships have "ploughed +the sea from end to end, penetrating to Japan for porcelain +and amber, and bringing back from Goa pepper and ginger." +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 inspire. +Asia has sent to him her muslins, spices, and diamonds; +the polar ice has furnished him with the furs that edge the +velvet robes which his wife and his eldest daughter wear indoors. +The birds, insects, shells, and mineral specimens +of the most distant climes fill his cabinet, carefully arranged +under glass. In his gardens flourish rare plants, the choicest +flowers and bulbs cultivated by himself or under his own +eyes. His furniture, of exquisite taste and workmanship, +carefully looked after and incessantly cleaned, does not +suffer by the changes of fashion; it is transmitted from +father to son, and lasts for generations. His alcove bed is +supported by ebony columns and closed in with green damask +curtains. Hanging from the ceiling, a candelabrum +of gilt bronze spreads its branches twisted into elegant +volutes. The floors are waxed till they are a pleasure to +the eye, the windows are polished, the door-knob is shining, +the furniture gleams like a mirror, and yet the daylight +falling through lightly tinted taffeta curtains sheds over<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> +all these objects only a soft, moderate, and harmonious +radiance.</p> + +<div class="blockquot"><p><b>How Metsu depicts the Manners of the Dutch.</b>—"The +manners of Holland, as well as its material physiognomy in +civil life, its interiors, its furniture, the decoration and luxury of +its apartments, are all written down in Metsu's pictures with +charming clearness, which is all the more pleasing since this +merit seems to be involuntary in the painter. After two hundred +years, 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 country, the character of its inhabitants, +and the historic circumstances in the midst of which +the Dutch merchants, the masters of the commerce of the world, +then lived.</p> + +<p>"By Metsu's favor we are able to penetrate into those interiors +which are so jealously closed to strangers. 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 ladies, and +makes us take them by surprise, sometimes in velvet <i>déshabille</i> +writing their secrets; sometimes finishing their toilette in view +of a hoped-for visit; and sometimes breathing over the keys of +their clavecin the sighs of their hearts and the thoughts they do +not express."</p> + +<p><b>His Carefulness in selecting Details.</b>—"Metsu rarely +paints an interior without introducing the pet spaniel of the +period, which often contributes much to our comprehension of +the scene by the character of its attitude.</p> + +<p>"There are some Dutch masters who unintelligently accumulate +innumerable details everywhere. They make a picture of +manners the pretext for a ridiculous display of furniture, crystal, +lustres, <i>chinoisarie</i> and curiosities of every kind; their interiors +resemble bazaars. Metsu puts beside his subjects only those +details necessary to make the intrigue clear, and to explain the +conversation.</p> + +<p><b>His Treatment of Still Life.</b>—"However great may +have been his talent for painting still life, he never allowed +himself to be carried away, like so many others, by that vulgar +pleasure; but, on the other hand, what finish! what a precious +touch! And then how he loves to give full value to the beauties +of local color, or to shade a Turkey carpet, or to grade down +the lights on gold and silver vases. What pleasure he takes in +the Bohemian glasses and the transparent liquors that half fill<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> +them! The glasses in his pictures have great importance, for +the life of a retired Dutchman is spent in continual smoking +and drinking; but in Metsu we no longer see the Pantagruelesque +glasses of several stages that Van Ostade's peasants +always have in their hands; these are fine and more discrete +glasses, of elegant form, tall and oblong glasses in which the +Haarlem beer froths; glasses cut and fashioned in twenty different +ways, octagon glasses each facet of which ends with a +curve and which cut the light with their sharp edges, or glasses +the calyx of which forms a reversed cone on a heron's claw, or +elongates into a swan's neck, and finishes like a trumpet; lastly, +the glasses of the grandparents, sometimes of an imperishable +thickness and solidity, sometimes as delicate, light, and thin as +an onion skin."<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p></div> + +<p><b>Favorite Subjects.</b>—Metsu is fond of representing +the patricians of his day and their womankind either in +pleasant entertainment, or, more frequently, in individual +figures engaged in quiet work. A picture of this class is +The Amateur Musicians. 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 +notes. Only on the face of the elegant gentleman standing +behind her chair is painted a merry, almost roguish, smile.</p> + +<div class="figcenter" style="width: 375px;"> +<img src="images/illus110.jpg" width="375" height="500" alt="METSU +The Amateur Musicians" title="" /> +<span class="caption">METSU<br /> +The Amateur Musicians</span> +</div> + +<p><b>The Elegance of Metsu's Figures.</b>—The figures are +drawn with certainty; the artistic handling of the subject +is remarkable; and a fine feeling for color is shown in the +selection of the tones. In Metsu's figures we notice an +elegance and a nobility which are not found elsewhere +except in Ter Borch.</p> + +<p><b>The Influence of other Artists on Metsu.</b>—It is strange +that the earliest works of Metsu, which are the most broadly +painted ones, show little of Dou's influence, which is always +so unmistakable in his pupils, so that Bode believes he finds +in them the working of Hals's influence; and, in fact, the +large pictures of Metsu's early period are painted with a +broad brush in Hals's gray tones. When Metsu removed +to Amsterdam, he fell more under Rembrandt's influence,<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> +and the beautiful chiaroscuro of his later works incontestably +proves this.</p> + +<p><b>His Miscellaneous Works.</b>—Metsu's Biblical and allegorial +pictures are the least important of his works. Besides +The Amateur Musicians, signed by Metsu, the Mauritshuis +possesses a fine Portrait of a Huntsman dated 1661, and a +great academical, constrained allegory of Justice Protecting +the Widow and Orphan, a picture that was found in the +vestibule of a house in Leyden in 1667. It was painted in +1655.</p> + +<p>Crowe, who does not believe that this "rough and frosty +composition" is the work of Metsu, says:</p> + +<div class="blockquot"><p>"What Metsu undertook and carried out from the first +with surprising success was the low life of the market and +tavern, contrasted with wonderful versatility by incidents of +high life and the drawing-room. In each of these spheres he +combined humor with expression, a keen appreciation of nature, +with feeling and breadth, with delicacy of touch, unsurpassed +by any of his contemporaries. In no single instance do the +artistic lessons of Rembrandt appear to have been lost on him. +The same principles of light and shade which had marked his +school work in The Woman Taken in Adultery<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> were applied to +subjects of quite a different kind. A group in a drawing-room, +a series of groups in the market-place, a single figure in the +gloom of a tavern or parlor, was treated with the utmost felicity +by fit concentration and gradation of light; a warm flush of +tone pervaded every part, and, with that, the study of texture in +stuffs was carried as far as it had been by Terburg, or Dou, if +not with the finish or the <i>brio</i> of De Hooch. Metsu's pictures +are all in such admirable keeping and so warm and harmonious +in his middle, or so cool and harmonious in his closing time, +that they always make a pleasing impression. They are more +subtle in modulation than Dou's, more spirited and forcible in +touch than Terburg's; and, if Terburg may of right claim to +have first painted the true satin robe, he never painted it more +softly or with more judgment as to color than Metsu."</p></div> + +<p>One of the best pictures of Metsu's middle period is +The Market Place of Amsterdam, in the Louvre.<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> + +<p><b>Two Fine Portraits by F. van Mieris.</b>—Frans van Mieris +(1635-81) reached the highest rung of art in his portraits, +of which The Hague Gallery possesses two fine examples. +One is of Florentius Schuyl, Professor of Medicine +and Botany in the University of Leyden, painted in 1666, +and a still more important picture of the painter himself and +his wife. He has made a charming <i>genre</i> picture of it, +which Sir Joshua Reynolds admired, not knowing who the +characters were. The artist shows himself standing and +pulling the ear of the beautiful little dog which his wife holds +in her lap, while, to protect her pet, she gently wards off +her smiling husband with her right hand. The little dog's +mother is trying to spring into the lady's lap in order to +take care of her offspring. Both the drawing and modelling +here are masterly, and endow the scene with such +charm that this work must be pronounced one of the best +by his brush. The <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">tablecloth</ins> and the lute lying upon it +are beautifully painted.</p> + +<p><b>Description of Soap Bubbles.</b>—Sir Joshua also noticed +the picture of Soap Bubbles dated 1663, representing +a boy at an open and vine-framed window, blowing bubbles +that are exquisitely painted and show beautiful reflections +and prismatic colors. His red hat with white plumes is +lying on the window-sill, near a bottle containing a sprig of +heliotrope, and above hangs a cage. Behind the child in +the half-light stands a young woman with a dog in her +arms. On the window-frame is written the date in +Roman numerals. Willem van Mieris often imitated this +composition of his father's, who frequently repeated it +himself.</p> + +<p><b>Pictures by Van Mieris Full of Refinement.</b>—Van +Mieris takes us into an elegant world, although he himself +was fond of low life, a heavy drinker and the companion of +Jan Steen. He was the son of a goldsmith and diamond-setter +of Leyden, who wanted him to follow his business. +He was naturally influenced by his earliest surroundings, +and in his father's shop became familiar with the dress and<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> +manners of people of distinction. His eye was also fascinated +by the sheen of jewelry and stained glass. Houbraken +writes:</p> + +<div class="blockquot"><p>"Seeing his talent for painting his father placed him with +Abraham Torenvliet, a famous glass painter and a good draughtsman. +From him he passed to the school of Gerrit Dou, where +in a short time he eclipsed every one and gained the affection of +the master, who loved to call him 'the prince of his pupils.' +At the end of a few years, his father sent him to the historical +painter Abraham van Tempel; but he did not remain long with +him, for his natural taste would allow him to follow no other +manner than that of Gerrit Dou,—a manner extremely finished, +demanding attention and excessive care."</p></div> + +<p><b>His Love of Elegant Accessories.</b>—Houbraken calls +Metsu a painter of <i>sujets de mode</i>. This term applies +also to Frans van Mieris; for certainly with him costumes, +materials, and accessories play an important part. If his +people were less attractive one might imagine that they +were only a pretext for showing off the velvet jackets, satin +skirts, and rich furs. Very often Van Mieris shows us a +spacious and magnificently decorated hall, in the background +of which a richly dressed lady and her lover are +walking; again he allows us to peep into a charmingly furnished +room where a lady in white satin is playing the lute +to entertain her guest, a handsome cavalier in black velvet; +or we surprise a lady as she is about to drink a glass of +wine which a page offers her on a silver salver. At other +times we find a group of ladies and gentlemen about to enjoy +a light repast; or see a table invitingly spread with +luscious fruit in rich silver dishes; or watch a lady feed +her parrot. Sometimes the pet monkey is discerned behind +the looped-back curtains of taffetas. Frans van Mieris +seldom chose panels above 12 by 15 inches in size. He +never ventured to design life-sized figures.</p> + +<div class="blockquot"><p><b>The Kind of Subjects he treated Best.</b>—"Characteristic +of his art in its minute proportions is a shiny brightness and +metallic polish. The subjects which he treated best are those<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> +in which he illustrated the habits or actions of the wealthier +classes; but he sometimes succeeded in homely incidents and +in portraits, and not unfrequently he ventured on allegory. He +repeatedly painted the satin skirt which Terburg brought into +fashion, and he often rivalled him in the faithful rendering of +rich and highly colored woven tissues. But he remained below +Terburg and Metsu, because he had not their delicate perception +of harmony, or their charming mellowness of touch and +tint; and he fell below Gerard Dou, because he was hard and +had not his feeling for effect by concentrated light and shade. +In the form of his composition, which sometimes represents the +framework of a window enlivened with greenery, and adorned +with bas-reliefs, within which figures are seen to the waist, his +model is certainly Gerard Dou."</p> + +<p><b>His Lack of Humor.</b>—"It has been said that he possessed +some of the humor of Jan Steen, who was his friend, but the +only approach to humor in any of his works is the quaint attitude +and look of a tinker in a picture at Dresden, who glances +knowingly at a worn copper kettle which a maid asks him to +mend.... If there be a difference between his earlier and later +work, it is that the former was clearer and more delicate in +flesh, whilst the latter was often darker and more livid in the +shadows."<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p></div> + +<p>Blanc says:</p> + +<div class="blockquot"><p>"Among so many Dutch painters who copy nature it is +very pleasant to find one who deigns to select his models, and +who, preferring grace to ugliness, would rather paint beautifully +women elegantly dressed than <i>magots</i>. Strange, indeed! He +loved distinction, yet lived in a tavern; he loved luxury, and +was soon ruined; and, in spite of a life devoid of dignity, Van +Mieris always kept a love of beauty and elegance, as is shown +in his delicate faces, fine complexions, beautiful hands, grace +of attitude, taste in costume and furniture, and choice of splendid +materials."</p></div> + +<p><b>Willem van Mieris.</b>—The Grocer's Shop, by his son and +pupil, Willem van Mieris (1662-1747), signed and dated +1717, also hangs in The Hague Gallery. In extreme finish +and minuteness of painting, this picture would not disgrace +Mieris the Elder or Gerrit Dou.<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> + +<p><b>Its Wealth of Still Life.</b>—You see only two figures, a +young boy who is buying and a young woman who is selling; +but these figures are of no more importance than the +foods of all kinds exposed in the shop, on the sill of the +window, and outside. The lower part of the window is +decorated with a bas-relief, representing Cupids playing +with a bird. This bas-relief is half hidden by a superb +piece of tapestry, on which the painter has placed a basket +of dried fruits. Great bags of grain, peas, and beans, and +everything that is sold by the bushel are exposed on the +pavement of the street, with a bucket and some tubs filled +with olives, sardines, and anchovies. On the wall hang +a basket and a bird-cage, and a magnificent damask curtain +with large flowers falls in graceful folds from an outside +ring. 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 sacks.</p> + +<p>The pendant to this picture hangs in the Louvre, where +it is called <i>Marchande de Volailles</i>.</p> + +<p><b>W. van Mieris influenced by his Father and by G. de +Lairesse.</b>—Willem van Mieris was a pupil of his father, +and at first had no other ambition than to imitate his style +and produce those charming Conversations in which rich +furniture, shining chandeliers of brass or copper, Japanese +porcelains, silken curtains, Turkish table-carpets, flowers, +and elegantly dressed people make a somewhat restricted, +although delightful, world. Willem, falling under the influence +of <ins title="Transcriber's Note: Both 'Gérard' and 'Gerard' de Lairesse were used in this text. This was retained.">Gérard</ins> de Lairesse, who was much in vogue in +Holland, selected such subjects as a young lady playing on +the clavecin, or making lace, or walking in the country in a +lilac satin robe with large sleeves that reveal through their +slashes a beautiful arm, and a straw hat ornamented with a +sweeping plume. Becoming a shepherdess this attractive +lady next sits in his pictures with bare feet, in the shade of +an oak, and beside her Corydon talks of love.</p> + +<p><b>His Success with Mythical and Biblical Subjects.</b>—Next +he turned his attention to subjects from fable,<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> +romance, and mythology; and Diana, Armida, Cleopatra, +Bacchus, Jupiter, Tarquin, the Sabines, etc., fill his panels +or copper plates, which were hardly larger than your hand. +Biblical and religious subjects occupied him for a time and +then he again turned pagan. His success grew greater +every day, and his Dutch patrons who loved scenes of +familiar life demanded from Van Mieris pictures in the style +of his famous father—those charming <i>genre</i> pictures still +being produced by <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>, Van Tol, and other imitators +of Gerrit Dou.</p> + +<p><b>A Window-frame his Favorite Setting.</b>—Like Gerrit +Dou, Willem van Mieris selects a window-frame of stone, +which he often decorates with graceful creepers or a bouquet +of tulips or jonquils placed on the sill, or throws over it +a bright piece of tapestry. From it a blond lady leans to +flirt with the unseen passer, a child blows bubbles, a portly +dame waters her flowers; or the artist himself sits calmly +by. When tired of this, Willem van Mieris takes us to his +favorite shop.</p> + +<p><b>Arie de Vois.</b>—Among the portraits one must not fail +to notice the picture of A Huntsman Holding a Partridge +by Arie de Vois (1630-80). This was originally in the +collection of William V. and was bought for 1,210 florins. +His pictures are so rare that we are not surprised that the +Mauritshuis contains but one example. The Rijks is more +fortunate in owning four by this delightful painter.</p> + +<p><b>Abraham de Pape's Style.</b>—Abraham de Pape (1625-66), +supposed to have been a pupil of Gerrit Dou, is +represented by An Old Woman Plucking a Cock, with a +little boy kneeling beside her. It is a very good example +of this master; and at the Gerrit Muller sale brought no +less than 490 florins. Crowe says:</p> + +<div class="blockquot"><p>"This almost unknown artist is decidedly one of the best +<i>genre</i> painters of this time. He is true and speaking in action, +animated in his heads, harmonious, and even in some of his +pictures warm in coloring, and very careful and soft in execution."</p></div><p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> + +<p><b>A. van der Werff's Biblical and Mythological Pictures.</b>—Adriaan +van der Werff (1659-1722) occupied a peculiar +position among Dutch painters. While his contemporaries +were devoting themselves to the study of nature and becoming +realistic, he adhered to the pursuit of the ideal and +produced pictures inspired by Biblical or mythological +subjects,—pictures noted for their beauty and elegance, +and moreover finished with wonderful smoothness of touch, +which he had learned from his master Eglon van der +Neer. His figures as a rule are small, and the flesh-tints +are of an ivory tone. Van der Werff was so popular +that it was impossible for him to execute all the commissions +sent him. His greatest patron was the Elector Palatine +John William; the pictures that Van der Werff painted +for him are now in Munich, where this master may best be +studied.</p> + +<p><b>Description of The Flight into Egypt.</b>—He is fairly +well represented in the Rijks; but The Hague has only two +of his works,—a Portrait of a Man, dated 1689, and The +Flight into Egypt, dated 1710. This is only one foot six +inches high and one foot two inches wide. The Virgin is +in profile in a Prussian-blue mantle, accompanied by St. +Joseph, who is leading an ass. The road runs by the side +of a brook, and the landscape is diversified with trees, +ruins, and a portico. This picture was given by the artist +to his daughter, who sold it to Mr. Schuijlenberg for 4,000 +florins. At the Schuijlenberg sale at The Hague in 1765 +it brought 6,500 florins.</p> + +<p><b>Reynolds on Van der Werff's Manner.</b>—This picture +was much admired by Sir Joshua Reynolds, who saw it in +the King's collection. In describing Van der Werff's +manner he said:</p> + +<div class="blockquot"><p>"He has also the defect which is often found in Rembrandt,—that +of making his light only a single spot. However, to do +him justice his figures and heads are generally well drawn and +his drapery is excellent; perhaps there are in his pictures as +perfect examples of drapery as are to be found in any other +painter's work whatever."</p></div><p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> + +<p><b>Philip van Dijk and his pupil, Louis de Moni.</b>—To this +group belongs Philip van Dijk (1680-1753), a pupil of +Arnold Boonen, and an imitator of Van der Werff. Judith +with the Head of Holofernes is a good example of his +historical work; and two good <i>genre</i> pictures, A Lady +Playing the Guitar, and A Lady at her Toilet, show this +artist in a happier mood, where he gives free play to his +more delicate touch. His Bookkeeper also hangs in this +gallery. His pupil, Louis de Moni, shows the decline of the +school. An Old Woman and a Boy, in a window, the boy +blowing soap bubbles, is dated 1742.</p> + +<p><b>Ochtervelt a follower of Metsu and of Pieter de Hooch.</b>—Jacob +van Ochtervelt (?-1700), who occupies a first +place among the second-rate painters of his day, was a +follower of Metsu and also of Pieter de Hooch. The Fish +Vender, representing a woman in a room where a man is +offering her fish, in conception and careful finish recalls +Metsu, while in lighting and combination of color it reminds +one of Pieter de Hooch. The general tone is +warmer than most of Ochtervelt's pictures.</p> + +<p><b>Jan Steen's Favorite Subjects.</b>—One of the greatest of +all the Dutch <i>genre</i> painters is Jan Steen (1626-79), "the +jolly landlord of Leyden." As a draughtsman and colorist +he takes high rank, and as a student of human nature he +has been compared to Hogarth and Molière. His pictures +are studies of life and character, and are full of humor. +He paints feasts and <ins title="Transcriber's Note: Both 'merry-making' and 'merrymaking' were used in this text. This was retained.">merry-makings</ins>, weddings, quacks, +tavern-brawls, dentists, invalids, children at play, family +parties, etc., with sympathy and joyousness.</p> + +<p><b>His Character-painting.</b>—As a character-painter, he is +unapproachable. Nobody so well as he has understood all +human passions, all emotions—hilarious joy, deep-seated +satisfaction, fear, grief, and <i>Weltschmerz</i> with such mastery, +and known how to represent them in the smallest possible +space.</p> + +<p><b>His Method of showing Background to Advantage.</b>—With +regard to Jan Steen's interiors it is interesting to note<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> +that, like Ostade's, they are painted from an elevation, so +that the figures in the background are not hidden by those in +the foreground. Ordinarily he opens a window in the background +to illuminate the distant figures and thus is formed +an echo of the principal light. The number of utensils is +less than with most painters of this class, for Jan Steen had +too much sense to multiply them uselessly. Like Metsu, +he often painted little pictures on the walls of his interiors, +and it is singular that these depict heroic landscapes, +battle scenes, mythological subjects, etc., and never tavern +or <i>genre</i> scenes such as he himself painted.</p> + +<p><b>Refinement and Culture in his Pictures.</b>—Another thing +to notice is that whether in houses of affluence or in common +taverns his people do not drink grossly and from jugs, +as in the taverns of Adriaen Brouwer. Each one takes his +place gracefully and naturally at the table or in the room; +and the details of the furniture accord with the politeness +of the people or the players. On the mantelpiece, for +instance, stands a bronze figure of Love; a guitar hangs +from one of the panels; and here hangs a fine landscape +in an ebony frame. The collation consists of delicious +fruits that rejoice the eyes; perhaps also open oysters, which +glisten in the light like pearls; ripe grapes and beautiful +peaches, whose furry skins are blushing like the cheeks of a +young girl, and finally some lemons half peeled, the skin +falling in a golden spiral. All this shows the influence of +Van Mieris, who was a friend of Steen and who spent +many hours in his tavern at Leyden.</p> + +<p><b>Reynolds's Appreciation of Jan Steen.</b>—Sir Joshua +Reynolds, who was so delighted with the Steens he saw in +Holland, wrote the following appreciative criticism of the +artist:</p> + +<div class="blockquot"><p>"Jan Steen has a strong manly style of painting, which might +become even the design of Raffaelle, 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 figures."</p></div><p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> + +<p><b>Jan Steen's Fondness for painting his own Family.</b>—Jan +Steen was very fond of painting his own family; his +wives, his aged parents, and his children provided him with +varied models of assorted ages and sizes. He had six +children by his wife <ins title="Transcriber's Note: Both 'Marguerite' and 'Margarita' van Goyen were used in this text. This was retained.">Marguerite</ins> van Goyen, daughter of the +painter; and when she died, he married a widow, named +Mariette Herkulens, who had two. He has characterized +the pleasures of all ages in his picture called The Family +of Jan Steen, bearing the legend "<i>Soo de ouden songen pypen +de jongen.</i>" (As the old ones sing so will the young ones +pipe.) This is particularly interesting, because the artist +has painted himself between his wife Marguerite van Goyen +and Mariette Herkulens, who was destined to be his second +wife. They were both quite handsome, especially Marguerite. +Mariette Herkulens was a meat vender.</p> + +<p><b>How he ridiculed the Physicians.</b>—Physicians were +always butt for Steen's caustic wit. It was a common practice +in the seventeenth century to turn them into ridicule; +and as Molière brought them on the French stage, Jan +Steen painted them with all their charlatanism and gravity +and that severity of costume so studied for effect.</p> + +<p><b>Description of The Young Lady who is Ill.</b>—The +Hague Gallery contains two of these,—one known as The +Young Lady who is Ill (sometimes called The Doctor +Feeling the Pulse of a Young Woman). In this picture a +doctor dressed in black, with a pointed hat like that worn +by Sagnarelle in the <i>Médecin malgré lui</i>, is seated at the +bedside of a young and pretty girl with round arms and +clear, pale complexion, who looks with interest at the potion +that is being prepared according to the doctor's instructions. +The latter pretends to be looking at the medicine +which an elegant woman is bringing, but he is really looking +at the beautiful throat of the blond and well-dressed Dutch +lady, who lowers her eyes, charmed to let him gaze at her +brilliant white neck, her little <i>retroussé</i> nose, and her hair +arranged <i>à la Ninon</i>, which is half covered with a sort of +black cap. "If it were not for a little touch of malice and<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> +certain inconsistencies in the somewhat careless execution," +Blanc says, "this picture might pass for a Van Mieris or a +Metsu."</p> + +<p><b>Description of The Doctor's Visit.</b>—In The Doctor's +Visit, a physician dressed in black, with pointed hat and +holding his gloves in one hand, with the other is feeling the +pulse of a young lady who is sitting near her bed in a +<i>négligé</i> costume. With a very knowing and solicitous manner +the doctor seems to interrogate the throbs of the pulse; +but while he seeks for the secret of the illness, the chamber-maid +has found it out, as her glance indicates; and, that +you may not be left in doubt, the painter has placed on the +corner of the chimney a little statue of Love the Conqueror. +In some of his pictures of this class Steen adds the legend +"<i>Wat baet hier medecyn—het is der minne pijn</i>" (Of what +use is medicine here? Love is the trouble).</p> + +<p><b>Other Pictures by Jan Steen, in the Mauritshuis.</b>—In +addition to those already mentioned, the Mauritshuis owns +A Village Feast, a picture of his first period; the Dentist, +who is extracting the tooth of a peasant; A Menagerie; +and an Interior known as The Oyster Feast and Jan +Steen's Tap-room.</p> + +<p><b>Description of Jan Steen's Tap-room.</b>—The latter is +not an inn of the common or rustic type such as is seen in +Ostade's or Brouwer's pictures, for the room is furnished +in the best style of the period. In it we see about twenty +figures in several groups. On the left, an old man is playing +with a little child; near him a young girl is kneeling +as she cooks the oysters; and in the centre an old man +offers an oyster to a seated woman. Children are amusing +themselves everywhere: here one is making a cat dance; +another is holding a dog; another is carrying a jug and a +basket of fruit. At the table on the right and a little back +Jan Steen sits playing a lute, a young woman is listening to +him, a fat companion with a glass of liquor in his hand is +laughing; and in the background are groups of players and +smokers. Above and in the foreground a large violet<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> +curtain is looped and casts its shadow over a part of the +interior. This fine picture is only 2 feet 3 inches by 2 feet +8 inches.</p> + +<p><b>Description of A Menagerie.</b>—A Menagerie is nearly +four feet square, and represents the courtyard of a country +house—that of William III. at Honsholredijk, which +is seen in the distance. Near the stone terrace, beneath +the steps of which is a pool, a peacock sits on a branch of +an old tree; ducks are swimming in the pool, and hens, +turkeys, and pigeons are picking up grains in the courtyard. +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 cup. +A man, carrying a basket of eggs and a green pot, is laughing +and talking with her. Another old farm-servant is also +laughing as he regards his young mistress; another person, +who carries a hen under his left arm and her brood of +chickens in a basket, is one of those dumpy and deformed +creatures that Jan Steen likes to paint. 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 Masters.</p> + +<p><b>Troost, the Dutch Watteau or Hogarth.</b>—Cornelis +Troost (1697-1750) was born at the close of the great +period of Dutch art. The great painters were all dead. +Dutch painting had lost its originality and native vigor. +Under these circumstances Troost made himself the painter +of his period and of his country. Impelled by a witty and +caustic humor, he thought to bring back in the eighteenth +century what Jan Steen had illustrated in the seventeenth. +But, inferior in every way to that master, he saw contemporary +society only on the stage or in books; and, instead +of painting manners, customs, and absurdities of the middle +classes by observing them in nature, he painted them as +they were represented on the stage. Almost all his heroes +were characters of the comedy or the novel. Troost has +been called the Dutch Watteau and the Dutch Hogarth. +His pictures may be classified as follows: Conversations,<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> +Comic subjects, Portraits, and Military subjects. The +first follow the style of Watteau; the second, Hogarth; +and the last are reminiscent of Frans Hals.</p> + +<p><b>His Excellence in Drawing and Color.</b>—Excellence of +drawing and richness of color distinguish all his works, which +are also valuable for their accurate portrayal of the manners +and customs, costume and furniture of his day. Troost +worked in oil, pastel, and gouache with equal facility; and +produced many excellent mezzotints and etchings.</p> + +<div class="blockquot"><p><b>Blanc on Troost's Style.</b>—"What we admire in him to-day +is the talent of the painter properly so-called, the art of enlightening +and grouping his figures and placing them on the stage, the +brush-work, the selection and quality of the tones,—in other +words, order, chiaroscuro, color, and touch. A man of wit, he +shines in composition; although adroitly calculated, his own +humor always appears spontaneous and natural. Troost never +introduces useless personages nor superfluous ornaments into +his pictures. He clearly sets forth what he wants to show; +and, contrary to the habits of the other masters of his nation +who take pleasure in the accumulation of accessories, he only +puts into his interiors necessary furniture and significant +utensils; and in his open-air Conversations the surroundings are +not overloaded with detail, but simple and agreeable, being +calculated to achieve the idea of the picture, so admirably are +they connected with the action of the figures. Troost and +Terburg, of all the Dutch masters of <i>genre</i>, are the ones who +best understood the concentration of the interest of a picture, +and what is called the repose of the composition."<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p> + +<p><b>A Picture Illustrative of the Concentration of its Interest.</b>—"On +looking over his pictures in the little room devoted to +his work in the Mauritshuis, we find more than one example of +this intelligent sobriety. Take for instance <i>L'Amour mal +assorté</i>. Here we have an old man declaring his love to a +young widow. He has thrown on the floor his cane, hat, and +gloves; and, in his senile ardor, he clasps the facilely chaste +Susanna. What a pretty interior! A <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>, a Gerard +Dou, or a Mieris would have multiplied here the details of +domestic comfort; here there is not a detail, not a single piece +of furniture too much; but yet there is nothing lacking that +should be there,—neither the clock, the canary in its cage, the<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> +portrait of the deceased husband whose place the guest desires +to fill, nor the flower-vase with its full-blown rose, like the +charmer whom the admirer wants to gather."</p> + +<p><b>Pictures of Love and Intrigue.</b>—"Again we have The +Deceived Tutor, a scene anticipated from 'The Barber of +Seville.' Here we see coming down the street a maiden led +prisoner by her tutor, a jealous bear clothed all in black. +While she occupies his attention with a sweet smile, her little +hand receives the kiss of a lover whom chance has led that way. +Other scenes of similar intrigue treated in this light vein are +The Lover in Disguise and The Lover Artist. The scenes +are taken from the comedies and vaudevilles of Langendijk, +Lingelbach, Asselijn, Van der Hoeven, Van Paffenrode, and +D. Buysero."</p> + +<p><b>The Dispute of the Astronomers.</b>—"A picture that does +not deal with love and intrigue, but is full of a different kind of +humor is The Dispute of the Astronomers, from a comedy by +P. Langendijk, 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 planets. 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 Night, +carrying a huge paper star, lighted within."</p></div> + +<p><b><ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>, Painter of Living Birds.</b>—The great +Melchior d'Hondecoeter (1636-95) began his career +with marines; but it was not long before he acquired +celebrity as a painter of birds only, which he represented +not exclusively like Fyt, after a day's shooting, or as stock +in a poulterer's shop, but as living beings with passions of +joy and fear and anger. Though without Fyt's brilliant +tone and high finish, his birds are always full of action. +William III. employed him to paint his menagerie at Loo, +and this picture shows that he could overcome the difficulty +of painting India's cattle, elephants, and gazelles. +Hondecoeter's best pictures have remained in Holland, and +The Hague and Amsterdam galleries possess his most interesting +canvases. The four at the Mauritshuis are: Geese +and Ducks, Hens and Ducks, The Menagerie of William +III. at Loo, and The Jackdaw Stripped of his Borrowed<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> +Feathers. All these are worthy of study, although Hondecoeter's +most celebrated picture, The Floating Feather, +hangs in the Rijks.</p> + +<p>Blanc says:</p> + +<div class="blockquot"><p>"In one of these the artist has amused himself with making +his usual heroes play a scene of human comedy; and, as a professional +fabulist would have imagined it, he has shown a jackdaw +stripped of the borrowed plumes with which he had adorned +himself in his vanity. This is a very fine picture, although it +has somewhat blackened in certain parts. <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> seems +to us to have been happier in another canvas in which he has +grouped various birds. It seems as if on this occasion he +wanted to prove what prodigies he was capable of in the touch +of divers plumages; and the effect he has obtained is, in truth, +astonishing. We could not find the equivalent of this lightness +of touch and of this coloring either in Gryff<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> or in the two +Weenixes, or in any of the masters who have tried to paint +birds, with the possible exception of Giacomo Victor."<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<p><b>His Preparation for Bird-painting.</b>—"It is true that +before having succeeded so well in the representation of the +bird, <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> made a long study, not only of its external +form, but of its habits, customs, and manner of life. His studio +had been turned into a menagerie, or, rather, a game preserve. +He had paid particular attention to the education of a handsome +cock, which seemed to comprehend every word and +gesture of his master; and who, at the slightest sign, came +near the easel and posed, often in very fatiguing attitudes, for +hours."</p> + +<p><b><ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>'s Skill in painting Farmyard Scenes.</b>—"In +painting, Melchior d'Hondecoeter was a very able man without +leaving the poultry yard, 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 grubs, +the duck giving her little ones their first swimming lesson, the +superb cock keeping watch over his seraglio, the peacock<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> +spreading his magnificent tail, and those memorable combats +in which for a fine-plumaged Helen, two rivals spur one another +while awaiting the hawk's talons. He painted 'the crested +gentry' and knew how to interest us in them by means of +picturesque truth, rustic grace, color, and spirit.</p> + +<p>"Melchior, after the death of his father, found an excellent +guide in his uncle, J. B. Weenix, and followed his manner till +his death in 1660 without servility."<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p></div> + +<p>Burger says:</p> + +<div class="blockquot"><p><b>His Pictures of Bird Families.</b>—"No one has painted +better than he cocks and hens, ducks and drakes, and particularly +little chicks and ducklings. He has understood such +families as the Italians have the mystical Holy Family; he has +expressed the motherhood of the hen as Raphael has the +motherhood of the Madonna. In fact, the subject is more +naturally treated because it has less sublimity. <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> +gives us here a mother-hen, who could face the Madonna of +the Chair. She bends over with solicitude, with outspread +wings, beneath which peep the excited heads of the little +chickens; while on her back is perched the privileged <i>bambino</i>: +she does not dare move, the good mother!"</p></div> + +<p>A picture of Cock and Hens by his father, Gijsbert +d'<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> (1604-53), was acquired in 1876. He was +the teacher of his more talented son, who also studied with +his uncle, Jan Baptist Weenix (1621-60), no pictures of +whom are owned by the Mauritshuis.</p> + +<p><b>Jan Weenix's Tasteful Compositions.</b>—Two pictures of +Jan Weenix (1640-1719) hang in this gallery and are good +examples. One is The Dead Swan, the other is Game. +Though Weenix painted portraits, landscapes, and even seaports, +his chief works represent dead animals, the size of +life. Peacocks, pheasants, partridges, geese, and most frequently +swans, figure in his pictures. Sometimes, too, he +introduces a living dog and paints it in the most spirited +manner. Weenix had great taste in composition and arranged +his models (more often dead than living) around the +base of a handsome vase or urn in a beautiful park.<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> + +<p><b>Reynolds and Blanc on Jan Weenix's Paintings.</b>—"What +excellence in coloring and handling is to be found in the +dead game of Weenix!" exclaimed Sir Joshua Reynolds, who +declared that he saw no less than twenty dead swans by this +painter during his walks through the Holland galleries. "In +his works of small dimensions," says Blanc, "his execution +is delicate and caressing; but it is broad and accentuated in +his decorative paintings. At his best he was the equal of his +father, which is no small praise."</p> + +<p><b>Jan David de Heem, the Greatest of the Group of Fruit +and Flower Painters.</b>—First in this group comes Jan +David de Heem (1606-03 or 04), the pupil of his father, +David de Heem, and not only the first to develop the art +of fruit-painting, but the greatest master of the class that +the school produced. In the beautiful arrangement of his +subjects he has been compared to Giovanni da Udine. He +is also a great colorist; some of his early works approach +Rembrandt in their golden tone.</p> + +<p>Although his two most important works are in the galleries +of Vienna and Berlin, and splendid examples hang in +the Louvre, Dresden, and Cassel, the Mauritshuis owns two +very fine examples. One is a Table with Fruits, very +tasteful in arrangement and soft in treatment; the other is +a Garland of Flowers and Fruits, enlivened with insects.</p> + +<p>When Sir Joshua Reynolds visited the Prince of Orange's +collection, he saw these pictures and noted: "Fruits by De +Heem, done with the utmost perfection."</p> + +<p><b>His Greatness as a Painter of Fruits, Flowers, and +Insects.</b>—De Heem was one of the greatest painters of +still life in Holland; no artist of his class combined form +and color more successfully. His drawing is correct, and +his colors are brilliant and combined harmoniously. He is +familiar with every object of stone and silver, every flower, +whether humble or gorgeous, every fruit of Europe or the +tropics, every twig and leaf and blossom. Burger has said +of Heda, but it is true of De Heem, that "he glorified +insects, butterflies, and all the minute beings that swarm<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> +in vegetation, and made the moths drink in cups of chased +gold."</p> + +<p><b>His Pictures that point a Moral.</b>—De Heem was also +famous for his pictures that point a moral or illustrate +a motto—those canvases known as Vanitas. Here the +snake lies coiled under the grass; there a skull rests on +blooming plants. "Gold and silver tankards or cups suggest +the vanity of earthly possessions; salvation is allegorized in +a chalice amid blossoms; death, as a crucifix inside a wreath." +Sometimes De Heem painted alone, or with men of his +school, Madonnas or portraits surrounded by festoons of +fruits and flowers. He was so fond of the festoon that he +sometimes painted it alone. Sometimes, too, a nosegay is +figured alone.</p> + +<p><b>Cornelis de Heem's Subjects like those of his Father.</b>—The +Hague Gallery also owns Fruits by his son Cornelis +(1631-95). The latter painted precisely the same +subjects as his father and with scarcely less success. Still +life, flowers, fruits, oysters, and lemons on a plate; cold +hams, boiled lobsters, flowers, knives, forks, glasses, watches, +clocks, etc., are all treated by him with the utmost cleverness. +Crowe says:</p> + +<div class="blockquot"><p>"He is not inferior to his father in drawing and warmth of +color, and with an equally solid impasto, almost surpasses him +in melting softness of touch. He is, however, in rare instances, +somewhat gaudier. Under these circumstances it is easy to +understand that his works are often mistaken for those of his +father."</p></div> + +<p><b>Abraham Mignon, Pupil and Imitator of De Heem.</b>—Another +pupil was Abraham Mignon (1640-79), who is represented +in the Mauritshuis by Flowers and Fruits, and two +canvases called Summer Flowers, which show the influence +of his master. Mignon's fruits and flowers have all the +bloom of nature; his butterflies and other insects seem to +live and feed on the leaves, buds, and blossoms; and the +dewdrops on the leaves and petals have all the transparency<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> +of real water. He was very popular in his day and was +overwhelmed with commissions.</p> + +<p><b>Jacob Walscapelle.</b>—Jacob Walscapelle is also supposed +to have been a pupil of De Heem, and many of his pictures +have been attributed to one of the De Heems.</p> + +<p><b>Maria van Oosterwyck, an Excellent Painter of +Flowers.</b>—Another pupil was Maria van Oosterwyck +(1630-93), who usually painted flowers in vases or glasses, +and occasionally fruits. In 1882 the Mauritshuis acquired +a picture of Flowers, by this artist, who, perhaps, because of +the rarity of her pictures, is not so widely known as she +deserves to be. Although her flowers are not always arranged +with taste and the colors are often gaudy, yet Crowe +thinks she represents them with the</p> + +<div class="blockquot"><p>"utmost truth of drawing, and with a depth, brilliancy, and +juiciness of local coloring unattained by any other flower-painter. +At the same time, her execution, in spite of great finish, is broad +and free, and the impasto excellent."</p></div> + +<p>She was much admired in her day and received commissions +from Louis XIV., William III. of England, Augustus I. +of Poland, and the Emperor Leopold.</p> + +<div class="blockquot"><p><b>Jan <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">van Huysum</ins>, the Correggio of Flowers and Fruits.</b>—"If +De Heem, by the harmony of his warm golden color, be +called the Titian of flowers and fruits, Jan van Huysum's bright +and sunny treatment entitles him to the name of the Correggio +of the same branch of art. In masterly drawing and truth of +single objects, both masters may be classed on the same level, +only that De Heem's principal subjects were fruit; Van Huysum's +were flowers, in which he entered into greater detail; for +instance, in the gloss of the tulip, the pollen of the auricula, and +the dewdrop on the petal. It is to these merits, fitted as they +are to the capacity of the greater number of admirers of art, +that Van Huysum owed the eager demand for, and high payment +of his pictures by princes and wealthy amateurs, even in +his own day, and also that of all painters of his class he still +commands the highest prices."<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p></div> +<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> + +<p><b><ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Van Huysum</ins>'s Pictures in The Hague.</b>—Jan van Huysum +(1682-1749) is not so well represented in his own +country as in the Louvre (which contains eleven fine examples), +Berlin, St. Petersburg, Munich, Hanover, and +Dresden. The Rijks owns but six, and The Hague only +three,—an Italian Landscape, Fruits, and Flowers. The +two latter are such beautiful examples of Van Huysum's art +that they deserve study. In the one are found that marvellous +blush and downy bloom for which he was so famous, +while the other reveals his delicate treatment of petals and +his graceful arrangement. In Fruits, a peach, two plums, +a small bunch of grapes and some gooseberries are beautifully +grouped, as to form and color, on a marble table. Its +pendant, Flowers, is an exquisite picture of a full-blown +rose and a rosebud, a pink and a convolvulus, placed on a +marble console. A butterfly of the admiral variety has +alighted on the rosebud.</p> + +<p><b>His Earliest Works.</b>—In his earliest period he painted +landscapes representing views of imaginary lakes and harbors, +woods with tall, lifeless trees, 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 pieces. The Italian Landscape, which the Mauritshuis +acquired in 1816, is a very good example of this +style.</p> + +<p><b>Fruits and Flowers his Forte.</b>—It is doubtful if any +artist ever surpassed <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Van Huysum</ins> in the representation of +fruits and flowers, to which he finally devoted himself with +the greatest success. He set himself the task of surpassing +De Heem and Abraham Mignon; and he studied the most +exquisite fruits and flowers known. His taste in the arrangement +of his groups in elegant vases, of which the +ornaments and bas-reliefs were finished in the most polished +and beautiful manner, and in graceful baskets on +marble tables, is generally considered to be superior to +that of any other flower-painter. He also shows great art +in relieving flowers of various colors against each other, and<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> +often they stand out from a light transparent background. +His fame rose to the highest pitch, and the first florists of +Holland were ambitious of supplying him with their choicest +flowers for subjects. Naturally, therefore, we find on his +canvases beautiful groups and bunches of hyacinths, roses, +pinks, primroses, and other garden buds and blossoms.</p> + +<p><b>His Skill in depicting Dewdrops and Insects.</b>—With +marvellous skill he frequently introduces dewdrops of incomparable +transparency that trickle down the leaves or sprinkle +the fresh delicate petals. Butterflies and other insects are +also depicted with a truthfulness and precision that give +a perfect illusion, and often a bird's nest with eggs is +introduced.</p> + +<p><b>His Exquisite Taste.</b>—Jan <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">van Huysum</ins>'s pictures are +so bright that they have even been accused of being gaudy; +but no critic has yet found fault with his exquisite taste +and faultless velvet-like finish that seems to rival nature. +His fruit pieces are inferior to his flowers, though they are +worthy of great admiration. Those painted on a clear or +yellow background are the most esteemed, and are distinguished +from his early works, which are usually on a dark +one, by a superior style of pencilling and a more harmonious +color.</p> + +<p><b>Rachel Ruijsch.</b>—Another charming flower and fruit +painter,—noted especially for her flowers,—Rachel +Ruijsch (1664-1750), is represented in The Hague Gallery +by two Bouquets. In 1693 she was married, but she +always signed her maiden name, and in several ways,—Ruijsch, +Ruysch, and Ruisch. She took great pains with +her pictures, and the amount of time spent on them limited +their number. She is said to have given seven years to two +pictures, Flowers and Fruits, which she gave to one of her +daughters for a wedding present.</p> + +<p>Blanc has most sympathetically described her qualities. +He says:</p> + +<div class="blockquot"><p><b>Her Truthfulness to Nature.</b>—"Whether she is painting +the flowers of the gardens or those of the field, which she<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> +groups so beautifully on marble tables and calls around them +fluttering butterflies and droning bees, or beautiful ripe fruits +that refresh the eyes and mind, Rachel is always truthful, graceful, +and clever. A colorist, she frankly selects the brightest +tones and combines them marvellously; a draughtsman, she +reproduces splendidly the most complicated forms, while preserving +to each plant its individual elegance, its aspect, its way +of holding itself, and foreshortening."</p> + +<p><b>Her Love of Nature.</b>—"In all justice, therefore, the Dutch +rank Rachel Ruijsch among their most excellent painters. She +retained her love of nature in all its freshness; it even seems +as if she had a weakness for rustic beauty, and that she found +the same pleasure in wandering about the country that others +have in gardens and greenhouses. Sometimes she even mingles +thistles with her field flowers, which she carelessly throws +on a table; sometimes she chooses an old tree-trunk overgrown +with moss, upon which she places her bunch of spring blossoms, +while the insects hum around them, and the wings of a +beetle gleam through the shadow. Sometimes she brings a +green frog from some pool in the neighboring meadow and +gives him a place in her picture. 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 gardener, nor the little worm who moves his variegated +rings and spins his thread, destined to clothe magnificent ladies, +as he elevates himself into the air. Those insects that we +deem vile she honors in her paintings: she lets them lie on her +marble tables, crawl on the stem of the glass in which her +peonies and pinks are arranged; and she even allows them to +devour the plums and grapes of her picturesque collations. +Nothing, however, is more charming than her birds' nests, +lined with lightest down and tiny blades of grass, moss, and +straw, expressed with the art and industry of a wren or a +tomtit."</p></div> + +<p>The larger picture in The Hague Gallery is a charming +group of roses and tulips, with butterflies and insects.</p> + +<p>Rachel Ruijsch was a pupil of Willem van Aelst (1626-83?), +whose Flowers (dated 1663) and Still Life (dated +1671) hang in The Hague Gallery.</p> + +<p><b>Description of One of Willem van Aelst's Pictures.</b>—M. +de Burtin has described a picture by Willem van Aelst +which gives an idea of all the works of this master:<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> + +<div class="blockquot"><p>"A table covered with a crimson velvet carpet bordered +with golden fringe, on which stands a drinking-vessel of antique +shape half filled with Rhine wine. The sides of this glass +cup reflect several times and in different views the street with +the most magical and astounding way, and in the very centre +you see the reflection of the painter himself, holding his palette. +On one side of the cup are placed, on a glass dish, four superb +peaches and some roasted chestnuts; on the other side are +bunches of red and white grapes. Butterflies and other insects +add to the illusion, 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 yellow."</p></div> + +<p><b>Resemblance of his Work to that of <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Van Huysum</ins>.</b>—Although +his name is less celebrated than that of +Van Huysum, Willem Aelst is not very far removed from him in +his beautiful productions; and certainly he surpasses Evert +van Aelst (1602-58) who was his uncle and master. +Without carrying finish to excess and preserving a certain +freedom of touch, he knows how to express marvellously +the delicate wings of a butterfly, the down of a +peach, the dewdrops on a bunch of grapes, the feathers of +a dead bird, and the wrinkles of a game-pouch.</p> + +<p><b>In Favor with Princes and Cardinals.</b>—Many of his +works are in France, where he spent four years, and in +Italy, where he lived seven years filling orders for princes +and cardinals. He was only thirty years old when he returned +to his native town, Delft; but he removed to Amsterdam, +where his works brought high prices.</p> + +<p><b>His Favorite Subjects.</b>—The pictures by him representing +dead birds are, as respects picturesque arrangement, +finely balanced harmony of cool but transparent color, +perfect nature in every detail, and delicate, soft treatment, +admirable types of the perfection of the Dutch School. +Specimens of this class are a picture in the Munich Gallery +of two dead partridges and instruments of the chase, +and another in the Berlin Museum signed "W. v. Aelst, +1653," representing a marble table with two woodcocks +and other small birds, and two French partridges suspended<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> +above. His favorite subjects, however, were fruit and +other eatables, herrings, oysters, bread, etc., with glasses and +gorgeous vessels in gold and silver. Although Willem van +Aelst owed much to his uncle Evert van Aelst, so famous +for his dead birds and instruments of the chase, perhaps +he owed still more to his other teacher, <ins title="Transcriber's Note: Both 'Otho Marcellis' and 'Otto Marseus' (or vice versa) were used in this text. This was retained.">Otho Marcellis</ins> van +Schrieck (1613-73), who acquired celebrity, excelling in a +singular branch of art. He painted the humblest creatures,—frogs, +snails, lizards, worms, serpents, and curious plants. +The name of his master is unknown; but he painted +entirely from nature and is said to have kept a kind of +museum of serpents, vipers, insects and other curiosities. +These he studied with great attention, and drew them with +extraordinary fidelity and care, reproducing also their glowing +and metallic hues.</p> + +<p><b>Two Pictures by Beijeren, and Two by Seghers.</b>—Another +famous Flowers is that by Abraham van Beijeren (1620 +or 1621-75), which was acquired at the Van Pappelendam +sale in Amsterdam in 1889. A fine Fish and Lobster by +the same painter should also be studied. The visitor will +perhaps notice as he passes two pictures by Daniel Seghers +(1590-1661), one a garland of flowers around a statuette +of the Virgin; the other, a garland of flowers around the +bust of William III. The bust was a later addition.</p> + +<p><b>Other Painters belonging to the Same Group.</b>—An interesting +and curious work is Shells, by Balthasar van der +Ast (?-1656). There is also a still life (1644) by Pieter +Claez. To this group should be added Pieter Roestraeten +(1627-1700), famous for his great vases of gold and silver, +bas-reliefs, musical instruments, etc., which he designed +with precision. He spent most of his time in London, +where he was injured in the Great Fire (1666). Belonging +to the same group are Pieter de Ring and Willem Kalf, +whom we shall see in the Rijks, and the strange Christoffel +Pierson, whose specialty was still life (particularly the attributes +of the chase) and portraits. His works are very rare; +but a peculiar combination of portraiture and still life hangs<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> +in The Hague Gallery, representing the pastor of the Protestant +Church at Hoorn, Joris Goethals, and noticeable for +the number of hunting implements and objects hanging on +the wall. Though sombre and monotonous in tone, his +touch and drawing are masterly. He thoroughly understood +composition and distributed lights and shadows with +skill. Pierson was turned aside from painting historical subjects +and portraits by the success of Leemens, a painter of +dead game, guns, etc., and speedily surpassed his model.</p> + +<p>Jan van Os, Georgius Jacobus Johannes van Os, and +Marie Margrita van Os we shall see in the Rijks.</p> + +<p><b>Portrait of Rubens's Second Wife.</b>—Although Holland +is not the land where we can study Rubens (1577-1640) in +all his greatness, yet the Amsterdam Gallery and more particularly +The Hague Gallery possess some splendid pictures +by his hand. In the latter hang the portraits of his two +wives. That of his second wife, the buxom Helena, whom +he married on December 6, 1630, and who bore him five +children, is a masterpiece of the first rank; certainly an +entirely individual work of the artist's later period.</p> + +<p><b>Much of Rubens's Work done by his Pupils.</b>—Thus we +immediately come to the question: What has the master +himself and what have his pupils done on it? No master +has left behind him a larger amount of painted surface of +canvas and wood; but how unequal is the artistic value +of all this material! We know how that happened. Overwhelmed +with pressing orders and surrounded by a large +throng of sometimes very able pupils, he often only made +a sketch, leaving the chief work to his best pupils, and +finally adding a few corrections; perhaps here or there a +head or a figure that particularly interested him. Rubens +made no secret of this fact; he often openly acknowledged +what he and what his scholars had done on a work.</p> + +<p><b>Dr. Sperling's Visit to Rubens's Studio.</b>—An eye-witness, +the Danish physician, Otto Sperling, who visited Rubens's +studio in 1621, describes the master as walking up and +down in his vast hall among his many pupils, making<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> +remarks and going over a picture here and there finally with +a few brush-strokes. The Doctor jocularly adds: "It is supposed +that everything is the work of Rubens, by which this +man has amassed enormous wealth, and has been rewarded +by kings and princes with great gifts and many jewels."</p> + +<p><b>His Pupils not very often allowed to assist him in +Portraits.</b>—One should remember that this assistance of +his pupils was generally confined to his greater historical +pictures and church pieces; but the portraits that Rubens +painted are not always entirely the work of his hand. Sometimes +an order for a portrait was repeated, and his students +made the replica of a well-known personality. Rubens +painted portraits of small dimensions and then left them to +be enlarged by able pupils; but he himself added the final +touches.</p> + +<div class="blockquot"><p><b>Dr. Bredius on the Portraits of Rubens's Two Wives.</b>—"Even +in the case of the portrait of one of his wives, we are not +quite sure whether the work is exclusively his own. There +exist such a marvellous number of these portraits, and, moreover, +of such varied artistic value, that we must at last conclude +that the family and friends of these ladies, who belonged to the +best families in Antwerp, all ordered portraits from Rubens, +who painted some of them entirely and others only in part.</p> + +<p>"While, for example, the present portrait of Rubens's first +wife, Isabella Brandt, whom he married in 1609, betrays the +master's own hand in the head and in part of the costume, the +hands look to me to be so extraordinarily like Van Dijck's work +that I ask myself whether the latter (about 1618) might not +have had some part in this portrait. On the other hand, the +portrait of <ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Helena Fourment</ins>, whom he married in 1630 (Isabella +Brandt died in 1626) is handled with such a gush, although very +rapidly and with such geniality that hardly anybody would say +that this spirited portrait is not all his own.</p> + +<p>"What flesh! what brilliance! what glow of color! what virtuosity +in the painting of the details and the material! What +life streams from this warm, youthful, proud wife upon her +husband!"</p></div> + +<div class="figcenter" style="width: 379px;"> +<img src="images/illus138.jpg" width="379" height="500" alt="RUBENS + Helena Fourment" title="" /> +<span class="caption">RUBENS<br /> +<ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Helena Fourment</ins></span> +</div> + +<p>Sir Joshua Reynolds describes these portraits thus: "Two +portraits, Kitcat size, by Rubens, of his two wives, both fine<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> +portraits, but <ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Eleanor Forman</ins> is by far the most beautiful +and the best colored."</p> + +<p><b>Description of Helena's Portrait.</b>—This is one of the +most beautiful of all Rubens's portraits of his second wife. +Her face and figure are not only wonderfully modelled and +painted, but her red mouth has a sweet, half-smiling expression, +and dimples are ready to break out at any moment +and render the brilliant face even more brilliant. The eyes +are lustrous and handsome, beneath finely arched brows. +The light silky hair is roped with pearls, and a long plume +falls gracefully from the coquettish toque of velvet adjusted +at an angle that suits the face exactly. A pearl necklace +and earrings adorn the ears and snowy neck, a magnificent +jewel with three pear-shaped pearls for pendants clasps the +front of the dress, jewels ornament the sleeves, and a great +rope of goldsmith's work passes from shoulder to shoulder. +She wears a light blue satin dress the sleeves of which are +slashed with white, and a black velvet cloak with gold buttons +and a fur collar. The sleeves end with delicate filmy +frills at the wrist, and she gracefully holds in her hand a +couple of beautiful pink roses. The background is gray and +the curtain is red. This picture was painted in 1634, four +years after Rubens's marriage to the daughter of Daniel +Fourment.</p> + +<p>After Rubens's death the beautiful Helena was married to +Jan B. Broekhoven, Baron of Bergeijck. She died in 1673.</p> + +<p><b>Burger's Admiration for the Portrait of the First Wife.</b>—Not +far away from her portrait hangs that of Isabella +Brandt, painted in 1620. Burger admired it more than +that of Helena, and went into ecstasies over the "beautiful +hands" crossed over her girdle. Isabella is dressed in +black, with a square and low-cut bodice and a gauze fichu. +Her hair is adorned with pearls.</p> + +<p><b>Portrait of Father Ophovius.</b>—The Mauritshuis possesses +also a famous portrait by Rubens of quite another +character; this is that of a friend whom he had sufficient +influence to have made Bishop of Bois-le-Duc, the Rev.<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> +Father Michael Ophovius, a Dominican monk. He is seen +full face in the costume of his order. He has an energetic +head and is in robust health. It is a broad and vigorous +painting, and formerly adorned the Dominican monastery +at Antwerp.</p> + +<p><b>Two Pictures painted Partly by Rubens.</b>—Two other +pictures by Rubens should be studied. Adam and Eve in +Paradise, in which, however, only the figures are by Rubens +(Dr. Bredius thinks the horse also); while the landscape +and other animals are by Jan Brueghel, also called Velvet +Brueghel. The latter also painted the landscape in the +Naiads Filling the Horn of Plenty, a picture that was once +attributed to Van Bolen, but now to Rubens. It is interesting +to compare the landscape of the Terrestrial Paradise +by Jan Brueghel (Velvet) with the landscapes in the above-mentioned +pictures.</p> + +<p>Copies of six pictures by Rubens are also owned by this +gallery.</p> + +<p><b>Portraits by Van Dijck in The Hague.</b>—There are only +three portraits by Van Dijck (1599-1641) in The Hague +Gallery: Portrait of Sir —— Sheffield, painted in 1627; a +Portrait of Anna Wake, his Wife, painted in 1628; and a +Portrait of the painter, Quintijn Simons. Of the latter, Sir +Joshua Reynolds said:</p> + +<div class="blockquot"><p>"A portrait by Van Dyck of Simon the painter. This is one +of the very few pictures that can be seen of Van Dyck which is +in perfect preservation; and on examining it closely it appeared +to me a perfect pattern of portrait-painting: every part is distinctly +marked, but with the lightest hand and without destroying +the breadth of light; the coloring is perfectly true to nature, +though it has not the brilliant effect of sunshine, such as is seen +in Rubens's wife; it is nature seen by common daylight."</p></div> + +<p><b>A Picture by Frans <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snijders</ins>.</b>—Anthonie van Dijck is +said to have painted the huntsman in the picture of still life +and game by which Frans Snijders is represented here. +Fuller knowledge of Snijders, however, is to be gained in +the Rijks.<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> + +<p><b>A Picture by Several Artists.</b>—One of the most curious +and interesting pictures in the entire gallery is The Interior +of a Picture Gallery, painted by a number of Antwerp artists, +but which is catalogued under the name of Gonzales Coques +(1618-84). This artist and his family are represented in +the centre of a picture gallery, and are by the hand of +Coques himself. The pictures on the walls were painted +by pupils of Rubens, Van Dijck, Rembrandt, and others, +and represent still life, landscapes, mythological and allegorical +scenes. Many of them possess great charm. On the +left are: the Meeting of Christ and a Centurion, by Pieter +Yykens (1648-95); The Earth, an allegory, by Erasmus +Quellinus (1607-78); an Italian Landscape, by Antoni +Goubau (1616-98); The Metamorphosis of Ascalaphus, +by Carel Emanuel Biset (1633-after 1691); A Boar Hunt, +by Peter Boel (1622-89); a Moonlight and Landscape, +signed J. v. K.; a Landscape, by Pieter van Bredael (1629-1719), +signed P. v. B.; a Marine (unknown); The Nymphs +Spied On, by Jan de Duyts (1629-76); and a Marine, +by Jan Peeters (1624-77). Above the door in the +centre are two pictures: The Judgment of Paris, by +Theodoor Boeyermans (1620-78), and Leda, by the same +artist. On the left: The Triumph of Silenus, by Jan Cossiers +(1600-71); Water, an allegory, by Theodoor Boeyermans; +the Four Seasons, by the same artist; a Landscape +(unknown); Still Life (unknown); The Descent from the +Cross and View of a City, both by Johan van den Hecke +(1620-84); Landscape (unknown); a Village Festival, by +Peter Spierinckx (1635-1711); a Landscape, by Johan van +den Hecke (1620-84), and Bathers, by the same artist; +Still Life, by Peter Gysels (1621-90); and a Venus and +Adonis, by Casper Jacob van Opstal (1654-1717). The +architecture of the room was painted in 1674 by Willem van +Ehrenberg (1637-about 76). The picture is 5-3/4 feet high +by 7 feet broad, and was offered in 1683 by the Brotherhood +of Painters in Antwerp to Jan van Bavegom, Procureur +of the Court of Brussels, as a reward for the services<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> +he had rendered to the Brotherhood in the lawsuit against +the armies of the Six Guilds. It finally became the property +of William V.</p> + +<p><b>"The Little Van Dijck."</b>—Gonzales Coques was a pupil +of Pieter Brueghel III. and David Ryckaert, whose daughter +he married. He was fond of painting portraits of his +family walking in a park or engaged in various occupations +and pleasures indoors; and very frequently he was assisted +by other artists, as in the case of the picture just described. +Coques was a man of letters, and presided over the Chamber +of Rhetoric in his native city, Antwerp. His elegance, +taste, and delicacy have procured for him the name of +"The Little Van Dijck." In his own day he enjoyed +great renown, and was honored with orders for pictures +and presents from many sovereigns, including Charles I. of +England, the Prince of Orange, and the Archdukes of +Austria.</p> + +<p><b>Francken, Painter of Allegories and Festive Scenes.</b>—A +historical picture of interest is that of A Ball at the Court +of Albert and Isabella in 1611, by Frans Francken the +Younger (1581-1642). He was famous for his scenes from +the Bible, allegories, landscapes, mythological pictures, +and particularly for his balls, masquerades, and other scenes +of festivity in which he introduced figures of small size. +Frequently, too, he painted figures in the pictures of the +elder Neeffs, the younger De Momper, and <ins title="Transcriber's Note: 'Bartelmees,' 'Bartholomew,'and 'Bartholomeus' van Bassen were used in this text. This was retained.">Bartelmees</ins> van +Bassen.</p> + +<p><b>Description of the Picture of a Historical Ball.</b>—This +ball scene, which belonged to William V. at Het Loo, was +painted between 1611 and 1616. The couple who are +dancing in the centre are Philip William of Nassau, Prince +of Orange, and his wife, Eleonore de Bourbon, Princess of +Condé. Albert and his wife, Isabelle Claire Eugénie, and +five other portraits are by the hand of Frans Pourbus the +Younger.</p> + +<p><b>Pictures by Vinck Boons and Droochsloot.</b>—Pictures +of peasants enjoying the <i>kermesse</i>, by David Vinck Boons<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> +(1578-1629), (1622), a landscape and genre painter, whose +figures are often of repulsive ugliness, and by J. C. Droochsloot +(1586-1666), also represented by a Dutch Village +(1652), bring us to a more brilliant painter of such scenes.</p> + +<p><b>David Teniers the Younger a Conspicuous Painter of +Still Life.</b>—David Teniers the Younger (1610-90) is one +of those Flemish painters who were known and sought +after in Holland during their lifetime. This may have +arisen from the fact that he was closely allied with the Dutch +school and with Brouwer, who lived and worked for a long +time in Holland and was very highly prized there. Teniers +painted in particular little cabinet pictures, soldier scenes, +alchemists and cooks, and in them often showed a conspicuous +love of still life, so greatly liked in Holland. Another +circumstance which must be taken into consideration is that +his brothers Hendrik and Julius, both painters, 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 brother.</p> + +<p><b>The Resemblance of his Pictures to those of his Master.</b>—The +younger Teniers developed himself principally in +the school of Adriaen Brouwer. Some of his early pictures, +painted between 1630 and 1640, stand so closely sometimes +beside those of Brouwer that they have been attributed to +the latter. In his first period, Teniers, quite trickily copied +Brouwer's real types, and many of his mannerisms, such as +the famous red cap which he so often put on his figures. +The spirited painting, the clear bright light with the finely +expressed chiaroscuro, and the beautiful harmony of tone +he followed in the happiest way. He became Brouwer's +successor; and he is greatest when he is still under the +inspiration of his great prototype. Splendid pictures of +this style are possessed by the Museums of Madrid, the +Louvre, Berlin, Dresden, St. Petersburg, and many of the +great private collections.</p> + +<p><b>A Gradual Change in the Tone of Teniers's Pictures.</b>—About +1650 the warm golden tone of the master falls more<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> +and more into a cooler silver tone. Bright and clear in the +highest degree are the treasured works of this period. At +the end of his life, however, he grades more and more into +a brown, dull tone far removed from the vigor and transparency +of his youth. Still in his old age he maintained a +careful drawing, a great completeness in the painting, only +the very last pictures show that the hand of the old man at +length had begun to tremble.</p> + +<p><b>Description of The Good Kitchen.</b>—The Hague possesses +two fine examples of this artist. In The Good Kitchen, +a splendid work of his middle period, painted in 1644, he +delights us especially with masterly representation of assembled +details. Magnificently painted are the fish and fowl, +pots and kitchen stuff; only, perhaps, is the background +keyed up a little too high. The figures, as unfortunately so +frequently happens with Teniers, are somewhat uninteresting; +only the little boy who is holding the dish for his +mother (evidently the portrait of a child) looks out at us in +a lifelike and endearing manner.</p> + +<p>A famous kitchen it is, in fact; and it is evident that a +feast of some consequence is in preparation. Fowl, game, +fish, vegetables, fruits, all are there on the tables and the +floor. In the background, before a big fire, a cook is roasting +joints, and a man and woman are very busy close beside +him. In front, in the middle, and in the bright light, +is seated the young mistress of the house, also aiding in the +preparations. For the moment she is peeling a lemon, and +the little boy is standing beside her holding a plate. She +wears a blood-colored skirt, and on her sky-blue bodice +expands a broad collar of a whiteness that Metsu would +envy. The whole is very ably and broadly painted with +that just and free touch and those spirited accents which +characterize the technique of Teniers. It is painted at the +beginning of his best period when his silvery period begins: +he was then thirty-four years old.</p> + +<p>Burger cleverly says: "Like certain of those fishes that +he has painted so well, Teniers is excellent between the<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> +head and tail." The Good Kitchen is painted on copper +and is only two feet and a half broad. A small picture on +wood shows an alchemist with a gray beard seated beside a +table holding a book. His assistant is kneeling beside a +furnace.</p> + +<p>Sir Joshua Reynolds said:</p> + +<div class="blockquot"><p>"The works of David Teniers, Jun., are worthy the closest +attention of a painter who desires to excel in the mechanical +knowledge of his art. His manner of touching, or what we call +handling, has perhaps never been equalled: there is in his pictures +that exact mixture of softness and sharpness which is +difficult to execute."</p></div> + +<p><b><ins title="Transcriber's Note: Both 'Tilborch' and 'Tilborgh' were used in this text. This was retained.">Tilborgh</ins>'s Picture of A Dinner.</b>—We must not neglect +now to look at the one picture by Tilborgh, A Dinner, particularly +interesting on account of the personages represented.</p> + +<p><ins title="Transcriber's Note: Both 'Tilborch' and 'Tilborgh' were used in this text. This was retained.">Tilborgh</ins> (1625-78), supposed to have been a pupil of +Teniers, certainly follows him in choice of subject—interiors +of taverns, peasants <ins title="Transcriber's Note: Both 'merry-making' and 'merrymaking' were used in this text. This was retained.">merry-making</ins>, <i>kermesses</i>, village feasts, +etc. He was popular in his day,—even more so, it is said, +than Teniers himself. The dinner is taking place in the +home of Adriaen van Ostade, who is seated in the middle, +with his wife on his right, beyond whom are a man and a +woman. On the left is Paul Potter, with long hair and +a large hat, dressed in a pearl-gray doublet and red stockings. +His general appearance is very gay, and quite a contrast +to the melancholy portrait by B. van der Helst, which +also hangs in this gallery. Near Potter stands his silly little +wife, dressed in light blue,—a not specially graceful figure. +Two other painters are standing on the left, talking together. +Burger thinks they may be Tilborgh himself and Isaak van +Ostade.</p> + +<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> +<hr /> + +<h2>THE RIJKS MUSEUM</h2> + +<h3>THE WAY TO THE RIJKS</h3> + +<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p> + +<p>On taking the tramway at the Dam, the traveller will +find the short trip to the Rijks Museum a very pleasant +one. The car glides rapidly through a busy part of +Amsterdam, crossing canal after canal,—the Singel, Heeren, +Keizers, and Prinsen grachts,—bordered with leafy trees and +houses that present a picturesque appearance. Alighting at +Willems Park, on the canal long known as the Buiten Singel, +or outer girdle, separating the old from the new town, we +walk a short distance along the Stadhouders-Kade to the +imposing red brick building with granite bands, arches, +tympans, entablatures, etc., in the transition style between +the Gothic and the Dutch Renaissance, which covers nearly +three acres of ground. The principal <i>façade</i>, turned toward +the Buiten Singel, presents a somewhat majestic appearance, +with its two fine towers and central gable surmounted by a +statue of Victory, by Vermeylen.</p> + +<p><b>History of this Collection.</b>—Before entering, we may +note that this splendid Museum was opened in the name +of the King of Holland in 1885. Perhaps we may pause +also to recall the history and development of this great collection, +which was formed of the remnant of the pictures +and curiosities left by the last Stadtholder, William V.</p> + +<p>In 1798 the Government decreed the formation of a +National Museum, and this was installed in the Huis ten +Bosch (House in the Wood), near The Hague, and opened +to the public in 1800. From time to time the collection +was increased by purchases, and in 1805 it received the<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> +name of Cabinet National. When the King of Holland +removed his residence, however, from Utrecht to Amsterdam, +in 1808, he ordered that a Royal Museum for the +preservation of pictures, drawings, prints, sculpture, carvings, +engraven gems, antiquities, and curiosities of all kinds +should be formed.</p> + +<p><b>Opening of the Royal Museum in 1808.</b>—This Museum +was opened in the Palace on the Dam in December, 1808. +Here were gathered ninety-six pictures from the National +Museum of 1798 (one hundred and fifty-four remaining pictures +being sent to The Hague); fifty-seven pictures bought +in 1808 at the sale of G. van der Pot van Groeneveld in +Rotterdam; eight old pictures given by The Hague in 1808; +seven old pictures lent by the city of Amsterdam (among +them The Night Watch and Syndics and The Banquet of the +Civil Guard); six pictures and a marble statuette by J. B. +Xavery, given by Baron van Spaen de Biljoen; a few +modern pictures bought at the exposition of 1808; one +hundred and thirty-seven pictures forming the Van Heteren +Collection, bought in 1809 for 100,000 florins; and seven +pictures bought in the same year at the Bicker sale; several +casts of antique statues from the Musée Napoléon of Paris; +and some antiquities found chiefly in Drenthe.</p> + +<p><b>Removal to the Trippenhuis.</b>—In 1810 the name was +changed from the "Royal Museum" to the "Dutch Museum," +and in 1814 the collections were transferred to the +Trippenhuis, where they remained until 1885.</p> + +<p><b>Numerous Additions from 1825 to 1885.</b>—In 1825 +some pictures were exchanged with the Royal Museum at +The Hague (Mauritshuis); and in 1828 some duplicates +were sold for 23,701 florins, with which sum other pictures +were purchased. In 1828 William I. made a present of +some pictures he had acquired at the Brentano and Muller +sales to the State Museum, as it was now called.</p> + +<p>In 1838 many of the modern pictures were transferred +to the Paviljoen Welgelegen, which became, therefore, a +gallery of the works of living painters of the Netherlands;<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> +and this collection was gradually enriched by gifts and purchases. +In 1885 the one hundred and eighty-four pictures +of this collection were sent to the Rijks.</p> + +<p><b>Bequests.</b>—The principal bequests have been as follows: +Madame la Ve Balguerie Van Rijswijck, twenty-two family +portraits (1823); M. L. Dupper, Wz., sixty-four superb +pictures (1870); Mlle. J. E. Liotard, an enamel of great +value, and fifteen pastels by the Genevese painter, J. E. +Liotard, to which Mme. Liotard sent six other pastels by +the same artist in 1885 (1873); Jhr. Me. J. de Witte van +Citters some objects of art, curios, prints, and thirty-five +family portraits (1875); Mme. J. J. van Winter Bicker, +forty-four portraits of the Bicker family (1879); Jhr. J. S. +H. van de Poll, fifty-two pictures of great value (1880); +and a gift of Jhr. J. S. R. van de Poll, comprising thirty-five +family portraits.</p> + +<p><b>Two Important Collections added.</b>—Two important collections +have yet to be mentioned: the famous Van der +Hoop Collection and The Collection of Contemporary Art. +The former was gathered by M. Adriaan van der Hoop, +head of the house of Hope & Co., and knight of several +orders, who made a magnificent collection of about two +hundred and twenty-four ancient and modern pictures. +These he left to the city of Amsterdam in 1854. It was +lodged in the Académie des Beaux Arts until removed to +the Rijks in 1885. In 1880 Mme. Van der Hoop left +twenty-four more pictures, which had adorned her house, +to complete the gift. The Collection of Contemporary Art +is the work of an association of Amsterdam art-lovers +founded in 1875.</p> + +<p><b>The Staircase and the Rembrandt Room.</b>—Before ascending +the stairs guarded by two lions couchant, we may +stop to notice a picture by Pieter Cornelisz van Rijck +(1568-16—), representing an old Dutch kitchen with all +sorts of eatables, and in the background a feast representing +the parable of the Rich Man and Lazarus. This staircase +leads to the Entrance Hall, from which we go to the Grand<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> +Gallery, which leads directly into the famous Rembrandt +Room, in which The Night Watch holds the place of honor. +The Grand Gallery is bordered on each side by four compartments, +or cabinets, hung with pictures of the seventeenth +century.</p> + +<p><b>A Tour through the Rooms.</b>—To the left of the Rembrandt +Room is the Carlovingian Room; and from this we +pass into International Hall, where pictures of foreign masters +are gathered. In the next room are assembled the +oldest pictures of the Dutch School. The next room contains +masters of the sixteenth century, and next to it comes +Dupper Hall, devoted to the glorious period of Dutch art, +the seventeenth century. Here are sixty-four paintings, +many of which are masterpieces. Next comes Van der +Poll Hall with fifty-two pictures, then the Hall of Anatomy +Pictures, and next Portrait Hall. From this we visit the +five cabinets, containing such pictures of the Old Dutch +School as from their small dimensions and minute finish +are best seen in small rooms. On the opposite side of the +vestibule are five similar cabinets with similar pictures. Beyond +these is Pavilion Hall, containing portraits, many of +which are painters' portraits of themselves. Then come +the Van der Hoop <ins title="Transcriber's Note: original reads 'Musuem'">Museum</ins> and two galleries of modern +pictures, one of which is called Waterloo Hall, because of +The Battle of Waterloo, by J. W. Pieneman, hanging there. +From this we enter the Old Dutch Governors' Room, representing +a typical room of the seventeenth century with allegorical +ceiling, tapestries, and old furniture. From this we +pass into the adjoining Gold Leather Room, where there is +a picture representing a marriage party, and a collection of +drinking vessels of the seventeenth and eighteenth centuries +in one of the cupboards. The Dutch Governors' +Room leads into the Rembrandt Room, which again leads +us into the Grand Gallery, our starting point.</p> + +<p><b>Rembrandt's Work in his Middle and Last Periods.</b>—We +have seen in The Hague the great works of Rembrandt's +early period; in the Rijks we find the full flowering of his<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> +genius in his middle and last periods. The Night Watch +was painted in 1642; the Portrait of Elizabeth Bas, about +1645; the fragment of the Anatomy picture, representing +Dr. <ins title="Transcriber's Note: 'Deyman,' 'Deyment,' and 'Deeman' were used in this text. This was retained.">Deyman</ins>, in 1656; The Syndics, in 1661; and The +Jewish Bride, or Ruth and Boaz, about 1663. The Rijks +owns two other pictures: a mythological composition and +the head of his father, painted in Leyden in 1630.</p> + +<p><b>Description of The Night Watch.</b>—Let us look carefully +at The Night Watch, Rembrandt's most famous picture +and also his largest (11 feet by 14). It was painted +in 1642, ten years after the Lesson in Anatomy, for the +Kloveniers Doele (Arquebusiers Shooting Company).</p> + +<p>The great Sortie of the Banning Cock Company, which +is the more correct name for The Night Watch, represents +twenty-nine life-sized civic guards issuing from their guardhouse +in a great state of bustle and confusion, while the +drums beat and the dog barks. The dominant color is the +citron-yellow uniform of the lieutenant, wearing a blue sash, +while a Titian-like red dress of a musketeer, the black velvet +dress of the captain, and the varied green of the girl +and the drummer, all produce a rich and harmonious effect. +The background has become dark and heavy by accident +or neglect, and the scutcheon on which the names are +painted is scarcely to be seen.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p> + +<p>In the middle, in front, marches the captain in a dark +brown, almost black, costume, at his side Lieutenant Willem +van Ruitenberg, in a yellow buffalo jerkin, both figures in +the full sunlight, so that the shadow of the captain's hand +is distinctly traceable on the jerkin. On the right hand of +the captain are an arquebusier loading his weapon, and two +children, of whom the one in front, a girl, has a dead cock +hanging from her girdle (perhaps one of the prizes). On +a step behind them is the flag-bearer, Jan Visser Cornelissen. +The other side of the picture is pervaded with similar life +and spirit, from the lieutenant to the drummer, Jan van +Kamboort, at the extreme corner, who energetically beats<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> +his drum. In an oval frame on a column in the background +are inscribed the names of the members of the +guild.</p> + +<p><b>The Night Watch a Misnomer.</b>—The remarkable chiaroscuro +of the whole picture (seen to greatest advantage in +the afternoon) has led to the belief that Rembrandt intended +to depict a nocturnal scene; but the event represented +really takes place in daylight, the lofty vaulted hall +of the guild being lighted only by windows above, to the +left, not visible to the spectator, and being therefore properly +obscured in partial twilight. The peculiar light and the +spirited action of the picture elevate this group of portraits +into a most effective dramatic scene, which ever since its +creation has been enthusiastically admired by all connoisseurs +of art. Each guild member represented paid 100 +florins for his portrait, so that, as there were originally +sixteen in the group, the painter received 1,600 florins for +his work. The painting was successfully cleaned by Hopman +in 1889.</p> + +<p>The picture is so deeply enveloped in shadow that it is +some time before the spectator can see figures emerge, +although they always retain something of a supernatural +quality, derived partly from the phosphorescent gleams that +here and there illuminate faces, figures, drum, <ins title="Transcriber's Note: Both 'halberds' and 'halberts' were used in this text. This was retained.">halberds</ins>, +flag-pole, and lances.</p> + +<p><b>The Mutilation of the Picture.</b>—When The Night Watch +was removed from the Kloveniers Doele to the small military +council chamber of the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> on the Dam, in +1715, portions of it were cut off on the right and left and +at the bottom, which has greatly interfered with its appearance. +A photograph of an old drawing hangs near the +picture, which shows the (supposed) original form of the +composition.</p> + +<p><b>The Syndics.</b>—Some critics consider The Syndics Rembrandt's +greatest achievement; and all are agreed that it is +one of the finest groups of portraits ever painted. This +work, finished in 1662—twenty years after The Night<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> +Watch—was ordered by the Guild of Clothmakers, who +wished to have a portrait group of their Syndics to hang +in their chamber at the Staalhof (sample hall) in the +Staalstraat in Amsterdam.</p> + +<p><b>Rembrandt's Special Traits exhibited in this Picture.</b>—Here +Rembrandt's special traits are exhibited: his wonderful +treatment of light, his grouping of figures, and his +study of character. The five <ins title="Transcriber's Note: original reads 'Snydics'">Syndics</ins>, all dressed alike in +black with flat white collars and broad-brimmed-high-crowned +hats, are grouped around a table verifying their +accounts. The yellow oak wainscot behind them and the +scarlet <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins> contribute the only color to the sombre +group.</p> + +<p>Six canvases of portraits of Syndics formerly hung in the +Staalhof, the oldest of which was painted in 1559. Only +two now remain: the one by Rembrandt, and another, also in +the Rijks, by Aert Pietersen, painted in 1599. Upon the +frame of the latter is a Dutch inscription, which, translated, +reads:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Consider your oath<br /></span> +<span class="i0">In what you know.<br /></span> +<span class="i0">Live uprightly.<br /></span> +<span class="i0">Through favor or hatred<br /></span> +<span class="i0">Or self-interest<br /></span> +<span class="i0">Don't give an opinion."<br /></span> +</div></div> + +<p>Rembrandt's five Dutch gentlemen look as if they had +closely followed this excellent moral advice.</p> + +<p><b>Description of The Jewish Bride.</b>—The Jewish Bride +depicts two life-size figures, standing and seen to the knees, +one a young woman dressed in a red gown with white sleeves +and white cape. Her complexion is rosy, and she has an +abundance of brown hair. She is simply covered with +jewels,—a comb, earrings, collar, large chain, bracelets, +rings of pearls, and sparkling gems. Her face is tranquil +and radiant. Her gallant companion is about to embrace +her, his face full of tenderness. He wears a long wig with<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> +curls falling over his shoulders and has no beard; this was +the fashion after 1660. He has a large black cap on his +head, and his pourpoint, mantle, and wide and embroidered +sleeves are yellow. The head of the man is very highly +finished, slightly recalling in manner those in The Syndics; +but his clothing is somewhat hastily done. The picture is +unfinished, but in the dark fantastic background some +architecture with foliage and a vase of flowers suggesting a +park may be discerned to the left; also the vague form of a +dog. On the right, there are some shrubs and a wall. +Burger thinks this was painted in 1669, the last year of +Rembrandt's life. The canvas is about five feet long and +four feet high.</p> + +<p><b>The Celebrated Portrait of Elizabeth Bas.</b>—The portrait +of Elizabeth Bas, the widow of Lieutenant Admiral Joachim +Swartenhout, painted in 1642, is considered one of Rembrandt's +most celebrated portraits. Seated in an easy chair +and wearing a rich dress profusely ornamented with buttons, +the stern, commanding face of the old lady looks directly at +the spectator. Her marvellously painted hands are folded +over a handkerchief, and she wears a cap and a fluted ruff.</p> + +<p>Two other portraits by Rembrandt can be seen here: +one, of a lady; and the other, of his father (a copy).</p> + +<p><b>Multiplicity of Portraits in the Rijks.</b>—In the Rijks +Gallery portraits, either single or groups, outnumber all +other branches of art. Some of these have a world-wide +reputation, while others are interesting only to the special +student. No less famous than Rembrandt's Elizabeth Bas +is that of another old lady, Maria Voogt, Madame van der +Meer, painted by Frans Hals in 1639, which hangs in the +Van der Hoop Room.</p> + +<div class="blockquot"><p>"An old woman is seated in an arm-chair almost full face and +of natural size. She is dressed in black velvet, with a white +ruff. Her right hand holds a book with a silver clasp, the left +hand rests on the arm of the chair. The tone is neutral. A superb +portrait of the first order. You read above the coat-of-arms +<i>Ætatis suæ</i> 64. <i>A<sup>o</sup></i> 1639."<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p></div> +<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> +<p><b>Hals's Portrait of Himself and his Wife.</b>—Hals's portrait +of himself and his wife, Lysbeth Reyniers, represents the +couple as life-size and seated in a rather uncomfortable position +on a bank under the trees, in a garden ornamented +with statues and fountains. In the distance a peacock +struts; and the scene is so cheerful that the smiling faces of +Hals and his wife are quite explicable. The latter's ruff is +of enormous size and marvellously painted.</p> + +<p><b>Hals's The Jester.</b>—Hals always loved to render the face +in action, to fix forever a rapid fleeting expression; and one +of his most notable achievements is the famous Jester owned +by Baron Rothschild in Paris. As few art lovers can ever +have the chance of seeing this masterpiece, the admirable +copy that hangs in the Rijks, said to have been made by +Dirck Hals, should be carefully examined. The canvas is +variously known as The Jester, The Fool, The Mandolin +Player, and The Lute Player; and is said to be a portrait of +the artist's pupil, Adriaen Brouwer; but whoever he is, he is +a rascally, impudent fellow with a mocking, cynical smile, +and belongs to the same class as Touchstone, Dogberry, +Launcelot Gobbo, and other of our prized and disreputable +Shakespearian acquaintances. Hals's Jester is a creation. +Look at the vagabond well, first because he will soon twang +the chords of his lute, break out into a song of the day, +then doff his cap and beg for money. Look at the pose of +his left hand and the strong, flexible thumb. He can <i>play</i>. +Next look at the artist's work and note the broad sweeps of +the brush that so simply but surely create the features and +expression.</p> + +<p>A Jolly Man is another of Hals's pictures that may be +classed as portraits, a splendid piece of work. Go closely +up to the picture and notice how the broad brush strokes +are made.</p> + +<div class="figcenter" style="width: 406px;"> +<img src="images/illus158.jpg" width="406" height="500" alt="MOREELSE +The Little Princess" title="" /> +<span class="caption">MOREELSE<br /> +The Little Princess</span> +</div> + +<p><b>Moreelse's The Little Princess.</b>—A very charming portrait +is that of The Little Princess by Moreelse. The child +looks somewhat demurely at the spectator, with large brown +eyes. Her face is round, her forehead high, and her light<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> +brown hair, brushed severely from her face, is ornamented +with a pink rose held in place by a jewelled band. Her +large earrings are coral and pearl. A necklace and bracelets +of three rows of handsome pearls adorn her neck and +wrists, and a brooch containing a miniature set with jewels +fastens the rosette at the point of her collar. Her dress is +of dark green velvet embroidered with gold and fastened by +rich girdles and chains. Marvellously indeed has the artist +executed the lace and transparent lawn of which the "butterfly" +ruff and dainty cuffs are made. The little right hand +rests lovingly on the head of a King Charles spaniel, whose +neck is adorned with bells. An old rose curtain gives a +charming note of color to the background.</p> + +<p><b>Moreelse's Great Success as a Portrait-painter.</b>—Paulus +Moreelse (1571-1638), a native of Utrecht and a pupil and +follower of Mierevelt in Delft, became so successful as a +portrait-painter that all the great ladies desired to sit to +him. He visited Rome in 1604, and on his return painted +for a time historical and architectural subjects. He was +also a capable engraver and architect.</p> + +<p><b>Other Portraits by Moreelse.</b>—In addition to The Little +Princess, we may see in this gallery a very fine portrait of +Maria van Utrecht, wife of Joan van Oldenbarnevelt, at the +age of sixty-three (1615); also a Portrait of Himself; one +of A Woman; another of Frederick V., King of Bohemia; +another of Colonel Wtenhoghe; and The Beautiful Shepherdess, +dated 1630, with flowers and a veil on her head, +yellow draperies, and a rake in her hand. This picture +was purchased for 2,150 florins in 1817. In all probability +it is a portrait.</p> + +<div class="figcenter" style="width: 351px;"> +<img src="images/illus162.jpg" width="351" height="500" alt="MIEREVELT +Prince Maurits of Nassau" title="" /> +<span class="caption">MIEREVELT<br /> +Prince Maurits of Nassau</span> +</div> + +<p><b>Mierevelt, a Popular Portrait-painter.</b>—Michael Mierevelt +(1567-1641), the son of a goldsmith and pupil of Anthony +van Montfoort at Utrecht, attained notoriety by his +portraits of some of the princes of the House of Nassau. +From that time he was never without orders; and he is +supposed to have painted a greater number of portraits +than any other artist of his country. Mierevelt spent most<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> +of his life in Delft. The Rijks contains a great number of +his works, among which are: portraits of Jacob Cats; Johan +v. Oldenbarnevelt; F. Hendrik; Philips Willem, Prince of +Orange; Prince Maurits; Johannes Uitenbogaert; Frederick +V., Elector of the Palatinate; Lubbert Gerritz; Paulus +van Beresteyn; Volckera Nicolai; Henrick Hooft, and of +Aegje Hasselaer, wife of Henrick Hooft.</p> + +<p><b><ins title="Transcriber's Note: original reads 'Portaits'">Portraits</ins> by Honthorst.</b>—The student of history and +lover of portraits will be attracted by the following +Honthorsts: Frederick Wilhelm, Elector of Brandenburg, +and his wife, Louise Henriette of Orange; William II., +Prince of Orange; William II. with his wife, Princess Maria +Stuart of England; <ins title="Transcriber's Note: Both 'Frederik Hendrik' and 'Frederick Henry' (or vice versa) were used in this text. This was retained.">Frederik Hendrik</ins>; Amalia v. Solms; +and the Princes of Orange, William I., Maurits, Frederik Hendrik, +William II., and William III.</p> + +<p><b>Portraits by Van der Helst.</b>—By Van der Helst there +are portraits of Maria Stuart, Princess Royal of England, +widow of William II., Prince of Orange; Portrait of a +Warrior; and Portraits of Andries Bicker, Burgomaster +of Amsterdam (1586-1652); and Gerard A. Bicker +(1623-66).</p> + +<p><b>Rubens's Portrait of <ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Helena Fourment</ins>.</b>—Rubens's portrait +of Helena Fourment shows his second wife, in a different +mood and costume from the one in the Mauritshuis. +Here she is represented full face, with hair curled in tufts, +a satin bodice, high fan-shaped ruff spreading behind the +head, throat half bare, with necklace and many jewels. +He has also a portrait of Anna Maria, wife of Louis XIII. +of France.</p> + +<p><b>Portraits by Van Dijck.</b>—Van Dijck is represented by +a Portrait of William II., Prince of Orange, and his Betrothed, +Mary Stuart, painted in 1641; a Portrait of a Man; +and one of Johannes Baptist Franck, a young man of twenty-eight, +with light hair, pointed beard, and moustache, and +wearing a black cloak draped in graceful folds. This was +once in Lucien Bonaparte's collection.</p> + +<p><b>Portraits by T. de Keijser.</b>—A few examples of Theodor<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> +de Keijser, though of small dimensions, rank among the best +specimens of this painter.</p> + +<p><b>Change of Fashion in Portrait-painting exemplified by +Maes.</b>—Maes, more familiar by his <i>genre</i>, has no less than +eight portraits here, besides a large corporation picture +representing the Chiefs of the Corporation of Surgeons of +Amsterdam, 1680-81. 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 master. The change is attributed to his visit to +Antwerp; but it has been pointed out that the fashion was +changing everywhere, including Amsterdam, where even +Rembrandt during the closing years of his life was despised +and neglected by the fashionable public. Maes, on the +other hand, made concessions to the vulgar taste; and, for +a quarter of a century, produced an enormous quantity of +secondary or mediocre portraits, in which all trace of his +master's qualities was lost.</p> + +<p><b>Artists' Portraits of Themselves.</b>—Though not so great +in the line of painters' portraits of themselves as the Uffizi, +the Rijks possesses a good number of men who thought +they saw themselves as others saw them, or at any rate, as +they wished posterity to know them. Among these are +Jan Steen, Gerrit Dou, Ferdinand Bol, Honthorst, Ter +Borch, and L. Bakhuysen.</p> + +<p>A fine portrait by Bol of the famous sculptor Artus +Quellin; a Male Portrait by Dou; one of Amalia v. Solms +by Flinck; and the Portrait of an Architect with his Wife +and Child, by Bernhart Fabritius, deserve notice.</p> + +<p><b>Van der Helst, a Great Portrait-painter.</b>—Bartholomew +van der Helst (1613-70) was considered the greatest +portrait-painter of his time, and received more money for +his portraits than any other Dutch painter; yet, notwithstanding +his industry and the money that he received, he +died poor. He is thought to have been a pupil of <ins title="Transcriber's Note: Both 'Nicholas Eliasz' and 'Nicolaes Elias' were used in this text. This was retained.">Nicholas Eliasz</ins> +Pickenoy at Amsterdam, where he fell under the +influence of Rembrandt.<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p> + +<p><b>Description of The Civic Guard Banquet.</b>—Bartholomew +van der Helst's great work, The Schuttersmaaltijd +(Civic Guard Banquet), held June 18, 1648, in the upper +hall of the Cross-bow, or St. George Company House, at +the Singel, in celebration of the Peace of Münster, always +fascinates.</p> + +<p>The twenty-five figures are all portraits. At the head of +the table Captain Wits is seated in a chair of black oak +with a velvet cushion. He is dressed in black velvet, his +breast covered with a cuirass, and on his head is a broad-brimmed +black hat with white plumes. His left hand, +supported on his knee, holds a magnificent silver drinking-horn +ornamented with a St. George and the Dragon,—which +valuable piece of silver, by the way, is on permanent +exhibition with other beakers and drinking-horns of the old +guilds in the Rijks. The good-humored Captain is cordially +grasping the hand of Lieutenant Van Waveren, who wears +a handsome pearl-gray doublet richly brocaded with gold, +and lace collar and cuffs. His feet are crossed, and he +wears boots of yellow leather with large tops and gold spurs. +His hat is black, with dark brown plumes. Behind him, +in the centre of the picture, is the standard-bearer, Jacob +Banning, in easy, martial attitude, hat in hand, his right +hand on his chair, his right leg on his left knee. He holds +the flag of blue silk, on which the Virgin is embroidered. +The banner covers his shoulder, and he looks out toward +the spectator frankly and complacently. The man behind +him is probably a sergeant. He wears a cuirass, yellow +gloves, gray stockings, and boots with large tops and kneecaps +of cloth. On his knee is a napkin, and in his hands +a piece of ham, a slice of bread, and a knife. The old man +behind him is thought to be William the Drummer. In one +hand he holds his hat, and in the other a gold-footed wineglass +filled with the most marvellously painted white wine. +He wears a black satin doublet slashed with yellow silk, and +a red sash. Behind him are two matchlock men seated at +the end of a table. One, with a napkin on his knee, is<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> +eating with his knife; the other holds a long glass of white +wine, also a marvel of the painter's skill. Four musketeers, +with differently shaped hats, stand behind; one holds a glass, +the others have their guns on their shoulders. Between the +standard-bearer and the Captain several guests are placed: +one is carving a fowl; another, with his hat off and hand +uplifted, is talking to his neighbor; a third is filling a cup +from a silver flagon; and a fourth holds a silver plate. +Behind the Captain are two other figures, one of whom is +peeling an orange. Two others with <ins title="Transcriber's Note: Both 'halberds' and 'halberts' were used in this text. This was retained.">halberts</ins> are standing, +and one holds a plumed hat. Between Banning and the +Captain there are three others, one of whom holds a pewter +pot, engraved with the name Pocock, the landlord of the +Hotel Doele. At the back a maidservant is bringing in a +pasty on which rests a turkey. The <i>façades</i> of two houses +are seen through the panes of the window in the background. +In the left-hand corner stands a very handsome +wine-cooler.</p> + +<div class="blockquot"><p><b>Reynolds's Opinion of this Picture.</b>—"The best picture in +this house is painted by Van der Helst. It represents a company +of trained bands, about thirty figures, whole-length, among +which the Spanish Ambassador is introduced shaking hands +with one of the principal figures. This is perhaps the first +picture of portraits in the world, comprehending more of those +qualities which make a perfect portrait than any other I have +ever seen: they are correctly drawn, both head and figures, and +well colored; and have great variety of action, characters, and +countenances, and those so lively and truly expressing what +they are about, that the spectator has nothing to wish for. Of +this picture I had before heard great commendations; but it +far exceeded my expectations." ...</p> + +<p><b>A Portrait Group by Rembrandt, and another by Van +der Helst.</b>—"A Frieze over one of the doors in chiaroscuro +by De Witt, is not only one of the best deceptions I have seen, +but the boys are well drawn; the ceiling and side of the room +are likewise by him, but a poor performance. The academy of +painting is a part of this immense building: in it are two +admirable pictures, composed entirely of portraits,—one by +Rembrandt, and the other by Bartholomew van der Helst. +That of Rembrandt contains six men dressed in black; one of<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> +them, who has a book before him, appears to have been reading +a lecture; the top of the table not seen. The heads are +finely painted, but not superior to those of his neighbor. The +subject of Van der Helst is the Society of Archers bestowing a +premium: they appear to be investing some person with an +order. The date on this is 1657; on the Rembrandt 1661."</p></div> + +<p><b>Van der Helst's Masterpiece.</b>—Captain Roelof Bicker's +Company, painted in 1639, has been termed Van der +Helst's masterpiece. It is the largest picture of its class +in the gallery and contains thirty-two figures. Captain +Bicker and Lieutenant Jan Blaeu have brought their men +from their headquarters, and are welcoming a new ensign +before the Brewery de Haen (the Cock) on the corner of +the Lastaadje (Geldersche Kade and Bloomsloot), in 1639. +The picture is remarkable for its wonderful display of color +and the vitality that every figure possesses.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus170.jpg" width="600" height="266" alt="B. VAN DER HELST +Company of Captain R. Bicker" title="" /> +<span class="caption">B. VAN DER HELST<br /> +Company of Captain R. Bicker</span> +</div> + +<p><b>Regent, Doelen, and Corporation Pictures.</b>—In every +gallery in Holland the traveller will come across the life-size +groups known as "Regent," "Doelen," and "Corporation" +pictures. These are always portraits of members +of shooting, charitable, and medical civic societies and +guilds of merchants, and were painted at the order of these +various companies to hang in their guild halls, shooting +galleries (<i>doelen</i>), and hospitals. Rembrandt, Frans Hals, +and Bartholomew van der Helst brought these pictures to +their highest expression and made of them artistic compositions. +Hals's great works of this class are in Haarlem; but +the Rijks owns, as we have seen, the celebrated Night Watch +and The Syndics, and B. Van der Helst's masterpieces, +Schuttersmaaltijd and Company of Captain Roelof Bicker.</p> + +<p><b>Similar Pictures by Govert Flinck.</b>—Next in importance +are the works of Govert Flinck (1615-60), a pupil +and close imitator of Rembrandt, who devoted his energies +to portraits and historical and religious subjects. Three +"Corporation" or "Doelen" pictures by his hand hang in +this gallery; also Isaac Blessing Jacob, dated 1638; and +three portraits, including one of J. van den Vondel, who<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> +thought so highly of Flinck that he compared him to the +Greek Apelles.</p> + +<p><b>His Greatest Work.</b>—His most important "Corporation" +picture depicts the same scene as Van der Helst's. +This, called Arquebusiers of Amsterdam at a Banquet Celebrating +the Signing of the Peace of Münster in 1648, is +considered this artist's greatest work; it is particularly interesting +from the fact that it contains a portrait of the +painter himself standing in the doorway. This picture is in +two groups: on the left, nine men are coming from the St. +Jorisdoele, led by Captain Jan Huidecoper van Maarseveen, +dressed in black velvet, with a blue sash; and the other +group, consisting of eleven figures, is led by Lieutenant +Frans van Waveren, also dressed in black velvet with a +blue sash, who is congratulating the Captain.</p> + +<p>The two other "Regent" pictures are: Four Chief +Masters of the Arquebusiers' Shooting Company and The +Company of Captain Bas and Lieutenant Conyn.</p> + +<p><b>Bol's Pictures of this Class.</b>—Burger, however, when +looking at Ferdinand Bol's pictures of this class in the +Rijks, especially The Regents of the Leprozenhuis in Amsterdam, +and its companion The Lady Patronesses of the +Leprozenhuis, placed the artist second to none but Rembrandt, +and even the superior of B. van der Helst.</p> + +<p><b>Description of the First of These.</b>—The first picture +(8 by 6 feet) represents the Regents of the establishment, +among whom are the Burgomaster Hofdt and the Receiver +of Amsterdam, Pieter van Uitenbogaard, Rembrandt's +friend. All are dressed in black, with large hats, and are +seated around a table covered with a Persian carpet. The +<i>custos</i> is bringing before them a little <ins title="Transcriber's Note: Both 'bare-headed' and 'bareheaded' were used in this text. This was retained.">bare-headed</ins> leper. +The figures are life-size, and "have the distinction of Van +Dijck's personages," writes Burger, "and the solidity and +depth of Rembrandt's."</p> + +<p><b>Dujardin's Regents of the House of Correction.</b>—Karel +Dujardin's Regents of the House of Correction in Amsterdam, +painted in 1669, is another remarkable work and very<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> +unusual in style for this artist. The canvas is no less than +12 feet 8 inches by 7 feet 8 inches, and represents the five +Regents. Of natural size, these are grouped around a table +with a violet velvet cover. (Violet, it may be noted, was +Karel Dujardin's favorite color.) One of the Regents, his +body turned to the left and his head three-quarters, is +seated in front, with his right hand on the table; he holds +a paper with a coat-of-arms dated February, 1669, and +signed "Medelman"; his left hand rests on his hip. Another +holds out his hand to a servant, who is bringing him +a paper. One only is standing. All are dressed in black, +with large black hats and white neckbands. Some white +marble columns in the style of G. de Lairesse are seen in +the background, where a servant with her hands crossed +over her waist is entering the open door and turning her +head to listen to a young man. Heads, hands, faces, and +costumes are all remarkably depicted.</p> + +<p><b>Other Pictures of the Same Class.</b>—Before dismissing +the Corporation pictures we may mention J. van Sandrart's +Captain van Swieten's Company Preparing to Escort Queen +Dowager Marie de Médici, painted in 1638, and considered +the artist's chief work; P. Moreelse's Amsterdam +Arquebusiers; N. Elias's Banquet of Captain J. Backer's +Company; B. van der Helst's Presidents of the Voetboog-doelen +and Presidents of the Handboog-doelen.</p> + +<p>One of the earliest pictures of this class is Cornelis +Teunissen's Banquet of the Civic Guards of the Cross-bow +Company, painted in Amsterdam in 1533. Another by the +same artist, Guards of the Cloveniers-doelen, was painted +in 1557. A still earlier one, Dirck Jacobsz's Civic Guards +of the Cloveniers-doelen, was painted in 1529. This +artist is also represented by Civic Guards of the Arquebusiers, +which hangs near Dirck Barentsz's Civic Guards +and Civic Guards of the Cross-bow Company. A number +of Regent pictures also hang in the Hall of Anatomy +Pictures, including Lessons in Anatomy, by Thomas de +Keijser, <ins title="Transcriber's Note: Both 'Nicholas Eliasz' and 'Nicolaes Elias' were used in this text. This was retained.">Nicolaes Elias</ins>, Dr. J. <ins title="Transcriber's Note: 'Deyman,' 'Deyment,' and 'Deeman' were used in this text. This was retained.">Deyment</ins>, and Rembrandt<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> +(the latter a fragment). It is unlikely, however, that the +visitor will care to linger in this lugubrious hall.</p> + +<p><b>The Portrait Hall.</b>—We now pass into the Portrait Hall, +which contains two portrait collections, consisting of portraits +bequeathed by the Bicker family of Amsterdam, and +twenty-six pictures purchased in 1895 from the descendants +of the great Admiral de Ruyter. Here we again find a +number of Corporation and Regent pictures, chief among +which is Rembrandt's Syndics of the Guild of Clothmakers, +which has been described.</p> + +<p><b>Abundance of Dutch Landscapes in the Rijks.</b>—The +Rijks is rich in landscapes of every period of Dutch art. +<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> is particularly well represented. His pictures are +The Torrent, Château de Bentheim, Winter, The Forest, +View of Haarlem, Landscape, Wooded Landscape, Landscape +in Norway, and View of the Rhine near Wijk bij +Duurstede.</p> + +<p><b>Description of <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s View of the Rhine near +Duurstede.</b>—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 +Louvre; for it has "the same original grandeur of execution +and the same depth of sentiment." This is almost a +marine. The water occupies almost all the left foreground, +where you note a sail-boat. A large boat, the masts of +which you see only, has taken refuge in the little bay in the +centre. On the right, upon a tongue of land that juts out +and is bordered by piles, stands a windmill; behind this is +a house, and on the horizon a steeple. A little to the left +of the mill and far distant is a castle with turrets. On the +road that leads to the mill come three peasant women in +white aprons. One wears a white head-dress; the two +others have yellow ones. You can also distinguish some +other tiny figures by the little bay where the boat lies. The +incomparable sky is gray, and the clouds are of the same +hue.<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span></p> + +<div class="blockquot"><p><b>Burger on the Same Picture.</b>—"Earth, water, sky, all +are so beautifully combined in a harmony so strong and dominating, +so simple and magnificent, that you are impressed with +that strange—almost terrible—effect produced, and you can't +tell why. Indeed, there is only a large mill with a round, +tower-like base in the ordinary fashion of the country, and three +women who are returning to the village. There is nothing to +excite the imagination. Yet, notwithstanding, you are filled +with an irresistible melancholy. 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 +creation."</p></div> + +<p>Another picture represents a mill with its wheel in the +water; and on the right some wood-cutters at work. This +is a strong picture, but a little sombre.</p> + +<div class="blockquot"><p><b>Burger on The Cascade.</b>—"The Cascade [6 feet long by 4 +feet high] seems to have been composed with various elements +of Nature herself. The water bounds and foams in the +foreground and over the entire canvas. Above this great torrent +on the right are tall trees, beneath which are four little +figures; and on the left, a clump of shrubs, in the shadows of +which a flock of sheep is passing by the brook. In the background, +behind the meadows, a belfry is seen on the horizon. +It is very rich, very vigorous, very beautiful."</p></div> + +<p><b>Influence of Everdingen.</b>—The Norwegian Landscape +(about five feet long) is also a large picture. Here the cascade +tumbles over little rocks, and on the right are rocks, +trees, a house, and one tall, isolated tree. This is cleverly +painted, but the composition is not happy. The true accents +of nature are lacking; for it is certain that <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> +never was in Norway, and that he devoted himself to cascades +and rocks on account of his intimacy with Van Everdingen, +whose bold landscapes, so different from Holland, +surprised and delighted the Dutch. Everdingen had suffered +shipwreck in Norway, and had been greatly taken +with its bold, savage scenery. His favorite subject was a +waterfall in a glen with sombre fringes of pines mingled +with birch, and log huts at the base of rocks and craggy<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> +slopes. The prevalence of falling water in his pictures, +when others could paint only the monotonous Dutch lowlands, +gained for him the name "Inventor of Cascades."</p> + +<p>Salomon <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> (?-1670) has two fine landscapes, The +Halt, dated 1660, and The Village Inn, dated 1655.</p> + +<p><b>Description of Hobbema's <ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">Water Mill</ins>.</b>—Hobbema is +represented by two Water Mills and a Landscape. The +picture in the Van der Hoop Collection shows a wooden +mill with red-tiled roof in the centre of the picture; and +behind it a background of tall trees. Hollowed-out-tree-trunks +supported by boards carry the water to the mill +wheel, over which it falls. The foreground is occupied +with water in which ducks are swimming. In the shadows +of the door of the house, a tiny figure of a man appears; +and a small figure of a woman in bright red bodice, upon +which the sunlight falls, is busy washing clothes in a copper. +On the right, an old peasant in brown is holding by +the hand a little boy who wears a red cap. The Landscape +is diversified with trees and thickets. The sky is full of +clouds, between which the rays of sunlight issue to gild the +verdure. Delicate tones of olive and gray distinguish this +beautiful picture.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus176.jpg" width="500" height="352" alt="HOBBEMA +The Water Mill" title="" /> +<span class="caption">HOBBEMA<br /> +The <ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">Water Mill</ins></span> +</div> + +<p><b>Description of Hobbema's Landscape.</b>—In the Landscape, +which by some is thought superior to the +<ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">Water Mill</ins>, a house and barn are seen on the right; two small +figures are in front of the house, a man in black, standing, +and a woman in red, bending over; and there are a group +of trees, a large elm, and a hedge. All this is beautifully +reflected in a sheet of water in the foreground,—a reflection +that seems to tremble. This picture is only one foot +five inches long by one foot high.</p> + +<p><b>Hobbema and his most Frequent Scenes.</b>—Meyndert +Hobbema (1638-1709), supposed to have been a pupil of +Jacob <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, or of Jacob's brother Salomon, was long +neglected, and died in penury. He is now regarded +second to none but Ruisdael and his works are worth +their weight in gold. His most frequent scenes are villages<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> +surrounded by trees, such as are frequently met with in +Guelderland, with winding pathways leading from house to +house. A <ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">water mill</ins> occasionally forms a prominent feature,—so +prominent, indeed, as to give its name to the +picture. Again, he paints a slightly uneven country diversified +by trees in groups or rows, wheat fields, meadows, +and small pools; occasionally a view of a town with gates, +or canals with sluices and quays; and more rarely the ruins +of an old castle or a stately residence in the far distance.</p> + +<div class="blockquot"><p><b>Hobbema, a Master of the Still Life of Woods and +Waters.</b>—"It is doubtful whether any one ever mastered so +completely as he did the still life of woods and hedges, or mills +and pools. Nor can we believe that he obtained this mastery +otherwise than by constantly dwelling in the same neighborhood, +say in Guelders or on the Dutch Westphalian border, where +day after day he might study the branching and foliage of trees +and underwood embowering cottages and mills, under every +variety of light, in every shade of transparency, in all changes +produced by the season. Though his landscapes are severely +and moderately toned, generally in an olive key, and often attuned +to a puritanical gray or russet, they surprise us, not only +by the variety of their leafage, but by the finish of their detail +as well as the boldness of their touch. With astonishing subtlety +light is shown penetrating cloud, and illuminating—sometimes +transiently, sometimes steadily—different portions of the +ground, shining through leaves upon other leaves, and multiplying +in an endless way the transparency of the picture. If the +chance be given him he mirrors all these things in the still pool +near a cottage, the reaches of a sluggish river, or the swirl of a +stream that feeds a busy mill. The same spot will furnish him +with several pictures. One mill gives him repeated opportunity +of charming our eye. And this wonderful artist, who is only +second to <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> because he had not Ruisdael's versatility +and did not extend his study equally to downs and rocky eminences +or torrents and estuaries,—this is the man who lived +penuriously, died poor, and left no trace in the artistic annals of +his country. It has been said that Hobbema did not paint his +own figures, but transferred that duty to Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, +Lingelbach, Barent Gael, and Abraham Storck. As to this, +much is conjecture."<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p></div> +<p><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span></p> +<p><b>Hackaert's Pictures.</b>—Jan Hackaert is perfect when he +is simple and inspired by the character and style of his own +country. The Rijks owns his beautiful Avenue of Ash-trees; +a Clearing in the Forest; a Landscape with Cattle; +and a Landscape, which is full of light and delicacy, and +recalls the manner of Wijnants, although the arrangement +follows the pseudo-Italians.</p> + +<p><b>Hackaert's Avenue of Ash-trees.</b>—The Avenue of +Ash-trees is a charming picture, representing a park from +which a hunting-party is about to set forth in the early +morning. The light shines on the trunks of the trees that +border the park, to the right of which is a large sheet of +water. Huntsmen accompanied by dogs, one of which is +barking at two swans in the pool, ladies and gentlemen on +horseback, servants, and dogs, all issue forth with good +wishes from the master of the <i>château</i> at the gate. All of +these elegantly painted little figures are the work of A. +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>.</p> + +<div class="figcenter" style="width: 399px;"> +<img src="images/illus180.jpg" width="399" height="500" alt="JAN HACKAERT +Avenue of Ash-trees" title="" /> +<span class="caption">JAN HACKAERT<br /> +Avenue of Ash-trees</span> +</div> + +<p><b>Joos van Winghen.</b>—Joos van Winghen (1544-1603) +travelled to Rome, where he lived for four years; and, on +his return, was appointed Court Painter to the Prince of +Parma. He painted portraits, interiors, and Biblical subjects. +A Banquet and Masquerade at Night is one of his +best-known pictures.</p> + +<p><b>Pieter Aertsen.</b>—This artist has a picture called The +Egg Dance, which claims attention by its life and spirit.</p> + +<p><b>Jan Lijs.</b>—Jan Lijs (d. 1629) was a pupil of Goltzius; +and then visited France and Italy, where he executed large +works under Caravaggio's influence. His Music Party is +signed and dated 1625; and therefore belongs to his last +and not his first period, as the catalogue informs us.</p> + +<p><b>Pieter van Rijck.</b>—Pieter Cornelisz van Rijck (1568-1628) +painted interiors, especially kitchens, and landscape. +He was a pupil of H. Jacobs Grimani, whom he accompanied +to Italy; he remained there fifteen years. The big +picture in the Rijks representing a kitchen interior was +described in enthusiastic terms by Van Mander.<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p> + +<p><b>Willem Duyster.</b>—Willem Cornelisz Duyster (1599-1635) +was a pupil of Pieter Codde. His picture of Backgammon +Players is matched by a similar subject in St. +Petersburg, and another in Dresden. Another picture in +the Rijks, variously attributed to J. v. Bijlert, Jan Lijs, P. +Codde, Jan Miense Molenaer and others, has by recent +discoveries been finally recognized as the work of Duyster. +The subject is The Marriage of Adriaen Ploos van Amstel, +Lord of Oudegein and Tienhoven, to Agnes van Bijler, +widow Broekhuysen. A contemporary of whom little is +known, Abraham van der Hecken (fl. 1650), has a Butcher's +Shop, painted with much truth and spirit.</p> + +<p><b>Pieter de Bloot.</b>—Pieter de Bloot (1600-52) was a +pupil of Jordaens; he painted, however, more closely after +Teniers, with fine grasp of chiaroscuro and perspective, +with a soft and agreeable coloring. He copied nature so +faithfully as to reproduce his subjects in all their ignobleness. +<i>Kermesses</i> and interiors chiefly occupied his brush. +The Lawyer's Office is signed and dated 1628; it is a fine +specimen of the work of this artist in his prime.</p> + +<p><b>Van Gaesbeeck and Van der Kuyl.</b>—Adriaen van +Gaesbeeck (?-1650), of the same period, was probably one +of G. Dou's pupils. He painted <i>genre</i> pictures of small +dimensions. His Young Man in a Study is full of the feeling +found in his master's work. Another painter of <i>genre</i>, +who is represented here by two charming pictures, is Gysbert +van der Kuyl (?-1673). He was a pupil of the +famous Wouter Crabeth the Younger, and like his early +master, spent many years in France and Italy. Later in +life he modelled himself on Honthorst and Abraham Bloemaert. +His Ruse Surpasses Force and The Music Party +are worth more than a passing glance.</p> + +<p><b>Nicolas <ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>.</b>—Nicolas Cornelisz Moeyaert was a +forerunner of Rembrandt in his treatment of light and +shade. His powers of portraiture are exemplified here in a +group of Regents; and another side of his art is charmingly +displayed in the Choice of a Lover.<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span></p> + +<p><b>Jan van Bijlert.</b>—Jan van Bijlert (1603-71) was a +painter of <i>genre</i>, mythological, and historical subjects. +Almost all his known pictures were ordered by foreign +rulers. The Guitar Player is a small example of his work, +for he usually painted his figures life-size. His style so +much resembles that of G. Honthorst that his pictures have +frequently been confounded with those of the latter.</p> + +<p><b>Adriaen Brouwer.</b>—Adriaen Brouwer studied with +Adriaen van Ostade and under Hals; and afterwards adopted +the Flemish style when he returned to Antwerp in 1631. +However, he remained true to one ideal,—the striving +after true action and physiognomy, and the feeling for +character and expression. No finer examples of his +powers in this field exist than The Village Orgy and The +Peasant Combat. These both belong to the days when +he was under the influence of Hals.</p> + +<p><b>Cornelis Saftleven.</b>—Cornelis Saftleven (1606-81) also +took Brouwer as his model, for his usual types and favorite +motives are borrowed from that master. Like Brouwer, +he painted tavern interiors with men sitting at table before +a pot of beer and a game of cards. Sometimes he mixes +with his jovial companions a peasant who seems to have +escaped from one of Teniers's <i>kermesses</i>; and sometimes +he makes an excursion into the simple representation of +rustic scenes. He is full of spirit, and groups his little +characters with fine art. His compositions are full of life +and movement, but his color is tame and lacks brilliance. +His three pictures here are Peasants at an Inn (1642); +Landscape with Peasants and Cattle (1652); and Peasants +Praying: an Approaching Storm.</p> + +<p><b>Jan Olis.</b>—Jan Olis (1610-70) was a painter of <i>genre</i> +and landscape. An interesting picture of a kitchen here +is signed and dated 1645. Until recently, however, this +picture was attributed to Sorgh.</p> + +<p><b>Van der Oudenrogge.</b>—Johannes van Oudenrogge +(1622-53) also was a painter of this class. His picture +of Peasants in a Weaving Factory is dated 1652.<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> + +<p><b>Egbert van der Poel.</b>—Egbert van der Poel (1621-64) +was a prolific and versatile painter of the school of +Isaac <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> and A. van der Neer. He painted +pictures of all kinds,—portraits, still life, figures, landscapes, +perspective, kitchen interiors, moonlit landscapes, +and more particularly devoted his talents to conflagrations +at night, in which he was very successful. Nothing could +be more natural and animated than the large number of +tiny figures he shows occupied in extinguishing the flames. +His color is clear and strong. In his Ruins in the Town of +Delft after the Explosion of the Powder Magazine, October +12, 1654, we have a good example of his style. He has +also another picture of the Interior of a Farm, dated 1646.</p> + +<p><b>Pieter J. Quast.</b>—Pieter Jansz Quast (1606-47) was +a follower in the steps of Adriaen Brouwer. His selection +of subjects often verges on caricature. His characterization +is well displayed in The Card Players. The figure of +the young woman in this picture, however, has been entirely +repainted by another hand.</p> + +<p><b>Thomas <ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijck</ins>'s Versatility.</b>—Thomas Wijck (1616-77) +was another artist who visited Italy and painted its +landscapes, especially coast scenery, after having been +taught, or at least influenced, by P. de Laer. Besides +marines, he painted interiors, fairs, etc. He had the +talent to depict sea-gates full of movement, figures and +merchandise, in the taste of J. B. Weenix, markets, outlandish +charlatans, public squares, hunts, ruins, tavern +scenes, and everything that the Italians call <i>capricci</i>.</p> + +<p><b>Chemical Laboratories his Forte.</b>—But the subject +that he treated with the greatest care and taste, and with +which he was most happily successful, was that of chemical +laboratories. These he arranges, illuminates, and paints +in a style entirely his own. Without endowing them with +the magic of A. van Ostade, or enveloping them in that +master's full and warm atmosphere, <ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijck</ins> gave much +charm to his alchemistic interiors, and the objects he multiplied +therein are full of the right kind of feeling.<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span></p> + +<p><b>His Picture of The Alchemist.</b>—Moreover, he has a +sound comprehension of chiaroscuro, as may be seen here +in his picture The Alchemist. He casts a shadow over the +skeleton fish and stuffed crocodiles and other monstrous +animals hanging from the ceiling. The principal light +usually falls full upon a medley of phials, retorts, furnaces, +bellows, and alembics—a whole apparatus of strange utensils +that in a subject of this kind could not be regarded +as mere accessories, and which are touched with spirit +but also with sobriety. A second window at the end of +the apartment admits a softer light that forms an echo +to the principal one, and faintly illumines other objects +that are toned down by the intervening atmosphere. +Placed in the centre of his laboratory, wearing a red cap, +<ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijck</ins>'s alchemist is quite individual in not being old, bald, +bent, or grizzled; on the contrary, here is a man in the +prime of life and full of health, with a bright eye and an +open countenance that has no such melancholy in it as +is generally affected by alchemists. It is therefore reasonable +to conclude that Wijck has represented himself in the +person of this seeker after gold.</p> + +<p>The Rustic Interior depicts a woman spinning, with a +child and a dog near her.</p> + +<p><b>Karel Slabbaert.</b>—Karel Slabbaert (1619-54), whose +Grace before Meat is in this gallery, is supposed to have +been one of G. Dou's pupils. His pictures are scarce. +This one shows a woman cutting bread, while two children +are saying grace. He paints in warm tones; his composition +is good and full of feeling.</p> + +<p><b>Jan Wolfert.</b>—Jan Baptist Wolfert (1625-87) also +travelled in Italy, and was famous for his classical landscapes +with animals and human figures; he also painted +<i>genre</i>. He was very learned; and his works show fine +spirit and imagination. The Bagpipe Player is dated +1646, and is therefore an early work of this artist before +he was subjected to foreign influence.</p> + +<p><b>Caspar Netscher.</b>—Besides three portraits of brilliant<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> +quality, Caspar Netscher has a beautiful little interior +called Maternal Care, in which the influence of his master, +Ter Borch, is noticeable. This picture of a mother arranging +her child's hair is generally considered this artist's +masterpiece. There is some story told with each of his +portraits. He marvellously rendered the texture of stuffs; +and his drawing is always full of grace and truth. Inferior +to Ter Borch in harmony and chiaroscuro and to Metsu +in touch, and to both in feeling for color, he equals them +in the tasteful composition and the elegance of his figures, +and surpasses them in beauty of form.</p> + +<p><b>Esaias Bourse.</b>—Esaias Bourse (1630-?) was a follower +of Rembrandt. He had a roving career, making many +voyages to the East Indies during sixteen years as an officer, +and then working as a painter in Italy. His color is usually +brownish in tone. His pictures have sometimes been +confused with those of another of Rembrandt's pupils—Pieter +de Hooch. An Interior with a Woman Spinning +enables us to compare the merits of the two artists.</p> + +<p><b>Daniel Boone.</b>—Daniel Boone (1631-98) painted mythological +subjects and familiar scenes of peasant life. In +the latter, his chief aim was to provoke laughter by the +representation of grotesque situations and grimaces. In +this he was generally successful. Peasants Playing Cards is +painted in this vein.</p> + +<p><b>Pictures by Maes.</b>—Nicholas Maes is represented in +the Dupper Collection by The Spinner. The old woman +is seated before her wheel in a simply furnished room, +which is dimly lighted from a window on the left. Through +this the fading daylight falls, illuminating the rich red of +her costume and the dull colors of the <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins>. There +is something inexpressibly still, solemn, and charming +about the figure, the room, and the light.</p> + +<div class="figcenter" style="width: 440px;"> +<img src="images/illus186.jpg" width="440" height="500" alt="N. MAES +The Spinner" title="" /> +<span class="caption">N. MAES<br /> +The Spinner</span> +</div> + +<p>Another Spinner, in the Van der Hoop Collection, is +seated by her wheel. She wears a black cap, and the +sleeves of her dress are red. She stands out boldly from +the brightly lighted wall. The lights and the figure are<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> +heavily impasted. The forehead of the old woman is in +sunlight, the rest of the face is in shadow.</p> + +<p>A very pleasing picture of his earlier period is The +Dreamer, sometimes called Musing, representing a young +woman who is looking out of a window. From her glance +we gather that she has spied her lover, who is looking up +to her casement, so gracefully decorated with apricots and +peaches.</p> + +<p><b>L. de Moni, an Imitator of Dou.</b>—Louis de Moni +(1698-1771) was a pupil of F. van Kessel and K. E. Biset +at Breda, and later (1721-25) of Philip van Dijk at The +Hague. Blanc says that this mediocre painter endeavored +to resuscitate the long-extinct style of G. Dou and the +elder Mieris, and to constitute himself their posthumous +disciple. In this he only partially succeeded, but at least +he exhibited, along with a certain delicacy of touch, great +care and patience. More than once he borrowed a subject +from Dou—familiar scenes, and small pictures of one or +two figures. He is good in detail but poor in color. The +Rijks has a small and pleasing picture of his called The +Gardener.</p> + +<p><b>J. <ins title="Transcriber's Note: Both 'Quinkhard' and 'Quinckhard' were used in this text. This was retained.">Quinckhard</ins>.</b>—Julius Quinckhard (1736-76) was a +pupil of his father, Jan Maurits, but soon abandoned art +for commerce. He was an able painter of portraits and +<i>genre</i> nevertheless, as his Amateurs of Music (dated 1755) +and Amateurs of Art (1757) attest. The figures in the +latter are portraits of the painter and his friend, M. J. C. +Ploos van Amstel.</p> + +<p><b>Eight Pictures by Paul Potter in the Rijks.</b>—Although +there is nothing of Paul Potter's in the Rijks to compare +in reputation with The Bull, or in beauty with <i>La Vache +qui se mire</i>, there are no less than eight of his pictures there. +Horses in a Meadow (1649) and Cows in a Meadow (1651), +the latter having a dark sky that proclaims approaching rain, +were acquired with the Van der Hoop Collection. The +Shepherd's Hut, painted in 1645, is only ten inches long +and six high, but is as brilliant in color as a Cuijp. The<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> +composition is simple: a shepherd guarding his cows and +sheep is seated near his lowly dwelling. A Little Dog is +dated 1653, as is also a Landscape with Cattle.</p> + +<p><b>Description of The Bear Hunt.</b>—An extraordinary +picture is The Bear Hunt, eleven feet square. No one +would ever imagine who the painter was if his signature +were not in enormous letters on the trunk of a tree. This +gigantic work was painted two years after The Bull and +represents a gentleman on horseback and one on foot, six +dogs, and two bears. The bloody contest is taking place +in the foreground. This work was repainted during the +first half of the nineteenth century, and only two dogs +remain of the original painting.</p> + +<p><b>Crowe's Opinion of Orpheus Charming Animals.</b>—The +celebrated Orpheus Charming Animals, painted in +1650, is much smaller (3 by 2 feet), and is much admired +by critics. Crowe says:</p> + +<div class="blockquot"><p>"For power and fulness of warm tones this is one of his +most beautiful works. The left is occupied with little hills +crowned with trees; the right shows a forest, and a glimpse of +the sky. In the foreground is a meadow, where we see a camel, +a boar, a cow, a buffalo, an ass, a ram, a goat, a sheep, and a +hare. In the middle distance, at the foot of a hill, sits Orpheus +playing his lyre; behind him is a dog, and in front of him a +crouching lion, an elephant, a horse, a white unicorn, a wolf, +and various other animals. On the right, at the border of the +forest, emerges a deer."</p></div> + +<p><b>Description of Shepherds and Flocks.</b>—Shepherds and +Flocks, painted in the next year (1651), is also a masterpiece, +remarkable for the clearness of its light golden tones, +especially in the sky. It represents a hilly landscape with +a shepherd playing on the bagpipes, a shepherdess singing +to her child, and flocks of sheep, goats, and oxen grouped +variously. By the side of the shepherd is a black dog. +At the Van der Pot sale, in 1808, this picture brought +10,050 florins!</p> + +<p><b>Description of A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s The Artist and his +Family.</b>—A very beautiful work by Adriaen van de Velde<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> +is The Artist and his Family in the Van der Hoop Collection. +It is generally considered one of the most incomparable +and precious works in the gallery. This is a +landscape bathed in the light of a lovely Autumn evening. +The scene is probably near Haarlem, where the +artist is enjoying the country with his family. Adriaen +himself, about twenty-eight, is standing in the foreground, +dressed very simply but elegantly in brown with a white +collar, his hat under his left arm while his right rests +on his huge and fashionable walking-stick. He has blue +eyes, chestnut hair, a small moustache, a fine mouth, and a +charming expression. On his left stands his wife, whose +handsome figure is dressed in a crimson skirt, brown corsage, +a white fichu, and a black cloak. She wears a little +cap and long, ash-colored gloves. Her hands are crossed +over her waist. Near this attractive couple is a little boy +of seven dressed just like his father, leading a little spaniel +by a string to a fountain. He has thrown his hat on the +ground. A nurse dressed in a blue skirt, white apron, and +yellow bodice is sitting at a little distance on a tree-trunk, +taking care of the little daughter, who is playing with some +flowers. Around them are some bushes and stumps, a kind +of hedge, and an undulating and sandy ground that leads +into a group of trees. On the road, in the middle distance +behind Adriaen, is the carriage that has brought them +here,—an open four-wheeled chariot, with red seats, drawn +by two fine dappled-gray horses, whose harness a servant in +gray is examining. On the right, a shepherd is lying on +the grass, near a flock of sheep and a goat. In the background +is a meadow with cattle, a winding stream, a house +half hidden in the woods, and the distant line of the horizon. +The landscape has all the delicacy of a Wijnants, but +more breadth and harmony.</p> + +<div class="blockquot"><p><b>Crowe's Opinion of this Picture.</b>—"This picture, signed +and dated 1667, and of considerable size (4 ft. 8-1/2 in. high by 5 +ft. 7 in. wide), is without question the finest work of the master. +The composition of the whole is picturesque in no common<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> +degree; 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 time."</p></div> + +<p>This picture was bought in London in 1833 for 15,700 +florins.</p> + +<p><b>Description of The Chase.</b>—The Chase (1669) shows +a beautiful picture with a wooded background. On the +left, through the gate of a park comes a huntsman with the +hounds. A large chestnut palfrey with a green saddle embroidered +with silver is led by a valet in red livery, and a +little farther away a gray horse with trappings of scarlet +velvet is led by another valet. On the right are seated two +men: one in red, the other in brown, and before them a +big fawn and a white dog; another large dog is sniffing the +ground in the foreground on the left.</p> + +<p><b>Other Works by A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>.</b>—A Landscape with +Cattle shows a somewhat sombre country with clumps of +trees; on the left, sheep, goats, and a little shepherd; in +full light two cows, one white standing in profile, and +the other black, seen from behind and foreshortened. It +brought 5,650 florins in 1838. A Landscape with Ferry +(1666), The Cabin (1671), and another Landscape complete +the list of A. van de Velde's works in the Rijks.</p> + +<p><b>An Appreciation of A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Pictures.</b>—His +cattle browse in velvet meadows under a beautiful sky. +Animals, meadows, grassy hills, and trees—he painted +them all with affection. He excels in depicting the various +hides and skins of goats, sheep, horses, and asses. Animals +always occupy a prominent place in Van de Velde's canvases. +The air seems to circulate—light, pure air gently +moving the trees or slightly waving the grass. The blue +sky is filled with vaporous clouds, which are often mirrored +in tranquil lakes. The chestnut with its thick foliage, the +willow with its flexible branches, the oak, he paints in +masses, or singly, with exquisite skill.</p> + +<p><b>General Description of Aelbert Cuijp's Style.</b>—Aelbert +Cuijp (1620-91), son and pupil of Jacob Cuijp, first followed<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> +his father's style, as is evidenced in the Hilly Landscape in +the Rijks. Little by little he formed his own style and became +thoroughly original. He excelled in depicting the humid +atmosphere about Dordrecht, 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 +meadows, where placid cows repose in the bright sunshine.</p> + +<p><b>His Versatility.</b>—Though Cuijp loves to paint the calm +meadows of Holland under a golden light, his elegant figures +of men and animals, dashing cavaliers, boats driven by the +approaching storm, and landscapes seen under the enchantment +of moonlight prove how versatile he was. Moreover, +he was a brilliant painter of still life, as the partridges in +The Return from the Chase (in the Louvre), the Salmons +Offered to Mr. de Roovere Directing the Fisheries in Dordrecht +(in The Hague), and the Dead Game (in the Rotterdam +Gallery) show.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus192.jpg" width="500" height="406" alt="A. CUIJP +Fight between a Turkey and a Cock" title="" /> +<span class="caption">A. CUIJP<br /> +Fight between a Turkey and a Cock</span> +</div> + +<p><b>His Skill in painting Living Birds.</b>—As for painting +living birds he is only equalled by Melchior d' <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>. +It is only necessary to look at his magnificent Fight between +a Turkey and a Cock which hangs in the Rijks. The sky +has darkened in sympathy, as it were, with this epic combat, +where two splendid specimens are using their beaks +and claws with the greatest fury, and the brilliant feathers +fly in all directions. Splendid in color, furious of action, +and beautiful in its arrangement of light and shade, it deserves +its great reputation.</p> + +<p>The Rijks owns four other pictures: Portrait of a Young +Man, Shepherds with their Flocks, Cattle, and View of +Dordrecht.</p> + +<p><b>Description of Shepherds with their Flocks.</b>—Shepherds +with their Flocks represents an Autumn morning in a +meadow, where four grazing cows and a shepherd on a mule +occupy the foreground; on the left, a man on an ass and +a man on foot wearing a red vest; on the right, two large +trees; in the middle distance, some trees, a river, and a +tower; and in the background, mountains.<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/illus196.jpg" width="450" height="439" alt="A. CUIJP +Shepherds with their Flocks" title="" /> +<span class="caption">A. CUIJP<br /> +Shepherds with their Flocks</span> +</div> + +<p><b>Description of Cattle.</b>—This painting represents a great +red ox with a white head, standing in profile on the left, +occupying half the picture; a little behind is seen a black +ox, full face; both stand out from the gray wall of a house. +In front of the red ox three lovely pigeons are pecking. +On the left, in the middle distance, a brown and a dun-colored +ox are lying down. In the background, on the +horizon, are trees and the spires and towers of Dordrecht. +The sky is superb.</p> + +<p>The View of Dordrecht seen from a great expanse of +water, marvellously painted, is also a beautiful picture.</p> + +<p><b>Jacob G. Cuijp's Scène Champêtre.</b>—Jacob <ins title="Transcriber's Note: Both Jacob 'Gerritz' and 'Gerritsz' Cuijp were used in this text. This was retained.">Gerritsz</ins> +Cuijp (1594-1651?), father of Aelbert, is a painter whose +pictures are very scarce. His Portrait of a Woman is dated +1651; and a very fine <i>Scène Champêtre</i>, which brought +no less than 4,000 florins in 1849, represents, according to +Immergeel, the family of the painter Cornelis Troost, a gay +and large family. The grandmother, father, mother, four +boys, 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 paints.</p> + +<p><b>The Cuijp Family.</b>—The founder of this family was +Gerrit Gerritsz Cuijp, originally from Venlo, who settled in +Dordrecht, where in 1585 he entered the Guild of St. Luke +as a painter on glass. He sent his talented son, Jacob, to +study with Abraham Bloemaert. Jacob Cuijp became known +as a portrait-painter, and was noted for his fine drawing, +splendid coloring, and force of expression. His pictures +were ranked with those of Th. de Keijser. He was no less +skilful in painting animals and landscapes and family groups +in the open air, undisturbed by browsing cattle.</p> + +<p><b>Benjamin G. Cuijp's Style.</b>—Benjamin Gerritsz Cuijp +(1612-52), brother of Jacob and uncle of Aelbert, a painter +who has attracted much attention of late years, differed +entirely in taste and style from them both. He was particularly +fond of historical and mythological subjects, and +belonged to the Italian group of Dutch painters, who tried<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> +to amalgamate the traditions of classic art with the growing +realism of the day. Some of his works show the influence +of the young Rembrandt. His Joseph Interpreting Dreams +was acquired by the Rijks in 1883.</p> + +<p><b>Jan van Goyen.</b>—Jan van Goyen has five beautiful landscapes: +River Scene, View on the Meuse and Town of +Dordrecht, View of Valkenhof at Nimeguen, View of +Dordrecht, and a Landscape.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus200.jpg" width="500" height="357" alt="JAN VAN GOYEN +View of Dordrecht" title="" /> +<span class="caption">JAN VAN GOYEN<br /> +View of Dordrecht</span> +</div> + +<div class="blockquot"><p><b>Burger's Explanation of the River Scene.</b>—"The view of +a river in the Van der Hoop Collection is the last expression of +his magnificent and exalted manner. A better name for this picture +would be The Windmill. In a few words here is the picture: +A bit of the Meuse; on the right a piece of ground covered +with trees and houses, and on the summit a black mill with its +sails spread to the winds, extending high upon the canvas; a +stockade, against which the waves of the river break gently, the +water heavy, soft, and admirable; and a little corner of the +almost lost horizon, very attenuated, very firm, very pale, yet +very distinct, on which rises the white sail of a boat, a flat sail +without the slightest wind in the canvas, but having a value +tender and perfectly exquisite. Above, a great sky filled with +clouds; through the rifts and holes the shining blue that they +efface, the clouds all gray and filling the space from the stockade +to the top of the canvas; so that there is no light in any +part of this powerful tonality, composed of dark brown and +sombre slate colors. In the centre of the picture one ray of +light glimmers like a smile upon the clouds. A great square +<i>grave</i> picture, of an extreme sonority in the deepest register, +and my notes add <i>merveilleux dans l'or</i>."</p></div> + +<p><b>Karel Dujardin (1625-78).</b>—Of the Portrait of a Gentleman +with a Dog and a Dead Hare (1670), Burger +says:</p> + +<div class="blockquot"><p><b>A Dead Picture of a Dead Hare.</b>—"The deadest one in the +lot is not the hare; for if the hare were alive the dog certainly +could not run after him, nor could the gentleman run after his +dog. The gentleman is dressed in tin-plate and is represented +to the knees and of natural size, with the background of a dark +sky. The hands have been praised; but they do not look as if +they could move."</p></div><p><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span></p> + +<p><b>A Good Portrait of Gerard Reinst.</b>—A Portrait of Gerard +Reinst, a celebrated art collector of Amsterdam, who died +in 1658, and who was a patron of Dujardin, is painted +sympathetically. He is <ins title="Transcriber's Note: Both 'bare-headed' and 'bareheaded' were used in this text. This was retained.">bareheaded</ins>, with a blond wig, +and is dressed in a grayish violet with chocolate tones. +One hand rests on his hip; the other is marvellously represented. +A landscape and sky form the background, and +two greyhounds are at the gentleman's side.</p> + +<p><b>A Portrait of Himself.</b>—A portrait of himself is signed +and dated 1660. This is only nine inches by six and one-half +inches. It is only a bust showing a shaven face with a +thread of a moustache, long black hair, brilliant eyes, and +handsome mouth. He wears a grayish costume with puffed +sleeves, and his right hand somewhat pretentiously holds +the drapery of his cloak on his chest.</p> + +<p><b>Dujardin's Other Works.</b>—A Landscape, dated 1655, +and showing a peasant winnowing corn, is noted for its +silvery tone; A Trumpeter on Horseback shows a cavalier +in a blue mantle and on a white horse, stopping before the +door of an inn, and drinking from a glass offered by the +hostess, who is standing at the door. His other works are +an Italian Landscape with Animals and The Muleteers. +Another Landscape in the Van der Hoop Collection was +bought at the Duchesse de Berry's sale in 1837 for 4,000 +florins. A copy after Karel Dujardin shows an Italian +Landscape with figures, and a white horse.</p> + +<p><b>Adam Pynacker.</b>—Adam Pynacker has four landscapes: +Border of a Lake in Italy, Italian Landscape, Landscape, +and Pilgrimage.</p> + +<p><b>Johannes Both's Pictures.</b>—Johannes Both may be +studied in The Courtyard of a Farm; two Italian Landscapes, +one of which is a luminous picture of a summer +morning, with mountains on the horizon on the left, trees +to the right in the foreground, and many small figures on +the road; and in Painters Studying from Nature. Here +we see on a canvas about six feet by seven, a vast landscape +of much beauty, having the Apennines for a background.<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> +Beneath a tall oak tree on the right and among the rocks, +Johannes Both himself is seated, with his back turned to +the spectator. He has a sketch book before him and is +talking to a beggar; his brother Andries is facing us; and +the fourth person is talking to some one in the distance. +The time is a beautiful Summer morning.</p> + +<p><b>Jan Asselijn.</b>—Jan Asselijn (1610-60) was a pupil of +<ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esaias</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, but went when young to Italy, where +he was called by the band of Dutch painters "Krabbetje," +on account of a contraction in his fingers. His pictures +are highly valued, representing, as a rule, views of Rome, +enriched with figures and cattle in the style of N. Berchem. +He greatly resembles Jan Both.</p> + +<p>His Italian Landscape in the Rijks is considered a very +true and important landscape, with a background of bluish +mountains, and a bridge on the left. The artist has introduced +Italian ruins and some muleteers. He is also represented +by a Cavalry Combat, signed and dated 1646; and +the Allegory on John de Witt.</p> + +<p><b>Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Hawking Scene.</b>—Of the thirteen +pictures by Philips Wouwermans we may pause before +the well-known Hawking Scene, noted as a specimen of his +delicacy and precision on a small scale. It is only one foot +high by eight inches wide. The exceedingly animated +composition shows about a dozen people on horseback +scattered through a delicate landscape. Other figures of +men, women, and children enliven the scene. This is +painted in his last and most prized period.</p> + +<p><b>His Horse-pond.</b>—The Horse-pond is a lovely picture, +with a silvery sky filled with luminous morning clouds, and, +far away in the distance, hills, trees, and women bleaching +linen. In the centre of the picture, a lovely stream in +which children are bathing, and a ferry with persons and +animals passing over in little boats. It is the moment +when grooms and peasants are taking their horses and +animals to water; and naturally, therefore, we have some +beautiful groups: here a man is leading two horses, one of<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> +which is kicking at a barking dog; other horses are at the +edge of the stream; others have plunged in. Among the +eight horses, there is one splendid white one, and there +are about twenty figures, including washerwomen and children. +It is impossible, even with <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, who is +so <i>spirituel</i> and clever, to find a richer, more animated, +more varied, and more brilliant composition.</p> + +<p>A Landscape with Water belongs to the first period when +<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> followed Wijnants; The Camp shows horsemen +and other people; a horseman turned to the right and +mounted on a white and brown horse is very remarkable.</p> + +<p><b>Description of The Kicking White Horse.</b>—A celebrated +canvas is The Kicking White Horse. Two mounted horses +and one lead horse are under a tree in the foreground. The +white horse, after having knocked over an old woman +with a basket of fruit, is kicking the lead horse on the right, +while a dog is snarling at his heels. On the extreme left, a +richly dressed lady and gentleman are watching the affair +with interest, and in the middle distance, on the right, two +men are watering their horses at a ford. There is fine +painting of distance in the low landscape and beautiful aërial +perspective in the Summer sky with its floating clouds.</p> + +<p>Besides landscapes, a camp, and others in his usual style, +there are two pictures of fighting peasants.</p> + +<p>His brother, Pieter <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> (1623-82), is represented +by two works: Assault on the Town of Koevorden, +1672, and The Hunting Party. His works have frequently +been mistaken for Philips's, though, as may be seen in these +pictures, his brush work has less freedom, and his tones are +heavier than his brother's.</p> + +<p><b>Jan Wijnants Unsuccessful in peopling his Scenery.</b>—Jan +Wijnants (1600-79), who is said to have been the +master of Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, has eight pictures by which +his qualities may be compared with those of that painter. +These are Landscape in the Dunes, with Hunters; Mountainous +Country; The Farm; and Flock in a Landscape; +and four landscapes in the Van der Hoop Collection. He<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> +was a painter of extreme care and finish; and in painting +nature he ranks among the highest. Like so many other +Dutch landscape-painters, however, he was not successful +with figures; and for peopling his scenery he availed himself +of the assistance of his great pupil, Adriaen +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> (as in the case of the above-mentioned Landscape in +the Dunes), Lingelbach, Wouwermans, Helt <ins title="Transcriber's Note: 'Stocade,' 'Stokade,' and 'Stockade' were used in this text. This was retained.">Stokade</ins>, and +others.</p> + +<p><b>Jan Wijnants's Love of painting the Dunes.</b>—Durand +Gréville says:</p> + +<div class="blockquot"><p>"His dated pictures are of his last period, 1641-79, 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 them. He faithfully translated in their blond harmony +the dunes, gray or golden, with the sun, the trees with +their pale foliage, and the skies with their light vaporous veilings. +To his last hour he went back again and again to that +inexhaustible theme in its apparent monotony. He put into the +execution of the dazzle of the sand, tree-trunks, spaces of moss +and clumps of grasses an astonishing sincerity, perhaps even +somewhat too minute from the point of view of the impression +of the whole, but, even by that, quite accessible to the taste of +the majority of people. None the less he remains to-day one of +the most remarkable landscape-painters of Holland."</p></div> + +<p><b>Cornelis van Poelenburg.</b>—Cornelis van Poelenburg +has four characteristic pictures in his favorite Italian style: +The Bathers, Women Coming from the Bath, Adam and Eve +Expelled from Paradise, and The Bathers Spied Upon.</p> + +<p><b>Winter Scenes by A. van der Neer.</b>—The most noted +painter of winter scenes and of the magic beauty of snow +and ice is <ins title="Transcriber's Note: Both 'Aart' and 'Aert' van der Neer were used in this text. This was retained.">Aart</ins> van der Neer (1603-77), a friend of A. +Cuijp, from whom he doubtless learned much, as they frequently +worked together on the same canvas. His winter +pieces are generally warm in their lighting. Two fine specimens +hang in this gallery, one of which is brightened by +numerous figures skating and playing ball on a frozen canal. +The sky is full of dark snow-clouds. He may also be +studied by a Landscape.<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> + +<p><b>His Moonlight Scenes.</b>—He is also famous for his +beautiful towns on the canals, lighted by the moon, and his +conflagrations. No other painter has depicted the broad +masses of shadow, and the effects of light and tranquillity +of character peculiar to a moonlight night, with so much +truthfulness as Van der Neer. In his rendering of the +warm glow of sunset he has been compared to his friend +Cuijp.</p> + +<p><b>Hendrick Averkamp.</b>—In this connection The Skaters, +by Hendrick Averkamp (1585-after 1663), should be noted. +This artist was surnamed "the Mute of Kampen" because +of his taciturnity. He produced many marines, landscapes, +and festivals on the ice, which have, unfortunately, lost their +color.</p> + +<p><b><ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Pictures.</b>—Winter amusements +by Esais van de Velde will afford pleasure to the student, +who may also see this artist's Dutch Landscape, painted in +1623; The Surrender of Bois-le-Duc (1629-30), and an +original replica of his curious satire on religious quarrels +in 1618-19, Prince Maurice Fastening Bells on a Cat. +Many of the architectural painters have depicted the well-known +street scenes and buildings under the mantle of +winter.</p> + +<p><b>Three Excellent Pictures by Hendrik Dubbels.</b>—Hendrik +Dubbels (1620-76?), about whom comparatively +little is known, has three pictures of great excellence: A +Marine, a Calm, and a River Scene. Dubbels is supposed +to have taught <ins title="Transcriber's Note: Both 'Ludolf' and 'Lodewijk' Backhuysen/ Bakhuysen were used in this text. This was retained.">Ludolf</ins> Bakhuysen (1631-1708), who was +also a pupil of <ins title="Transcriber's Note: 'Albert,' 'Aldert,' and 'Allart' van Everdingen were used in this text. This was retained.">Allart</ins> van Everdingen.</p> + +<p><b>Bakhuysen, Painter of Stormy Seas.</b>—Bakhuysen loved +the ocean in its angry moods, and used to hire fishermen +to take him out in their boats in the fury of storms. His +works are highly valued, and some critics prefer them to +the more placid pictures of Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>. The +Rijks owns two views of The Ij (or Y) near Amsterdam; +The Port of Amsterdam, painted in 1673; Agitated Water: +Haarlemmer Meer (for which 3,500 florins was paid in<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> +1840); Stormy Sea After the Storm (1672); Embarkation +of Jan de Witt on the Dutch Fleet; and Portrait of the +Painter by himself.</p> + +<p><b><ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins>, the Elder and the Younger.</b>—Willem +van de Velde the Elder (1611-93), who was Court Painter to +Charles II. and James II. of England, is represented in the +Rijks by eleven marine drawings. We have already seen +fine examples of his more famous son, Willem van de Velde, +at the Mauritshuis, but thirteen splendid examples hang in +this gallery.</p> + +<p><b>Some Notable Pictures of Naval Warfare.</b>—The Ij (or +Y) at Amsterdam, dated 1686, which formerly hung in the +Schreierstoren in Amsterdam, was described by Sir Joshua +Reynolds as follows:</p> + +<div class="blockquot"><p>"At the office of the Commissary of the Wharfs is one of +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Vandervelde</ins>'s most capital pictures: it is about twelve feet long; +a view of the port of Amsterdam with an infinite quantity of +shipping."</p></div> + +<div class="figcenter" style="width: 550px;"> +<img src="images/illus208.jpg" width="550" height="317" alt="W. VAN DE VELDE +The Ij or Y at Amsterdam" title="" /> +<span class="caption">W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">VAN DE VELDE</ins><br /> +The Ij or Y at Amsterdam</span> +</div> + +<p>The Four Days' Combat is a picture of the moment when +the English flag-ship, the "Prince Royal," is striking her +colors in the fight with the Dutch fleet in 1666; and its +companion, The Capture, shows four English men-of-war +brought in as prizes in the same fight. Here the painter +has represented himself in a small boat, for in such a position +he actually witnessed the battle. An Agitated Sea, +with various sailing-vessels, is delightful because of the +warm lighting and movement of the waves; two Calms +represent the painter in the mood he best loves to paint +the sea. Other canvases represent the sea under squalls, +light breezes, etc. The Canon Shot, with a large ship in +the foreground, was bought in 1834 for 3,000 florins.</p> + +<p><b>A Beautiful Picture of the Dutch Coast.</b>—View on the +Coast of Scheveningen shows the dunes on the right, above +which rises the steeple of a church; on the left is the calm +sea under a lovely afternoon light. Two fishing-boats are +seen in the distance; a boat lies on the beach; a fisherman<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> +walks by with his nets, and in the foreground are three +men. The sea, the dunes, the tiny figures, and the light all +combine to make a beautiful picture.</p> + +<p><b>How some Painters helped each Other.</b>—The great +geniuses could do everything well—portraits, landscapes, +marines, figure subjects, architecture, interiors, and still +life. Some, however, excelled in one particular branch, and, +sometimes against their will bowed to the popular demand +for their works in that line, and devoted themselves entirely +to it. This specialization was carried to great lengths; and +it seems strange to us to find one master of landscape calling +upon a famous figure-painter to people his landscapes +<i>à la mode</i>, and <i>vice versa</i>, as happened in numberless instances. +Sometimes even cattle were supplied; and, more +particularly, live and dead game, flowers, fruits, household +stuff, and all kinds of still life.</p> + +<p><b>The Effect of this on their Reputation.</b>—Sometimes a +young artist's facility in a certain field was detrimental to +high esteem. Paul Potter, for example, had to live down +the reproach that he was nothing but a painter of animals,—which +he very quickly did. Those who made a specialty +of live animals apart from landscape are very few. With +the exception of the works of <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>, hunting scenes are +rare. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s hunts are confined to the start and the +return of the cavalcades.</p> + +<p><b>Blanc's Description of Weenix's Style.</b>—J. B. Weenix +must have loved hunting also, for it forms one of the familiar +motives in his landscapes in the Italian style. However,</p> + +<div class="blockquot"><p>"as he painted above all for the pleasure of painting, his +usual custom was to group in the foreground of his composition +the products of the chase rather than to represent the hunt +itself. It is only in the distance that hounds and huntsmen +are seen hunting the hare, while the poor animal is already +dead and hanging by its foot to a branch of a tree in the foreground. +A brilliant gamecock, one or two partridges, some +ribbons and flowers, and a big garden vase will accompany the +hare and form a charming picture for the mere delight of the +eyes. Truth, finesse of local color, delightful light and shade,<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> +exquisite handling, and the whole technique of art are employed +to make us admire this still life. We cannot help noticing the +masterly manner in which the artist has rendered the fur of his +dead hare, crimsoned with blood; and how lovingly he has +caressed the plumage of the neck and crop of his partridges, +and reproduced the beautiful lustrous black of the cock, whose +wings are splashed with white; how he has made us feel the +velvet of the skin at the joining of the muscles, and accentuated +the feet and claws. But the final luxury of the palette seems to +have been reserved for a superb hunting-dog with delicate ears, +that watches with an eye full of life over his master's gun and +the glorious trophies of the chase; and distends his nostrils +as if to snuff the odor of the gunpowder, the aroma of the +gin, and the strong scents of the venison."</p></div> + +<p><b>Painters of Still Life.</b>—Usually the painters of inanimate +objects take the trouble to arrange their inert models, just +as a historical painter would dispose his living figures. +The human figures in <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>'s pictures were painted by +Rubens, Jordaens, or Martin de Vos. His pupils were +Jan Fyt, Nicasius Bernarts, and Pieter Boel. The Rijks +Gallery has two splendid pictures by him: one, a dish +garnished with fruits and dead game; and the other, a +dead roebuck, a wild boar's head, and vegetables.</p> + +<p><b><ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>'s Dead Game and Vegetables.</b>—Beautiful in +composition and color is his Dead Game and Vegetables. +On a shelf are placed choice specimens of china, glass, +earthenware, fruit stands, etc., and these are balanced on +the left by a beautiful glass vase of roses and iris standing +in a niche. A large basket of apples, peaches, melons, +pears, and grapes, a hung deer, a boar's head, a lobster, +a few artichokes, and a bunch of asparagus show the +artist's wonderful arrangement of form and color.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus212.jpg" width="500" height="352" alt="FRANS SNYDERS + Dead Game and Vegetables" title="" /> +<span class="caption">FRANS <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">SNYDERS</ins><br /> +Dead Game and Vegetables</span> +</div> + +<p><b>Savery's Landscapes and other Pictures.</b>—Roelandt Savery +(1576-1639) was famous as a landscape-painter. The +landscapes are somewhat artificial, and really are used as +framework for the animal life he loved to introduce. His +execution is sometimes rather heavy but with strong tones. +The landscapes usually consist of grassy swards with +brownish-green trees and shrubs in the foreground, while<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> +the background is bathed in the bluish tints so dear to +Brueghel. Animals and birds of all kinds animate Savery's +pictures, as well as human figures, all drawn with much +talent. The Hague has a famous picture, by this artist, of +Orpheus Charming the Animals; and the Rijks owns Elijah +Fed by the Ravens (1634) and A Stag Hunt in a Rocky +Landscape (1626).</p> + +<p><b>Adriaen van Utrecht and his Still Life.</b>—Adriaen van +Utrecht was ten years ahead of Jan Fyt in painting those +pictures of live or dead animals, game, fruits, and implements +of the chase that we still admire so much. Although +his lights are sometimes somewhat heavy and his brush +work is not so fine as Fyt's, yet he equals the latter in certainty +of touch and especially in his feeling for life and +nature. His pictures are very scarce: Amsterdam possesses +only one, called Still Life, signed and dated 1644. +On a canvas eight by ten feet the painter has grouped pies, +hams, a lobster, grapes, peaches, and lemons on a table. +On the left, on the floor, are some musical instruments; on +a chair some golden vases; above, a parrot; on the right +a great sculptured basin and a little white spaniel, and in +the centre a monkey playing with some fruit from an overturned +basket.</p> + +<p><b>Ten Pictures by M. <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>.</b>—Melchior d' <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> +can be studied to great advantage in the Rijks, +which owns several pictures of the first order: The Floating +Feather, The Philosophical Magpie, Animals and Plants, +The Country House, The Duck Pond, The Frightened Hen, +The Menagerie, Dead Game, and two of birds.</p> + +<p><b><ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>'s Father and Grandfather.</b>—The great +Hondecoeter was a pupil of his father, Gijsbert d' Hondecoeter +(1604-53), the pupil of his father Gillis d' Hondecoeter +(1583-1638), a painter of portraits and landscapes +in the manner of R. Savery and David Vinck Boons. Gijsbert +followed his father's style of landscapes; but he attained a +great reputation for his birds, and particularly his ducks. +Both styles may be seen in the Rijks: A Landscape with<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> +Figures, dated 1652, and Aquatic Birds, dated 1651. In +the duck pond, where ducks and pigeons are sporting, is +also a feather floating on the water, for the artist was fond +of repeating this little touch.</p> + +<p>The Philosophical Magpie regards from a tree-trunk a +dead heron, a goose, and ducks; its pendant shows a living +peacock near a large vase and a dead hare and pheasant. +Dead Game, a small picture, exhibits a dead partridge +and a string of four little birds, and the others represent +parrots and other exotic birds, flowers, and plants, and +some monkeys. The Frightened Hen is defending her +chickens against the attack of a pea-hen. The most famous +of all, however, is The Floating Feather.</p> + +<div class="figcenter" style="width: 410px;"> +<img src="images/illus216.jpg" width="410" height="450" alt="M. D'HONDECOETER +The Floating Feather" title="" /> +<span class="caption">M. D'<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">HONDECOETER</ins><br /> +The Floating Feather</span> +</div> + +<div class="blockquot"><p><b>Burger's Criticism of The Floating Feather.</b>—"To make +a pilgrimage to Amsterdam without admiring The Floating +Feather, would be committing the crime of <i>lèse-peinture</i>. +<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> has painted this most carefully and in his happiest +vein. In a park luxuriantly decorated with beautiful trees and +springing fountains, he has grouped strange and rare birds with +domestic fowls. On the left in the foreground may be recognized +a pelican, a crane, a flamingo, and a cassowary; on the +right are ducks and geese of various breeds; a magpie cleaves +the air with rapid wings; and, lastly, a light feather floats on the +surface of a quiet pool, and this detail has given the picture its +name."</p></div> + +<p>Dr. Bredius says:</p> + +<div class="blockquot"><p>"The pelican on the left is particularly remarkable; but the +ducks do no less credit to this artist, who has expressed with +such penetration the life of the feathered world, the movements +of these creatures, I should indeed say their expression; and he +has rendered their physiognomy and character with such profound +truth that no other artist can approach <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins> in +this respect."</p></div> + +<p>The Philosophical Magpie, the Country House, and, +better still, the modest frame in which the artist, putting +aside for a moment his usual style, has brought together +lizards, butterflies, and sparrows amid shrubs and large-leaved +plants, are <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>s of the most admirable<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> +quality, whether in frankness of detail, or for the mastery of +execution and accent of color.</p> + +<p><b>Asselijn's Allegorical Bird Picture.</b>—The curious Allegory +of the Vigilance of the Grand Pensionary John de Witt +by Jan Asselijn is a bird picture. Here a great white swan +is defending her nest against the attack of a black dog +swimming rapidly toward it. Beneath the swan is the +Dutch legend The Grand Pensionary; on the eggs, Holland; +and under the dog, The Enemy of the State (intended +for England). The feather lost by the bird is +beautifully painted, and has challenged comparison with +<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>'s Floating Feather.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus220.jpg" width="500" height="427" alt="ASSELIJN +The Swan" title="" /> +<span class="caption">ASSELIJN<br /> +The Swan</span> +</div> + +<p><b>Eckhout.</b>—G. van der Eckhout (1621-74) has a Huntsman +with Two Greyhounds, painted about 1670. The +huntsman, wearing a red vest, is seated on the grayish earth. +The general tone of the picture is chocolate or chestnut.</p> + +<p><b>Jan Vonck.</b>—Jan Vonck (1630-?), another painter +who devoted himself principally to still life, especially dead +birds, sometimes was responsible for the birds in <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s +pictures. His brush work is that of a master; his color is +strong and agreeable with a transparent touch. The Rijks +owns one example, Dead Birds.</p> + +<p><b>Jan Weenix.</b>—Jan Weenix (1640-1719) was the pupil +of his celebrated father during the latter's lifetime; and +later he studied still life under his uncle G. <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>, +Elias Vonck (brother of Jan), and Matthys Bloem. He surpassed +his father in his pictures of dead game, one of which +hangs in this gallery. His animals—swans, hares, and +various birds, arranged with flowers and fruits around sumptuous +antique vases—are not so strong in character as those +in Hondecoeter's works; but they are very true to nature +and have the great charm of harmony and picturesqueness. +They richly deserve their original popularity which +their wonderful finish and execution have preserved till the +present day.</p> + +<p><b>Coninck a Good Animal-painter.</b>—David de Coninck +(1636-87), who had many affinities with Fyt, also painted<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> +landscapes, animals, and birds. He received the nickname +Ramelaer from his fondness for painting rabbits especially. +He was quite at home in hunting scenes, two of which are +in the Rijks,—The Bear Hunt and The Stag Hunt.</p> + +<p>Another painter of this period, Pieter Jan Ruijven +(1651-1716), has a fine picture of a cock and hens.</p> + +<p><b>Bosch, an Early Painter of Flowers.</b>—One of the early +Dutch painters of flowers was L. J. van den Bosch (?-1517), +who painted with a transparent color and a light touch. He +treated fruits, flowers, and insects with sympathy and truth. +He often represented flowers in vases; his insects are so +minute that they have to be examined with a magnifying +glass.</p> + +<p><b>Delff's Poultry Seller.</b>—Pictures of this school, however, +do not abound in the Dutch galleries till we come to the +artists who lived a century later. The first of these who +appears in the Rijks is Cornelis Jacobsz Delff (1571-1643), +a pupil of Cornelis Cornelisz. Delff was renowned for his +pictures of still life. He is represented in the Rijks by The +Poultry Seller.</p> + +<p><b>Other Still-life Painters in this Gallery.</b>—Other still-life +painters born in the sixteenth century, who are represented +in this gallery, are Ambrosius Bosschaert (1570-?), Pieter +Noort (1592-1650), Pieter Symonsz Potter (1597-1652), +Adriaen van Utrecht (1599-1652), and Hans Boulengier +(1600-45). Bosschaert has a picture, Flowers, dated 1619. +He had a son of the same name who also painted flowers.</p> + +<p>Of Pieter Noort little is known beyond the fact that he +painted still life, and especially Fish, as in the two pictures +here signed P. van Noort.</p> + +<p>P. S. Potter painted on glass and was the manager of a +gilded leather establishment at Amsterdam. His model was +Hals. Besides portraits and landscapes, his preference was +for still life. The Straw Cutter and Still Life (signed and +dated 1646) are worthy of attention.</p> + +<p><b>Two Pictures by Heem of Utrecht.</b>—Jan Davidsz de +Heem (1606-84) of Utrecht was a son of David de Heem,<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> +so famous for his <i>déjeuners</i> spread with game, oysters, lobsters, +fruits, wine, china, glass, and silver. Jan inherited +his father's tastes, and much of his talent, as is evidenced +by two pictures in the Rijks. One shows flowers and fruits of +natural size; and the other represents a table on which are a +cup, a glass, and a vase of wrought silver loaded with fruits.</p> + +<div class="blockquot"><p><b>Gréville on his Style.</b>—"At Antwerp, under Seghers, 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 <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins>. To the most minute exactitude and +almost microscopic details, he added the most brilliant coloring +and an unfailing taste in the arrangement of his flowers and +still life."</p></div> + +<p><b>Pieter de Ring.</b>—A picture of a table covered with blue +velvet and spread with lobsters, oysters, bread, fruit, etc., is +typical of the work of Pieter de Ring (1615-60), one of +De Heem's pupils, a Fleming, who spent his whole life in +Holland, and was noted for his picturesque arrangement and +fine execution.</p> + +<p>Hans Boulengier has a flower piece signed 1625. He +painted still life, <i>genre</i>, and sometimes "fantasmagories." +Little is known about him.</p> + +<p><b>Still-life Painters in the Latter Half of the Seventeenth +Century.</b>—A generation later this school was in full blossom. +Pictures of fruits, flowers, and dead game, by artists +who flourished in the second half of the seventeenth century, +are fairly plentiful.</p> + +<p>Abraham Hendricksz van Beyeren (1620-74) painted +with fine composition and strong color breakfast pictures +in the style of David de Heem, and delighted in portraying +fish as in the Rijks example.</p> + +<p>Cornelis Brisé (1622-7-) painted portraits; this gallery +possesses one of his pictures of flowers, signed C. Brisé, +1665. On the wall beside it hangs another flower piece +by the brush of Elias van Broeck (?-1708).</p> + +<p><b>De Snuffelaer.</b>—<ins title="Transcriber's Note: Both 'Otho Marcellis' and 'Otto Marseus' (or vice versa) were used in this text. This was retained.">Otto Marseus</ins> van Schrieck (1619-78) +was nicknamed De Snuffelaer (the ferreter), by the Dutch<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> +art colony in Rome, because of his frequent country walks +to discover new plants, insects, and reptiles as models for +his compositions. He painted with wonderful finish, good +drawing, and truth to nature, as may be seen in his Insects, +Lizards, etc., here signed O. M. V. S.</p> + +<p>Jacob Marrel (1614-81) has a flower piece signed and +dated 1634. Among other masters in Utrecht, Frankfort, +Brussels, and Antwerp, he studied with J. D. de Heem.</p> + +<p><b>Kalff, a Good Painter and a Brilliant Talker.</b>—Willem +Kalff (1622-93) was the pupil of Henry Pot, and as soon +as he left the master he abandoned his manner, choosing +for his subjects vegetables, fruits, kitchen utensils, and +sometimes handsome vases. Houbraken says he spent +whole days before a lemon, a beautiful orange, and the +agate or mother-of-pearl handle of a dessert-knife; and the +vessels of Holland never brought home a single shell, the +strange form and splendid colors of which he did not copy.</p> + +<p>Unlike many of the Dutch painters of his day, who spent +most of their time in the tavern, Kalff was a man of charming +and distinguished manner and a brilliant talker, and he +possessed a witty and cultivated mind. His friends would +spend the entire night listening to his conversation, and +when he died from an accidental fall from the bridge at +Bantem, 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 opulence, +but no treasures could outweigh his merit, for he had +no equal in his line."</p> + +<p><b>His Favorite Subjects.</b>—The kitchen with Kalff became +a heroic subject, and over it he threw the most subtle effects +of chiaroscuro, throwing a gleam of light upon a well, a +scoured saucepan, or a bunch of vegetables. Who is the +hero or heroine of the scene? A fine cauldron or saucepan +or kettle shining with a thousand reflected lights that come +through a window of thick glass or yellow paper. An old +cask stands by, interesting us with all its details of decay,—its +swollen staves, its rusted hoops, and the insects that<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> +lodge in the rotten wood. A big nail, an earthen pot, a +skimmer, a few onions with their shining skins, a broom, a +jug of water, and a towel lying on a barrel,—with such +simple things he makes a beautiful picture. Perhaps in +the background the cook and her dog are discerned. Kalff +never allows figures to become too prominent, for he wishes +his still life to catch and hold the spectator's interest.</p> + +<p>The picture by this artist in the Rijks has for its subject +a silver vase, of elegant form, and a porcelain dish filled +with oranges and lemons. The objects are tastefully +arranged and beautifully painted.</p> + +<p><b>Some other Painters of Animals and Fruits.</b>—Anthonie +Leemans (1630-8-) has also a characteristic picture of +still life; he was fond of painting dead birds. Another +picture of dead birds is by Willem G. Fergusson (1632-9-), +a Scotchman, who hired a house at The Hague in 1660, +and another in 1668; he was living in Amsterdam in 1681. +The picture is dated 1662. A Garland of Fruits is signed +J. Borman, who flourished in Leyden in 1657 and 1658; +but about him little is known. Another notable canvas +belonging to this school is Animals, Insects, and Fruits, +by Anthony van Borssom (1629-77), who was probably a +pupil, and certainly an admirer of Rembrandt; his tones +are somewhat sombre, but his drawing is vigorous and full +of interest. R. van der Burgh (fl. 1680) has a lifelike +painting of Sea Fish; and Karel Batist is a little-known +flower-painter, who worked in Amsterdam in 1659; his +canvas is unusually large for this <i>genre</i>, though the student +will have noticed that most of the artists of this period +liked to paint their flowers and fruits natural size.</p> + +<p>Pieter Claes van Haerlem (d. 1660) has a small picture +of still life which bears the false signature, Johan de Heem, +1640; and Jan van Kessel (1626-79) has a much smaller +one of Fruits and Insects. Another picture by the latter, +representing a woman seated at a table with fruits, etc., on +it, is falsely attributed to Anna Maria van Schurman (1607-78), +who was called "the marvel of her century." Her<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> +great reputation probably prompted some dealer to attempt +the fraud. None of the principal galleries of Europe possesses +any examples of her pictures, insects, etc., so celebrated +during her lifetime.</p> + +<p>Another picture of Flowers, dated 1667, is by Nicolaes +Lachtropius, who was a famous Dutch painter of coach +panels during the second half of the seventeenth century. +A contemporary German painter, Ottomar Elliger (1633-79), +also has a flower piece, dated 1674.</p> + +<p><b>Mignon, a First-class Flower-painter.</b>—Abraham Mignon +(1640-79) was a pupil of J. D. de Heem. He had +as pupils in the same style, two daughters and M. S. +Mérian. He belongs to the first rank of flower-painters. +Péries says:</p> + +<div class="blockquot"><p>"The qualities which distinguish the works of Mignon are +freshness, delicacy of tone, finish, the splendor of the reflections, +and the perfect imitation of nature. His flowers are selected +with taste and he perfectly well understands the art of giving +them their full value. He equally excels in painting insects, +flies, and butterflies, and the dewdrops trembling on the leaves; +the velvety skin of his fruits invites the touch of the fingers. +His only fault is perhaps a dryness in his draughtsmanship."</p></div> + +<p><b>Some of his Pictures.</b>—His masterpiece, <i>Mignon au +Chat</i>, showing a Persian cat upsetting a vase of flowers +on a marble table, is in the Rijks. Another picture here +is Fruits, representing a dish with grapes and pomegranates, +besides oysters and white bread. In composition, warmth, +harmony, and truth to nature this belongs to his best work. +Inferior to this is Flowers, where flowers appear in a vase, +and a cat and a mouse-trap are also represented. Still +Life and Fruits shows a marble table, on which are fruits +and flowers, a boiled lobster and an antique vase, a picture +that approaches his master Jan de Heem in harmony and +softness of touch.</p> + +<p><b>How Jan <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">van Huysum</ins> became a Great Fruit and Flower +painter.</b>—Jan van Huysum was the son of a flower-painter +who had turned his house into a sort of factory where<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> +everything contributing to the decoration of rooms and gardens +could be found. Jan, who was placed at the head of the +enterprise, grew tired of the business side and devoted himself +to art, especially the works of Mignon, Verelst, and +David de Heem. He also closely studied nature, and seeing +a whole world unfold itself in the study of flowers +alone, he explored the furthest recesses of his domain; +birds, butterflies, beetles, wasps, bees,—he forgot none +of the satellites of the flowers. Being also surrounded with +examples of all the exterior and interior art decorations +of the day, he was able to copy the marble consoles that +served as supports for his baskets, the earthenware bowls +and vases in which he kept his bouquets fresh, and the +bas-reliefs that set off the flowers in those vases, and the +mascarons and chimæras that formed the handles. It may +be said of him as a French critic said of Baptiste: "His +beautiful flowers lacked only the perfume that they seemed +to exhale." Reynolds must also have been thinking of +Huysum's effects when he said that Rubens's pictures were +"bouquets of colors." Huysum's fruits have received some +criticism: some critics hold that he has given them the +look of wax and the polish of ivory. In this branch of his +art, he perhaps falls short of David de Heem. His peaches +are too firm, his plums not provocative of thirst, and his +grapes leave a little more ripeness, gold, and sun to be +desired. He succeeded better with red gooseberries and +the cleft pomegranates with their pulp and seeds sparkling +like rubies and delightful to the eye. The Rijks Museum +has five pictures by this master in which his qualities as +a fruit and flower painter are fully displayed.</p> + +<p><b>His Landscapes.</b>—A small landscape is also here. +Formerly <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Huysum</ins>'s landscapes were as highly prized and +as costly as his flower pieces. However, his works in this +field are echoes merely of Guaspre, Glauber, Poussin, and +Claude; he lived in an age when the Dutch again bowed +down before foreign idols. The familiar Dutch pastures +were now peopled with nymphs and demigods.<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p> + +<p><b>Conrad Roepel.</b>—Conrad Roepel (1678-1748) was +famous for his flowers, fruits, festoons, garlands, birds, and +insects. He painted with much truth and good color. +He studied under C. Netscher; but later he took <ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Huysum</ins> +for his model. The Rijks has a picture of Flowers and +another of Fruits by him, both signed and dated 1721.</p> + +<p><b>The Van Os Family.</b>—Jan van Os (1744-1808) was +greatly admired in his day as a painter of marines, landscapes, +and more particularly flowers and fruits. There is +one of the latter here. His son and pupil, Georgius +Jacobus Johannes (1782-1861), was equally famous as +a painter of flowers and game. He is represented here +by four pictures, one of which is a landscape, the animals +of which are painted by his brother <ins title="Transcriber's Note: Both 'Peter Gerhardus' and 'Pieter Gerardus' were used in this text. This was retained.">Peter Gerhardus</ins> (1776-1839). +The latter painted chiefly military and hunting +scenes, landscapes, and animals. Nine canvases exhibit his +qualities in this gallery. His sister Marie Margrita van Os +(1780-1862) was, like her brothers, a pupil of Jan van Os; +she has a Still Life in the Rijks.</p> + +<p><b>Eight of Gerrit Dou's Pictures.</b>—Gerrit Dou is represented +by eight works including the famous Evening School +which in 1808 was sold for 17,500 florins. The others are +his own Portrait; the Portrait of a Man, dated 1646; Portraits +of a Gentleman and his Wife, in a landscape painted +by <ins title="Transcriber's Note: Both 'Nicholas' and 'Nicolaes' Berchem were used in this text. This was retained.">Nicholas</ins> Berchem; <i>La Curieuse</i>, a small oval picture of +a girl with a lamp in her hand; a Hermit in Prayer in a +Grotto; a Hermit, dated 1664; and A Fisherwoman.</p> + +<p><b>Description of The Evening School.</b>—The Evening School +is the most important of all Dou's candle-light pictures. +The composition is very simple. A looped curtain is lifted +to reveal a room poorly furnished with benches and tables. +The schoolmaster, who sits at a table with his arm on a +small desk, is hearing a girl spell, and shaking his finger at +a boy who is walking away. This group is lighted by a +candle that stands on the table near an hour-glass. In the +background a small group is seen at a table also lighted +by a candle. On the left of the teacher a boy is making<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> +calculations on a slate, while a girl by his side looks on, holding +a lighted candle in her hand. A fourth light—from a +large lantern on the floor—adds another artificial light for +the painter to treat. This great work is painted on a panel +1 foot 8 inches high by 1 foot 3 inches long.</p> + +<p><b>The Fisherman's Wife.</b>—The Fisherman's Wife, painted +in 1653, shows an old woman in a black gown with yellow +sleeves and a man's round hat. She is holding a reel.</p> + +<p><b>Description of The Hermit.</b>—The Hermit is one of the +most marvellously finished works of the master in his most +minute style. You can count the wrinkles and hairs of the +old white-bearded man who holds a crucifix in his hands. +An open book, an hour-glass, a can, and a basket (for +bread and wine or water) and other accessories are painted +in miniature; on the right is seen the trunk of a tree, and +in the far distance are some arcades, probably cloisters. +The tiny panel is only ten by eight inches.</p> + +<p><b>Schalcken, Imitator of Dou and Rembrandt.</b>—Godfried +Schalcken was the pupil of <ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraten</ins>, and of Dou, whom +he skilfully imitated. The sight of some of Rembrandt's +pictures next led him to devote himself to the effects of +light, artificial light especially: the majority of his pictures +therefore are illuminated by lamp or candle light. His most +remarkable work is at Amsterdam. It is called Young Girl +Lighting a Lantern. At the Revolution, he accompanied +William III. to England, and painted portraits of that king, +one of which, signed with the artist's name and dated 1699, +is in The Hague Gallery. Among his best pictures is the Boy +Eating an Egg, in the Rijks Museum.</p> + +<p><b>His Portrait of William III.</b>—The half-length portrait of +William III. in the same gallery, in which there is a remarkable +play of light, shows that this master who delighted in +the composition of small subjects borrowed from common +life, was equally capable of painting pictures of natural size.</p> + +<p>Schalcken's chief merit consists in the neatness of his finishing +and the perfect intelligence of his chiaroscuro. His touch +is mellow, but too fused, and his color warm and golden.<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span></p> + +<p><b>His Other Pictures.</b>—The other pictures here are A +Young Man Smoking; Difference in Taste, in which two +men are talking, while another lights his pipe; and two +Female Portraits, one of an ambassador's daughter, and the +other her companion.</p> + +<p><b><ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>, Another Imitator of Dou.</b>—Pieter Cornelisz +van Slingelandt (1640-91) is another pupil and a close +imitator of Dou; and almost surpasses him in laborious execution. +He reached the limits of what can be done by a +painter in oils. All his work seems to have been done under +the impression that imitation is the sole end of art.</p> + +<p><b>His Skill in Delicately Minute Painting.</b>—Naturally he +excelled in still-life painting, in which nothing was too +minute for him to endeavor to reproduce on his canvas. His +brush indicates the weft of the most delicate tissues; the +coloring matter, almost microscopically divided, gives a tone +to every stitch in a linen hood or cap, or a knitted stocking. +On a panel of the smallest size you can sometimes distinguish +the shadow, half tone, and high light of each of the +pearls in a necklace; sometimes also a cat's whiskers, and +even the hairs on the skin of a mouse. Sometimes a piece +of lace is rendered with such labor that it took more time +to paint than to make. The consequence is that his pictures +are very scarce: not fifty are known.</p> + +<p><b>His Favorite Subjects.</b>—Though as a rule he preferred +the luxury and elegance of high life, with its marbles and +richly carved furniture, upholstery and tapestry, jewels and +laces, silks and satins, velvets and furs, he also sometimes +chose models of humble estate. The Rehearsal is a masterpiece +in this class. Here a man is playing a violin while a +boy is singing and a woman preparing dinner. The other +example of his art is quite in contrast with the above. It is +called The Rich Man, and on it <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins> has lavished all +the resources of his brush. Blanc says:</p> + +<div class="blockquot"><p>"He painted the merchant at his counter and the lacemaker +at her distaff, the housekeeper purchasing partridges or getting +dinner ready, and the woman of the people occupied in sewing<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> +beside the cradle in which her infant is sleeping. From the +richly furnished salon <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins> descended to the scullery and +took pleasure in looking at the rows of shining pots and pans, +and other kitchen utensils. 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 portrait. He devoted as much attention to +imitating the polish of a brass vase or the rough varnish of an +earthenware pot, as to expressing the transparency of a Bohemian +glass. Cats and mice were also honored with his precious +painting, as well as parrots and spaniels. But what he rendered +with most love and with unequalled truth was the musical instrument. +His violins are light, and sonorous; his violoncellos provoke +the virtuoso and enchant the ear almost as much as the +eye. One would say that nothing escaped his observation, +nothing of what constituted private and family life, that which +he himself lived in obscurity, the simplicity and joys of which +he painted with so much application, finish, and patience."</p></div> + +<p><b>Adriaen de Vois.</b>—Arie (or Adriaen) de Vois (about +1630-80) studied first under Nicholas Knupfer in Utrecht, +next with Abraham van den Tempel, and lastly with +Pieter van <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>, whose highly finished style he +followed with great success. He painted charming scenes +of familiar life, lovely portraits, interiors, and even landscapes, +in which he introduced, in the style of Poelenburg, +tiny nude figures. The Dutch collectors have always +prized them for the delicacy of their color and touch and +vivacity.</p> + +<div class="figcenter" style="width: 410px;"> +<img src="images/illus230.jpg" width="410" height="500" alt="A. DE VOIS +Lady and Parrot" title="" /> +<span class="caption">A. DE VOIS<br /> +Lady and Parrot</span> +</div> + +<p><b>Description of The Lady with a Parrot.</b>—In his Lady +with a Parrot, the lady is rather French in type, and dressed +in the most fashionable style of the period. Her earrings are +wonderfully painted and perhaps even more realistic are the +fruits in the basket which she holds on her knee, and from +which she offers her parrot a tempting treat. Every detail +of this picture is perfect in treatment—the dress, the hair, +the face, the jewels, the still life, and the brilliant feathers +of the bird.</p> + +<p><b>His Other Pictures in the Rijks.</b>—In addition to this +beautiful picture the Rijks also owns The Fisherman +Smoking, a little oval panel; A Violin Player, who holds a<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> +wineglass; and The Fish-Vender, a jolly old fisherman with +a glass of beer in his hand.</p> + +<p><b>Seven Pictures by Brekelenkam.</b>—Quieringh Gerritsz +van Brekelenkam (?-1668) was a pupil of Gerrit Dou; +and his own manner was a mixture of Dou and Rembrandt. +He settled in Leyden in 1648. His works, representing, as a +rule, interiors, with figures noted for the natural expression +of their heads, are highly esteemed. His touch is light +and spirited, and he understands the art of chiaroscuro. +The Rijks owns seven pictures: Two Interiors, The Fireside +(1664), The Mouse Trap (1660), Confidences (1661), +Reading, and A Mother and Child. The latter is a little +oval panel, in which a woman in a red skirt and black +jacket is giving some porridge to her child.</p> + +<p>One of the Interiors, representing A Tailor's Shop, is one +of his best works. The tailor, with long hair and fur cap, +is seated at a work-table on the right; he is talking to a +woman who is carrying a tin bucket. On the right, near +the window, you see the back of a young workman. In the +background hangs a picture, and there are some clothes on +a board. The work is somewhat in the style of Pieter de +Hooch.</p> + +<p><b>His Poverty of Imagination.</b>—Brekelenkam has been +accused of poverty of imagination because of the paucity of +figures in his compositions; and yet some of the most beautiful +and famous pictures of the Little Masters consist of +single figures, such as a woman sitting spinning. One critic +complains:</p> + +<div class="blockquot"><p>"Notwithstanding his ability (his method is preferable to +Dou's; his painting is more unctuous, warmer, and freer, being +finely accented with lifelike touches on the various utensils or +accessories of his interiors), it seems that this painter was not +endowed with a very fertile imagination. He has a very slight +taste for difficult subjects, and carefully avoids complicated +compositions; most often, indeed, a single personage suffices +him for a picture. A smoker lighting his pipe, an old woman +sitting in the chimney corner, a philosopher turning over the +leaves of a folio volume, the interior of a farm, or a kitchen,—these<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span> +are Brekelenkam's ordinary motives. But feeling and intellect +give relief to these vulgar themes, and render the delicate +works of this too-little-known painter precious to art-lovers."</p></div> + +<p>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 praise.</p> + +<p><b>Ter Borch's Famous Paternal Advice.</b>—Ter Borch, as +we have seen by The Message or Despatch in the Mauritshuis, +was fond of painting pictures with some slight +dramatic connection. Here we find the very famous Paternal +Advice, also called The Paternal Reproof, but better +known as The Satin Dress (<i>Robe de Satin</i>).</p> + +<p>A young lady is standing with her back to the spectator. +She wears a black cape and a white satin dress, and her +hair is blond. The <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins>, bed curtains, and other +hangings are red. On the table at the left are a silver +candlestick, two combs, and a pink string, and a mirror or +perhaps a picture in a frame. On the right is seated a +rather young man with long hair, and richly and somewhat +extravagantly dressed in lilac and gray. In one hand he +holds a large hat trimmed with three immense blue and +lemon-colored plumes. His sword is by his side, and behind +him in the shadows stands his greyhound. His left +hand is raised with some gesture, probably of admiration, +as his face is smiling. The old woman at his side is interested +solely in her glass, through which half of her face is +seen as she is drinking.</p> + +<p>It was Goethe who bestowed the name Paternal Advice +upon this picture, the story of which is not yet known; but +although critics have accepted fatherly admonition as the +theme, the relative ages of the characters do not justify the +theory.</p> + +<p><b>Blanc's Critique of the Picture.</b>—Blanc is one who +does not question this. He exclaims:</p> + +<div class="blockquot"><p>"Truly this dress is perfect: it is so close to the eye and +within reach of the hand that it engrosses the entire attention<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> +of the spectator. One would say that the young girl, so gently +reprimanded by her father, has come there merely for the sake +of showing her dress; and, indeed, the painter has dwelt on this +detail with the greatest affection, and, moreover, has hidden +the face of the young girl, and shown us only the back of her +head with its blond coil and the escaping tresses, in which are +mingled some black velvet, which relieves the ash-colored tone +of the hair. What a singular thing! A frightful sacrifice of a +woman's head to a robe of satin, 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 artists. The painter has by this aroused our +curiosity regarding the face of the young girl, who has turned +away her head, and so we have to imagine her blushing cheeks +and her lowered eyelids. As for the father, he is remonstrating +with her so tenderly, with such a gentle gesture and so paternal +a manner that we are not disturbed by it, and can therefore fix +our glance on the magnificent satin dress, the folds of which +are so beautifully broken by the light, and in which all the interest +of the picture is concentrated. But what an inexplicable +attitude is that of the mother, who is slowly drinking a glass of +fine wine, while her husband lectures their daughter."</p></div> + +<p><b>Other Pictures by Ter Borch in the Rijks.</b>—The Rijks +owns a Portrait of Ter Borch, painted by himself, and one +of his wife, Geertruida Matthyssen; a copy of The Peace +of Münster (original in the National Gallery), and a copy of +his Boy and a Dog, also known as The Scholar.</p> + +<p><b>Description of The Scholar.</b>—The latter shows a table +covered with an old gray carpet, on which is a copy-book +and an inkstand. The scholar, who instead of writing his +exercise is busy catching fleas on the dog, which he holds +between his knees, wears a violet coat and blue stockings, +and his gray hat lies on a little wooden bench before him. +The whole is of a neutral color, but very clear.</p> + +<p><b>Seven Pictures by Adriaen van Ostade.</b>—Adriaen van +Ostade has seven pictures on these walls: An Artist's +Studio, Travellers' Halt (1671), The Charlatan (1648), +The Baker, The Merry Peasant, The Intimate Company +(1642), Confidences (1642).<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> + +<p><b>His Artist's Studio.</b>—An Artist's Studio, of which +there is a replica dated 1666 in the Dresden Gallery, shows +a painter sitting at an easel with his back to the spectator; +he wears a violet coat and a red cap. The other features +of the composition are a black dog asleep, an assistant +grinding colors in a corner, and a pupil preparing a palette. +The artist is supposed to be Ostade himself in both instances; +but for some reason his face is half hidden. The +play of light and shadow in the apartment is noticeably +Rembrandtesque in character.</p> + +<p><b>A Tavern Interior.</b>—There are two tavern interiors +here. In one (dated 1661) five peasants are grouped in +the foreground. Before a large chimney stands a man in +a blue vest and gray hat, holding a mug in his hand; +opposite is a man in a blue mantle and a white hat, who +is filling his pipe; in the chimney corner an old man is +dreaming; and to his right an old woman is listening to +what a man in a furred cap, with a pipe in his hand, is +saying to the man before the fire. On the extreme right a +little girl, on a wooden stool before a rustic table, is eating +her soup and amusing herself with a little black-and-white +dog. In the background, near the open window, five men +are grouped around a table, smoking, drinking, and talking. +The lights on the separate groups from the back and side +windows are ably managed.</p> + +<p><b>Ostade's Best Period.</b>—The Charlatan, dated 1648, +belongs to the master's best period, when he painted such +gems as The Barn, The Family, and The Father of the +Family.</p> + +<p>The Intimate Company, signed 1642, is in the Van der +Hoop Collection, as is also a rustic interior, <i>Société de campagnards</i>, +signed 1661. The latter has passed through the +Lormier, Choiseul, Du Barry, Tolozon, and Duchesse de +Berry collections.</p> + +<p><b>Some of his Pupils.</b>—Among Adriaen's many pupils +may be mentioned Cornelis Dusart, Cornelis Bega, Michiel +van Musscher, R. Brakenburgh, and Jan de Groot. They<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> +all followed his style more or less closely. When Jan Steen +visited Haarlem he also fell under his influence.</p> + +<p><b>Isaak van Ostade.</b>—Isaak van Ostade (1621-49) has +two rustic inns, one signed and dated 1643, that are typical +of his style. In his early work he imitated his brother and +teacher with some success, both in subject and treatment, +especially wayside hostelries. His pictures, however, are +browner in tone and harder in execution than Adriaen's. +In one picture here we see two travellers with a white horse +halting in front of an inn. The composition is delightful +and full of nature and spirit.</p> + +<p><b>C. Dusart, Better in some Respects than his Master.</b>—Cornelis +Dusart (1660-1704) adopted his master's (Ostade) +style without servile imitation. He was a minute observer +of details and had an astonishing memory that enabled him +to use them to the best advantage in his interiors. His +choice and treatment of scenes were rather more distinguished +and less vulgar than some of his master's. His +later pictures are inferior to his early ones: they lack +spontaneity of conception, and that freshness and simplicity +of impression that mark so many of his works. +Five striking pictures worthily represent his abilities,—Wandering +Musicians, The Fish Market (1683), The Village +Kermesse, A Village Inn, and Maternal Happiness.</p> + +<p><b>Cornelis Bega.</b>—Cornelis Bega (1620-64), another +pupil of Adriaen van Ostade, copied and improved upon +him. A Concert of Peasants is full of color, light, movement, +life, and gayety, with music, singing, and dancing. +It is warmer in color than most of his works.</p> + +<p>The Grace before the Meal (1663) shows a young woman +with folded hands seated at the table, and on the other side +an old man. On the window-sill is a flower-pot; in front, +on the floor, a foot-warmer. This is a good picture, but a +little too red in tone, as often happens with Bega.</p> + +<p><b>M. van Musscher's Lack of Originality.</b>—Michiel van +Musscher (1645-1705) was completely lacking in individuality: +he simply mirrored his successive masters, Martin<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> +Zaagmorlen, Abraham van den Tempel, Gabriel Metsu, and +Adriaen van Ostade. Not only that, but he sometimes +painted also in the style of Jan Steen, and even imitated +the marvellous chiaroscuro of Pieter de Hooch. Sometimes +also in subject and treatment his work resembles that +of Netscher and Albert Cuijp. He has five portraits here, +but is not represented by an example of his many interiors, +feasts, or scenes of peasant or genteel life.</p> + +<p><b>Brakenburgh, a Clever Colorist.</b>—Richard Brakenburgh +(1650-1702), a pupil of A. van Ostade, Hendrick Mommers, +and probably Jan Steen, whom he imitated, lived in +Haarlem. He also studied with B. Schendel, and became +a clever painter and very able in the management of chiaroscuro. +He is fond of <ins title="Transcriber's Note: Both 'merry-making' and 'merrymaking' were used in this text. This was retained.">merrymakings</ins>, drunken assemblies, +doctors' visits, and children's feasts. He sometimes +painted the figures in the landscapes of P. de Koninck and +others. In his best works, some competent critics consider +him worthy to rank with Ostade in the brilliance of his +color, although it is always inferior in transparency. In +form and modelling his subjects suffer by comparison with +those of his master. The Rijks owns a jovial tavern scene, +and The Feast of St. Nicholas, signed and dated 1665, +which the student will be interested in comparing with Jan +Steen's treatment of the same subject.</p> + +<p><b>Several Periods in the Career of D. Teniers the Younger.</b>—David +Teniers the Younger (1610-90) has seven pictures +here that illustrate his various styles. As with most other +artists who reached old age, critics recognize several periods +in the career of Teniers. At first, his figures, from +twelve to eighteen inches high, are broadly painted in +brownish and somewhat heavy tones. Toward 1640 his +color becomes clearer and more luminous and golden. +From 1640 to 1660 it assumes silvery tones of admirable +lightness and limpidity; and, at the same time, his execution +grows more careful and precise. The pictures of +this last period are held in highest esteem. After that Teniers +returned to a gamut of golden tones, in which he<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> +sometimes displayed great power. At the close of his life +he became heavy and brownish in tone, and his touch lost +some of its clearness. Not many of his pictures are dated. +The earliest known date is 1641, on Our Corps de Garde, +a medium-sized picture of no special interest, in which we +note numerous military attributes. This is far inferior to +a similar picture, now in St. Petersburg, painted two years +later.</p> + +<p><b>His Relish for Pictures of the Supernatural.</b>—The +Temptation of St. 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 Hell, incantations, +witches, phantasmagoria, etc.—for the simple +purpose of assembling the most hideous and grotesque +apparitions imaginable.</p> + +<p><b>His Pictures of other Kinds.</b>—The other pictures here +are devoted to his villagers, drinking, playing bowls, dancing, +singing, and fighting. A Landscape, with a rustic +house, shows a gardener standing, spade in hand, talking to a +woman with a child on her lap. On the left, on the ground, +are some vegetables, also pots and other household utensils.</p> + +<p><b>Peter Balten.</b>—Peter Balten (fl. 1540-71) is represented +by a large picture, St. Martin's Fair. His figures are full +of spirit, and his touch is sure. Little is known of him +except that he was one of the greatest wits of his day. He +studied under Pierre Brueghel, whom he resembles in style.</p> + +<p><b>B. van Bassen.</b>—A contemporary of his was <ins title="Transcriber's Note: 'Bartelmees,' 'Bartholomew,' and 'Bartholomeus' van Bassen were used in this text. This was retained.">Bartholomeus</ins> +van Bassen (d. 1652), who has a fine Interior with figures +supplied by <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>. His specialty was portraits, +with studies of perspective, and church and other +interiors.</p> + +<p><b>Three Pictures by Hendrick Bloemaert.</b>—Hendrick Bloemaert +(1601-72) was probably the son of Abraham. +The Rijks has three of his pictures, signed and dated: +Winter (1631), Portrait of Johannes Puttkamer (1671), and +The Eggseller (1632). The latter is in the Van der Hoop +Room.<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span></p> + +<p><b>Three Popular Artists.</b>—Jan van der Meer the Younger +(1656-1705) is represented by a charming picture, The +Sleeping Shepherd, dated 1678. Frans van Mieris the Elder +is represented by The Letter, The Lute Player, Jacob's +Dream, The Lost Bird, and Fragility. His son, Willem van +Mieris, is represented by The Poulterer (1733), A Landscape +with Shepherds and Shepherdesses (1722), and a Lady and a +Gentleman.</p> + +<div class="figcenter" style="width: 420px;"> +<img src="images/illus240.jpg" width="420" height="500" alt="F. VAN MIERIS + Grocer's Shop" title="" /> +<span class="caption">F. VAN MIERIS<br /> +Grocer's Shop</span> +</div> + +<p><b>The Grocer's Shop by F. van Mieris the Younger.</b>—Willem's +son and pupil, Frans van Mieris the Younger +(1689-1763), who carried on the family traditions in Leyden, +although somewhat inferior to his father and grandfather, is +represented by A Hermit (1721), A Chemist's Shop (1714), +and The Grocer's Shop (1715). This latter picture presents +an interesting scene of the day. Note the beautiful +painting of the sculptured bas-relief of the counter, at which +stand the purchasers—an old woman and a child. The +shopkeeper holds scales and two baskets, about the contents +of which there seems to be some contention. In the shop +there is a larder, on the shelves of which various articles are +seen; baskets hang on the wall; and tubs, barrels, and +casks are also visible. Over the shop has grown a grape-vine, +and its graceful festoons of leaves make a beautiful +effect.</p> + +<p><b>Several of Karel Dujardin's Pictures.</b>—Karel Dujardin +may also be studied by his Portrait of a Man; Portrait of +Gerard Reinst, a celebrated art collector of Amsterdam and +also a patron of the painter; The Muleteers; The Laborer +on his Farm (1655), in which a peasant is seen winnowing +corn; A Trumpeter on Horseback; a Portrait of Himself +(1660); an Italian Landscape with Animals; and a Landscape, +which was purchased at the Duchesse de Berry's sale +in 1837 for 4,000 florins.</p> + +<div class="blockquot"><p><b>Burger on A Woman Reading.</b>—"Again the sphinx! +Here we have an interior with a woman standing in profile to +the left. She is reading a letter; she wears a light blue jacket +and a grayish-blue skirt. Before her are a table and a chair with a<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> +blue back. Behind her is another blue chair. Decidedly Van +der Meer has an affection for the blue sky. The wall of the +background is a pale moonlight blue, and the woman's figure +stands out against a geographical map a little tinted with <i>bistre</i>, +which hangs on the wall.</p> + +<p>"The execution of this picture is very delicate, indeed almost +trivial: the paint is laid on very lightly, the color is weak and +even a little dry. It is true that this picture is a little rubbed. +On the contrary, Van de Meer's touch was frank and the <i>pâte +grasse</i> abundant, even somewhat exaggerated in the View of +Delft at The Hague; there is an incomparable firmness of design +and modelling in The Milkmaid in the Six Gallery; and in +the Façade of a Dutch House in the same gallery, the color is +extremely warm and harmonious. These differences of practice +make us hesitate for a time regarding the parentage of The +Woman Reading in the Van der Hoop Collection. However, +the physiognomy of this woman is of an exquisite delicacy; her +bare arms and the hand that holds the paper are marvellously +drawn.... This pale light and these delicate blues betray Van +der <i>Meer</i>. This artist probably had several styles.</p> + +<p>"This picture is signed: an open book on the table bears the +word Meer."</p></div> + +<p><b>Van der Meer's Later Style.</b>—In later pieces his style is +reminiscent of De Hooch and Metsu, but it is brighter and +the tone more enamelled. In most instances the scene is in +a small room lighted by a casement window. Sometimes +the painter himself is seated in a studio; sometimes a girl +and her lover are together; sometimes a woman is seated +at the clavecin. The Milkmaid in the Six Collection is +noted for its brilliancy of tone, harmonious distribution of +tints, delicacy of gradations, and solidity of touch.</p> + +<p><b>His Portrait-painting.</b>—Van der Meer was also a splendid +portrait-painter and excelled in landscapes, in which he +sacrificed figures to trees, cottages, and lanes. There is a +charming little picture of this class in the Six Collection, +representing a row of brick houses with people, in the style +of Pieter de Hooch. It is said that he was killed by the +fall of his house at the time when Simon Decker, a vestryman +of the Delft Church, was sitting to him for his portrait.<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p> + +<p><b>Pieter de Hooch (1635-78).</b>—This master who was so +long neglected and is now regarded as at least the equal of +Ter Borch, Metsu, and Van Mieris, is well represented in the +Rijks, though absent from The Hague Gallery. His talent is +exhibited chiefly in his Conversations. Burger says he has +never seen a single picture by De Hooch that is not of the +first rank.</p> + +<div class="blockquot"><p><b>Burger on De Hooch's Choice of Subjects.</b>—"Sometimes +he paints interiors—people are playing at cards, or having a +family concert, or reading, or drinking, or conversing. Sometimes +he paints exteriors; then the painter introduces us to domestic +occupations, and the innocent recreations of private life, +as, for instance, a servant washing linen in a back yard, or cleaning +fish, or plucking a fowl; or perhaps there are ladies and +their cavaliers playing at bowls in a garden with trim gravelled +walks."</p> + +<p><b>His Excellent Painting of Interiors.</b>—"When he paints interiors, +this artist rarely neglects to show, on the right or left, +doors opening on a staircase or revealing a leafy alley, or the +trees along a quay, so that his pictures almost always seem to +be the antechamber of another picture. In this characteristic +style of De Hooch, when the interior of the apartment is moderately +lighted, the sun shines outside, and we feel its heat and +brilliance in the vistas gradually lost to view in the background, +so inimitably managed in the artist's manner.... Pieter de Hooch +seems to have been in Rembrandt's secrets, and knew how to +adapt the genius of that great master to familiar scenes, just as +Gonzales Coques had adapted the genius of Rubens."</p></div> + +<p><b>Seven Fine Examples of his Work in the Rijks.</b>—The +Rijks Museum owns seven fine examples of this master's +work. The Portrait of a Man is said to be that of the +painter at the age of nineteen; but this is doubtful. 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 cellar. +This picture is very attractive for the simple attitudes, and +for the depth of the equally sustained warm harmony. "The +execution," says Crowe, "is a model of softness and <ins title="Transcriber's Note: original reads 'juciness'">juiciness</ins>." +The most glowing example, however, of this warm +lighting is a woman cleaning the hair of a child, in the Van der<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> +Hoop Room. The woman wears a skirt of deep blue and a +bodice of red, bordered with white fur, while the child has a +skirt of green and a gray bodice. Behind them is an alcove +bed with green curtains, and to the right, in the foreground, +a little chair. An open door on the left allows you to see +into another room with a passage and courtyard beyond. A +little black dog seen from behind lies on the reddish tiles. +The picture is beautiful in its treatment of three successive +planes of light.</p> + +<div class="figcenter" style="width: 380px;"> +<img src="images/illus246.jpg" width="380" height="500" alt="P. DE HOOCH + The Country House" title="" /> +<span class="caption">P. DE HOOCH<br /> +The Country House</span> +</div> + +<p>Another picture in the same collection represents apparently +a pair of lovers who seem to be teasing each other. +The lady seen in profile is squeezing a lemon into a glass, +and the young man sitting opposite with his elbow on the +table looks at her with a subtle smile. The costumes are +elegant—the lady wears a straw-colored skirt and a rose-colored +jacket. The man has on a garnet-colored doublet, +scarlet knee-breeches, and white stockings. He is <ins title="Transcriber's Note: Both 'bare-headed' and 'bareheaded' were used in this text. This was retained.">bareheaded</ins> +and wears a wig. If it were not for the pipe in his +hand he would remind you of Molière's gentlemen. They +are sitting in a kind of courtyard of a house with a red-tiled +roof, and a window with red shutters is also visible. +At the door of the house a woman is standing with a glass in +her hand. A servant is busy with a kettle by the window. +On the right there is an opening into a clump of trees, suggesting +a park, and to the left another enclosure.</p> + +<p>One of the most beautiful pictures in the collection, a +marvel very difficult to describe because its superlative +value lies in its luminous effect, is thus described:</p> + +<div class="blockquot"><p><b>A Picture Highly valued for its Luminous Effect.</b>—"We +are in a room, the door of which, in the background on the left, +opens onto the quay of a canal. A girl passes along the path; +next we see a tree, a stretch of the canal, and on the opposite +bank another street, flooded with sunlight, in which two cloaked +men have halted in front of a house. Above the door, which is +slightly arched, is a large window with small panes in four compartments, +one of which is open. Under the light falling from +the window, in the corner of the room, a girl in a blue bodice<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> +and white apron is seated, with her head turned toward a youth +who is entering through on the extreme right in the foreground. +In one hand he holds his hat, and presents a letter with the +other."<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p></div> + +<p><b>A Pleasing Sunlight Effect.</b>—Another picture shows a +sunlight effect, in which both De Hooch and Vermeer of +Delft delighted. There is a window on the left, above a +table covered with a Turkey-red <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins>, which is silhouetted +brightly on the lower part of the opposite wall, +close to a <ins title="Transcriber's Note: Both 'chimney-piece' and 'chimney piece' were used in this text. This was retained.">chimney piece</ins>. A servant is sweeping in front +of the latter. Another woman, almost full-face, is seated, +holding a baby in a yellow frock, with a child's cradle beside +her. She wears a blue velvet jacket and red skirt. +Behind her a door opens into a courtyard, and gives us a +glimpse of the town. The rest of the background consists +of a gray wall, on which hangs a picture. There is also a +picture over the fireplace.</p> + +<p><b>The Sick Lady.</b>—Very similar to the pictures by Jan +Steen and Metsu is <ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hooghstraten</ins>'s The Sick Lady, who, +very pale and with drooping head, sits by a table on which +her left elbow rests. On the red cloth, which is covered +with a piece of white linen, stand a pot and a phial. She +wears a white cap, a yellow jacket bordered with ermine, a +Persian-blue skirt, and a white apron. Her hands are +clasped at her waist, and her feet rest on a foot-warmer. +Behind the table stands the doctor in his conventional costume +of black. The bed, draped with green curtains, is +seen in the background, where, to the left, a short flight of +stairs leads to a series of rooms opening one into another +in the style of Pieter de Hooch. The figures, about a foot +high, are very finely drawn. Burger says:</p> + +<div class="blockquot"><p>"The general harmony of color is strange, distinguished, and +original. There are tones of straw-color, tones of pearl-color, +and silvery tones, happily brought together, a clever distribution +of light, and lightness in the shadows."</p></div><p><span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p> + +<p><b>Jan Steen's Style patterned after Hals and A. van +Ostade.</b>—Jan Steen shows the influence of his models, +Hals and Adriaen van Ostade, in several of the seventeen +pictures of this artist owned by the Rijks Museum. His +own portrait and those in the Oostwaard picture (dated +1659) are strong, bright, and clear with the qualities he +admired in Hals. The other pictures are all distinguished +by correct drawing, admirable freedom and spirit of touch, +and clear and transparent color. They range in subject +from the stately interiors of grave and opulent burghers to +tavern scenes of jollity and debauch.</p> + +<p><b>Some of the Seventeen of his Pictures owned by the +Rijks.</b>—There are two pictures of the charlatan who puffs +his pills, draws teeth, and sells everything helpful to those +sick in body or in mind, from a love-philtre to the Elixir +of Life. Here, also, we see doctors and patients, card-parties, +marriage-feasts, and the festivals of St. Nicholas +and Twelfth Night. His delightful rendering of children +is also fully exemplified here. In detail, the pictures are +as follows: A Portrait of Himself, showing a rather handsome +man with oval face, arched brows, and well-cut +mouth; A Charlatan Selling his Wares, in which the chief +figure is standing on a platform beneath the shade of a +tree, while around him are many little figures variously +grouped, forming comic episodes; The Baker Oostwaard +with his Wife and a Son of the Painter (1659). The baker +is arranging his wares, and the little boy is blowing on a +horn. The Scullion represents a woman scouring a pewter +pot. She is in a kitchen, and wears a white jacket and a +blue skirt. On the table by which she stands are utensils +and a lantern.</p> + +<div class="figcenter" style="width: 407px;"> +<img src="images/illus250.jpg" width="407" height="500" alt="JAN STEEN +The Parrot Cage" title="" /> +<span class="caption">JAN STEEN<br /> +The Parrot Cage</span> +</div> + +<p><b>Description of The Parrot Cage.</b>—The Parrot Cage +is a domestic scene, in what appears to be a tavern or a +middle-class hall, in which there is a bed, a chair, and a +table, at which two men are playing backgammon, while +a third looks on smoking a pipe. At the big fireplace an +old woman is broiling oysters, which are likely to spoil, as<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> +she is taking more interest in the backgammon than in her +own task. A boy seated on a low stool is feeding a kitten +with milk from a spoon, and watching a woman of graceful +figure who is offering a biscuit to a parrot in a cage.</p> + +<p>The Orgy is famous for the dash and abandon with which +it is painted.</p> + +<p><b>The Village Wedding and Other Pictures.</b>—The Rijks +owns also The Birthday of the Prince of Orange, The +Happy Return, The Rake, The Dancing Lesson, in which +merry children are teaching a cat to dance; The Village +Wedding, a little masterpiece, in which the light is treated +as if by Ostade, and where the bride and groom are seated +at a table with friends, while musicians play for many +dancers.</p> + +<p><b>Description of The Happy Family.</b>—In The Happy +Family we see a simply furnished room, in which is a bed, +and next it a cupboard, on the top of which stand a mortar, +some platters, and a vase of flowers; a happy family group +is seated at a table. Hanging on the bed curtains is the +legend in Dutch, "As the old ones sing so will the young +ones pipe." This is the keynote of the picture. Every one +is singing, piping, and making merry. Their gaiety is infectious. +The father, seated at the end of the table, has a +viola in one hand, while the right holds a glass of wine. +Next him stands a boy playing bagpipes. Then the grandmother, +singing, with a jolly expression on her face; next, +the merry mother, with a merry baby, the image of her; +next, a boy with a flute, another with a pipe; next, a girl +about to smoke a pipe, in front two children, and at the +open window a boy with a pipe. A dog stands by the +master, near an empty platter, that shows he too has shared +in the feast. There is a handsome table-carpet on the +table, protected by a napkin, and on it a ham and a loaf +of bread.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus254.jpg" width="500" height="379" alt="JAN STEEN +The Happy Family" title="" /> +<span class="caption">JAN STEEN<br /> +The Happy Family</span> +</div> + +<p><b>A Family Scene on Twelfth Night.</b>—Nearly all the +same persons, only grown older, appear in A Family Scene +on Twelfth Night: <ins title="Transcriber's Note: Both 'Marguerite' and 'Margarita' van Goyen were used in this text. This was retained.">Margarita</ins> van Goyen, Steen's wife, seen<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> +this time from behind, with her profile upturned, and wearing +a red skirt and a blue jacket trimmed with ermine, and +ten other figures, including the old father and the painter +himself, who are smoking in the background. "Delicious +in color and vivacity!" is Burger's comment.</p> + +<p><b>A Doubtful Picture of Steen and his Wife.</b>—The +Couple Drinking is said to be Steen and his wife. The +latter with a white handkerchief on her head, a dark blue +jacket, red skirt, and white apron is drinking from a tall +glass. The man in black behind her and talking to her is +about to drink from a mug. The ages of the couple make +it doubtful if the painter and his wife are represented.</p> + +<p><b>The Young Lady who is Ill.</b>—The Young Lady who is +Ill, seated languidly in a red arm-chair, with her head on +a pillow, may be compared with similar pictures in The +Hague Gallery. She wears a yellow silk skirt, and a jacket +of lilac velvet bordered with ermine. The doctor is one of +Steen's best creations of this type.</p> + +<p><b>Steen's Most Popular Picture.</b>—The most popular of all +Steen's pictures, however, is the Eve of St. Nicholas, which +shows a room in Jan Steen's house, and himself, his first +wife, and their children. Beside the chimney sits the mother +in lilac skirt and green velvet jacket bordered with ermine, +and on her left is a low table, on which is a variety of cakes, +fruits, and other holiday sweets. In the background sits +the father, who is enjoying the scene. Seven children are +present. The oldest, holding a baby with a rag doll in its +arms, is pointing up the chimney, explaining to the open-mouthed +and staring little boy at his side whence St. Nicholas +came. On the extreme left a boy is crying because all +that St. Nicholas has rewarded him with is a birch rod, +which his sister is presenting to him in his wooden shoe, and +with evident pleasure. A little boy, with his father's cane in +his hand, is enjoying his brother's disappointment and probable +future punishment. In the background, the grandmother, +drawing the curtains of the bed and tauntingly +beckoning to the crying boy, seems to invite him to spend<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> +his St. Nicholas festival in bed. In the very centre of the +picture is the pet of the family—a little girl, the very image +of her mother. She has a pail full of toys, fruits, and cakes +on one arm, and in her tiny hands she holds the figure of +St. Nicholas, whose head is surrounded with a nimbus.</p> + +<p>A basket of wafers, cakes, waffles, buns, crullers, etc., stands +on the floor on the left; 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 St. Nicholas.</p> + +<div class="figcenter" style="width: 439px;"> +<img src="images/illus258.jpg" width="439" height="500" alt="JAN STEEN + Eve of St. Nicholas" title="" /> +<span class="caption">JAN STEEN<br /> +Eve of St. Nicholas</span> +</div> + +<p><b>Early and Later Styles of Jan Miense Molenaer.</b>—Jan +Miense Molenaer (1610-68) was either a pupil or a very +skilful imitator of Jan Steen in his early works, which are +painted in strong, clear color with bold execution. About +1650, however, he adopted a brown tone with a light and +transparent execution, and concentrated his effects of light +after the manner of Ostade when the latter was under the +influence of Rembrandt.</p> + +<p><b>A Fine Example of his Powers.</b>—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 <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins> was. It was +painted in 1637 as the signature shows, and therefore is full +of the Hals influence. The lady and two children, whose +amiable faces are turned with interested expression toward +the spectator, are evidently portraits, probably of the artist's +wife and children. The other picture, Grace before Meat, +is also a fine study with Hals's technique. It is in the Van +der Hoop Collection.</p> + +<p><b>Four Pictures by Metsu.</b>—Four Metsus hang in the +Rijks: The Huntsman's Present, purchased in 1843 for +12,400 florins, The Old Drinker, purchased in 1827 for +2,960 florins, The Breakfast, acquired in 1809, and the +Old Woman in Meditation, bought in 1880 for 6,170 florins.</p> + +<p><b>Description of The Huntsman's Present.</b>—For taste, +depth, warm harmony, and careful execution, The Huntsman's +Present is of the first order. In a room lighted by a<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> +window on the left, a lady is seated by the side of a table on +which is a rich carpet. A large white apron of exquisite +tone covers her lap, and on it lies a little green cushion on +which she has been making lace, which she holds in her left +hand. Her jacket, bordered with ermine, is of that flesh-color +that Metsu loved. With her right hand she caresses +a little King Charles spaniel perched on the table. On her +right, an old gentleman is seated. He still wears his hunting +clothes and holds his hat under his arm. Evidently he has +just returned from the chase, for his dog is with him, and +on the floor lie his game bag, gun, and a dead duck. To +the lady he is presenting a partridge. On a handsome <i>kas</i> +stands a statuette of Cupid.</p> + +<p><b>The Old Drinker.</b>—The Old Drinker represents a man +with gray hair and short gray beard, with a pipe in one hand +and a mug in the other. He has on a gray coat and a red +cap edged with brown fur. He is perfectly happy, as his +joyous expression shows.</p> + +<p><b>The Breakfast.</b>—The Breakfast is a beautifully painted +scene. At a table covered with a Persian carpet over which +is thrown a linen cloth, a woman in a light pink bodice, a +violet skirt, green apron, and white fichu, seated at the right +in profile, is pouring wine from a jug into a tall glass. A +man in a puce-colored vest is placing a dish of meat on the +table, which is already set with plates, bread, knives, and a +glass. On the left is a dark green curtain, and in the background +a door is indicated.</p> + +<p><b>Johannes Verkolje.</b>—Johannes Verkolje (1650-93) is represented +by The Family Concert (1673). He was the +son of a locksmith in Amsterdam, and studied with Jan +<ins title="Transcriber's Note: Both 'Lievens' and 'Lievensz' were used in this text. This was retained.">Lievensz</ins>, but later imitated the highly finished style of Gerard +Pietersz Zijl (fl. 1655), whose works were in such favor. +He produced portraits, historical subjects, and conversations, +delicate and graceful in sentiment, charming in color, +and excellent in drawing.</p> + +<p><b>Jan Victors's Pork Butcher.</b>—The Pork Butcher (1648) +and The Dentist (1654) are by Jan Victors, an artist about<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span> +whom so little has been known until recent years that he has +been confused with two others of the same name. The +pork butcher is seen in the centre of the picture, which represents +a village street; the butcher is standing before his +freshly butchered quarter of pork, and a boy, in a large hat +and jacket, with yellow sleeves, with knife in hand, is helping +his master, to whom a woman is bringing a drink in a +glass. On the right, a little boy seated on a fence is blowing +a bladder, while a little girl looks on and laughs. Behind, a +man is ascending a ladder into a barn. On the right a little +boy is washing a ham in a tub, and a woman is kneeling by +him with a dish.</p> + +<p><b>The Dentist.</b>—The pendant shows a table over which a +rose-colored umbrella is opened, and under it a charlatan is +drawing the tooth of a peasant. A man and a woman witness +the operation, and three children on the left, a peasant, +and a woman with some vegetables on her head are laughing +heartily. In the foreground two dogs are quarrelling over a +bone; and in the background small figures and a village +clock-tower are visible.</p> + +<p><b>The Religious Pictures.</b>—The religious pictures need not +detain us long. Two or three in the style of Rembrandt: +Isaac Blessing Jacob, by Govert Flinck; The Woman Taken +in Adultery, by G. van der Eckhout, purchased in London +in 1828 for 3,000 florins, and belonging to that artist's best +period; and the picture of Herodias with the Head of John +the Baptist are worth the student's attention. The latter is +particularly interesting, because, although the catalogues +give it to Cornelis Drost (1638-?), a pupil and imitator of +Rembrandt, it is really by the hand of <ins title="Transcriber's Note: Both 'Carel Fabritius' and 'Karel Fabricius' (or vice versa) were used in this text. This was retained.">Karel Fabritius</ins> +(1624?-54), also a pupil of Rembrandt and so close a +follower that many of his pictures have passed for Rembrandt's. +The artist met with a tragic death; for he was +killed in Delft by the explosion of a powder magazine.</p> + +<p><b>Aertsen's Altarpieces.</b>—Of historic value are the altar +wings by Pieter Aertsen (Long Peter), The Presentation at +the Temple; on the reverse, King Balthasar, painted for<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> +the Delft church; and the Nativity of Jesus Christ, a fragment +of a picture destroyed in the fire of the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> in +Amsterdam in 1652. On Dr. J. Six's authority, the rest +of this picture is in the New Church in Amsterdam. +Aertsen was particularly famous for his altarpieces, many +of which were destroyed by the Iconoclasts in 1566.</p> + +<p><b>Other Painters of Biblical Scenes.</b>—Of other painters +whose reputations are larger in other fields, but who are +represented in this gallery by one or two Biblical works, +we may mention Berchem, with Ruth and Boaz; Velvet +Brueghel, Repose of the Holy Family, Christ Preaching in +a Fisherman's Boat, and the Adoration of the Kings, in a +winter landscape; Frans Francken II., Adoration of Jesus +Christ, and The Prodigal Son; and Maerten van Heemskerck +(1498-1574), The Resurrection of Christ. Benjamin +Gerritsz Cuijp may be studied in Joseph Interpreting +the Dreams of the Baker and Butler; Dirck van <ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraten</ins> +(1595-1640), The Virgin, with Jesus and St. Anne; +Eglon Hendrick van der Neer (1643-1703), Young Tobias +with the Angel; and Rubens, Bearing of the Cross (a sketch +for the picture in the Royal Museum in Brussels), and Ecce +Homo and Meeting of Jacob and Esau (copies).</p> + +<p>In addition to several Biblical pictures in the Italian, +Flemish, and German schools, there are, by François Joseph +Navez (1787-1839), Isaac and Rebecca and the Resurrection +of the Widow's Son; by A. van Dijck, The Repentant +Magdalen; (School of Van Dijck) The Holy Family; +one by Bronzino, Judith with the head of Holofernes; +one of the School of Palma Vecchio, The Holy Family; +and Spain is represented by The Annunciation to the Virgin, +by Murillo (1618-82), and The Glorification of the Virgin, +by Antolines (1639-76). Hans <ins title="Transcriber's Note: Both 'Rottenhamer' and 'Rottenhammer' were used in this text. This was retained.">Rottenhammer</ins> (1564-1623) +has a Virgin with the Infant Jesus (1604); Nicholas +Bertin (1667-1736), Joseph Fleeing from Potiphar's Wife, +and Susannah at the Bath; Sebastian Bourdon (1616-71), +the Mystical Marriage of St. Catherine; copy after Hieronymus +van Aeken, surnamed Bosch (1462?-1516), Adoration<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span> +of the Magi; Leonard Bramer (1595-1674), a Biblical +Subject(?) and King Solomon Sacrificing to Idols; Mechior +Brassauw (1709-57?), The Prodigal Son; Peter Codde +(1599?-1678), Adoration of the Shepherds; Jacob Cornelissen, +Saul and the Witch of Endor; Gasper de Craeyer +(1584-1669), The Adoration of the Shepherds and Descent +from the Cross; Geertgen van St. Jans (fifteenth century), +Allegory on the Death of Jesus Christ; Barend Graat +(1628-1709), The Prodigal Son (1661); Nicolaes de +Gijselaer (1590-95-1644?), The Angel Gabriel Appearing +to Zacharias in the Temple (1625); Cornelis van Haerlem +(1562-1638), Massacre of the Innocents, and Adam and +Eve in the Terrestrial Paradise; Pieter van Hanselaere, +Chaste Susannah; Frans Haseleer (1804-?), Esther before +Ahasuerus; Isaac Isacsz (1599-1648), Abimelech Giving +Sarah to Abraham (1640); Cornelis Kruseman (1797-1857), +The Burial of Christ; J. A. Kruseman (1804-62), +Elisha and the Shunammite; Pieter Pietersz Lastman +(1583-1633), The Sacrifice of Abraham; <ins title="Transcriber's Note: Both 'William' and 'Willem' de Poorter were used in this text. This was retained.">Willem</ins> de Poorter +(?-1645?), Solomon Sacrificing to Idols; Joris van Schooten +(1587-1651), The Adoration of the Kings (1646); Jan van +Scorel (1495-1562), St. Madeleine, Solomon and the +Queen of Sheba, and David and Bathsheba; Gerard Seghers +(1591-1651), Christ and the Penitents; Benvenuto Tisi +(the Garofalo) (1481-1559), Holy Family, and Adoration +of the Magi; Tiziano Vecelli (1477-1576), Repentant +Magdalen (copy); Jan Victors (1620-82?), Joseph Interpreting +Dreams (1648); Jacob de Wet (1610?-71?), +Christ Blessing the Children; Rogier van der Weyden +(1399?-1464), Descent from the Cross; and Joachim A. +Wttewael (1566-1638), David and Abigail (1597).</p> + +<p><b>Mythological Pictures combined with Landscape.</b>—It +is noticeable that in mythological pictures landscape forms +a prominent feature. Rubens was, doubtless, responsible +for much of the popularity of this class of art, and the vogue +that the Italian landscape also enjoyed aided the taste. +Nymphs and satyrs and gods and goddesses were more<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> +appropriate figures to introduce into the classic scenes of +Italy than Dutch peasants and cattle. We, therefore, find +two classes of mythological pictures: one in which the +landscape is more important than the figures; and one in +which the figures take precedence.</p> + +<p>Born more than half a century after Poelenburg, <ins title="Transcriber's Note: Both 'Gérard' and 'Gerard' de Lairesse were used in this text. This was retained.">Gerard</ins> +de Lairesse (1641-1711), the most important Flemish +painter of historical and mythological subjects in the generation +succeeding Rubens, followed Poelenburg in his +taste for Italian settings for his figures, although he had +never been to Italy. He is represented in the Rijks by +Mars, Venus, and Cupid; another of the same title, Seleucus +Abdicating in Favor of his Son Antiochus; Diana and +Endymion; Virtue, an Allegory; and two in <i>grisaille</i>,—The +Revolution and Legitimate Power.</p> + +<p><b>G. de Lairesse, Portrait-painter.</b>—<ins title="Transcriber's Note: Both 'Gérard' and 'Gerard' de Lairesse were used in this text. This was retained.">Gerard</ins> de Lairesse +was the son of an artist of some celebrity, studied +under Bertholet Flemalle, and by the age of sixteen had +become known as a portrait-painter. Some historical works +for the Electors of Cologne and Brandenburg established +his reputation, and when he settled in Amsterdam he was +regarded as the greatest historical painter of his time. At +the age of fifty he lost his eyesight. His style is grand and +poetical, and his background enriched with architecture.</p> + +<p><b>More Mythological Pictures in the Rijks.</b>—The other +mythological pictures in this gallery are: Hendrick van +Balen (1575-1632), Bacchus's Homage to Diana; Jan +Brueghel le Vieux (Velvet) (1568-1625), Latona in Caria; +Caravaggio (1569-1609), The Death of Orion; Johannes +Glauber (1646-1726), Mercury and Io, and Diana Bathing; +<ins title="Transcriber's Note: Both 'Henricus' and 'Hendrik' Goltzius were used in this text. This was retained.">Henricus</ins> Goltzius (1558-1616), The Dying Adonis +(1603); Hendrick Heerschop (1620 or 21-72?), Erechthonius +Found by the Daughters of Cecrops; Jacob Jordaens +(1593-1678), A Satyr; Hendrik van Limborgh +(1680-1759), Cupid and Psyche; W. Ossenbeeck (?-1678), +Mercury and Io (1632); Hans <ins title="Transcriber's Note: Both 'Rottenhamer' and 'Rottenhammer' were used in this text. This was retained.">Rottenhammer</ins> +(1564-1623), Mars and Venus (1604); Adriaan van der<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> +Werff (1659-1722), Cupid Embracing Venus; Pieter van +der Werff (1665-after 1721), Cupid Adorned with Flowers +(1713), Young Hercules and Young Bacchus; Thomas +Willeborts (1614-54), Mars Armed by Venus; Flemish +School (1610-20), Dispute of Apollo and Pan; Dutch +School (sixteenth century), Adonis (supposed to be by +Jan van Scorel); and Dietz (living in 1830), Hebe. Here +must be mentioned Rembrandt's mythological picture known +by the name of Narcissus.</p> + +<p><b>Painters of Exteriors and Painters of Interiors.</b>—No survey +of Dutch art would be complete without a brief account +of the painters of buildings; and these may be divided +again into two classes: those who painted the exteriors and +those who painted the interiors.</p> + +<p><b>Murant and his Old <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">Farm-house</ins>.</b>—The first of those +who painted exteriors seems to have been Emanuel Murant +(1622-1700), a pupil of Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>. He chose +for his specialty Dutch village houses which he painted with +vigor and warmth, and introduced figures and cattle into +his foregrounds. These he painted himself. His works +are rare, because he spent so much time on each work that +he produced few pictures. He also spent much time in +travel. His color is rich and silvery in tone; his impasto +fine, and he gives the details with great truth and finish. +By the aid of a magnifying-glass every stone in his buildings +and every leaf on his trees may be counted. The Rijks +possesses The Old Farm-house, which represents a dilapidated +old house, where a man is feeding the chickens, and +there are also pigs and an old woman at her spinning-wheel.</p> + +<p><b>Jan <ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">van der Heyden</ins>.</b>—Jan van der Heyden (1637-1712) +was "the Gerard Dou of architectural painters." The +Rijks owns View of the Town of Amersfoort, with delightful +figures by A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van der Velde</ins>, A Drawbridge, A Stone +Bridge, and A Canal in Holland. He loved to paint canals +bordered with trees. His tone is warm, and his execution +soft and free.<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span></p> + +<p><b>G. A. Berck-Heyde, Painter of German and Dutch +Towns.</b>—Another skilful painter of exteriors, Gerrit Adriaensz +Berck-Heyde (1638-98), is noted for his faithful +representations of the principal towns of Germany and Holland. +His perspective is extremely fine. The Rijks owns: +View of the Dam at Amsterdam; View of the <ins title="Transcriber's Note: Both 'Heeren-Gracht' and 'Heerengracht' were used in this text. This was retained.">Heerengracht</ins> +(1685); The Flower-Market, Amsterdam; The Ruins of +the Castle of Egmont, near Alkmaar; and three Views of +the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town-hall</ins>. In some of his works he was assisted by his +brother.</p> + +<p><b>J. A. Berck-Heyde.</b>—Job Adriaensz Berck-Heyde (1630-93) +was a pupil of Frans Hals and Jacob de Wet. He is +represented in the Amsterdam Museum by The Spaarne at +Haarlem, Interior of a Church (1674), and Interior of the +Old Bourse at Amsterdam.</p> + +<p><b>J. van der Ulft the Versatile.</b>—The works of Jacob van +der Ulft, so remarkable for his versatility, are rare. The +Rijks, however, owns two pretty cabinet-pictures by him, +representing an Italian town and an Italian port. A very +interesting and valuable picture by him, representing the +<ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town-hall</ins> on the Dam, completed in 1667, is in the present +Town-hall.</p> + +<p><b>Other Painters of Exteriors.</b>—Among the other artists +and pictures represented are: Kornelis Beelt (seventeenth +century), Dutch Flotilla at the Herring Fishery and View of +the Haarlem Market; Anthonie Beerstraten (seventeenth +century), View of Regulierspoort in Amsterdam in Winter, +and Interior of a Town in Winter; Johannes Bosboom +(1817- ), Notre-Dame, Breda, Great Church, Edam, and +Aire in Guelders; F. der Braekeleer, Ruins of the Citadel +of Antwerp (1832); Hendrik Gerrit Ten Cate (1803-56), +The Tower, Jan Rodenpoort in Amsterdam (1829), +and the City in Moonlight; Jan Ten Compe (1713-61), +View of the Quay called Keizersgracht, in Amsterdam; +Constantinus Coene (1780-1841), the Porte de Hal in +Brussels (1823); Croos (seventeenth century), View of the +Castle of Egmont, near Alkmaar; Claes Dircksz van der<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> +Heck (seventeenth century), The Castle of Egmont and +The Abbey of Egmont (1638); Edward A. Hilverdink, +View of the Singel in Amsterdam; Johannes Janson (1729-84), +The Château de Heemstede (1766); Kasparus +Karssen (1810-?), Interior of the Old Bourse at Amsterdam +(1837); J. C. K. Klinkenberg (1852- ), The Market at +Nimeguen; Everhardus Kloster (1817- ), Amsterdam; +Dirk Jan van der Laen (1759-1829), View of a Town: A +Snow Scene; François de Momper (1603-60), The Valkenhof +at Nimeguen; Isaac de Moucheron (1670-1744), View +of Tivoli, near Rome, and View in the Hortus Medicus at +Amsterdam; Isaak Ouwater (1747-93), Unfinished Tower +of the New Church at Amsterdam and Le Poids St. Anthony +at Amsterdam; Antoon Sminck Pitloo (1791-1837), St. +Georgis Church, Rome (1820); P. J. Poelman (1801-?), +The <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> at Oudenarde (1824); J. H. Prins (1758-1806), +View of a City (1793); Cornelis Springer (1817-91), +<ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town-hall</ins> and Vegetable Market at Vere (1861), +and Town-hall, Cologne (1874); Abraham Storck (1630?-1710?), +View of the Dam; Pieter George Westenberg +(1791-1873), View of Amsterdam in Winter (1817); +and Jan Wildens (1586-1653), View of Amsterdam (1636).</p> + +<p><b>Painters of Interiors—P. H. van Steenwyck.</b>—Turning +now to those painters who devoted their attention chiefly to +interiors, the first to be noticed is Pieter Hendrik van +Steenwyck the Elder (1550-about 1604), the pupil of Jan +Vredeman de Vries, who has never been surpassed in this +particular field. He usually painted the interiors of Gothic +churches and other buildings. He also won distinction +with torchlight effects. The figures were usually supplied +by the Franckens and others. Van Steenwyck lived in +Antwerp and also in Frankfort. The Interior of a Catholic +Church, in the Rijks, is a good example of his style.</p> + +<p><b>His Pupil, Pieter Neeffs the Elder.</b>—Among his pupils +was Pieter Neeffs the Elder (1577-between 1657-61), +who followed his master closely, but with a heavy touch. +His colors are not so pleasing as Steenwyck's, but his<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> +mechanical skill is great. F. Francken, Teniers, Velvet +Brueghel, and Van Thulden are responsible for the figures in +his pictures. In the Rijks we may study him by his Church +of the Dominicans in Antwerp (1636), A Church: Effect +of Candle-light (1636), and Interior of a Church.</p> + +<p><b>P. J. Saenredam, Painter of Church Interiors.</b>—Next +must be mentioned Pieter Jansz Saenredam (1597-1665), +who painted the interior of churches in a large and luminous +manner. His pictures were highly esteemed, but +are now very rare. The Rijks owns: two Interiors of the +Church of St. Bavon, Haarlem; three Interiors of St. Mary's, +Utrecht; and View of the Church in Assendelft. Adriaen +van Ostade contributed the figures in the latter. Pieter +Saenredam was a pupil of his father, a celebrated engraver, +and of Frans de Grebber in Haarlem.</p> + +<p><b>Emanuel de Witte's Beautiful Work.</b>—Emanuel de +Witte (1617-92), a pupil of Evert van Aelst, bears the +same relation to the representation of interiors that <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> +does to landscape, and Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> to marine +painting. Beautiful modelling, fine color, linear and aërial +perspective, masterly treatment of chiaroscuro, and animated +figures are all at his command. The Vestibule in the Prinsenhof +in Delft and two Interiors of a Church are picturesque +canvases that exhibit the rich talents of this painter.</p> + +<p><b>H. C. van Vliet.</b>—Hendrik Cornelisz van Vliet (1608-66?), +a pupil of his father, Willem van Vliet (1584-1642), +paints under the influence of De Witte as is shown +in the Interior of Part of the Old Church at Delft, signed "H. +van Vliet, 1654." Here the treatment of sunlight is very +reminiscent of Emanuel de Witte.</p> + +<p><b>Egbert van der Poel.</b>—In this connection may be mentioned +Egbert van der Poel (1621-64), whose specialty +was conflagrations. The effects of lurid light are seen in +his Ruins in Delft after the Explosion of a Powder Magazine +(1654) and Interior of a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">Farm-house</ins> (1646).</p> + +<p><b>Collections on the Ground-floor and Basement.</b>—After +lunching in the pleasant little restaurant in the west wing<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> +on the ground-floor we take a rapid view of the collections +here. The East and West Courts contain military, naval, +and colonial collections, weapons, uniforms, and models of +ships, which need not detain us long; nor will the department +of Ecclesiastical Architecture and the Hall of the +Admirals, where there is a collection of modern French +paintings. In the western half of the building there are +splendid collections of engravings, porcelain, lacquer, and +textiles, two seventeenth century rooms furnished by the +Antiquarian Society, and in the basement a collection of +old Dutch costumes, carriages, and doll houses. On the +east side are a number of correctly furnished Dutch rooms, +one a "Chinese Boudoir" from the Stadtholder's Palace at +Leeuwarden (seventeenth century), and a great collection +of civic and industrial domestic art. Silver occupies a +conspicuous place, and one of the cases contains drinking-horns, +among which is the original drinking-horn of the +Guild of St. Joris, which appears in Van der Helst's +painting.</p> + +<p>The visitor will seldom see a more wonderful collection +of glass of all shapes and forms, and beautifully engraved, +cut, and mounted; and the display of jewelry, trinkets, +and children's toys will also claim attention.</p> + +<p><b>The Garden.</b>—We now enter the garden at the south +side of the building. This is laid out in the Dutch style +of the seventeenth and eighteenth centuries, with clipped +hedges of beech and box, and adorned with flowers, vases, +statues, and busts. There is also a maze, and fragments +of old Dutch buildings, such as the old Bergpoort of +Deventer (1619) and the Heerenpoort of Groningen +(1621). Various old gables, pilasters, columns, walls, +tympanums, and gates have been grouped; and in the +eastern part of the garden is the house of the Director of +the Museum. + +<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span></p> +<hr /> + +<h2>THE STEDELIJK MUSEUM</h2> + +<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span></p> + +<p><b>Ground-floor of the Stedelijk Museum.</b>—A short walk +from the Rijks down Paulus Potter Straat brings us to the +Stedelijk (Municipal) Museum, built in 1892-95. The +ground-floor is devoted to uniforms, weapons, and pictures +of the Schutterij of Amsterdam, and a series of rooms furnished +in the style of the sixteenth, seventeenth, and eighteenth +centuries, including an old Dutch kitchen.</p> + +<p><b>Its Pictures of the History of the Netherlands.</b>—An +extraordinary collection of pictures by Allebé, Israëls, +Rochussen, and other well-known painters, treating of the +history of the Netherlands, deserves a passing glance, for +there are no less than 250 small canvases, all of the same +dimensions and similar treatment. A more curiously monotonous +effect would be impossible to imagine; but, to use +a Dutch term, they are decidedly <i>symmetrisch</i>.</p> + +<p><b>The Gallery of Modern Pictures.</b>—Ascending the stairs +we reach the gallery of modern pictures. The collection +consists of about 200 paintings gathered by a society +founded in 1874, and is very rich in fine examples of the +modern Dutch school.</p> + +<p><b>Mauve's Sheep on the Dunes.</b>—One of the gems of +the modern landscapes is Mauve's Sheep on the Dunes. +The sheep, all of which have their backs to the spectator, +the rolling dunes with their tall, waving grass, the shepherd +boy and his dog, are all painted with equal skill; and over +the still landscape hovers a poetic feeling that communicates +itself instantly to the spectator.</p> + +<p>Mauve is also represented by A Fold and Woodmen.<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span></p> + +<p><b>Anton Mauve.</b>—Anton Mauve (1838-89) was a native +of Zaandam, and the son of a clergyman. He studied +under the cattle-painter, Van Os, who was not particularly +pleased with his pupil. After his apprenticeship was over, +he began to paint little pictures in the neat manner and +conventional style of his master. Mauve lived in Oosterbeck, +"the Barbison of Holland," for a time, and at a later +period spent his winters in Amsterdam and his summers in +The Hague, where he could enjoy Scheveningen and the +dunes.</p> + +<p>A Dutch writer, A. C. Loffelt, says:</p> + +<div class="blockquot"><p><b>His Style.</b>—"The poetry of Mauve's art, its tenderness, +the unobtrusive, quiet sadness of the scenery and people which +attracted him most; the homeliness, humor, and domestic happiness +which he interpreted in his interiors and scenes of country +and village life, can only be appreciated by people of the +same descent."</p></div> + +<p>The same critic tells us that Mauve lived for a time in a +<ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farm-house</ins>, near Dekkersdinn.</p> + +<div class="blockquot"><p><b>His Favorite Themes.</b>—"Here Mauve found some of his +most important and favorite themes, such as poor cots built in +or near the downs, where slender, poorly nurtured women tended +a few sheep or a goat, or occupied themselves in bleaching +linen. His painting had not yet gained that transparency and +brilliancy of tone which the artist acquired in subsequent years. +At this time his work was gray, but not always pellucid or silvery. +Thus it came to pass that critics and public began to +talk of 'The Gray School,' for a few other artists painted in the +same neutral scale of tints.</p> + +<p>"As we walk in the rural lanes, beneath the slender birches +wrapped in their mantle of silver-gray haze, or watch the +chequered sunlight dancing into the secluded nooks of some +emerald meadow, when we hear the echoes of the tinkling +sheep-bells on the moors, we think 'There lives Mauve!'"</p></div> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus274.jpg" width="500" height="388" alt="MAUVE +Sheep on the Dunes" title="" /> +<span class="caption">MAUVE<br /> +Sheep on the Dunes</span> +</div> + +<p><b>His Truthful Painting of Sheep and Cattle.</b>—Mauve is, +perhaps, best known by his flocks of sheep painted under +all conditions and at all seasons and times of day; but not<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> +less true to nature are his cows in the <i>Melkbocht</i>, that paddock +or reserved spot in the meadow where the cows are +gathered for milking. His horses ploughing, or at rest, and +his coast scenes, showing Dutch fishing-boats about to be +pulled across the sands by teams of horses, are no less +remarkable performances.</p> + +<p><b>The Early Training of Josef Israëls.</b>—For a whole generation +Josef Israëls has stood at the head of modern Dutch +art. Born in 1827, at Groningen, the son of a money-changer, +he carried money-bags in his early years to the +banking-house of Mesdag. He studied under Jan Adam +Kruseman, and at first painted historical pictures; lived in +the Ghetto in Amsterdam, and nearly starved in Paris, where +he studied in the Delaroche school.</p> + +<p><b>The Themes of his Paintings.</b>—It was in <ins title="Transcriber's Note: original reads 'Zantvoort'">Zandvoort</ins>, +near Haarlem, that he discovered his true bent, and began +to depict the seafaring man and the peasant in their homely +every-day life. His people are all humble, and most of them +are broken by poverty and sorrows. For more than thirty +years his pictures have occupied the place of honor in all +the Dutch exhibitions; and on his seventieth birthday he +was made Commander of the Order of Orange-Nassau, and +was the recipient of many gifts and congratulations. In +this gallery hang a number of pictures dating from various +periods. Among them are Fisherman's Children, Rustic +Interior, After the Storm, Passing the Mother's Grave, +Margaret of Parma and William of Orange (one of his +earliest efforts), Old Jewish Peddler, and a Study of a +Head.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus278.jpg" width="600" height="309" alt="ISRAËLS + Fisherman's Children" title="" /> +<span class="caption">ISRAËLS<br /> +Fisherman's Children</span> +</div> + +<p><b>Veth's Appreciation of Israëls.</b>—The artist himself is +represented in a statuette by F. Leenhoff, which stands in +one of the rooms, and also in a portrait by J. Veth, who +sympathetically writes:</p> + +<div class="blockquot"><p>"The choicest pictures by this master are painted in a truly +mysterious way, simply by the nervous vigor of an untaught hand +with heavy, sweeping shadows and thick touches of paint, which<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span> +stand out in a wonderful mixture of sharp relief and dim, confused +distance; with soft hesitation and touches of crudely decisive +certainty; with broad outlines and incisive emphasis. +Ruggedness and tenderness, corruption and sweetness, whimsicality +and decision, are magically mingled there in dignified +depth, with the most refined feeling—the most ductile language +of the brush that is known to me.</p> + +<p>"And yet, notwithstanding, all this exists, as far as possible, +in the clear, simple execution of the old Dutch painters, and +there is one great family resemblance between the nineteenth +century master and those who are the classics among the <i>petits +maîtres</i>."</p> + +<p><b>Each of his Pictures a Harmonious Whole.</b>—"The resemblance—the +revived tradition—is to be seen in the fact that +Israëls, like the old Dutch painters, nay, even more than they, +always aims at the sober, general harmony of the whole work. +It is wonderful how discreet the effect is of a picture, for instance, +by Pieter de Hooch, with all its elaborate execution; +how splendidly it holds together, how strong yet delicate the +construction is. It is this great quality of presenting an absolutely +organic whole at one impulse which seems to have passed into +Israëls from his precursors, who otherwise painted so utterly +differently. Indeed, it is in this concentrated power, in this +self-contained harmony, the outcome of one glance, as it were, +and of one impetus, that we may discern one of the principal +features of Israëls's art. There is nothing in his work that asserts +itself alone, nothing detached, nothing that plays any part but +that of strengthening the whole."</p> + +<p><b>His Aim to paint the Truth, rather than to produce +Studied Effects.</b>—"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 thumb; and +that he in fact never consciously troubles his head about studied +effects or beauty. Beauty to him lies in the silent woe with +which the survivors stand in a house of death; in the attitude +of the old wife left alone, who spreads her hands stiffly out to +the fire, as though she might win a spark of life from the +smouldering hearth; in the way in which the decrepit old man +sits with resigned dejection in his gloomy hovel, staring into his +old dog's eyes; in the stupefied wretch who sits on a broken +bench, where, behind him, his dead wife lies stretched on her +bed; in the woful gleam in the eyes of the huckster who sits in +front of his dirty booth, with a motley collection of rags above +his head, watching us so mysteriously; in the sad old woman<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> +who, with elbows wide apart on her table, her hands quietly +folded, sits weary and alone in front of her meal; in the kindly +but hard-set woman, who, through wind and weather, tramps +along field and road by her jolting dog-barrow, in a cruel struggle +for existence; in the business of the fisherman and seafaring +folk and their hard and simple labor; in the dignity of the +patriarchal peasant family that gathers round the dish; he sees +beauty in everything which lays bare what lies mysteriously +latent in poverty and privation and suffering, at the very roots +of human life."</p></div> + +<p><b>Roelofs, Painter of A Marshy Landscape.</b>—Familiar +to the Holland traveller is the Marshy Landscape, so true +to nature and so charming in color.</p> + +<p>If he had painted nothing else, <ins title="Transcriber's Note: Both 'William' and 'Willem' Roelofs were used in this text. This was retained.">Willem</ins> Roelofs (1822-97) +would deserve his reputation because of this work.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus282.jpg" width="500" height="352" alt="ROELOFS + Marshy Landscape" title="" /> +<span class="caption">ROELOFS<br /> +Marshy Landscape</span> +</div> + +<p>This painter was born in Amsterdam and was a pupil of +H. van de Sande Bakhuijzen for about a year; then he remained +for six years in Utrecht; and settled in Brussels, +where he remained forty years, finally returning to Holland. +This painter's chief desire is to express himself poetically.</p> + +<div class="blockquot"><p><b>The Inexhaustible Supply of His Favorite Subjects.</b>—"His +pictures are truly beautiful: cattle standing up to their +knees in rich green pasture land; luxuriant meadows; secluded +pools reflecting the blue sky and the moving clouds; lakes with +floating lilies; rivers, streams, noble trees, canals, and the +thoroughly Dutch windmill. Roelofs may be called the pioneer +in our country of a broader school of painting, especially that +pertaining to landscape. Much of this he may be said to have +taken from the French.... Of late years he has added more +cattle to his pictures; but whether cattle or trees, land or water, +they are painted with the firm belief that they needed no embellishment, +but were good enough to be represented exactly as +they were. For Roelofs will not invent a subject. And why, +indeed, should he do so? Is the supply exhausted? <i>He</i> does +not think so, for no summer passes but he packs up his paint-box +and with his little stool, his easel, and his umbrella, goes +off either to Noorden, or Abcoude, or to Voorschoten, to study +nature again and again, as if he did not know her well already."<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p></div> +<p><span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span></p> +<p><b>J. Maris, Skilful in producing Ethereal Effects.</b>—Of +Jacob Maris, Zilcken writes:</p> + +<div class="blockquot"><p>"No painter has so well expressed the ethereal effects, bathed +in air and light, through floating silvery mist, in which painters +delight, and the characteristic remote horizons blurred by haze; +or again the gray yet luminous weather of Holland, unlike the +dead gray rain of England, or the heavy sky of Paris."</p></div> + +<p>This artist may be studied in this gallery by A Beach, +two Views of a Town, The Ferry, and The Two Windmills, +which latter represents two windmills standing as sentinels +over a rather dreary landscape at the edge of a river and a +canal.</p> + +<p><b>His Training and his Aim in Art.</b>—Jacob Maris (1837-99) +was born in The Hague and was sent to Stroebel's +studio, and later studied in the Antwerp Academy of Drawing. +He was also a pupil of Louis Meyer in The Hague, and in +1865 went to Paris and studied with Hébert. Returning to +The Hague, he devoted himself to landscape. He painted +views of streets, country lanes, small hamlets, windmills, +canals, rivers, and, sometimes, <i>genre</i> pieces. In all his +work his aim was to make an impression. One day he +said: "A picture is finished as soon as you can see what it +is intended to represent."</p> + +<p><b>Marius on the Beauty of his Work.</b>—The Dutch critic, +G. H. Marius, writes:</p> + +<div class="blockquot"><p>"If you stand before one of Maris's pictures for a long time +you discover many objects which you had not noticed at first—houses, +bridges, trees, all looming out of the mellow misty light +which is diffused over the entire canvas.... What an endless +variety of windmills he immortalizes! Some of his canvases +have but a small solitary windmill, while others have a crowd of +these gigantic, cumbersome structures. Some pictures have a +fringe of them upon the horizon.</p> + +<p>"However simple the subject, it is ofttimes made almost +dramatic by the rays of the setting sun, or by the brilliancy of a +silver-lined cloud. These effects of light and shade are rapidly +passing, and we gaze with admiration upon the skilful work of a<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span> +man who can produce such a faithful picture, which his eye +could have seen but momentarily. Sometimes he paints a canal +with a barge pulled by a weary-looking horse, tramping along +the muddy road the ruts of which are filled with water from +recent rain (his horses are generally white). Or it is a bit of +rich agricultural land, the long furrows stretching into the far +distance; against a wonderful sky you see the profiles of distant +houses, trees, mills, etc., all dying away into the horizon, showing +the flatness of our Dutch landscape, where there is nothing +to impede or obstruct the eye for miles."</p></div> + +<p><b>Willem Maris's Relish for painting Cows.</b>—Willem Maris +(1844- ) studied with his brothers Jacob and <ins title="Transcriber's Note: Both 'Matthys' and 'Thys' Maris were used in this text. This was retained.">Matthys</ins>, +and all three worked together. As early as 1868 he sold a +picture which found its way to The Hague Gallery. This, +representing cattle in a green meadow, at once showed his +talent for painting warm sunlight. A typical picture of +Cattle hangs in this gallery; for the chief subjects of Willem +Maris's pictures are cows in meadow lands; sometimes +they are waiting to be milked, or are being milked; sometimes +they are standing or lying under the trees; and sometimes +they are knee-deep in one of the lakes.</p> + +<p>Mr. Marius says:</p> + +<div class="blockquot"><p><b>Willem's Style contrasted with his Brother Jacob's.</b>—"The +two brothers Maris [Jacob and Willem] treat their skies +in exactly opposite manners. The one depicts clouds, threatening +storm, and changeable weather, whereas the younger brother +gives us only sunshine and a sky of turquoise blue; if, however, +clouds are introduced, they are like small white feathers or like +the petals of a white rose. Each in his own way true to nature, +and beautiful to gaze upon, yet methinks that we must give the +preference to the one who gives us that greatest of all blessings, +sunshine.</p> + +<p>"A very favorite aspect of his is a cloudless sky, the brightest +of suns, and part of the canvas thrown into deep shade, producing +a wonderful contrast.</p> + +<p>"Another bewitching feature, so truly Dutch, in Maris's landscapes, +is the rising mist after the heat of the day. It rises +from the meadows at sunset and covers the land like a cloak, +especially after a hot day when the ground has been baked."</p></div><p><span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span></p> + +<p><b>A Socialistic Artist with Romantic Visions.</b>—<ins title="Transcriber's Note: Both 'Matthys' and 'Thys' Maris were used in this text. This was retained.">Matthys</ins> +Maris, the second of the three, joined his brother Jacob in +Paris, and eventually he settled in London.</p> + +<div class="blockquot"><p>"<ins title="Transcriber's Note: Both 'Matthys' and 'Thys' Maris were used in this text. This was retained.">Thys</ins> Maris found rest and isolation in a suburb of London; +a few faithful friends, such as Swan (the animal painter) and +Van Wisselingh, break in occasionally upon his solitude. But +his ideas are still socialistic, not only theoretically, but materially; +and, without looking around, he gives what he receives. +On this point he is likewise very sensitive. To be waited on by +another, although that service is paid for, he considers humiliating; +and, in order to avoid such a possibility, he lives without +the comfort of attendance.</p> + +<p>"Many might pass by the works of Maris without even noticing +them; many may consider them impossible and inexplicable, +and pass on, almost out of humor, perhaps even angry +with them; the rational spectator will put questions to which +he will receive no satisfactory replies.</p> + +<p>"Though in his early years he painted still-life pieces, his +fame rests chiefly on his visionary women seen in his romantic +dreams, and portrayed with the clouds and mists of dreamland +about them."<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p></div> + +<p>In this gallery The Bride represents him worthily.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus286.jpg" width="500" height="426" alt="A. NEUHUYS +By the Cradle" title="" /> +<span class="caption">A. NEUHUYS<br /> +By the Cradle</span> +</div> + +<p><b>Two Pictures representing Albert Neuhuys.</b>—Albert +Neuhuys, born in Utrecht in 1844, studied in the Academy +of Drawing in Antwerp, and settled in Amsterdam, the +painter of landscapes and scenes from homely and humble +life. He is represented by The Doll's Dressmaker and By +the Cradle, which represents a mother leaning over the +cradle of her baby lying comfortably on pillows. It is interesting +to note how thickly the artist has spread the paint +on the canvas.</p> + +<p><b>A Characteristic Picture by Christoffel Bisschop.</b>—Christoffel +Bisschop (1828-1904) may be studied by The +Lord Gave and the Lord hath Taken Away, Sunday in Hindeloopen, +Sister of the Bride, and Winter in Friesland, +also called Repairing Skates. This is a very characteristic +and typical picture. Friesland is not only the home of a<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> +peculiar style of brightly painted furniture, but also the +home of a school of skating of which there are two schools,—the +Dutch and the Frisian. The latter, which is the +older, aims at speed; and the skater wears a peculiar kind +of skate, well shown on the foot of the young girl seated on +the right, who is having the other skate repaired. The +carved and colored sledges are also typical of Friesland. +An escort waits at the door. The painter was himself a +native of Friesland, and therefore depicts the costumes, +furniture, houses, and people of this most picturesque corner +of Holland with accuracy, charm, and sympathy.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus320.jpg" width="500" height="327" alt="BISSCHOP +Winter in Friesland" title="" /> +<span class="caption">BISSCHOP<br /> +Winter in Friesland</span> +</div> + +<p><b>Christoffel Bisschop.</b>—Christoffel Bisschop is the Dutch +colorist <i>par excellence</i>. He entered the studio of Schmidt +in Delft, and worked at The Hague under Huib van Hove. +He also studied in Paris with Le Comte and Gleyre, and in +1855 established himself in The Hague. A visit to the +quaint town of <ins title="Transcriber's Note: original reads 'Hinloopen'">Hindeloopen</ins> charmed his artistic eye, and +henceforth the peasants, with their gay costumes, and the +brightly painted furniture and quaint houses, have furnished +themes and settings for his pictures.</p> + +<p><b>H. W. Mesdag.</b>—Born in Groningen in 1831, Hendrick +Willem Mesdag was destined to follow the family business +of banking. Art, however, claimed him; and after painting +for several years as an amateur he started work in +Brussels in 1866. Except for the criticisms of Roelofs, +Alma-Tadema, and other artists, Mesdag may be said to be +self-taught. In 1869 he removed to The Hague, so that +he could be near Scheveningen, for he had found his special +talent. "I must go and live near the sea," he said, +"gaze upon it daily, not only for weeks, but for months +and years; watch and study its every movement, this ever-changing +element, this amazing, stupendous work of the +Almighty!" In 1870 he exhibited at the Paris Salon, and +his Breakers in the North Sea received the gold medal. +His fame was now established. France has decorated +Mesdag more than once, and one of his sea pictures hangs +in the Luxembourg.<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span></p> + +<p><b>His Style.</b>—Mesdag is a realist, and with broad, bold +strokes of the brush he portrays what he sees and feels. +He depicts the ever-changing ocean in all its moods, at all +times of day and in all seasons; and the life of the fisherfolk +on the shore and in the fishing-boats is also treated +with sympathy. His Calm Sea by Sunset, painted in 1878, +and Fishing-boats at Sea and Beach, the two latter painted +in 1895, belong to this gallery.</p> + +<div class="blockquot"><p>"High up in the scale, and standing somewhat apart, is +Henry William Mesdag, the marine painter. Into a branch of +art which had been treated in so masterly a fashion in former +centuries by Willem <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> and Van Capelle, not to +speak of <ins title="Transcriber's Note: Both 'Ludolf' and 'Lodewijk' Backhuysen/ Bakhuysen were used in this text. This was retained.">Lodewijk</ins> Backhuysen and Bonaventure Peeters, he +introduced a thorough reform. In the beginning of the century +he was preceded by men of note, such as Schotel, Waldorp, +Meyer, Greive, Van Heemskerck, Van Beest, Van Deventer; +but their chief aim was to remain true to the tradition of the +great period. They painted pretty little ships sailing on calm +seas, their white sails catching a gentle breeze and reflecting +the rays of the sun; or again they would paint large vessels, +driven before a gale over mountainous waves. But the one was +as artificial as the other; their water was like glass, their ships +as if made of tin, their skies seemed cut out of oilcloth, and not +one showed that he felt any love for the sea.</p> + +<p>"Mesdag was the first to paint the sea as it is, the turbulent, +restless, omnipotent, unlimited sea, that free, majestic, and +mysterious element which cannot be brought within any formula, +but can only be rendered in its tossing and pitching, peopled by +its 'children of the sea' living on its shores or drifting on its +billows. He studied every movement of the waves, every tint +of the water, every change in the ever-changing sky; he bade +good-bye to large vessels, huge castles of the sea, and took to +painting small ships and fishing smacks, the cottages, so to +speak, of the ocean. His painting is as broad and manly as +the element wherein he moves and the space it covers; not as +soft and transparent as the works of landscape painters,—those +who give us meadows and downs,—but yet a revelation."<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p></div> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus290.jpg" width="500" height="370" alt="MESDAG + Sunrise on the Dutch Coast" title="" /> +<span class="caption">MESDAG<br /> +Sunrise on the Dutch Coast</span> +</div> + +<p><b>Other Works in the Stedelijk by Modern Artists.</b>—Other +works by modern artists worthy of attention are:<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span> +Canal in Amsterdam and Sinking Piles for the Erection of +a House, by G. H. Breitner (1857); Te Deum Laudamus, +Groote Kerk at The Hague, Oude Kerk at Amsterdam, +Groote Kerk at Edam, and Barn-floor in Guelderland, by +J. Bosboom (1817-91); Mother and Child, by B. J. Blommers +(1845); Arrival of the Water Gueux at Leyden, by +C. Rochussen (1814-94); Episode from the Siege of Leyden, +Battle at Castricum, and Mellis Stoke Presenting his +Rhymed Chronicle to Floris V., Count of Holland, by K. +Klinkenberg (1852); River Scene in Winter, by L. Apol +(1850); Scheveningen in Rainy Weather, by S. L. Verveer +(1850); Queen Fredegonda and St. Prætextatus, by Alma-Tadema +(1836); Mary Magdalen at the Foot of the Cross, +by Ary Scheffer (1795-1858); A Landscape, by H. van de +Sande Bakhuijzen (1795-1860); Church at Zandvoort, +View in Enkhuizen, <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> in Cologne, and <ins title="Transcriber's Note: Both 'Heeren-Gracht' and 'Heerengracht' were used in this text. This was retained.">Heeren-Gracht</ins> +at Amsterdam, by C. Springer (1818-91); and +A Prison of the Spanish Period, and Norwegian Women +Bringing their Children to be Christened, by H. A. van +Trigt (1829).</p> + +<p><b>A Survey of Modern Dutch Art.</b>—A brief survey of +modern Dutch art, condensed from the learned pen of Max +Rooses, will not be unwelcome, particularly as we shall meet +many more examples of the modern artists.</p> + +<p><b>The French Neo-Classical School.</b>—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 +school; and until 1850 the principles of David, Gros, and +Girodet were highly respected. The best-known representatives +were John William Pieneman in Holland, and Bree, +Navez, and Paelinck in Belgium.</p> + +<p><b>The Romantic School.</b>—Thereupon followed the Romantic +school, whose leaders in France were Eugène Delacroix, +Horace Vernet, and Descamps; in Belgium, Wappers and +De Keyser; in Holland, Huib van Hove, Herman Ten Cate, +Charles Rochussen, Stroebel, and Van Trigt. This school +departed from the academic tendency of its predecessors,<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> +just as romantic literature declared war against classicism +in poetry.</p> + +<p><b>The Secret of the Success of the Romanticists.</b>—Another +source helped to swell the stream of Romanticism +in Holland. The artists of the neo-classical school, with +their pompous but severe forms, paid more attention to line +than to color. They took their example from the Italians +of the fifteenth and sixteenth centuries. Their successors +set themselves to study the masters of their own country, +and learned to appreciate the rich coloring, the warm lights, +and harmonious tones of the golden period of their own art. +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 Hooch, Gerrit Dou, and Ter Borch.</p> + +<p>Not only did they find subjects for rich and warm coloring +and pleasing treatment in the history of former days, +but also in that of their own times. They took, in fact, a +great step forward in that they observed the daily life around +them, and kept in touch with their fellow-creatures, their +ways and habits. To this group belongs Hubert van Hove, +who was the first to admire the works of the old masters, +and again to carry on the broken tradition; Charles +Rochussen, Stroebel, to whom the effects of light and +color were particularly attractive; and Herman Ten Cate +and Van Trigt, the talented painters of romantic scenes +derived from history.</p> + +<div class="figcenter" style="width: 379px;"> +<img src="images/illus294.jpg" width="379" height="500" alt="ISRAËLS +Old Jewish Peddler" title="" /> +<span class="caption">ISRAËLS<br /> +Old Jewish Peddler</span> +</div> + +<p><b>Josef Israëls, a Brilliant Painter in this Group.</b>—To +this group belongs Josef Israëls in his earliest works. During +this period of his brilliant career he was filled with +enthusiasm for all that is sweet, joyous, and charming in +the world, all that is fair in youth and nature; this is the +period of his Children of the Sea, his Fishwomen, and +his Knitting Girls. Later his subjects became more serious, +and more serious, too, the claims of his art. Many +followed Israëls's example. The group of admirers of the +master, those who saw the world as he did,—though with +their own eyes,—may be called the pith and kernel of the<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span> +young Dutch school. Blommers, Valkenburg, Neuhuys, and +Artz may be placed at the head. They did not take life +quite so sadly, they did not wish to obscure light and color +but allowed the sun to blaze and triumph over mystery and +darkness.</p> + +<p><b>A New Party opposed to the Romanticists.</b>—In opposition +to these "champions of twilight and tenderness" +arose those who preferred the real and substantial: Breitner; +Sosselin de Jong, the portrait-painter; Witkamp; +Thérèse Schwartze, and Van der Waay.</p> + +<p>A similar movement took place in landscape-painting. +The most important landscape-artists in the first half of +the nineteenth century were Kobell, Koekkoek, and Schelfhout. +Their great ideal was a careful, almost painful, +working out of detail; they selected subjects rich in +material, masses of big trees against water, producing +great effects of light and shade. They sought to captivate +the eye by an abundance of detail, and to depict woods +and meadows with a smoothness which was more artificial +than natural.</p> + +<p><b>Bilders, Roelofs, and their Followers.</b>—What was called +the picturesque in a landscape became unnecessary to the +younger men of the newer school; they painted Nature in +its own beauty and in the simplicity of its charm, as they +saw it in their daily lives. Of this group Bilders is the most +important. He admired in the landscape, not a favorite +spot, or a pretty pool, or a gayly colored cow; he saw rather +land and meadow and wood in the mass, as one whole, beautiful +by reason of its grand lines, its rich tones. <ins title="Transcriber's Note: Both 'William' and 'Willem' Roelofs were used in this text. This was retained.">William</ins> +Roelofs went a step further; his first works differ little from +those of his predecessors, but by degrees he tore himself +away from the accepted style and became a true reformer. +It was no longer the color or the beautiful contours of a +view that attracted him, but the country itself, the vegetation, +the verdure, the cattle in the meadows, the sky that +seems always holiday-making, the ever-changing clouds, +always full of beauty.<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span></p> + +<p>A whole school followed in this new track,—Van de +Sande Bakhuijzen, Mevrouw Bilders van Bosse and Mevrouw +Mesdag, Van Borselen, Storlenbeker, <ins title="Transcriber's Note: Both 'Gabriël' and 'Gabriel' were used in this text. This was retained.">Gabriël</ins>, who +depicted with extraordinary fidelity both land and sea; +John Vrolijk, whose cows are always grazing in sunny +meadows under a brilliantly blue sky; De Haas, whose +cattle are more heavy and massive; Du Chattel, who prefers +the effect of light in Spring and in Autumn; Apol, +who devotes himself almost exclusively to snow scenes, +producing singularly charming effects of the sun shining +upon monotonous whiteness; Mari Ten Kate, De Bock, +Wijsmüller, Weissenbruch, and Tholen.</p> + +<p><b>Another Step in the Modern Direction.</b>—Another step +in the modern direction was taken by artists who gave themselves +up entirely to the impression of the landscape, and +painted exactly what they saw; Ter Meulen, for instance, +who loves Nature for the mood which she awakes in him, +and who understands so well how to convey light and tone +into his clever and refined pictures; Anton Mauve, and +the brothers William and Jacob Maris, were also accomplished +interpreters of nature, and all that lives and moves +therein.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus298.jpg" width="500" height="313" alt="J. MARIS +Two Windmills" title="" /> +<span class="caption">J. MARIS<br /> +Two Windmills</span> +</div> + +<p><b>Modern Dutch Painters pursuing Independent Lines.</b>—Of +other modern Dutch painters pursuing different lines +may be mentioned Bosboom, who devoted himself chiefly +to the interiors of old churches, bringing out the play of +light and shadow among the pillars; Klinkenberg, who +paints Dutch streets and canals and the old buildings upon +them in full sunshine; Jansen, who paints the Amsterdam +docks and quays; Alma-Tadema, painter of classical scenes; +Bisschop, the great colorist; David Bles, "the witty portrayer +of morals and manners of years ago"; Henrietta +Ronner-Knip, the famous painter of cats and dogs; Henkes, +who depicts in grayish tones old-fashioned scenes and characters; +Bakker Korff, who paints similar scenes, but in +miniature; the brothers Oyens; Elchanon Verveer, painter +of jolly old fishermen; Sadée; Mejuffrouw van de Sande<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> +Bakhuijzen, and Mejuffrouw Roosenboom, painters of +flowers and fruit; Eerelman and Van Essen, the animal +painters; Allebé, the colorist, painter of human figures and +animals; and Kaemmerer, who is fond of painting figures +in the costumes of the Directoire. + +<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span></p> +<hr /> + +<h2>THE <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">TOWN HALL</ins>, HAARLEM</h2> + +<h3>FROM AMSTERDAM TO HAARLEM</h3> + +<p><span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span></p> + +<p>It would be well now to make a day's trip to Haarlem. +The steam tram takes us through an interesting country, +and in about an hour we reach the centre of the town,—the +Groote Markt,—in which are several old buildings, +the meat market, the Groote Kerk, and the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins>. +The latter is the chief object of our visit to Haarlem, for it +contains ten large pictures by Frans Hals, which no admirer +of this great master can afford to neglect.</p> + +<p>The <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins>, facing the Groote Kerk, was originally +a palace of the counts of Holland. It was begun in the +twelfth century, but was remodelled in 1620 and 1630, when +a wing was added. Some of the large beams in the interior +date from the thirteenth century. The walls of the vestibule +are decorated with coats of arms and portraits of the +counts and countesses of Holland.</p> + +<p><b>The Room containing Hals's Doelen Pictures.</b>—We +pass at once into the principal room, where the famous +Regent (or <i>Doelen</i>) pictures by Hals are arranged in chronological +order. These pictures represent nearly all the +artist's working period. The Banquet of the Officers of +the Guild of the Archers of St. George was painted in +1616, when the artist was thirty-five; the same subject, +with different portraits, in 1627; the Banquet of the Officers +of the Arquebusiers of St. Andrew, in 1622, when the +corps departed for the siege of Hasselt and Mons; Reunion +of the Arquebusiers of St. Andrew, in 1633; and Officers and +Sub-Officers of the Arquebusiers of St. George, in 1639.<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus306.jpg" width="500" height="353" alt="FRANS HALS + Reunion of the Arquebusiers of St. Andrew" title="" /> +<span class="caption">FRANS HALS<br /> +Reunion of the Arquebusiers of St. Andrew</span> +</div> + +<p>As the enormous canvases each contain from fourteen to +twenty life-size portraits, we feel as if we were entering a +hall full of convivial officers, laughing, jesting, and making +merry over their fine wines and choice food. They are +richly dressed; many of them wear lace cuffs and ruffs and +bright scarfs; flags flutter, spears glitter, spurs and swords +clank and flash in the sunlight; the plumes on the large +hats nod; and loud talk and bursts of laughter seem to +issue from the frames. These convivial men have fought +against the hated Spaniards, and are ready to trail a pike +at any moment. The artist was commanded to paint each +man accurately and according to his rank in the company. +Every picture is, therefore, a group of portraits; and Colonel +Jan Claasz Loo, in the picture of 1633, is considered +one of Hals's masterpieces of portraiture. These pictures +rank with Rembrandt's and Van der Helst's works of this +class.</p> + +<p>In addition to these are Regents of the Hospital of +St. Elizabeth (1641), Regents of the Old Men's Almshouse, +and Lady Regents of the Old Men's Almshouse, both +painted in 1664, when Hals was over eighty. Two fine +portraits of Nicholas van der Meer, Burgomaster of Haarlem, +and his wife, are dated 1631. A copy of a portrait of +Frans Hals by himself hangs in an adjoining room.</p> + +<div class="blockquot"><p><b>Crowe on Hals's Earlier and Later Styles.</b>—"In every +form of his art we can distinguish his earlier style from that of +later years. Two Boys Playing and Singing, in the Gallery of +Cassel, and A Banquet of Officers, in the Museum of Haarlem, +exhibit him as a careful draughtsman, capable of great finish, +yet spirited withal. His flesh, less clear than it afterwards became, +is pastose and burnished. Further on he becomes more +effective, displays more freedom of hand and a greater command +of effect. At this period we note the beautiful full-length +of a young lady of the Berensteyn family in the house of that +name in Haarlem, and a splendid full-length of A Patrician +Leaning on a Sword, in the Lichtenstein Collection at Vienna. +Both these pictures are equalled by the Banquets of Officers of +1627, and a Meeting of the Company of St. George, of 1633, +in the Haarlem Museum. A picture of the same kind in the<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> +<ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> of Amsterdam, with the date of 1637, suggests some +study of the masterpieces of Rembrandt, and a similar influence +is apparent in a picture of 1641 at Haarlem, representing the +Regents of the Company of St. Elizabeth.... Rembrandt's +example did not create a lasting impression on Hals. He gradually +dropped more and more into gray and silvery harmonies +of tone; and two of his canvases, executed in 1664,—the +Regents and Regentesses of the Oudemannenhuis, at Haarlem,—are +masterpieces of color, though in substance they are +but monochromes."</p> + +<p><b>His Pictures of Various Strata of Society.</b>—"Hals's pictures +illustrate the various strata of society into which his +misfortunes led him. His banquets or meetings of officers, of +sharpshooters and guildsmen, are the most interesting of his +works. But they are not more characteristic than his low-life +pictures of itinerant players and singers. His portraits of +gentlefolk are true and noble, but hardly so expressive as those +of <ins title="Transcriber's Note: Both 'fish-wives' and 'fishwives' were used in this text. This was retained.">fishwives</ins> and tavern heroes. His first master was Van +Mander, the painter and historian, of whom he possessed +some pictures. But he soon left behind him the practice of +the time illustrated by Schoreel and Moro, and, emancipating +himself gradually from tradition, produced pictures remarkable +for truth and dexterity of hand."</p> + +<p><b>Hals and Rembrandt compared.</b>—"We prize in Rembrandt +the golden glow of effects based upon artificial contrasts of low +light in immeasurable gloom. Hals was fond of daylight, of +silvery sheen. Both men were painters of touch, but of touch +on different keys. Rembrandt was the bass, Hals the treble. +The latter is, perhaps, more expressive than the former. He +seizes with rare intuition a moment in the life of his sitters. +What nature displays in that moment he reproduces thoroughly +in a very delicate scale of color, and with a perfect mastery over +every form of expression. He becomes so clever at last that +exact tone, light and shade, and modelling are all obtained with +a few marked and fluid strokes of the brush."</p></div> + +<p><b>The Other Corporation Pictures.</b>—The other Corporation +pictures will not detain us; but while here we can take a hasty +glance at A. Brouwer's Binnenhuis; Jan Steen's Peasants' +<i>Kermesse</i>; Philips <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Stags and Goats; Molenaer's +Rustic Wedding; F. Hals the Younger's Binnenhuis; +Pieter Aertsen's Children in the Fiery Furnace; A. Backer's +Semiramis; Cornelis Bega's Street Musicians; Gerrit<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span> +Berckheyde's Groote Markt in Haarlem and Fish Market +in Haarlem; Job Berckheyde's Groote Kerk, Haarlem, and +Joseph and his Brothers in Egypt; Bloemaert's Message +to the Shepherds; Pieter Claez's Still Life; Jacques de +Claen, Fruits; Droochsloot's <i>Kermesse</i>; A. van Everdingen's +Street in Haarlem; H. Goltzius's Titus; G. W. Heda's +Still Life; G. van Honthorst's Singer; Hendrik Meyer's +Groote Markt, Haarlem; P. de Molyn's Pillaged and Burning +Village; Isaac van Nickele's Groote Kerk, Haarlem; +Isaac Ouwater's Groote Markt, Haarlem; Christoffel Pierson's +Hunting Attributes; <ins title="Transcriber's Note: Both 'Isaac' and 'Izack van' Ruisdael were used in this text. This was retained.">Isaac</ins> <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>'s Holland Dunes +and Landscape in the Dunes; Saenredam's Nieuwe Kerk, +Haarlem; P. van Santvoort's Winter Landscape; J. van +Scorel's Adam and Eve, St. Cecilia Playing the Organ, +and Christ's Baptism in the Jordan; Jacob van der Ulft's +The Forum of Nerva, Rome; <ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Landscape; +Jan Wijnants's Landscape; Thomas <ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wyck</ins>'s Roman +Ruins; and many portraits by Maes, Jan Weenix, Jan +Victors, Verkolje, Ter Borch, Ravesteyn, Pot, Netscher, +Mierevelt, T. de Keijser, and other famous Dutch artists.</p> + +<p><b>The Teyler Museum.</b>—We can afford to neglect the +Teyler Museum, unless we are particularly interested in the +study of modern Dutch art. In that case, we can view there +some excellent examples of Israëls, Mauve, Mesdag, Ten +Cate, J. Koster, Bosboom, Verveer, Eeckhout, Koekkoek, +and others. The Teyler Museum also contains a valuable +collection of engravings and drawings by old masters, including +Rembrandt, <ins title="Transcriber's Note: Both 'Michelangelo' and 'Michael Angelo' were used in this text. This was retained.">Michelangelo</ins>, Goltzius, and A. van +Ostade.</p> + +<p><b>The Paviljoen Welgelegen.</b>—Taking the tram to Frederiks-Park, +we may glance at the Paviljoen Welgelegen, a +<i>château</i> built in 1788 by Mr. Hope, an Amsterdam banker, +and which was purchased by Louis Napoleon when he became +King of Holland. It was to this building that the +modern pictures were removed from the Trippenhuis in +1838. This now shelters a Colonial Museum and a +Museum of Industrial Art, both of great interest. + +<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span></p> +<hr /> + +<h2>THE <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">BOIJMANS</ins> MUSEUM, ROTTERDAM</h2> + +<h3>THE MUSEUM'S ORIGIN AND GROWTH</h3> + +<p><span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span></p> + +<p>The <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> (or Boymans) Museum, on the Schiedamsche +Dyk, was founded by a bequest of Mr. F. +J. O. Boijmans, who died in 1847. His fine collection of +360 paintings suffered by fire in 1864, and only 163 of them +were left. These were housed in a new building, completed +in 1867. By means of various bequests and purchases, the +collection has been increased to more than four hundred +paintings and two thousand drawings and engravings. The +ground-floor contains the drawings and engravings, the +Library of Rotterdam (30,000 volumes), and the Portrait-room. +The upper floor consists of six galleries, two of +which are devoted to modern pictures.</p> + +<p><b>Two Classes of Landscapes in this Museum.</b>—The +<ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> Museum is rich in landscapes. These naturally +fall into two classes: first, the works of those men who +studied in Italy or at least owed their inspiration to others +who did; and secondly, pictures of purely Dutch scenery +with the peasants, flocks, and herds familiar to the native. +The classical landscapes are framed with mountains, and +usually have cascades and ruins, and often are peopled +with nymphs, shepherds, and other figures classically draped. +Many examples of this school have already been noted in +The Hague and Amsterdam museums.</p> + +<p><b>Painters of Italian Landscapes.</b>—Jan Miel (1599-1664) +went to Rome and studied under Andreas Sacchi.<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span> +His Italian Landscape, alive with travellers, is similar in +feeling and treatment to many others in this gallery by Jan +van de Meer, Jr., Adam Pynacker, J. Lingelbach, Jacob +van Huchtenburgh, Willem de Heusch, Jan Hackaert, +J. van Bronckhorst, Pieter Bout, Jan Both, Adriaen Bloemaert, +and Johannes van der Bent. In many of these classical +landscapes the figures are supplied by A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> +and Lingelbach.</p> + +<p><b>Poelenburg's Figure-painting.</b>—Poelenburg painted the +figures in the pictures of some of his contemporaries,—in +the Rocky Landscape by Willem de Heusch, for instance. +In this panel we find the usual road with women, children, +cattle, sheep, goats, trees, cascade, rocks covered with vegetation, +shepherd with flock, travellers with a pack-mule, and +mountainous background.</p> + +<p><b>A. Bloemaert's Italian Landscape.</b>—Adriaen Bloemaert +(d. 1668) painted historical subjects and landscape. His +Italian Landscape exhibits goats on rocks covered with +vegetation in the foreground, from which a road rises to a +castle on a mountain. A man and a child are coming down +the road. The background is mountainous.</p> + +<p><b>Dirk Maas's Camp.</b>—Dirk Maas (1656-1717) studied +successively under Mommers, Berchem, and Huchtenburgh, +and finally adopted the style of the latter. His subjects +generally are skirmishes, marches, and camps. His Camp +is full of life. The canvas of a tent is fixed to a tree-trunk. +Before the tent sits a cavalier, glass in hand and holding a +horse by the bridle, talking to a woman standing in front of +him. Inside the tent, soldiers are playing cards; on the +right, two dogs are fighting. There are other groups of +soldiers, beggars, horses, women, and children. The background +is closed by tents at the foot of an elevation crowned +by a fortress.</p> + +<p><b>Jan Maartsen's Cavalry Combat.</b>—Jan Maartsen (d. +1645) painted battles and cavalry skirmishes. His Cavalry +Combat, dated 1630, shows a fight between Dutch and +Spaniards. Infantry are engaged in the background.<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span></p> + +<p><b>Vrancx's Pillage and his Promenade.</b>—Sebastian Vrancx +(or Francken) has a Pillage, somewhat similar to that of +<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>. Soldiers are seen pursuing fugitives and +chasing cattle before them; one soldier takes a poor peasant +from his house as prisoner; and farther away, near a +tree, are a horseman on a rearing horse, and a house in +flames; in the middle distance the village street guarded +by the cavalry; and in the background houses, and a town +on the horizon.</p> + +<p>His Promenade shows a gentleman in black, with brown +mantle and large hat ornamented with green, white, and red +feathers, offering his hand to a lady in a white dress, red +overskirt, black mantle, and red bonnet. On the right is a +grape-vine; on the left, an inn, in which several persons are +seated; and on the horizon, a town.</p> + +<p>The same subject is again treated, but this time the gentleman +wears a costume of white satin and red velvet, a +brown cloak and a brown hat with a green plume, and high +leather boots, while the lady has a blue dress, a white bodice, +a tunic of red satin, a fluted ruff, and a round hat. +Fireworks are seen in the background.</p> + +<p><b><ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Battle Picture.</b>—Esais van +de Velde has a Nocturnal Combat between Cavalry and +Infantry, in which a Dutch troop of cavalry are attacking +Spanish Mousquetaires and Lansquenets, the scene illuminated +by a tent in flames. Far in the distance are the +towers and spires of a town.</p> + +<p><b>Johan Huchtenburgh and his Cavalry Combat.</b>—Johan +van Huchtenburgh (1646-1733) was a pupil of Thomas +<ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijk</ins>. After joining his brother Jacob in Italy in 1667, and +working there for a time, he left for France, and painted +under the direction of the celebrated battle-painter, A. F. +van der Meulen. On his return to Holland in 1670 he +grew famous; afterwards he painted scenes from the wars +in which William III., Marlborough, and Prince Eugene were +prominent. His Cavalry Combat shows a fight between the +Imperial troops and the Turks in a mountainous district.<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span> +It is full of action. The foreground is in shadow, while the +middle distance and background are fully illuminated.</p> + +<p><b>Lingelbach's Country People by a Fountain.</b>—Country +People by a Fountain is the title of a picture by +J. Lingelbach. In the foreground of an Italian landscape +several country people are variously grouped; on the right, +at the foot of a rock, a fountain gushes forth, by which is +a man wrapped in sheepskin; in the centre, a woman +riding an ass, is talking to another woman, who stands by +her side; then comes a boy; then a man is seen drinking +from the fountain, his ass beside him. On the left, another +peasant is riding a white horse laden with panniers; and by +his side walks a man with a stick in his hand, and followed +by a dog. On the left is a lake; and mountains form the +background.</p> + +<p><b>Three Landscapes by Adam Pynacker.</b>—The Rotterdam +Gallery owns three pictures by Adam Pynacker. In +An Italian Landscape a line of high mountains edges the +horizon, from which stretches a plain; and in the foreground +on the right, a river flows from a high mountain +through a rocky gorge. Two men are fishing; and near +them are a dog and an ass. On the left a road leads to a +small lake, on the borders of which a herdsman and his +cattle are advancing. In the Mountainous Landscape a +ruined tower stands at the foot of a high rock on the left; +and along the road that is lost behind the hill and rocks in +the foreground, peasants and their cattle are seen. The +setting sun throws its warm rays over the wooded hills and +over the river that winds through the vast landscape and +upon the figures, and illuminates a cow and a goat browsing +among the bushes and rocks. On the Border of a +Lake shows a sheet of water illuminated by the sun, and +on the left several persons are embarking. In the distance +are rocky peaks partly wooded; and men are fishing from +the shore of the lake.</p> + +<p><b>Jacob Huchtenburgh's Mountainous Landscape.</b>—Jacob +van Huchtenburgh followed his master, Berchem.<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span> +In the foreground of his Mountainous Landscape a road +crosses a river by a three-arched stone bridge. In the +road are some sheep and peasants; and a shepherd +with an ass and two cows is crossing the bridge. At a +ford on the right a man is watering two horses. Some +distance away there is a cloister at the foot of a high +mountain, before which are monks, peasants, and a carriage +and horses. Higher up the mountain are a farm, +a castle, and a group of buildings surrounded by walls. +Peasants are dancing in a valley on the left. Finally, +we see a vast mountain landscape through which a river +winds.</p> + +<p><b>Moucheron's Mountainous Landscape.</b>—Another Mountainous +Landscape is by Moucheron. In the foreground +we observe a woman on a white horse. She is talking +to a man who descends a hill. Some country people +are wading through a ford, and on the other side of the +stream stands a ruined tower. The picture is lighted +by the warm rays of the setting sun. Adriaen <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> +painted the figures.</p> + +<p><b>Two Imitators of Poelenburg's Style.</b>—Jan van Bronckhorst +has an Italian Landscape in the style of Poelenburg, +by which he is most commonly known. There are ruins +partly surrounded by water, two bathers, a shepherd and +goats, a stone bridge, and mountainous background. Another +imitator of Poelenburg was Jacob Esselens (b. 1628), +who painted landscapes, marines, and town views. A +Landscape shows a distinguished company of ladies and +gentlemen beside a stream with carriages, horses, hounds, +herons, and falcons. On the river are a yacht and a row-boat; +and, in the distance, a castle among the trees. The +scene is full of color and movement.</p> + +<p><b>Jan Beerstraten and his Town Gate.</b>—Jan Beerstraten +(d. 1660) painted marines and town views; but +nothing is known of him except that he married Magdalena +Bronckhorst. His drawing is good, color excellent, +and brush work strong. Some of his marines will bear<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> +comparison with those of Backhuysen. A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins> +sometimes painted his figures. A Town Gate, signed and +dated 1654, worthily displays his powers. In a mountainous +country we see a town, with its churches, towers, gates, +and fortifications, situated on both sides of a river; on the +water several boats are sailing and rowing; and, on the +banks, people are bathing and promenading.</p> + +<p><b>Jan Hackaert's Mountainous Landscape.</b>—Jan Hackaert +has a fine Mountainous Landscape with a shepherd +playing a clarinet by a stream, and a couple of peasants +dancing, watched by a man with his back to us. On a +hill to the right, under tall trees, are a hunter and his dog; +to the left, a man on horseback followed by a dog. A +road runs along the banks of a lake, at the foot of a high +mountain brightly illuminated by the sun, on which three +cavaliers are approaching at a fast trot. The figures and +animals in this canvas belong to J. Lingelbach.</p> + +<p><b>Berchem and Two who painted in his Style.</b>—Johannes +van der Bent (1650-90) was a pupil of Ph. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins> +and A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>; but he also imitated the style of +N. Berchem. He has an Italian Landscape in which a +shepherdess is milking a goat in the foreground, with +another woman and a boy near her; farther on are a white +horse and cattle. The mountainous background has a cascade +as usual. Berchem is not strongly represented here,—only +by A Grotto: a woman and two men, one mounted +on an ass, are driving cattle over a ford. On the right, +a shepherd is driving a flock of sheep; there are high +mountains in the distance. Dirk van Berghen has also a +Landscape and Animals in this style with mountainous and +woody perspective.</p> + +<p><b>J. Both's Italian Landscape: Evening.</b>—Johannes +Both has another of his pictures here that shows the influence +of Claude Lorraine. In the Italian Landscape: Evening, +the left foreground is occupied by tall trees; a chariot +is drawn by two oxen along a road leading to an old tower; +on the horizon is a town on the <ins title="Transcriber's Note: Both 'sea-shore' and 'seashore' were used in this text. This was retained.">sea-shore</ins>.<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span></p> + +<p><b>P. Bout's Italian Seaport.</b>—Pieter Bout (1658-1702) +almost always worked in collaboration with N. +Boudwijns, for whose landscapes he supplied figures. +Works exclusively his own are very rare. He belonged to +the Flemish-Italian school, and has here a busy and lively +Italian Seaport in the style of J. B. Weenix. It is signed +and dated 1669, which hardly agrees with the date given +for his birth unless he was very precocious.</p> + +<p><b>Other Painters in the Same Group.</b>—In this group +also we might include Gerrit Claes Bleecker (d. 1656), +whose work recalls Elzheimer and his followers. His Saul +on the Road to Damascus is classical rather than Biblical +in sentiment, and the landscape is Italian.</p> + +<p><b>Weenix's Tobias Sleeping under a Vine.</b>—The same +may be said of the charming Tobias Sleeping under a Vine +by J. B. Weenix. In this there is a house on the right, +against the wall of which is a vine under which Tobias is +sleeping. A magpie is flying above his head, and beside +him are various objects such as this artist loved to paint,—vegetables, +a great copper milk pan, a yoke, harness, and +other things, including a basket of grapes and an earthen +pitcher. In the background a man is mounting a ladder. +The picture is signed and dated 1662, two years before the +painter's death.</p> + +<p>Hendrick Mommers (1623-97) also has an Italian +Landscape. He imitated the style of Karel Dujardin, +another painter of this school. Frederick de Moucheron +has a Mountainous Landscape. His pictures also were +peopled by the indefatigable <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Van de Velde</ins> and Lingelbach.</p> + +<p><b>Landscape Setting for The Good Samaritan.</b>—Joris van +der Hagen is another who makes use of a Biblical episode +as an excuse for a landscape, or for the frame of the subject, +as in his Landscape Serving as a Frame for the Parable of +the Good Samaritan. In the foreground on the left, near +two tall trees, the Good Samaritan has dismounted and is +stanching the wounds of the traveller; four dogs are near +the ass; not far away the brigands are descending a path at<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span> +the foot of a mountain. On the right is the Levite, and +farther back is the Pharisee, going away in a different +direction. In the background is a river crossed by a three-arched +bridge, on the other side of which are high buildings +surrounded with trees. Mountains close the view.</p> + +<p><b>Boaz and Ruth in an Italian Setting.</b>—Gerbrand van +den Eeckhout (1621-74), although a pupil of Rembrandt, +painted so-called Biblical scenes in much the same spirit. +Thus his Boaz and Ruth has an Italian setting. In the +foreground Boaz is talking to his servant; Ruth is standing +beside the latter with her apron full of wheat. On the left +is a barn surrounded with trees; in front of it three harvesters +are eating their meal; on the right beside a plough +are a straw hat, a game-bag, and a pitcher. In the background +is a field of corn which is being reaped and sheafed. +Mountains close the scene.</p> + +<p><b>Balaam, by the Same Artist.</b>—Again in Balaam, trees +and a river, high mountains and ruins, form the background. +The prophet is seated on his ass, and beating him with a +stick to make him advance; but on the left an angel in +white with golden wings stops him, sword in hand. Balaam +is followed by two horsemen in Roman costume, and +behind them is a chariot drawn by two horses.</p> + +<p><b>The Flight into Egypt with an Italian Background.</b>—Pieter +Lastman painted an Italian landscape as a background +for the Flight into Egypt. Here we see the Virgin +Mary on an ass with the Infant Jesus in her arms, and by +her side walks Joseph, carrying his carpenter's tools. A +tree is seen on the left; and a cascade, ruins, and rocks in +the background on the right.</p> + +<p><b>Van der Weyden's The Apostle John.</b>—Rogier van +der Weyden (1390-1464) is an early master who painted in +this style. In his The Apostle St. John, the Apostle is seated +in the foreground of a landscape, writing on a sheet of +paper which lies on his knees. He wears a red robe, and a +large red mantle lined with green falls from his shoulders +and covers his knees with ample folds. Behind him, a<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> +winged demon empties his inkstand. On the left two +gentleman are seen on horseback, and the background +shows a mountainous landscape traversed by a river and +enlivened by a castle and a fortified town.</p> + +<p><b>Van der Maes and Van der Werff.</b>—Evert Crijnsz van +der Maes (1577-1646) has a St. Jerome in a landscape, +signed and dated 1609. Another picture of a hermit is by +B. Matton, who lived a little later. Pieter van der Werff +has a Repentant Magdalen, who is kneeling in a grotto with +hands crossed on her breast, while she reads a parchment +scroll covered with Hebraic characters.</p> + +<p><b>Jan van Byler's Picture of Rachel and her Father.</b>—Jan +van Byler, born in Utrecht in the second half of the seventeenth +century, and pupil of his father, is rarely met with in +either public or private galleries. Here, however, we find +Laban Reproaching Rachel for having Carried off his Household +Gods. In the foreground, Rachel is seated holding +by one hand a little boy, while with the other she makes a +gesture, as if to ward off the reproaches of Laban, who is +standing before her. On the right is a young man carrying +a basket. A brown and white dog lies in the foreground; +and in the distance are seen two men and a camel near a +tent attached to the trunk of a tree.</p> + +<p><b>H. Goltzius.</b>—H. Goltzius is represented by an interesting +picture, Juno Receiving the Eyes of Argus Killed by +Mercury. Mercury is seated on a red cloak; in his right +hand he holds one of the eyes of Argus, which Juno, descending +on a cloud, is about to receive in her robe. Before +him are the severed head and corpse of Argus and a +naked sword. A rocky landscape extends to the right, and +on the left, in the clouds, the chariot of Juno, drawn by +peacocks.</p> + +<p><b>Moreelse's Vertumnus and Pomona.</b>—An interesting +mythological picture by Moreelse is called Vertumnus and +Pomona. The latter is seated under the trees to the left +with her face turned toward the spectator. She wears a +yellow silk dress with a blue tunic; her right hand holds a<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span> +pruning-hook and her left a bunch of white grapes. A little +behind her Vertumnus is seen in the guise of an old woman, +leaning on a stick and extending the left hand.</p> + +<p><b>De Vos's Allegory, Crowned by Riches.</b>—Cornelius +de Vos (1585-1651), pupil of David Remens, has an Allegory, +Crowned by Riches. On the right, under a red tent +fringed with gold, a young woman in a green dress and +mantle embroidered with gold, a crown of gold in her right +hand and a sceptre in her left, stands majestically. Before +her kneels a farmer to be crowned, and he extends his hand +to the fruits and vegetables in the foreground. On a table +to the right, covered with a crimson cloth, are various objects +of gold and silver. Farther back under the tent are +two women, a negro, and Love. In the middle distance is +Time with his scythe. To the left in the background, a +landscape, where people are tilling the soil.</p> + +<p><b>An Allegory by De Wit.</b>—Jacob de Wit also has an Allegory. +Minerva, in a landscape, is seated with her right +hand on her harp; in front of her, four naked children are +sporting, and one is playing a harp.</p> + +<p><b>A Classical Scene by Van der Ulft.</b>—Jacob van der Ulft +has a picture, painted in 1674, representing The Betrothed +of Allucius Led as Prisoner Before Scipio. Ruins of temples +and city walls and gates are seen to right and left. In the +foreground are Scipio, the betrothed of Allucius, and other +prisoners. Farther back are Roman soldiers with chariots, +elephants, camels, and spoils of war. In the background a +town is seen at the base of the mountains.</p> + +<p><b>Achilles Recognized by Ulysses, by Van Limborch.</b>—Achilles +Recognized by Ulysses, by H. van Limborch, shows +Achilles kneeling on the ground in the dress of a woman +with a blue chalmys, having a sword in his right and the +scabbard in his left hand; he is recognized by Ulysses who, +with another person, is standing behind him. On the +ground lie a helmet, a shield, several precious objects, and +some jewels which are being examined and handled by the +wives of Lycomedes, King of Scyros. In the background<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span> +on the left is the peristyle of a palace; and on the right are +several persons near a statue and a boat.</p> + +<p><b>De Vriendt's The Death of Lucrezia.</b>—The Death of +Lucrezia, by Frans Floris de Vriendt, is painted in a similar +vein. Lucrezia is on her knees, in a despairing pose, and +about to stab herself. In the background several buildings +are seen.</p> + +<p><b>Painters of Purely Dutch Scenery.</b>—Turning now to +painters of purely Dutch scenery and outdoor life, the +<ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> contains many pictures by the followers of Rembrandt, +Potter, <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, and <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>. Some of these +display the open country, and others the life by the wayside, +in the streets, and in the vicinity of towns. There are +many charming pictures of the outdoor life of the gentry, +the tradesmen, and the farmers. We have scenes of hunting, +hawking, fishing, promenades, and cavalcades, with +beautiful landscape surroundings, and several pictures of +the farm, pure and simple.</p> + +<p><b>Three Pictures by Jacob <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>.</b>—Jacob Ruisdael +has one picture, The Corn Field, which represents a hilly +landscape. In the foreground brushwood, heath, and moss; +on the right two oaks and, on an incline, a wheat-field +partly cut, and mowers who are resting. On the horizon, +to the left, is the sea with a few sails upon it.</p> + +<p>Another picture is called A Sandy Road, and on this, +which leads through brushwood and oak-trees, trudge two +persons. On the right is a pool partly hidden in shadow.</p> + +<p>The third picture by <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins> represents The Old Fish-Market +at Amsterdam. On the right is the tower of the +old church; in the foreground are the fish-venders sitting +at their stalls and many promenaders; and in the background +is the canal, on which boats are lying and sails +spread out to dry. The figures were painted by Gerard +van Battem.</p> + +<p><b>A Wooded Landscape by <ins title="Transcriber's Note: Both 'Isaac' and 'Izack van' Ruisdael were used in this text. This was retained.">Izack van</ins> <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>.</b>—Izack van Ruisdael (1628 or 9-1677) is represented by A Wooded +Landscape, signed and dated 1665. Water is seen to the<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> +right, as well as in the foreground, and six cows are standing +in it. On the left are several tall trees, beneath which are +cows and sheep; and far in the distance some men are +fishing from the bank.</p> + +<p><b>A Wooded Landscape by Hobbema.</b>—A Wooded +Landscape and Landscape by Hobbema are characteristic +examples. The first shows fine treatment of light. The +sun piercing through thick clouds lights the middle distance, +while foreground and background are in shadow. +Among the tall trees in the background a barn is seen; +then a boy and a woman fording the stream; a shepherd +and some sheep near a willow tree; then come two tree-trunks +and some brushwood; then a winding road, on +which a peasant and a boy are walking; then a sheet of +water bordered by willows.</p> + +<p><b>Another Landscape by Hobbema.</b>—The other Landscape +also shows a sheet of water in the foreground where +two persons are fishing; then a tree-trunk, half of which is +in the water; then some trees on a rising ground. A +couple of ducks are swimming in the water. In the background +a peasant's house is seen, before which a man is +standing; and on the left a second clump of trees, where +two persons are walking. The background is brilliantly +lighted; but the middle distance and the foreground are +in shadow.</p> + +<p><b>Van Kessel's Landscape near Haarlem.</b>—Jan van Kessel +(1648-98), about whom little is known, and some of +whose works follow the style of J. van <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, has here +a Landscape near Haarlem and a View of Amsterdam. +The first shows a brightly lighted foreground with a road +leading to a village on the right, the ruins of the Castle of +Brederode. Huntsmen and dogs, a shepherd and sheep, +and some swans in a moat, by Lingelbach, enliven the +scene. The middle distance is in shadow, and here we +have trees, fields, and dunes. The background shows a +brightly lighted landscape stretching away into the distance.</p> + +<p><b>His View of Amsterdam.</b>—His View of Amsterdam<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span> +shows a canal where a man is rowing a boat, a large boat +fastened on the right, some swans floating in the water on +the left. The canal, shut by the gates, is crossed by a stone +bridge, on which some people are walking. In the corner +is a quay bordered with trees, and on the horizon a clock-tower.</p> + +<p><b>One of Isaak van Ostade's Rare Pictures.</b>—Isaak van +Ostade (1621-49), a pupil of his brother Adriaen, usually +painted inns and village scenes, now extremely rare. Neither +the Mauritshuis nor the Rijks owns an example. +Hence the Inn among the Dunes is of great interest. A +chariot, drawn by a white horse, is arriving before an inn +among the trees on the left. The horse is being fed, and +some travellers and children stand in front of the door. A +little boy is leading some pigs across the foreground; two +horsemen are galloping away in the distance, and the +horizon shows the dunes and a clock-tower.</p> + +<p><b>A. van der Neer's Moonlit Landscape.</b>—A Moonlit +Landscape by <ins title="Transcriber's Note: Both 'Aart' and 'Aert' van der Neer were used in this text. This was retained.">Aert</ins> van der Neer is a striking picture with +simple materials. A road, bordered with trees, is seen in +the foreground, with two persons approaching; in the middle +distance are some cows on the banks of a canal, and +peasants' houses under the trees, with a clock-tower in the +background. The sky is stormy, and the moon is rising +and throwing its rays on the water.</p> + +<p><b>A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>'s Landscape and Blacksmith.</b>—Adriaen +van de Velde has a Landscape with Animals and +A Blacksmith. The first shows a flat landscape with a +light brown ox, and a little farther away a sheep lying +down, and also a cow; in the background a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farmhouse</ins> is +seen beneath the trees, and a vast meadow dotted with +cows stretches away to the right. The Blacksmith is in the +background at the door of his forge, before which a boy +stands with a gray horse. An ass, a cock, and some hens +lend additional animation to the little scene.</p> + +<p><b>Two Norwegian Landscapes by Everdingen.</b>—<ins title="Transcriber's Note: 'Albert,' 'Aldert,' and 'Allart' van Everdingen were used in this text. This was retained.">Albert</ins> +van Everdingen is represented by two fine examples of the<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> +Norwegian landscape, for which he is famous. The scenes +are lively, with human figures in both.</p> + +<p><b>A Hunting Scene by Keirinckx and Poelenburg.</b>—Alexander +Keirinckx (b. 1600) was a painter of landscapes +and views of towns. He painted with much truth to nature, +his foliage especially being executed with rare perfection. +Poelenburg, as a rule, painted the figures in his +pictures, as he did in A Forest, signed and dated 1630. +This is a hunting scene, with a gentleman on horseback followed +by hounds under tall trees in the foreground. Other +figures are a huntsman sounding a call, two other hunters, +and a stag in the distance among the trees.</p> + +<p><b>Verboom's Evening.</b>—Abraham Hendricksz Verboom +(seventeenth century) is represented by Evening, showing +trees in the foreground, huntsmen and dogs in the middle +distance lighted by the setting sun, and behind a wooden +fence a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farmhouse</ins>. In the background a clock-tower appears +on the right, while a rocky landscape extends to the +left.</p> + +<p><b>Nymegen's Swiss Landscape.</b>—Gerard van Nymegen +(1735-1808) was the pupil of his father D. van Nymegen. +He visited Germany and Switzerland. The <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> owns +a Swiss Landscape, in which a majestic and foaming cascade +plunges down the rocks; while, on the left, in the foreground, +is a large fallen tree. Shepherds and sheep are +crossing a bridge.</p> + +<p><b><ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">Van der Heyde</ins>'s Ruined Castle.</b>—A good example of +Jan van der Heyde is A Ruined Castle. The scene is a +courtyard with a large tree, under which is seated a shepherd +playing a flute; a horseman is in a gateway on the +left; and several persons are standing on a stone bridge on +the right. A few clouds are floating across the clear sky. +The picture is much admired for its light and shadow.</p> + +<p><b>Donck's Coming Home from Shooting.</b>—Gerrit Donck +has a canvas called Coming Home from Shooting, with a +cottage, two gentlemen, a woman, a peasant, and a boy. +In the centre, some dead game lies on an inverted tub.<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span> +One gentleman is seated; he points to the birds and talks +to the woman. The other gentleman holds his gun and +listens to what the peasant has to say. The boy looks on. +Through the open door on the right we see a landscape in +the style of J. van Goyen.</p> + +<p><b>P. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Gentleman on Horseback.</b>—A Gentleman +on Horseback is by Philips Wouwermans. Mounted +on a gray horse the rider takes his way through a sandy +landscape toward the dunes that are seen on the left. He +wears a gray costume embroidered with gold, a black hat +with a white feather, and high black boots. In the background +are trees, and on the right is a pavilion.</p> + +<p><b>An Admired Picture by E. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>.</b>—<ins title="Transcriber's Note: Both 'Esais' and 'Esaias' van de Velde were used in this text. This was retained.">Esais</ins> van +de Velde's Cavalier has always been greatly admired. Vosmaer +says: "This little figure, seen from behind, sitting so +squarely and easily on his horse, seems really a personage +of life size; it is almost an equestrian statue. The horse +is rearing, and the rider, whose back is turned to the spectator, +wears a felt hat, a blue cloak, and high black riding-boots."</p> + +<p><b>P. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>'s Pillaging Soldiers.</b>—Philips Wouwermans +once again displays the pleasure he takes in painting +horses in his Pillaging Soldiers. 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 +knees; one individual lies stretched out on the ground; and +on the right a woman with her child in her arms is being +pursued by a soldier. In the middle distance, a horseman +is carrying off his booty, and on the left two horsemen are +pursuing the fugitives. A village in flames appears in the +background.</p> + +<p><b>Verschuring's Horse-Shoer.</b>—Hendrick Verschuring +(1627-90) was a painter of social life, portraits, and figures, +and was a pupil of Dirk Govertsz and Jan Both. He +visited Italy. His picture here is called A Horse-Shoer. +Before the steps of the old <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">town hall</ins> of Amsterdam (represented +also in Beerstraten's picture in this gallery) a man is<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> +shoeing a white horse. Farther back stands a man in a red +cloak; to the right some beggars with a dog. Among the +trees in the background a horseman is disappearing.</p> + +<p><b>A Spirited Forest Scene by Looten.</b>—Another landscape +painter of this period was Jan Looten, who died in +England in 1660. Like so many of his contemporaries, he +employed others, especially <ins title="Transcriber's Note: Both 'Nicholas' and 'Nicolaes' Berchem were used in this text. This was retained.">Nicolaes</ins> Berchem, to enliven his +scenery with figures. His large picture, A Forest, signed +and dated 1658, is a spirited scene of ladies and gentlemen +mounted, with hawks on their fists and followed by +falconers. The landscape is prettily diversified with woods, +streams, and hills.</p> + +<p><b>The Dunes, by J. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>.</b>—Jan Wouwermans +(1629-66), pupil of his brother Philips, has a picture of +The Dunes. In the middle of the picture is a watercourse, +which is crossed by a bridge and loses itself behind a hill +over which is seen the roof of a house.</p> + +<p><b>A Sunny Picture by Molenaer.</b>—Nicolaas Molenaer +(d. 1676) has a sunny picture of a Bleaching Ground. In +the foreground is a man in a boat on a stretch of water. +To the right is the bleaching ground, in which people are +busy spreading out the linen; and on the left are cottages, +with tall trees behind.</p> + +<p><b>P. de Molyn's Farm.</b>—Pieter de Molyn the Elder +(?-1661) has a pretty picture of a farm, where two peasant +men are talking to a peasant woman. A very large tree +stands in the front in full light, and behind the hedge are +a hayrick and the house.</p> + +<p><b>Murant's Farm.</b>—Another farm is the work of Emanuel +Murant. A large tree and a sheet of water occupy the foreground. +Near the latter a goat is lying; then come three +pigs before a stable, and three sheep and a peasant. A +pigeon-house on four poles and a hay-wagon are seen in +the background.</p> + +<p><b>Three Good Landscape-painters.</b>—Jan Breughel (1601-78) +painted so much like his father ("Velvet") that it is +hard to distinguish the one from the other. His two village<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span> +scenes are full of the country and rural life. Michiel Carree +(1666-1747) was another painter of the country. His +Wooded Landscape with Cattle has a mountainous background; +it is animated by a shepherd, an ass, two oxen, +two goats, a ram, and several lambs. Cornelis Decker +(d. 1678) was a pupil of Salomon <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, whom he +greatly resembles in style. His landscape depicts a peasant's +cot half hidden among trees on the bank of a stream. +On a plank crossing the latter a woman is washing clothes; +on the right are two persons in a boat; on the horizon are +trees and a clock-tower.</p> + +<p><b>Netscher's Family Scene.</b>—Netscher's Family Scene, +painted in 1667, shows a group in a garden in front of an +imposing house. A gentleman in a long brown wig leans +on the base of a pillar; behind him is a statue of Justice, +and beside him a lady in white satin with a child on her +knee. Near her are two young girls; one is in red silk, +the other in blue satin. They are making floral crowns, +while three other children are twining flowers around a +statue of Love. On the left, in the foreground, is a handsome +stone vase containing a plant.</p> + +<p><b>Two Landscapes.</b>—Pieter Jansz van As has a typical +Dutch landscape with rustic cottages, goats, shepherds, etc. +Jan van Gool (1685-1763) was a pupil of Terwesten and +Van der Does. His Landscape and Animals is a milking +scene in a meadow, wherein are also a dog, goat, sheep, +and lambs. Trees, meadows, and a town close the +distance.</p> + +<p><b>One of Koninck's Very Scarce Pictures.</b>—Jacob Koninck +(fl. 1640) was a pupil of A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>; his pictures are +very scarce. Landscape with Animals shows sheep and +cattle browsing and lying down, with a young shepherd presumably +cutting his name on a tree-trunk. Banks of trees +and a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farmhouse</ins> close the background.</p> + +<p><b>A Charming Landscape by P. van der Leeuw.</b>—Another +little-known landscape-painter, Pieter van der Leeuw +(fl. 1670), was a son and pupil of Sebastiaen van der Leeuw.<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> +He has a charming Landscape and Animals; the animals +consist of two oxen drinking at a stream, a ram, two ewes, +a goat, a sheep, and two lambs. A shepherd and shepherdess +rest under a tree. The color and composition are +excellent.</p> + +<p><b>Michau's Landscape with Cottages.</b>—Theobald Michau +(1676-1765) modelled himself on D. Teniers the Younger. +His Landscape with Peasants' Cottages is full of the spirit +of humble life. A woman sits at her door with a child on +her lap, talking to three neighbors; another is washing +kitchen utensils; a man and a dog are approaching. On +the left there are tall trees, and five cows beside a stream; +and farther back are cottages and a church-tower above +trees.</p> + +<p><b>A Characteristic Picture by Van der Poel.</b>—Egbert +van der Poel has here a characteristic picture, Fire at Night +in a Village House. The house in flames occupies the +middle of the picture; many persons are trying to put out +the fire, and some are throwing water upon it. Several +neighboring houses and a clock-tower are lighted by the +glow of the flames.</p> + +<p><b>Van Straaten's Washerwoman.</b>—Bruno van Straaten, +who was born in Utrecht in 1786, is represented by The +Washerwoman. She is represented as busy outside the +walls of the town; near her are houses, trees, and a +windmill.</p> + +<p><b>Van Os's Farrier.</b>—Pieter Frederik van Os (b. 1808), +a pupil of his father, <ins title="Transcriber's Note: Both 'Peter Gerhardus' and 'Pieter Gerardus' were used in this text. This was retained.">Pieter Gerardus</ins>, has a canvas called +The Farrier. In this, two men are shoeing a white horse +in front of an old forge.</p> + +<p><b>Cuijp's Stable.</b>—Aelbert Cuijp's picture The Stable shows +two dappled horses seen from the back in a stable; in the +foreground are seen a stable-boy, a goat, some stable utensils, +and a brown dog.</p> + +<p><b>An Interesting Kermesse by Droochsloot.</b>—Joost Cornelisz +Droochsloot, a native of Utrecht, who was born about +1586 and died after 1666, has an interesting <i>Kermesse</i>.<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> +The scene is a village street, where a great number of peasants +are drinking, singing, and quarrelling. The houses are +half hidden by trees, and in the background is seen a clock-tower, +on the summit of which a red flag is floating.</p> + +<p><b>An Interesting Picture of Low Life.</b>—An interesting +picture by Govert Camphuysen, who lived in the seventeenth +century, called Wagon Full of Drunken Peasants before +an Inn, shows a wagon drawn by a white and a brown +horse standing before an inn. About half a dozen men and +women are seated in it drinking and singing, and there is a +fiddler upon the front seat. The driver is cutting some +bread; by the door stands the hostess, who is pouring beer +into a pewter mug; a man with glass in hand is seen at an +open window; a beggar stands by the wagon; and a horseman +is riding along the road.</p> + +<p><b>A Dutch Landscape by Van Os.</b>—Georgius Jacobus +Johannes van Os has a landscape. The scene is in Guelderland. +Trees and a wheat field occupy the background +and middle distance; and in the foreground are seen sheep +and cows, painted by his brother, <ins title="Transcriber's Note: Both 'Peter Gerhardus' and 'Pieter Gerardus' were used in this text. This was retained.">Pieter Gerardus</ins> van Os.</p> + +<p><b>Maria J. Ommeganck's Landscape with Sheep.</b>—Maria +Jacoba Ommeganck (1760-1849) is represented in this +gallery by a Landscape with Sheep. The scenery is mountainous. +In the foreground two sheep are lying down; in +the middle distance a brown sheep is standing near a portion +of a house; and in the background are a shepherd with his +dog and some browsing sheep.</p> + +<p><b>Two Landscapes.</b>—Jan Hendrik Weissenbruch, born in +Amsterdam in 1829, has a Landscape with Animals, representing +cattle in a meadow bright with sunshine. In the +foreground to the right is a watercourse, and in the middle +distance a mill. A Landscape in Guelderland by Anthonie +Jacobus van Wijngaerdt (1808- ) represents a sandy road +through a forest along which a man and a woman trudge +bearing fagots. The sky is full of clouds.</p> + +<p><b>A Sunset, by Schipperus.</b>—Pieter Adriannus Schipperus +(b. 1840) has a Sunset. The red sun disappears<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> +behind the trees and is reflected across a pond surrounded +by brushwood that occupies the foreground.</p> + +<p><b>A Fine Example of H. van Hove's First Period.</b>—Hubertus +van Hove (1814-65), the son of Bartholomeus, +painted figure subjects, after having first applied himself to +landscape. A fine example of his first period is the View +of the Lakes in the Environs of Rotterdam.</p> + +<p><b>An Early Production of W. Roelofs.</b>—<ins title="Transcriber's Note: Both 'William' and 'Willem' Roelofs were used in this text. This was retained.">Willem</ins> Roelofs +is represented here by one of his early productions, Landscape +and Animals. In the middle distance are trees and +a country house, and in the foreground a meadow with +cows standing on the banks of the river. It is interesting +to note that the cows were painted by J. H. L. de Haas.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus332.jpg" width="600" height="304" alt="MAUVE +Cows in a Shady Nook" title="" /> +<span class="caption">MAUVE<br /> +Cows in a Shady Nook</span> +</div> + +<p><b>Mauve's Cows in a Shady Nook.</b>—Anton Mauve is represented +by Cows in a Shady Nook. Several black cows +spotted with white are lying under the shade of the big +boughs; another stands in the foreground near the water; +in the background there is a ditch bordered with willows +and tall grasses.</p> + +<p><b>Other Modern Landscapes.</b>—Among the other modern +landscapes we may note: Landscape, by Apol; On the +Dunes, by Artz; The <ins title="Transcriber's Note: Both 'water-mill' and 'water mill' were used in this text. This was retained.">Water-mill</ins> and View of the Village +of Nuenen in Northern Brabant, by Vincent van Gogh; An +Afternoon at Katwijk-on-Sea, by S. L. Verveer; Landscape +with a Windmill near Schiedam, by Weissenbruch; Heath +in Guelders in Autumn, by Théophile de Bock; Street +View (The Hague) and March Showers, by J. J. van de +Sande Bakhuijzen; and Summer (a woman and three children +playing on a beach), by Blommers.</p> + +<p><b>Jäger's View of the Town of Alger.</b>—Gerard de Jäger +(d. after 1663) was a painter of marines and canals. Nothing +is known of him. His View of the Town of Alger is +signed and dated 1665. It is a plan rather than a picture, +having an explanatory placard of the objects of interest +depicted.</p> + +<p><b>A Village Picture by Van der Meer.</b>—Jan van der Meer +(1628-91) has a picture of The Village of Noordwijk<span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span> +Seen from the Dunes, dated 1676. A hunter is talking to +two women in the foreground; cattle and a bleaching-ground +occupy the middle distance, while a church amid +trees is in the extensive stretch of background.</p> + +<p><b>Two Town Views of Van Hove.</b>—B. J. van Hove has a +Town View, where upon a square in front of a Gothic +church three men are talking. One of them is accompanied +by a dog. On a stone parapet on the left is seated a person +with a basket on his back. In the background a canal +is seen with two boats on it, and behind the trees on the +quays some houses are visible. Another Town View by the +same painter shows a canal with a bridge, beneath which a +boat is passing. In the middle distance on the right there +is an old Dutch house, a part of which, as well as the church +with its clock-tower in the distance, is brilliantly lighted.</p> + +<p><b>Two of De Hulst's now Rare Pictures.</b>—The pictures of +Frans de Hulst, a native of Haarlem, where he died in +1662, are now exceedingly rare. Two hang here. One is +a View of the Old Gate of the East at Hoorn, showing the +moat surrounding the town, and various boats, in one of +which the fishermen are drawing their nets. In the middle +distance is the old fortified gate (built in 1511 and now demolished) +and the drawbridge, and in the horizon a large +sheet of water. The View of Nymegen shows some travellers +arriving on the river bank in a chariot drawn by four +horses; the city is seen on the hills bordering the river +on the right, and beyond the walls and gates rises the +Valkhof with its square tower. The river is lost on the left.</p> + +<p><b>Town Views, by Vertin.</b>—Petrus Gerardus Vertin (born +1820) has two Town Views. One represents some old +houses more or less dilapidated, and persons carrying merchandise +and talking; the second, a canal bordered with +very old Dutch houses. On the horizon a clock-tower is +seen.</p> + +<p><b>Winter Scenes by Leichert.</b>—Charles Henri Joseph +Leichert (1818- ) has two winter scenes: one represents +a frozen canal animated with skaters, with a frame of<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span> +houses, a church, and a clock-tower; and the other a street +covered with snow, with houses on either side, and many +figures.</p> + +<p><b>Van Beest's Market.</b>—Sybrandt van Beest (d. 1665) +painted landscapes, marines, and <i>genre</i>. His pictures are +rare. He somewhat resembled Van Goyen in style. In +his Market, 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 fruit. Behind her +are a man and two women in conversation; an ass drawing +a cart is passing. To the left are a heap of vegetables and +a woman is picking up a red cabbage. The background is +composed of houses and a wall partly covered with verdure, +and several women in front, also selling vegetables. The +panel is signed and dated 1652.</p> + +<p><b>De Witte's Fish Market at Amsterdam.</b>—Emanuel de +Witte's The Fish Market at Amsterdam is an interesting +picture. In the foreground under an awning near her stall, +where lie many kinds of fish, a fishwoman is standing and disputing +with a lady who has a white handkerchief on her head +and a blue satin jacket. On the right a fisherman is taking +off his hat to her. In the background a part of the quay, +Buitenkant, and the Y are seen.</p> + +<p><b>Three Pictures of Fish-Sellers.</b>—Frans van Mieris the +Younger has a picture of a fish-seller standing behind his +stall; he holds a whiting in his right hand and two baskets +in his left; on the right are a tobacco-box, a knife, and a +pipe. On the left are some trees, and the sea extends on +the right into the background. Louis de Moni has The +Fishmonger. An old woman stands at a window where +dried fish are hanging; on the left is a spinning-wheel. +She is talking to a servant who is standing before the +window and who has a basket full of bread. Several houses +are seen in the background. The Herring Seller, by +Pieter Christoffel Wonder (1780-1852), belongs to this +group. A young woman is seated before the window of +her house and at her stall, on which are apples, cabbages,<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> +and onions. She has a pot on her knee and holds it with +her right hand, while in her left she offers a herring for +sale.</p> + +<p><b>Two of Barent Gael's Good Pictures.</b>—Barent Gael +(d. 1663) was a pupil of Ph. <ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>; and, like his +master, painted battles and cavalcades with rich ordering, +careful drawing, and picturesque effect. He sometimes +painted more humble scenes, as in the Woman with Cakes. +She is making these appetizing dainties in front of a village +house, watched by a man and four children. To the left +are a hedge and some trees, and in the background a few +little houses. A beggar with his wife and child is trudging +along the road.</p> + +<p>The Village Inn is not less interesting. Here a gentleman, +having alighted before the inn, stands with the bridle +in his left hand and a glass in his right, as he talks to a +man and woman seated on a bench. In the foreground +a dog is lying, and in the background are two horsemen +and some trees.</p> + +<p><b>A Town View by Beerstraten, with Figures by Lingelbach.</b>—A. +Beerstraten, about whom little is known except +that he lived in Amsterdam in the seventeenth century, has +an interesting picture of The Old <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> of Amsterdam, +built in the fifteenth century and destroyed by fire in 1652. +The old building on the Dam and the adjacent houses +are covered with snow. Persons of quality, and also merchants +and peasants, are seen walking through the snowy +streets in all directions. These little figures were painted +by Lingelbach.</p> + +<p><b>Job Berckheyde's Old Bourse at Amsterdam.</b>—Another +architectural picture by Job Berckheyde (1630-93) +shows The Old Bourse at Amsterdam, built by De Keyser +in 1608-11, and destroyed in 1836. We see only a +portion of the interior of this building under the colonnade, +where many merchants are talking. Some of them are in +oriental costume. The picture is beautifully lighted by the +sun, which enters on the right.<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span></p> + +<p><b>His Brother Gerard's Cologne.</b>—His brother Gerard +Berckheyde (1631-98?) has painted The Town of Cologne, +showing the quay, the wall, churches and other +buildings, with the Rhine on the left. The foreground is +beautifully lighted. A brown and white horse, wagons, and +boats enliven the scene.</p> + +<p><b>Two Town Pictures by Verheijen.</b>—A fine view of The +Geertekerk at Utrecht by Jan Hendrik Verheijen (1778-1846) +shows the church on the right and the streets +enlivened with strollers, playing children, and a fish-seller. +His Town View, where brightly lighted buildings are seen +across the bridge of a canal, should also be noted.</p> + +<p><b>St. Mary's Church, Utrecht, by Saenredam.</b>—Pieter +Jansz Saenredam (1597-65) is represented by St. Mary's +Church, Utrecht. This remarkable church, demolished +in 1813 or 1816, was a copy of a church of the eleventh +century in Milan. It dominates the picture, although +it stands on the right. Behind it are some houses, +and in front are trees and a square, on which men and +women are promenading, and children playing.</p> + +<p><b>A Good Example of H. van Vliet's Style.</b>—The Interior +of a Protestant Church, by Hendrick van Vliet (1605-71), +is a good example of this painter's style. On the +left is the choir; in the centre of the foreground, an open +tomb; on the right, near a pillar, a gentleman whose back +is turned toward us, and who is accompanied by a dog. +Between the pillars the preacher in his pulpit and his +hearers are seen. The name and date, 1666, appear on +one of the pillars.</p> + +<p><b>A Splendid Church Interior by Neeffs.</b>—Pieter Neeffs +the Elder has a splendid Interior of a Catholic Church, +showing the nave animated with many figures; chapels and +altars are on right and left, and the choir is in the background.</p> + +<p><b>Two Church Interiors by Bosboom.</b>—Johannes Bosboom +(1817-91) has an Interior of a Protestant Temple, with +people walking about in costumes of the seventeenth<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> +century; and also an Interior of the Church of St. Laurence, +Alkmaar, also brightened with figures.</p> + +<p><b>A Noted Picture by Klinkenberg, and Others by him.</b>—John +Christian Charles Klinkenberg (1852- ) is the modern +Dutch painter of towns, cities, and hamlets,—the Dutch +Canaletto. He is a pupil of Bisschop and Louis Meyer. +At first he was inclined to historical subjects, but soon +turned his attention to street views. It would be impossible +to enumerate them all,—the old water-gate at Sneek, +the <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">town hall</ins> at Zutphen, the town-gate at Hoorn, the +market at Nymegen, the chancellory at Leeuwarden, the +old gate at Haarlem, the old streets of Amsterdam, and +the old buildings of The Hague. 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 1876. The Royal Museum is represented on the right.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/illus344.jpg" width="550" height="302" alt="KLINKENBERG +View of the Vijver at The Hague" title="" /> +<span class="caption">KLINKENBERG<br /> +View of the Vijver at The Hague</span> +</div> + +<p><b>The Maas before Dordrecht, by S. van <ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>.</b>—The +view of a town seen across the river has always attracted +Dutch artists. Dordrecht and Rotterdam in particular have +been painted by Jan van Goyen, Cuijp, and others. One of +the most noted pictures of river scenes is The Maas before +Dordrecht by Salomon van Ruisdael. In the foreground, +to the right, is a shabby old pier on which some cows are +standing, while others are in the water. Row-boats and sail-boats +brighten the river, and one of them on the left is flying +the flag of Dordrecht. The town is seen on the horizon.</p> + +<p><b>Burger's Opinion of this Artist.</b>—Burger says that this +artist formed his brother, and that he stands between Van +Goyen and the glorious Jacob. The picture just mentioned +he considers "as masterly as one of Jacob's works. The +distant horizon and the tiny sails, extremely fine in color, +harmonize with the beautiful silvery sky."</p> + +<p><b>A Fine River Scene by Aelbert Cuijp.</b>—Aelbert Cuijp +has a beautiful View of the River in the Morning. On the +right, at the foot of a high mountain, a tongue of land advances +into the water; two shepherds are visible; some +cows are browsing, quenching their thirst, or lying down;<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> +and the river is dotted with row-boats and sail-boats. On +the left are some mountains, and in the background the +town lies on the banks of the river.</p> + +<p><b>One of Pompe's Rare Works.</b>—A View of Rotterdam, +by a little-known painter, Gerrit Pompe (fl. 1700), whose +works are very rare, deserves study. The Maas, animated +with ships, occupies the foreground; on the left, the Admiralty +yacht is under full sail, and there is also a row-boat; +in the middle distance is a battleship; in the background +are some other boats; and still farther away extends the +town of Rotterdam. The painter has signed his name on a +floating plank.</p> + +<p><b>Pompe's Rotterdam and Sonjé's.</b>—It is interesting to +compare Pompe's Rotterdam with the View near Rotterdam +by Johannes Sonjé. Here we have the Rotter in the +foreground, on which a merchant ship and a row-boat are +seen. The river winds among the trees of the meadows, +which are animated with persons and animals. Under the +trees on the left is a <ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">farmhouse</ins>. Farther back are two +sail-boats, and in the background is the city.</p> + +<p><b>A Beautiful River Scene by Van Goyen.</b>—J. van +Goyen, the father-in-law of Jan Steen, was particularly +famous for his landscapes and river scenery, a beautiful +example of which is called View of a River in Holland. +On the left is a jetty, from which fishermen are loading a +boat with baskets; in the middle distance is a boat with +fishermen drawing a seine; and in the background are a +mill and some houses on the bank. Several other sailing +and rowing boats are on the water, and on the horizon to +the left is a village.</p> + +<p><b>Avercamp's Famous View of a River.</b>—Hendrik Avercamp +(fl. 1660) was famous in his day for his Dutch <i>kermesses</i>, +camp life, landscape, and still life. His View of a +River is full of life and color. In the left foreground are +two fishermen, and on the left a seated fisherman's wife. +The men are dragging a big seine. In the middle distance +to the right people are bathing and swimming; swans are<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span> +on the stream, also boats with occupants; and there are +houses on the banks.</p> + +<p><b>River Scenes by Willaerts, Father and Son.</b>—Isaac +Willaerts (fl. 1650) has a View of a River. On the left is +a village on a dike; on the right, a river with many sail-boats. +He was a pupil of his father, Adam. The Mouth +of the Meuse near Brielle, by Adam Willaerts, also belongs +to this group. In the foreground on the left stands an inn +with the sign In de Witte Zwaan (The White Swan), and +before it on a cask sits a wandering singer, surrounded by +fishermen and peasants; a little to the front are seen a +gentleman and his family, to whom an old fisherman offers +fish; on the banks of the river are groups of peasants, +sailors, and fishermen, talking, embracing the women, and +offering their arms to them for a promenade. Boats are +arriving and departing, and on the horizon lies the town.</p> + +<p><b>A River Picture and Two Others by Verschuier.</b>—Lieve +Verschuier has The Maas before Rotterdam. The +river is seen on the right; on the left are the Bompjes +(the quay bordered with trees), the <ins title="Transcriber's Note: Both 'Oude Hoofdpoort' and 'Oudehoofdpoort' were used in this text. This was retained.">Oudehoofdpoort</ins> (old +gate), and the Haringvliet (canal). Merchant vessels are +riding at anchor, and all sorts of boats are carrying merchandise +and passengers. In the foreground is a boat with +two fishermen. The same artist has here a Mountainous +Landscape, and the old Oostpoort at Rotterdam, built in +1611-13 and demolished in 1836.</p> + +<p><b>Jongkind's Impressive Picture of Overschie in Moonlight.</b>—The +impressive picture, View of Overschie in Moonlight, +was purchased in 1893 out of a bequest by Mr. +Prainat at Rotterdam. After Jongkind settled in France +he frequently visited Holland, and this picture was painted +in 1872, during one of his visits. He was exceedingly fond +of Rotterdam and its environs. Overschie is a village near +Rotterdam, and the Schie, it may be noted, joins the Maas +at Delftshaven; upon it is situated Delft. It is interesting +to compare this picture with <ins title="Transcriber's Note: Both 'Gabriël' and 'Gabriel' were used in this text. This was retained.">Gabriel</ins>'s In the Environs of +Overschie.<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span></p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/illus356.jpg" width="500" height="352" alt="JONGKIND +View of Overschie in Moonlight" title="" /> +<span class="caption">JONGKIND<br /> +View of Overschie in Moonlight</span> +</div> + +<p><b>Jan Storck's Picture of the Old Gate at Rotterdam.</b>—Jan +Storck, whose Castle of Nyenrode is in the Rijks, has here +The <ins title="Transcriber's Note: Both 'Oude Hoofdpoort' and 'Oudehoofdpoort' were used in this text. This was retained.">Oude Hoofdpoort</ins> at Rotterdam seen from the Maas. +In addition to the old gate (built in 1598 and demolished +in 1856), several boats are represented, and a yacht is just +leaving port amidst salvos of artillery. The Maas is seen to +the right.</p> + +<p><b>Two Pictures Characteristic of A. Storck's Style.</b>—Abraham +Storck has two characteristic works. An Italian +Seaport has a jetty on the right with a large building and a +stone fountain. Several persons are busy discharging the +contents of the boats and galleys. On the left a sloop is +going toward a Dutch boat at anchor. His other picture is +A Dutch Port in Winter. A great hole appears in the ice in +the centre; on the right is a pole on which nets are drying; +on the left, a boat stuck fast in the ice: Farther along are +more imprisoned boats, some houses, and a mill; near the +bridge are a lady and gentleman in a sleigh; on the left, +two persons playing hockey; farther along are some skaters +and promenaders. In the background are two ships in the +ice; and on the horizon, some houses and a clock-tower.</p> + +<p><b>Two Marines by Backhuysen.</b>—<ins title="Transcriber's Note: Both 'Ludolf' and 'Lodewijk' Backhuysen/ Bakhuysen were used in this text. This was retained.">Ludolf</ins> Backhuysen has +a large View of the Dutch Coast in Stormy Weather, dated +1682. Ships of various sizes are endeavoring to escape an +approaching heavy squall. A marine, about one-third the +size of the above, is a calmer but bustling scene of ships of +war exchanging salutes at a place of embarkation.</p> + +<p><b>A Marine, by Zeeman.</b>—Reinier Zeeman (16— after 1673), +whose pictures greatly resemble those of Jan Both and Claude +Lorraine, is represented by a marine. On the left some vessels +are in the roadstead, on the right other boats are off +for the deep, and on the banks sailors and fishermen are +seen.</p> + +<p><b>Two Marines by Schotel.</b>—J. C. Schotel has an Agitated +Sea showing a brig at anchor and a fisherman's boat. A +lighthouse is seen on the shore to the right. Another, +called Au Moerdijk, represents a steamboat plying toward<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span> +the landing, and in the background boats laden with hay. +The weather is calm.</p> + +<p><b>The Port of Texel, by W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>.</b>—A characteristic +example of Willem van de Velde is The Port of +Texel. On the left is a jetty from which large merchant +ships are preparing to leave, on the right the Admiralty +yacht firing salvos, in the foreground fishermen busy with +their nets, a boat containing several gentlemen, and in the +offing many boats leaving port.</p> + +<p><b>A Sea-Strand, by Mans.</b>—Fredericus Mans (d. 1673) +has a panel called A Sea-Strand. In the foreground are +fishermen, peasants, and women. A road on the right leads +to a village in the dunes. On the left, the beach is animated +with many figures and fishing boats.</p> + +<p><b>A Marine, by L. G. Man.</b>—L. G. Man (eighteenth +century) has a marine consisting of several English men-of-war +on a sunlit sea.</p> + +<p><b>Sunset at Scheveningen and Two Other Pictures, by +Schelfhout.</b>—Andreas Schelfhout (1787-1870) has A Beach, +with the sea in the background, fishing-boats in the middle +distance, and a fisherman on the dunes, with his dog in the +foreground. A Winter Scene represents a frozen stream +where three children are playing with a sled; farther away +are some skaters; and to the right, the village houses beneath +wintry trees. Sunset at Scheveningen shows a beautifully +lighted sea; some boats with fishermen occupy the +middle distance; and the beach with promenaders is shown +in the foreground.</p> + +<p><b>H. Koekkoek's Stormy Sea.</b>—Hermanus Koekkoek +(1815-82) was a pupil of his father, and, like him, a +marine painter. His Stormy Sea, showing various vessels +struggling with the elements, is full of force and atmospheric +effects.</p> + +<p><b>Two Beautiful Marines by Mesdag.</b>—Two beautiful pictures +by the skilful marine-painter, H. W. Mesdag, should +be noted: Breakers on the North Sea Coast, presented by +Mr. C. E. van Stolk in 1885, depicts a scene that the<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> +traveller himself may verify at any moment; and A Sunrise +on the Dutch Coast, presented by the Society for Promoting +Art at Rotterdam in 1876. This was painted in 1875. +Beautiful in color and striking in composition, it appeals +equally to the artist and the amateur.</p> + +<p>A picture by Mrs. Mesdag, Moorland with a Sheepfold in +Moonlight, was presented to this gallery by her in 1904.</p> + +<p><b>David de Heem, One of the First Painters of Still Life.</b>—This +gallery owns many pictures of fruits, flowers, animals, +and birds. David de Heem (1570-1632) was one of +the first to devote his talents almost exclusively to still life. +Neither The Hague nor the Rijks gallery contains an example +of his work. He treated with great minuteness flowers, +fruits, glasses, etc. Even during his own lifetime his +paintings were much sought after, and high prices were paid +for them. In his Flowers and Fruits we see a glass of Rhine +wine standing in a stone niche ornamented with carved +mouldings. The glass is garlanded with roses, honeysuckle, +pinks, and chrysanthemums; and grouped about it are white +grapes, peaches, apricots, plums, etc.</p> + +<p><b>A Large Still-life Picture by Jan de Heem.</b>—His more +famous son, Jan Davidsz, who inherited his talents and tastes, +has here a large picture of still life. On a table partly +covered with a cloth of green velvet are arranged various +fruits,—grapes, peaches, figs, and a lemon partly peeled. +In the foreground is a pewter dish full of crabs, prawns, and +hazelnuts; then come a blue porcelain bowl and a pewter +plate with oranges and strawberries; next we have a basket +covered with a blue velvet cloth, on which is a pewter dish +with a cut ham. In the background is a box with gold and +silver fringe, and on it a wide-mouthed bottle of Rhine wine, +with a vine branch, a cooked crayfish, and some chestnuts. +To the left are two wine glasses and a silver plate of plums, +figs, and cherries. Well may Blanc exclaim:</p> + +<div class="blockquot"><p>"There is no eater so cloyed, no gourmet so <i>blasé</i>, who would +not have his appetite restored by the sight of one of De Heem's<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> +pictures; for here everything is exquisite, both the form and the +substance, the viands and the fruits, as well as the way in which +they are served. It is necessary that the eye should dine, says +the proverb; and this is particularly true of feasts and collations +given in painting.... De Heem has happily expressed the +quality of every viand and every fruit, its rough or smooth surface, +dull or shining, and even its stage of ripeness,—the violet +plum with its thin skin, splashed with red and drab, the light +down of the peach with its pale and purple tones, the plush envelope +in which the hazelnut hides, and the green and split +shell inside which we see the kernel. Moreover, this diversity +of substances is not only rendered by local color but also by +certain variations of the brush work by fine shades of touch. +On the oak or marble table is placed an enormous glass vessel +cut in facets, a patriarchal glass, all the ridges of which glitter in +the light, and through the crystal of which we see a golden +liquid, fused topaz. Sometimes it is a <i>roemer</i>, a cylindrical vase +of Bohemian glass mounted in silver, a precious utensil transmitted +from generation to generation. This is a picture that +transports us to the intimate life of these domestic Dutchmen, +attentive to all the delicacies of interior comfort."</p></div> + +<p>Jan's son, Cornelis, has also a piece called Flowers and +Fruits in the same style.</p> + +<p><b>Seghers's Flowers.</b>—The striking picture of Flowers, +by David Seghers, shows a stone cartouche with a little +bust of Ceres framed in a garland of red and white roses, +tulips, and many small flowers, around which hover numerous +butterflies.</p> + +<p><b>W. C. Héda, an Early Still-life Painter.</b>—Willem Claes +Héda (1594-1668) was one of the earliest Dutchmen who +devoted themselves exclusively to the painting of still life. +Héda was the contemporary and companion of Dirk Hals, +with whom he had in common pictorial touch and technical +execution. But Héda was more careful and finished +than Hals, and showed considerable skill and not a little +taste in arranging and coloring chased cups and beakers +and tankards of precious and inferior metals. Nothing is +so appetizing as his Luncheon, with rare comestibles set +out upon rich plate, oysters,—seldom without the cut<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span> +lemon,—bread, champagne, olives, and pastry. Even the +commoner Refection is also not without charm, as it +comprises a cut ham, bread, walnuts, and beer.</p> + +<p><b>Van Gelder and Gillemans, Famous Painters of Still +Life.</b>—N. van Gelder (d. 1660) painted birds, animals, +and flowers with great finish and delicacy. His Poultry +consists of a dead cock on a black marble plinth, partly +suspended by one of its feet from an iron hook fixed behind +a partly open green curtain. To the left are two shot +pigeons, a green velvet game-bag, and a fowling-piece.</p> + +<p>Jan Paul Gillemans (1618-?) was famous for his still +life. This gallery possesses one of his fruit pieces, in which +grapes, oranges, lemons, plums, and apricots are temptingly +displayed.</p> + +<p><b>Ykens, Painter of Flowers.</b>—Franchois Ykens (or +Ikens) (1601-93), a painter of flowers and pupil of his +uncle, Osias Beest, has a picture here that was formerly +attributed to François Seghers. A stone cartouche, surrounded +with a garland of roses, tulips, pinks, honeysuckle, +clematis, etc., and bearing a representation of the mystic +marriage of St. Catherine, is called simply Flowers.</p> + +<p><b>W. van Aelst and his Famous Pupil, Rachel Ruysch.</b>—Willem +van Aelst delights us with his Flowers. On a +brown marble slab in a niche stands an elegant vase containing +roses, poppies, a pink, and other blossoms, around +which a butterfly is fluttering. A snail is crawling in the +niche. On a brown <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins> with gold fringe, to the +right, is an open gold watch with a green ribbon attached. +The picture is signed and dated 1662. Willem's famous +pupil, Rachel Ruysch, may be seen here by a charming +flower piece. A tree-trunk surrounded by red and white +roses, poppies, convolvuluses, etc., and upon the stony +ground, covered with moss and mushrooms, innumerable +lizards, toads, snails, and various insects swarm. Butterflies +hover over the flowers. Rachel Ruysch painted this picture +in 1685, and gave it as a present to the famous painter, +<ins title="Transcriber's Note: Both 'Ludolf' and 'Lodewijk' Backhuysen/ Bakhuysen were used in this text. This was retained.">Ludolf</ins> Bakhuysen.<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p> + +<p><b>Pieter Boel's Dead Game.</b>—Her contemporary, Pieter +Boel, shows the influence of his master, F. <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>, in +Dead Game. A dead swan hangs by its foot to a tree. In +the foreground, near a pedestal, are arranged two partridges +and some other game, with a gun and a brass hunting-horn. +On the left is a hound; and, in the background to the right, +an owl on a cage with a little dead bird in front of it.</p> + +<p><b>Marseus, Painter of Lowly Animal Life.</b>—Another follower +of <ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins> was <ins title="Transcriber's Note: Both 'Otho Marcellis' and 'Otto Marseus' (or vice versa) were used in this text. This was retained.">Otto Marseus</ins> van Schrieck. He excelled +in the loving rendering of lowly animal life. His +Nest is of natural size, with eggs lying on the moss near +some thistles, wild mulberries, and red mushrooms. Around +it flutter some butterflies; on the right is a lizard, and on +the left a Mayfly.</p> + +<p><b>A. Breughel's Still-life Pictures.</b>—His pupil, Abraham +Breughel (1631-?), went to Rome; but little is known +about him except that his favorite subject was still life. +Like so many others, his flowers and fruits are painted +natural size. The principal objects in his picture are a +silver dish with figs, a silver bowl containing roses and +gladioluses at the foot of a column, and black and white +grapes, apples, etc., in the foreground.</p> + +<p><b>A. Cuijp, a Painter Catholic in his Tastes.</b>—Aelbert +Cuijp was very catholic in his tastes. He occupied a +country house near Dordrecht, called Dordwijck, where he +painted everything that struck his fancy,—men, animals, +fruits, flowers, and landscape. The poultry yard is noticed +in a Cock and Hen scratching in the straw, with a broom +and some blocks of red stone conspicuously placed. A +hare, two pigeons, and other birds on a stone pillar compose +his Dead Game. A painting called Fruits represents +peaches on a blue plate on a table, and, beside the plate, +white grapes, cherries, and green gooseberries. On the left +is also a butterfly. A charming jumble of peaches, black +and white grapes, and various shells make the picture, +Fruits and Shells, in which three butterflies and a housefly +are also prominent.<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span></p> + +<p><b>One of Jan Weenix's Many Dead Swans.</b>—No Dutch +gallery would be complete without a Dead Swan by Jan +Weenix. Sir Joshua Reynolds admitted that he had seen +no less than twenty during his visit to Holland. The dead +swan is here suspended by the foot from a stone pedestal; +on one side lie a peacock, a partridge, and a thrush; and +near them a branch from a rosebush and a basket of fruit. +In the background is seen a park with a lake, statues, +fountains, and large trees.</p> + +<p><b>Two of Mignon's Best Pictures.</b>—Abraham Mignon +appears at his best in two pictures in this gallery called +Flowers and Fruits. In the former we admire a vase on a +stone table, filled with red and white roses, tulips, blue +irises, poppies, pinks, convolvuluses, and ears of wheat; on +the left on the table a mouse, snails, butterflies, beetles, +and other insects are painted with rare delicacy and truth. +Insects and snails also occur in the second picture, in which +the fruits are placed in a niche, and consist of a bunch of +black grapes, a peach, a melon, an apricot, and some plums +decorated with a vine leaf, wheat, and small flowers.</p> + +<p><b>A Still Life by Van Beyeren.</b>—Abraham Hendricksz +van Beyeren was especially fond of painting flowers and +marine life. His Sea Fish is an evidence of his excellence +in this line. On a table is a basket containing whiting and +a slice of salmon; in front of the basket are a crab, some +soles, some slices of cod, and a knife.</p> + +<p><b>Van den Broeck's Flowers.</b>—Elias van den Broeck +(1653-1711), a pupil of Jan de Heem, delighted to immortalize +on canvas the flowers he cultivated in his beautiful +garden. A stone plinth with roses and Indian cress; +and, in front, chrysanthemums and creepers, a lizard, two +snails, and butterflies are the chief features of his Flowers.</p> + +<p><b>Van Os, Another Good Flower-painter.</b>—Georgius Jacobus +Johannes van Os (1782-1861) was a worthy successor +of the seventeenth-century masters of this school. Flowers +and Flowers and Fruits are artistically composed and lovingly +painted. The former consists of an Etruscan vase<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span> +filled with roses, blue irises, tulips, and anemones, standing +on a marble table. The second picture represents, on a +marble plinth in a niche, a melon, a pear, and a bunch of black +grapes with roses, convolvuluses, poppies, and other flowers.</p> + +<p><b>His Pupil, Hendrik Reekers.</b>—His pupil, Hendrik +Reekers (1815-54), has here Fruits, Vegetables, and Game, +arranged on a marble table. A basket is full of white and +black grapes, a cut lemon, and some oranges, plums, peaches, +and an artichoke, mingled with flowers. Above these hang +a partridge and a grouse.</p> + +<p><b>Flowers, by Steenbergen.</b>—Flowers, by Albertus Steenbergen +(1814- ), consists of roses, poppies, lilacs, convolvuluses, +nasturtiums, etc., arranged in a vase that stands +on a marble plinth. On the right flutters a butterfly.</p> + +<p><b>Still Life, by Maria Vos.</b>—Still Life by Maria Vos +(b. 1824) consists of a stone plinth partly covered with a +piece of matting on which stand a white cock and a black +hen, an overturned basket of oranges and lemons, a copper +dish, and a porcelain bowl; and on the wall a stone jug +with a pewter top.</p> + +<p><b>Flowers, by Margaretha Roosenboom.</b>—In Flowers, by +Margaretha Roosenboom (1843), we have a silver vase filled +with roses, standing on a table with a green cover. In the +background, a green curtain is half drawn.</p> + +<p><b>Two Excellent Hunting Scenes by Hondius.</b>—Abraham +Hondius (1638-91), who excelled in painting the different +breeds of dogs and other animals, and hunting scenes, with +much fire and action, has two pictures here. A Boar Defending +Itself Against Dogs shows the furious beast at bay, +with four dying or dead dogs under him in the foreground. +On the left three more dogs are rushing to the attack. The +features of the landscape are three trees, with a mountainous +background. The other picture, of exactly the same size, depicts +a Bear Attacked by Dogs. The bear is standing on his +hind legs with a dog under him, and throwing another into +the air, while he hugs the life out of another. On the right +and left, more dogs are rushing to attack. There is a dying<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span> +dog in the left foreground. On the right, in the middle +distance, there are two trees near a rock, and a cascade, +and the background is mountainous. Both pictures are +signed and dated 1672.</p> + +<p><b>Bird Pictures by the <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>s, Father and Son.</b>—Gijsbert +de Hondecoeter shows his loving study of the gallinaceous +tribe in Cock and Hens. In the foreground is a +black hen with a white comb; and behind her are a sitting +yellow hen and a standing white one; still farther back are +three more hens, one perched on the branch of a tree. To +the left sits a brown hen with a black comb, with a yellow-brown +cock behind. The ground is strewed with oyster +shells and straw. Three hens are in the background. The +picture is signed and dated 1652.</p> + +<p>Melchior de <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>, who surpassed his father as a +painter of birds alive and dead, enriches this collection with +his Dead Game. In a grotto at the foot of some ruins a +dead bittern and two partridges are hanging. In front are +two gulls; and on the right are a hunting-horn, tied with a +red tasselled cord, a green velvet bag, a kingfisher, and +two finches. In the middle distance is a fowling-piece +with a shoulder belt and net. The entrance of the grotto +is in the background on the left.</p> + +<p><b>Four Portrait Groups by the <ins title="Transcriber's Note: Both 'Eversdijck' and 'Eversdijcks' were used in this text. This was retained.">Eversdijcks</ins>.</b>—In common +with all other Dutch galleries, the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> is rich in portraits. +Royalties, admirals, officers, ladies of quality, gentlemen, +elderly men and women, and children are all represented. +Three pictures of gatherings of officers at Goes, +by Cornelis Willemsz Eversdijck, who died in his native +town of Goes about 1649, and one by his son Willem, +representing the same corps of archers, are the only important +pictures of this class in the gallery.</p> + +<p><b>Two Portraits by Mostert, and One by Queborn.</b>—Jan +Mostert (1474-?), who was a painter of portraits and +altarpieces, has here two half-lengths of Augusteyn van +Teylingen, Anno 1511, and Judoca van Egmont van der +Nieuburch, 1511 (his wife).<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span></p> + +<p>Crispyn van den Queborn (1604-58) was a distinguished +portrait-painter and engraver. His half-length Portrait of +Hartogh van Moerkerken was painted in 1645.</p> + +<p><b>Santvoort, a Portrait-painter after the Style of Rembrandt.</b>—Dirk +van Santvoort (d. 1660) was probably one +of Rembrandt's pupils; or, at least, he adopted that master's +manner. Not many of his pictures are known, and the majority +of these are portraits. His two pictures in the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins> +Museum, however, belong rather to the classical school +of the Elzheimers and Poelenburgs. A Young Shepherd +Playing the Chalumeau, wearing a brown cap with an ostrich +feather, and a bright brown robe over a white shirt, with a +knife and horn at his belt (green background), is dated +1632. A Young Shepherdess, half-length, turned to the left, +wears a violet dress with red sleeves. A blue hat with a +green branch is on her head and a crook over her right +shoulder. The background is greenish.</p> + +<p><b>Two Portraits by F. Bol.</b>—Ferdinand Bol's Portrait of a +Woman represents a young woman seen in profile half-length, +and turned to the left. She wears a red dress and +a violet velvet mantle lined with fur. Beautiful ornaments +of gold and pearls are in her hair and on her neck and +arms. One hand rests on the base of a column, and the +other holds a closed fan. His portrait of Dirk van <ins title="Transcriber's Note: Both Dirk Van 'Waeijen' and 'Walijen' were used in this text. This was retained.">Walijen</ins> +represents a young boy with long curls, dressed in yellow +satin, red tunic, and yellow boots.</p> + +<p><b>Portrait by Gerrit Dou.</b>—Among the most striking portraits +is that of An Old Lady by Gerrit Dou. She is +dressed in black velvet trimmed with fur; her bodice is of +black silk, and she wears a large turned-down collar, and +round her neck a gold chain with a pendent jewel. She +has on a blue cap with a gold band. The head stands out +boldly from the grayish background, and the expression of +the smiling face is singularly impressive.</p> + +<p><b>Jacob Cats and his Cousin, by Mytens.</b>—Mytens's Portrait +of Jacob Cats, the Dutch poet, and his cousin Cornelia +Bars, is also of interest. It was painted in 1650, and<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> +represents Jacob Cats seated at a table before a tent. He +is dressed in crimson, and turns toward his cousin at his +side, who wears brown silk. On the table, with its red +carpet, are an open book and an inkstand. On the left is +seen a hilly landscape with trees; and in the background +an angel with a long white robe.</p> + +<p><b>Portraits by Opzoomer.</b>—Simon Opzoomer has a portrait +of Rembertus Frescarode, one called Erasmus in his +Study, and one of the Brothers de Witt in Prison in +Gevangenpoort. Cornelis is in bed, and Jacob is seated +by him with a book on his knees. The time is just before +their murder by the populace in 1672.</p> + +<p><b>Portraits of Two Notables by Mierevelt.</b>—Mierevelt +has a Portrait of Johan van Oldenbarnevelt, painted in 1671. +His Maurice of Nassau shows that prince standing by a +table and wearing a richly worked cuirass, the present of +the States-General after the victory of <ins title="Transcriber's Note: original reads 'Nienwpoort'">Nieuwpoort</ins>, and an +orange silk scarf. He holds a commandant's baton in his +right hand, and his helmet with orange plumes is seen on +the table. Mierevelt has here also A Lady of Quality.</p> + +<p><b>Finely painted Portraits by Nason.</b>—Pieter Nason +(1612-90), who painted portraits and still life, and who +has a Portrait of Willem Frederick, Count of Nassau +(1662), in The Hague, has here The Portrait of a Lord, +and one of A Woman of Quality. The lady is holding +some yellow flowers. She is dressed in red silk with white +undersleeves; a brown scarf falls over her shoulders; and +pearls ornament her hair, ears, and neck. The jewels, silks, +and satins are beautifully painted, as is also the costume of +the lord in the accompanying picture. He is dressed in +yellow silk with a brown mantle, and his lace cravat is held +by a circle of diamonds. Trees form the background.</p> + +<p><b>A Woman of Quality, by Pourbus.</b>—Pieter Pourbus +(1510-83) was a painter, geographer, and architect. His +Portrait of a Woman of Quality shows her costumed in the +Valois mode, with Mary Stuart cap, fluted ruff, and black +robe.<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p> + +<p><b>Two Portraits by Netscher.</b>—Caspar Netscher has a +sombre Portrait of a Protestant Pastor and a brilliant Lady +of Quality, dressed in blue satin with a graceful brown +scarf. She is seated by a fountain. One hand is placed +on her breast; the other is full of roses.</p> + +<p><b>Pool's Interesting Portraits of his Wife and her Father.</b>—Of +great interest is the portrait of Rachel Ruysch, +painted by her husband, Juriaan Pool. This is a bust only. +The lady is represented with powdered hair and dressed in +brown satin with lace at the neck and sleeves. Her right +hand is lifted and holds a veil. The background contains +a column and a green curtain. Pool's portrait of her +father, Professor Frederik Ruysch, is also a bust. He +wears a large powdered wig and a long robe with a band; +his left hand holds a skull.</p> + +<p><b>A Portrait Group by Maes.</b>—Nicholas Maes is represented +by a Portrait of a Gentleman and a Lady standing +in front of a noble house. The lady, in black with a gray +tunic having an embroidered gold border and a large +collar, holds a little child with her left hand. The latter is +dressed in white and wears a cap with a red feather. The +gentleman holds his wife by her other hand. He is dressed +in black, with white ruff and cuffs, and a mantle is thrown +over his left shoulder. His right hand holds a glove. +Behind them are a rosebush and flowers, and there are +shrubs and bushes by the wall.</p> + +<p><b>Other Portraits by Maes.</b>—Another by the same artist +represents Mr. Willem Nieupoort, Envoy from the States-General +to Oliver Cromwell in 1653. He is standing by +a broken column, and is dressed in yellow silk and brown +velvet, a corselet, a lace cravat, and a red scarf. Near the +column are a sword and a helmet with red plumes. His +wife, Anna van Loon, is also painted by Maes, standing by +a stone balustrade. She wears a dress of red velvet with a +tunic of yellow silk, a gray veil, and pearls in her hair. In +her left hand she holds some oranges, and her right clasps +that of a little girl in white. Trees occupy the background.<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span></p> + +<p><b>A Portrait of a Priest, by Metsu.</b>—Gabriel Metsu has a +Portrait of a Priest, seated at a table in his study. One +hand rests on his breast, the other on a death's head. On +the table, covered with a green cloth, are placed an open +book, a crucifix, and a sheet of paper. A glove, books, +and a half-drawn curtain occupy the background.</p> + +<p><b>A Lawyer in his Study, by A. van Ostade.</b>—Adriaen van +Ostade has A Lawyer in his Study. This important personage, +dressed in black velvet and a violet robe, is seated by +a table covered with a Smyrna rug, on which are books, +papers, documents, and a pewter inkstand. He is reading +a document which he holds in his left hand; his right, +resting on the arm of his chair, holds his spectacles. +Behind the table there is a blue screen. An open door is +seen in the background.</p> + +<p>Honthorst has a Portrait of an Old Man, dressed in +brown, and having a long gray beard.</p> + +<p><b>Several Portraits by Van der Helst.</b>—Bartholomeus +van der Helst has one of A Protestant Minister, painted in +1638; one called A Man, and another A Woman (the two +latter painted in 1646); Portrait of Daniel Bernard; and +Portrait of a Lady and Gentleman. The latter, painted in +1654, represents the couple on a bench in the garden. +The lady is beautifully dressed in white satin, with pearls +and diamonds, and she is plucking a rose from a bush near +by. She has a huge diamond ring on her thumb. The +gentleman is dressed in black satin: in one hand he +holds his large-brimmed hat; the other supports the right +arm of the lady. The landscape, with its varied trees +and playing fountain, was painted by <ins title="Transcriber's Note: 'Albert,' 'Aldert,' and 'Allart' van Everdingen were used in this text. This was retained.">Aldert</ins> van Everdingen +(1654).</p> + +<p><b>A Portrait by Jan de Vos.</b>—Jan de Vos, who died about +1651, has here a Portrait of a Man, dressed in black with +white ruff, and standing by a table. His right hand holds a +pen, his left rests on an open copy-book.</p> + +<p><b>A Portrait by Stolker.</b>—Jan Stolker (1724-85), pupil +of J. M. <ins title="Transcriber's Note: Both 'Quinkhard' and 'Quinckhard' were used in this text. This was retained.">Quinkhard</ins>, has a Portrait of the Burgomaster of<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span> +Rotterdam, Willem Schefers, seated at a table covered with +a red cloth, on which are several books. He is dressed in +black velvet, and wears a powdered wig.</p> + +<p><b>Portraits by Simon de Vos.</b>—Simon de Vos (1608-76), +a pupil of Cornelis de Vos and Rubens, has a Portrait of a +Man, dressed in black with striped sleeves and a large fluted +ruff. His right hand rests on a table, and his left on his hip. +He has also another Portrait of a Man, whose left hand +rests on a chair, while his right holds a glove.</p> + +<p><b>A Man in Oriental Costume by Van Vliet.</b>—Jan Joris +van Vliet, born in Delft in 1610, and one of Rembrandt's +pupils, can be studied here by An Old Man in Oriental Costume. +This is only a bust; the hair is short, the moustache +gray; and the costume consists of a black turban with gold +ornaments, a crimson coat, black mantle, and a golden +chain. His right hand rests on his chest.</p> + +<p><b>A Huntsman by Verkolje.</b>—Verkolje has a Portrait of +a Huntsman seated beneath a tree. He is young, and wears +a large black hat, a gray costume, and orange scarf. His +undersleeves are white, his stockings brown, and his garters +orange. His left hand rests on his hip, and his right holds +a gun. Two hunting-dogs are by his side, and some dead +rabbits. Trees occupy the background.</p> + +<p><b>Van der Werff's Portraits of himself and Others.</b>—Pieter +van der Werff has portraits of W. B. Schefers and his +wife, of Johannes Texelius and of himself. The painter +stands with his elbow on a stone balustrade, dressed in grayish +blue embroidered with gold. A brown velvet cloak is +thrown over his shoulder, and he holds his palette and +brushes in his left hand.</p> + +<p><b>An Admiral and his Wife, by Van den Tempel.</b>—A. +van den Tempel has An Admiral and his Wife, in which the +former is dressed in gray and silver, and his wife in black +and pink and jewels. She holds an orange in her hand; +and in the distance a negro is seen with a dish of oranges. +In the background a lifted curtain of crimson velvet reveals +a warship from which a gun is being discharged.<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span></p> + +<p><b>A Portrait by Zimmerman.</b>—J. W. G. Zimmerman has +a Portrait of Mr. Joost van Vollenhoven, Burgomaster of +Rotterdam in 1864-81, dressed in the robes of office, his +right hand holding a letter and his left resting on some books +on the table.</p> + +<p><b>Other Portraits of Interest.</b>—Other portraits of interest +are Adriaen Backer's Portrait of a Man; Hendrik Berckman's +Portrait of Admiral Adriaen van Trappen; Portrait of +Himself, by Gijsbertus Johannes van den Berg, and Portrait +of his Wife with her son on her knee; C. Bisschop's Portrait +of Prince Henry of the Netherlands, in the costume of +the Royal Yacht Club; Ferdinand Bol's Portrait of a Woman +(two), and Dirk Van der <ins title="Transcriber's Note: Both Dirk Van 'Waeijen' and 'Walijen' were used in this text. This was retained.">Waeijen</ins>; Cornelis Cels's Gijsbert +Karel, Count of Hogendorp; Cornelius Janszoon van Ceulen's +Portrait of a Gentleman, and Portrait of a Young +Woman; P. van Champaigne's Portraits of two Artists; Jacobus +Delff's Portrait of a Man; <ins title="Transcriber's Note: Both 'Albert' and 'Albrecht' Dürer were used in this text. This was retained.">Albrecht</ins> Dürer's Portrait +of Erasmus; Anthonie van Dijck's Portraits of Charles I., +King of England, Henrietta Maria, and Their Two Children; +Gerbrand van den Eeckhout's Portrait of a Child; Robbert +van Eysden's Portrait of J. F. Hoffman, Burgomaster of +Rotterdam, 1845-66; <ins title="Transcriber's Note: Both 'Carel Fabritius' and 'Karel Fabricius' (or vice versa) were used in this text. This was retained.">Carel Fabritius</ins>'s Portrait of a Man, +dressed in black with open shirt showing his neck and chest; +Govert Flinck's Portraits of Dirck Graswinckel, and his Sister, +under a tree, in a landscape with ruins in the distance; +George Gilles Haanen's Portrait of a Young Man; Frans +Hals's Portrait of an Old Gentleman; Adriaen Hanneman's +Portrait of Johan de Witt; Constantin Netscher's William +III., King of England; Dionys van Nymegen's Willem van +der Pot (1733) and Sara, his Wife (1733); Nicholaes +Pieneman's William III., King of the Netherlands; David +van der Plaes's Cornelis Tromp, and A Gentleman; Crispyn +van den Queborn's Hartogh van Moerkerken; Jan van Scorel's +A Young Man, and A Gentleman; Pieter van <ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>'s +Johannes van Crombrugge; Hendricus Turken's +(1791-?) Margarethe Agnes de Vries; Adriaen Pietersz +van de Venne's Prince <ins title="Transcriber's Note: Both 'Frederik Hendrik' and 'Frederick Henry' (or vice versa) were used in this text. This was retained.">Frederick Henry</ins> on Horseback with<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span> +his Suite (<i>en grisaille</i>); and Abraham de Vries's A. A. +Vroesen (1639), and An Old Woman (1644). Musscher's +Portraits of Three Children, crowning the statue of a child +with flowers, should also be noticed, as well as Jacob +<ins title="Transcriber's Note: Both Jacob 'Gerritz' and 'Gerritsz' Cuijp were used in this text. This was retained.">Gerritz</ins> Cuijp's Portraits of a General, a Lady of Distinction, +and Three Children. The last, a boy and two little girls, +are beautifully dressed, and are playing under the trees in a +charming landscape, with several buildings, including a mill +and a church-tower in the distance.</p> + +<p><b>Good Pictures of Social Life by Palamedesz.</b>—Anthonie +Palamedesz (1601-73) was a painter of social life, +<i>corps-de-gardes</i>, portraits, landscapes, and still life. His +art belonged to the school of Frans Hals. The quality of +his work is very unequal, but many of his interiors are full +of life and color. He was such a good painter of figures +in landscapes that his aid was much sought after by brother +artists, notably B. van Bassen and A. de Lorme. In The +Hague Gallery he has two works that show him at his best,—Music +after Dinner, and Merry Company; also a Portrait +of Martinus van Stavenisse, Knight of St. Michael.</p> + +<p><b>An Interior of High Life, by Palamedesz.</b>—The Rotterdam +Gallery has An Interior of High Life by this artist. +In an apartment hung with gilded leather several ladies and +gentlemen are talking and playing musical instruments. In +the foreground there is a lady dressed in blue with a light +red tunic; next to her is a gentleman holding a guitar. On +the left there is a lady with a sheet of music in her hand. +She wears a white dress and a yellow tunic, and beside her +is seated a gentleman. In the centre of the room there +is a table covered with a red carpet, at which two persons +are seated. Farther back in the room several groups of +ladies and gentlemen are seen; and in the background +a <ins title="Transcriber's Note: Both 'chimney-piece' and 'chimney piece' were used in this text. This was retained.">chimney-piece</ins>.</p> + +<p><b>A Musical Reunion, by Van Deelen.</b>—A Musical Reunion +by Dirk van Deelen (1605-71) is a scene in high +life. Six gentlemen and four ladies are in a hall paved +with blue and white marble. A gentleman who turns his<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span> +back to the spectator is seen in the foreground. He is +dressed in black satin slashed with yellow, a black velvet +cloak, yellow stockings, red-heeled shoes, lace collar, and +large black hat. At the right a lady is leaning on a table +with a red cloth. She wears a black-and-yellow flowered +dress with a red tunic and large lace collar and sleeves. +Near the table, on which are a guitar and some books of +music, are four gentlemen, one of whom is without his hat. +In the centre a lady dressed in green silk is playing the +guitar, with her foot on a foot-warmer. Beside her stand +a gentleman and two ladies, one of whom wears a black +dress with a yellow satin tunic and holds a book of music. +In the background on the right there is a bed with green +curtains and an open door flanked with columns at each +side. On the left are two tall windows, and on the wall +hang two male portraits.</p> + +<p><b>An Architectural Painting by Van Deelen.</b>—The Peristyle +of a Building, by this artist, shows his love for classic +architecture. A stone bath with steps occupies the foreground, +and two men enveloped in long cloaks talk with a +woman who is seated on the steps. Near it is a statue +of Hercules on a red marble pedestal. Many people are +seen in a distant gallery through the columns.</p> + +<p><b>A Delightful Conversation Piece, by Ochtervelt.</b>—The +Collation, by Jacob Ochtervelt, is one of those delightful +"conversation pieces" so popular in the seventeenth century. +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 spectator. +Her left hand rests on her hip and her right holds a glass +of wine. On her right is a table with an Oriental carpet +upon which stands a flagon of wine. By its side is an +officer in a blue costume and large blond wig, who is handing +some oysters in a silver dish to the young woman.</p> + +<p><b>A Ball, by François Francken, Junior.</b>—François +Vranckz, or Francken, the Younger (1581-1642), pupil of +his father François Francken and a native of Antwerp, has<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span> +here A Ball. In the foreground a gentleman and lady are +beginning a dance surrounded by spectators; at the entrance +of the hall on the right a servant comes in with wine, +and farther down against the wall and under the windows +is a long table served with refreshments. In the centre +farther back two gentlemen are talking to a lady; on the +left a platform with musicians; in the background a large +<ins title="Transcriber's Note: Both 'chimney-piece' and 'chimney piece' were used in this text. This was retained.">chimney-piece</ins> between two windows.</p> + +<p><b>A Fine Interior, by <ins title="Transcriber's Note: Both 'Tilborch' and 'Tilborgh' were used in this text. This was retained.">Tilborch</ins>.</b>—Of Egidius, or Gilles, +Tilborch (1625-78), a fine Interior (once attributed to +Biset) hangs here. In a very rich room hung with gilded +leather, and from the ceiling of which is suspended a +copper chandelier ornamented with a two-headed eagle, +a lady is seated before the mantelpiece near a table +covered with a Smyrna rug. She is dressed in white, +with a red petticoat, and some red bows on her breast. +Around her are six children of different ages, including one +in the arms of a servant. Opposite to her is a gentleman +dressed in black with white sleeves, accompanied by a dog; +a little behind is a servant with an inkstand. On the left +an aged woman dressed in black is seen, and two ladies +and a gentleman enter the chamber on the left. Over the +<ins title="Transcriber's Note: Both 'chimney-piece' and 'chimney piece' were used in this text. This was retained.">chimney-piece</ins> is a beautifully painted landscape, and on +the left against the wall a large <i>armoire</i> or <i>kas</i> of black +wood ornamented with gold, above which hangs a large +portrait.</p> + +<p><b>A Village Interior, by C. de Man.</b>—Cornelus de Man +(1621-1706) painted portraits, churches, and social life. +In The Hague Gallery he has a Peasants' Wedding, and +here his qualities may be studied in A Village Interior. +A joyous company of peasants, with a sprinkling of the +better class, are gathered in a big barn. In the centre, +a couple are dancing,—the man holding aloft a pewter +pot. On the right a group are playing "hot cockles." In +front, there is a dog asleep; on the right, a little girl with +a hoop; and on the left, a peasant asleep on a barrel. +Farther back is a long table covered with food, at which<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span> +several men and women are seated. A violinist sits on +a barrel, and a guest is sitting on the table mimicking him +with tongs; on the floor in front of him is an earthen +pitcher with a pewter lid. In the background are two +individuals, one with a drum. A black bird is on a perch +close to the ceiling.</p> + +<p><b>Two Pictures of Rustic Life by Molenaer.</b>—Two pictures +by Jan Miense Molenaer are owned by this gallery,—The +Clarinet Player and Rustic Gaiety. The former represents +a peasant's house, where a man with his foot resting on +a stool is playing the clarinet; his audience consists of two +peasants, one of whom is sitting and the other standing by +the side of the fire.</p> + +<p>Music is the feature of Rustic Gaiety also. A table with +a green cover is set with pewter plates and bread; seated +thereat is a peasant, dressed in green blouse and wearing +a red cap, his face turned toward the spectator. His left +hand rests on his leg and he holds a glass of wine in his +right. Opposite is a woman singing and playing the +guitar; a little farther away another woman, with a glass +of wine in one hand and a jug in the other, is also singing. +In the background a peasant, seated near a barrel, is lighting +a pipe, and still farther back a man is playing a fiddle.</p> + +<p><b>A Village Interior, by Sorgh.</b>—Hendrik Maertinsz +Sorgh, who died in Rotterdam in 1670, and who was a +pupil of David Teniers, reflects his master in A Village +Interior. Here we have the interior of a barn where five +peasants are eating and drinking around a table, at which +is also seated an old woman whose hands are resting on +a jug. On the left is a brick oven, and utensils of various +kinds hang on the wall. Many articles are scattered +about, including a leather slipper, a wooden spoon, some +mussel shells, a tub of onions, etc. From the ceiling hangs +a wicker bird-cage and in the foreground a cock and hen +are strutting about.</p> + +<p><b>The Market in Rotterdam, by Sorgh.</b>—Another picture +represents an animated scene at The Market in Rotterdam.<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span> +In the foreground a vegetable stall is placed against the +<i>façade</i> of a house. A woman carrying a copper pail is +selecting some vegetables and disputing with the vender. +Farther back more buyers and sellers are arguing; and the +background is closed with some houses and the entrance +to the Nieuwsteeg.</p> + +<p><b>A Village Interior, by <ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wyck</ins>.</b>—A Village Interior, by +Thomas Wyck (1616-77), shows a room in which a woman +is seated; a little boy kneeling has his head in her lap; by +her side is a little girl, and other little girls are sitting on +the floor; under the window on the left a child is sitting at +a table with a red carpet; on the right, in the foreground, +stands a barrel on which is a jug. A wooden stairway +is seen in the background.</p> + +<p><b>Two Paintings illustrating the Versatility of Quellinus.</b>—Erasmus +Quellinus (1607-78) was a pupil of Rubens, +and painted history, architecture, landscape, portraits, and +religious subjects, like his master. He was a strong colorist +and his draughtsmanship is excellent. Two sides of his art +are exhibited in The Ascension of the Virgin and A Woman +in a Kitchen. The latter is a fine study of still life in the +rendering of the various utensils. On the right a young +woman with bare arms, a white cap, a red dress, and white +tunic is represented down to the knees; on the left on the +table and by its side are all sorts of pewter, copper, and +earthenware utensils. Behind the table stands a young +negress who is offering a bunch of cherries to the woman.</p> + +<p><b>A Fine Example of Kalff's Still-life Painting.</b>—Another +study of still life is shown in The Village Kitchen, by Willem +Kalff, a fine example of this master. In the background a +woman is preparing vegetables, a man stands near a ladder +with a basket filled with vegetables, and another woman is +coming through an open door; but these figures are subordinate +in interest to the pots, kettles, and pans of shining +copper; the meat hanging from the ceiling; the bottles, +the casks, milk jugs, white linen, beer, artichokes, onions, +cabbages, and other vegetables and fruits variously arranged.<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span></p> + +<p><b>Koninck's Famous Gold Weigher.</b>—Of single figures perhaps +the most famous is by Salomon Koninck (1609-68?), +pupil of N. <ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moijaert</ins>. The Gold Weigher, an old man with +white hair and beard, is seated at a table. He wears a +doublet of green velvet and gray fur, and a crimson velvet +cap; he weighs the gold with the greatest care in a pair of +scales which he holds in his right hand. He holds a piece +of gold in his left hand also. On the table, which is covered +with a red cloth, are books, a sheet of paper, a box of +weights, and a bag of gold. The light falls through a window +on the left.</p> + +<p><b>Van der Neer's Guitar Player.</b>—The Guitar Player, by +Eglon Hendrik van der Neer, is probably a portrait. Here +we see a young woman dressed in a red satin skirt and a +white satin jacket, seated by a clavecin. She is tuning a +guitar; and not far away is a gentleman who has a glass of +wine in his hand.</p> + +<p><b>Pencz's Savant in his Cabinet.</b>—George Pencz (d. 1550) +was a pupil of <ins title="Transcriber's Note: Both 'Albert' and 'Albrecht' Dürer were used in this text. This was retained.">Albert</ins> Dürer, who also went to Rome and +studied under Raphael. He painted therefore much the +same class of subjects and in the same style as Van Orley. +His Savant in his Cabinet is an interesting interior. The +savant is seated at a table covered with a green carpet, his +head rests on his right hand, and his left is extended toward +a death's head. He is dressed in red and wears a red cap. +Behind the table is a desk on which are an open book and +a copper chandelier with an extinguished candle. Through +an open window in the background a landscape is visible.</p> + +<p><b>The Drinker, by D. Ryckaert.</b>—Another good study is +The Drinker, by David Ryckaert (1612-77), a pupil of +his father, Maerten Ryckaert, and who formed himself on +Teniers, Brouwer, and Ostade. 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 other. A pewter +plate and an earthenware jug stand on the table.</p> + +<p><b>Pictures containing Human Figures, by Muys.</b>—Nicholas +Muys (1740-1808) has three scenes in <i>grisaille</i> from<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> +plays, A Study in Light, two Interiors, and a Landscape with +Figures. The last shows a monument in the shadow of an +oak, and before it a gentleman, lady, and little child in the +costume of the end of the eighteenth century. A beggar +and his family sue for charity. Near the monument are +three other persons. Two ducks are being pursued by dogs +in the foreground, a hut is seen among the trees in the distance, +and a village lies on the horizon.</p> + +<p>One of the Interiors represents an apartment of the eighteenth +century, where a lady dressed in a green robe is +showing a little picture to two gentlemen. The other Interior +is a richly carved vestibule, in which stands a lady in a +violet silk dress and a blue hat; by her side on the floor +are a dead heron, a partridge, a hare, and some rabbits, and +the live greyhound that helped to catch them. Through a +door in the centre is seen the kitchen, where the huntsman +and his wife are preparing the vegetables; and there are +two other persons, one of whom is hanging a cage from the +ceiling.</p> + +<p>In A Study in Light the painter has grouped a number of +objects,—a bust of Homer on a white marble table, a +guitar, music-books, and a chair with a violin on it,—and +lighted them from a candle in a silver chandelier. In the +background a lady is standing before an open clavecin with +a sheet of music in her hand.</p> + +<p><b>An Interior, by J. B. Scheffer.</b>—Johan Baptist Scheffer, +who died in Amsterdam in 1809, has here An Interior, +showing a room in which a young peasant woman is sitting +at a table preparing vegetables. Beside her stands a pedler +who has placed his right hand on her shoulder, while his +left dangles a gold chain before her eyes. On the left, a +little girl is amusing herself by scaring a cat with her dog; +in the background an open door gives a view through the +next room into the street.</p> + +<p><b>Ary Scheffer's Training.</b>—Scheffer's more famous son, +Arie (1795-1858), inherited talent also from his mother, +Cornelia Lamme, a very distinguished miniature-painter.<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span> +He received his first instruction from his father and in +Paris studied under Pierre Guérin. Géricault and Eugène +Delacroix joined him in striking into a new path of art.</p> + +<p><b>His Two Paintings of Ulrich of Würtemburg.</b>—Here Arie +Scheffer has two sketches—Heads of Two Children, and A +Shepherd Under a Stormy Sky, and two large canvases on +Uhland's ballad representing Ulrich, son of Count Eberhard +of Würtemburg. He first represents the young warrior who, +having lost the Battle of Reutlingen, returns to Stuttgart +and finds his father at the table alone. He has a cold welcome; +and Count Eberhard without greeting him takes a +knife and cuts the <ins title="Transcriber's Note: Both 'table-cloth' and 'tablecloth' were used in this text. This was retained.">table-cloth</ins> in halves. In Scheffer's picture +Ulrich is standing by the table on the right, and the +angry father is cutting the table-cloth. Exasperated by +this insult, Ulrich returned to the army and, throwing himself +into the thickest of the fray at Doffingen, was killed. +The old count spent the night weeping over the body of his +only son. The companion picture, called The Weeper, +represents the bereaved father with clasped hands seated by +Ulrich's body, which still is in armor and lying on a bearskin +in the tent.</p> + +<p><b>Hendrik Scheffer's The First Child.</b>—Arie's younger +brother, Hendrik Scheffer (1798-1862), also a pupil of +Guérin, was a capable painter whose work, The First Child, +hangs in this gallery. A young mother in bed receives a +visit from her husband, who is kissing her hand. On the +right the nurse is seen with the child in her arms.</p> + +<p><b>A Similar Picture by Cornelis Troost.</b>—Another similar +picture is by Cornelis Troost. The lady is lying in bed +eating her breakfast. Near her are a cradle, a nurse with +the baby, and a little girl. The wall is hung with portraits, +and a clock and a painted screen are seen.</p> + +<p><b>Brakenburg's Malade Imaginaire and Interior.</b>—Richard +Brakenburg (1650-1702), a pupil of Ostade, has a +<i>Malade Imaginaire</i>, in which a young woman in blue rests +languidly on her pillow, attended by a physician, who is +feeling her pulse. A little dog plays by her side, and several<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span> +persons are variously grouped and laughing. A parrot +cage hangs from the ceiling. This picture is dated 1696. +A different phase of life appears in his Interior, showing a +large room full of peasants, including women and children. +They are laughing at an owl on a perch, because a man +dressed in a black satin doublet is giving it a piece of +cake on the point of a knife. A bird-cage hangs from the +ceiling.</p> + +<p><b>Bollongier's Carnival.</b>—Hans or Johan Bollongier, who +lived in the middle of the seventeenth century, has a Carnival. +A man and woman are dancing in a street, the +former being dressed as a savage and carrying a club; an +individual follows them with a "rommel pot." In the foreground +we see a dog, and a man in a blue toga, holding a +sword and an imperial globe in his hands. Behind these +persons a house is visible, the doors and windows of which +are filled with people. The picture is dated 1720.</p> + +<p><b>Jan Steen's Feast of St. Nicholas.</b>—Turning now to +humorous pictures, Jan Steen affords two. The Feast of +St. Nicholas differs slightly from the one in the Rijks, and +represents the painter's family. On the right is seated a +young woman in a white satin dress and a blue velvet jacket +trimmed with white fur. She is holding out her hands to a +little girl, whose arms are full of spiced bread and other +dainties. On the left a boy is crying behind the table, on +which is a shoe containing a switch, and near him a servant, +a boy, and an elderly man are laughing at his distress. +The last has a glass of wine in his hand. Behind the group +is an old woman, who is showing a piece of silver to the +poor little boy to console him for St. Nicholas's present.</p> + +<p><b>Another Humorous Picture by Jan Steen.</b>—Another +picture which shows Jan Steen in his most humorous vein +is The Operator, who is removing the stones from a man's +head. 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 "cracked"; and "to +extract the stone from one's brain" merely meant to cure<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span> +him of his folly. The patient is seated in a surgeon's office, +and the surgeon, who is behind him performing an imaginary +operation, ostentatiously places some stones in a basin +that an old woman is holding in the full view of the patient. +On the left stands a boy with a basket full of stones, from +which the surgeon supplies himself. The patient's arms +are tightly bound with a rope of straw; a crow is pecking +at his hand, and he is screaming with all his might. Some +spectators at an open window are laughing heartily.</p> + +<p><b>A Similar Picture in the Style of Frans Hals.</b>—This +may be compared with a picture of the school of Frans +Hals, called The Quack Doctor. The doctor pretends to +be cutting stones from the head of a man. To his cap is +fastened a piece of parchment with Hebrew letters and +three seals, and he wears spectacles. The patient is crying +out; and a boy, dressed as a negro, stands in front +with a basin full of stones. On the right is a table covered +with a red cloth, upon which are scissors and other instruments, +books, gourds, and a water bottle.</p> + +<p><b>Cuijp's Eater of Mussels.</b>—Aelbert Cuijp's Eater of +Mussels has a double interest because the painter has +represented himself here. The scene is laid in a forge, +where the master is eating mussels from a plate that stands +beside a glass of beer on a keg. Two little girls and a boy +are watching him with great attention, and through an open +window two gentlemen are peeping in from outside. One +has a glass of wine in his hand, and the other is the artist +himself, who is laughing heartily at the man devouring the +mussels. In the foreground are seen a dog, a large jug, an +anvil, some shells, an overturned basket of wood, a cat, and +a hen. In the background are seen a blacksmith and +many utensils.</p> + +<p><b>Two Bright Pictures by Van Stry.</b>—Abraham van Stry +(1753-1826), a pupil of his father, the architectural painter, +has an amusing Table Well Served. In a middle-class room +a fat man is seated at a table, on which stand a fine roast +and other dishes. He casts an approving glance upon a<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span> +dish which a servant is just bringing in. Behind him another +servant is pouring out some wine. This artist's +Village Inn represents a peasant on a white horse. He is +taking a glass of beer from the innkeeper's wife. A servant, +a barking dog, a woman, and a boy are the other figures. +The sunlight is very vivid.</p> + +<p><b>Some Characteristic Examples of the Early Netherlands +School.</b>—The early Netherlands school is well represented +by a few characteristic examples. Toost van der Beke, +called "The Master of the Death of the Virgin Mary," may +be studied by three pictures,—Saint Jerome in his Study, +the Virgin Mary and the Infant Jesus, and Portrait of Joris +van der Helde (who died in Ghent in 1569). Dierick, +or Dirck, Bouts is represented by The Apostle Saint John, +which was formerly attributed to Rogier van der Weijden. +Saint John is seated in a landscape writing the first verse of +his Gospel on a sheet of paper, and a devil is tormenting +him.</p> + +<p>"The Master of the Half-Length Female Figures," a +Dutch painter who is supposed to have worked at Bruges +between 1520 and 1540, and who is known only by his +pictures of saints on altarpieces and young women playing +musical instruments, may be studied here in pictures called +Golgotha and Young Woman Playing on a Lute. The latter +is dressed in the costume of 1540, and she is singing from +a music-book the words:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Si jayme mon amy<br /></span> +<span class="i0">Trop, plus que mon mary,<br /></span> +<span class="i0">Se n'est pas de mervelles."<br /></span> +</div></div> + +<p>Golgotha represents the Crucifixion. The Cross, bearing +the livid figure of Christ, is in the foreground, and beside it +stand the Virgin on the left and St. John on the right. The +landscape is very fine, but is entirely Flemish in character, +although soldiers are supposed to be returning to the distant +Jerusalem. At the foot of the hills Flemish cottages +are noticeable, and the sky is gradually darkened from the<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span> +sun on the horizon, until it gets very black just above the +Cross.</p> + +<p>This may be compared with The Crucifixion of Christ of +the Netherlands school, an altarpiece of the sixteenth century, +formerly attributed to Bernard van Orley (died in +Brussels in 1525). Like the former, it presents a green +landscape with horsemen wending their way to the distant +Jerusalem. The Virgin and St. John are kneeling at the +foot of the Cross, and in the clouds are two female saints, +God the Father, and the dove representing the Holy +Ghost.</p> + +<h3>THE END</h3> + + +<p><span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span></p> +<hr /> + +<h2>INDEX</h2> + + +<p class="center">[Names will be found indexed under the surname, not under the +prefix thereto; as, Dijck, van, Heem, de.]</p> + +<div><br /> +A<br /> +<br /> +Aelst, Evert van, <a href="#Page_58">58</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a><br /> +<br /> +Aelst, Willem van, <a href="#Page_96">96</a>-<a href="#Page_98">98</a>, <a href="#Page_250">250</a><br /> +<br /> +<a name="Aertsen" id="Aertsen"></a>Aertsen, Pieter, <a href="#Page_132">132</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>, <a href="#Page_215">215</a><br /> +<br /> +Alchemist, The (<ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijck</ins>), <a href="#Page_136">136</a><br /> +<br /> +Allebé, <a href="#Page_209">209</a><br /> +<br /> +Allegory of the Vigilance of the Grand Pensionary (Asselijn), <a href="#Page_155">155</a><br /> +<br /> +Alma-Tadema, <a href="#Page_205">205</a>, <a href="#Page_208">208</a><br /> +<br /> +Amalia of Solms, <a href="#Page_4">4</a>, <a href="#Page_122">122</a><br /> +<br /> +Amateur Musicians (Metsu), <a href="#Page_74">74</a>, <a href="#Page_75">75</a><br /> +<br /> +Amsterdam, Old Bourse at, <a href="#Page_241">241</a><br /> +<br /> +Amsterdam, <ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins> at, <a href="#Page_241">241</a><br /> +<br /> +Anatomy pictures, <a href="#Page_11">11</a>, <a href="#Page_115">115</a><br /> +<br /> +Anatomy Pictures, Hall of, <a href="#Page_114">114</a>, <a href="#Page_127">127</a><br /> +<br /> +Anatomy (Rembrandt), <a href="#Page_5">5</a>, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>-<a href="#Page_13">13</a><br /> +<br /> +Antiochus to the Augur, Visit of (<ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>), <a href="#Page_32">32</a><br /> +<br /> +Apol, <a href="#Page_205">205</a>, <a href="#Page_208">208</a>, <a href="#Page_238">238</a><br /> +<br /> +Architectural pictures in the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins>, <a href="#Page_241">241</a>-<a href="#Page_243">243</a>, <a href="#Page_262">262</a><br /> +<br /> +Architectural pictures in the Mauritshuis, <a href="#Page_57">57</a>, <a href="#Page_58">58</a><br /> +<br /> +Architectural pictures in the Rijks, <a href="#Page_187">187</a>-<a href="#Page_190">190</a><br /> +<br /> +Arquebusiers of Amsterdam (Flinck), <a href="#Page_126">126</a><br /> +<br /> +Arquebusiers of St. Andrew (Hals), <a href="#Page_213">213</a><br /> +<br /> +Arrival at an Inn, <a href="#Page_50">50</a>, <a href="#Page_51">51</a><br /> +<br /> +Artists' portraits of themselves, <a href="#Page_122">122</a>, <a href="#Page_140">140</a>, <a href="#Page_145">145</a><br /> +<br /> +Artist's Studio (Ostade), <a href="#Page_169">169</a><br /> +<br /> +Artz, <a href="#Page_207">207</a>, <a href="#Page_238">238</a><br /> +<br /> +As, Pieter Jansz van, <a href="#Page_235">235</a><br /> +<br /> +<a name="Asselijn" id="Asselijn"></a>Asselijn, Jan, <a href="#Page_46">46</a>, <a href="#Page_146">146</a>, <a href="#Page_155">155</a><br /> +<br /> +Ast, Balthasar van der, <a href="#Page_98">98</a><br /> +<br /> +Avenue of Ash-trees (Hackaert), <a href="#Page_132">132</a><br /> +<br /> +Avercamp (or Averkamp), H., <a href="#Page_149">149</a>, <a href="#Page_244">244</a><br /> +<br /> +<br /> +B<br /> +<br /> +Backer, Adriaen, <a href="#Page_215">215</a>, <a href="#Page_260">260</a><br /> +<br /> +Backhuysen (or Bakhuysen), L., <a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_122">122</a>, <a href="#Page_149">149</a>, <a href="#Page_150">150</a><br /> +<br /> +Bakhuijzen, J. J. van de Sande, <a href="#Page_199">199</a>, <a href="#Page_205">205</a>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a>, <a href="#Page_238">238</a><br /> +<br /> +Balen, Hendrick van, <a href="#Page_186">186</a>, <a href="#Page_204">204</a>, <a href="#Page_224">224</a>, <a href="#Page_246">246</a>, <a href="#Page_250">250</a><br /> +<br /> +Balten, Peter, <a href="#Page_172">172</a><br /> +<br /> +Banning Cock Company, Sortie of the, <a href="#Page_115">115</a>, <a href="#Page_116">116</a><br /> +<br /> +Barentsz, Dirck, <a href="#Page_127">127</a><br /> +<br /> +Bas, Elizabeth, Portrait of (Rembrandt), <a href="#Page_115">115</a>, <a href="#Page_118">118</a><br /> +<br /> +Bassen, Bartholomew van, <a href="#Page_57">57</a>, <a href="#Page_104">104</a>, <a href="#Page_172">172</a>, <a href="#Page_261">261</a><br /> +<br /> +Batist, Karel, <a href="#Page_159">159</a><br /> +<br /> +Battle Picture, E. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>, <a href="#Page_221">221</a><br /> +<br /> +Bavegom, Jan van, <a href="#Page_103">103</a><br /> +<br /> +Bear Hunt (Potter), <a href="#Page_139">139</a><br /> +<br /> +Beelt, Kornelis, <a href="#Page_188">188</a><br /> +<br /> +Beerstraten, A., <a href="#Page_188">188</a>, <a href="#Page_233">233</a>, <a href="#Page_241">241</a><br /> +<br /> +Beerstraten, Jan, <a href="#Page_223">223</a>, <a href="#Page_224">224</a><br /> +<br /> +Beest, Osias, <a href="#Page_250">250</a><br /> +<br /> +Beest, Sybrandt van, <a href="#Page_240">240</a><br /> +<br /> +Bega, Cornelis, <a href="#Page_169">169</a>, <a href="#Page_170">170</a>, <a href="#Page_215">215</a><br /> +<br /> +Begeyn, <a href="#Page_6">6</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Beijren'">Beijeren</ins> (or Beyeren), Abraham van, <a href="#Page_6">6</a>, <a href="#Page_98">98</a>, <a href="#Page_157">157</a>, <a href="#Page_252">252</a><br /> +<br /> +Beke, Toost van der, <a href="#Page_271">271</a><br /> +<br /> +Bent, Johannes van der, <a href="#Page_220">220</a>, <a href="#Page_224">224</a><br /> +<br /> +Berchem, N., <a href="#Page_32">32</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_146">146</a>, <a href="#Page_162">162</a>, <a href="#Page_184">184</a>, <a href="#Page_222">222</a>, <a href="#Page_224">224</a>, <a href="#Page_234">234</a><br /> +<br /> +Berckheyde (or Berck-Heyde), Gerard (or Gerrit), <a href="#Page_58">58</a>, <a href="#Page_188">188</a>, <a href="#Page_215">215</a>, <a href="#Page_216">216</a>, <a href="#Page_242">242</a><br /> +<br /> +Berck-Heyde, J. A., <a href="#Page_188">188</a><br /> +<br /> +Berckheyde, Job, <a href="#Page_216">216</a>, <a href="#Page_241">241</a><br /> +<br /> +Berckman, Hendrik, <a href="#Page_260">260</a><br /> +<br /> +Berg, G. J. van den, <a href="#Page_260">260</a><br /> +<br /> +Berghen, Dirk van, <a href="#Page_224">224</a><br /> +<br /> +Bernarts, Nicasius, <a href="#Page_152">152</a><br /> +<br /> +Bertin, Nicholas, <a href="#Page_184">184</a><br /> +<br /> +Beyerex, Abraham van, <a href="#Page_53">53</a><br /> +<br /> +Biblical pictures in the Mauritshuis, <a href="#Page_8">8</a>, <a href="#Page_32">32</a><br /> +<br /> +Biblical pictures in the Rijks, <a href="#Page_183">183</a>-<a href="#Page_185">185</a><br /> +<br /> +Bicker Collection, <a href="#Page_113">113</a><br /> +<br /> +Bicker's Company Captain (B. van der Helst), <a href="#Page_125">125</a><br /> +<br /> +Bijlert, J. van, <a href="#Page_133">133</a>, <a href="#Page_134">134</a><br /> +<br /> +Bilders, <a href="#Page_207">207</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Binnerhof'">Binnenhof</ins>, The, <a href="#Page_3">3</a><br /> +<br /> +Birds, pictures of, <a href="#Page_8">8</a>, <a href="#Page_56">56</a>, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_153">153</a>-<a href="#Page_162">162</a>, <a href="#Page_250">250</a>, <a href="#Page_254">254</a><br /> +<br /> +Biset, C. E., <a href="#Page_103">103</a>, <a href="#Page_138">138</a><br /> +<br /> +Bisschop, Christoffel, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>, <a href="#Page_208">208</a>, <a href="#Page_243">243</a>, <a href="#Page_260">260</a><br /> +<br /> +Blanc, quoted, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_73">73</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>-<a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_138">138</a>, <a href="#Page_151">151</a>, <a href="#Page_164">164</a>, <a href="#Page_165">165</a>, <a href="#Page_167">167</a>, <a href="#Page_168">168</a>, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a><br /> +<br /> +Bleecker, G. C., <a href="#Page_225">225</a><br /> +<br /> +Bles, David, <a href="#Page_208">208</a><br /> +<br /> +Bloem, Matthys, <a href="#Page_155">155</a><br /> +<br /> +Bloemaert, Abraham, <a href="#Page_30">30</a>, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_133">133</a>, <a href="#Page_143">143</a>, <a href="#Page_172">172</a><br /> +<br /> +Bloemaert, Adriaen, <a href="#Page_220">220</a><br /> +<br /> +Bloemaert, Hendrick, <a href="#Page_172">172</a><br /> +<br /> +Blommers, B. J., <a href="#Page_205">205</a>, <a href="#Page_207">207</a>, <a href="#Page_238">238</a><br /> +<br /> +Bloot, Pieter de, <a href="#Page_133">133</a><br /> +<br /> +Bock, Théophile de, <a href="#Page_208">208</a>, <a href="#Page_238">238</a><br /> +<br /> +Bode, quoted, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_48">48</a><br /> +<br /> +Boel, Pieter, <a href="#Page_103">103</a>, <a href="#Page_152">152</a>, <a href="#Page_251">251</a><br /> +<br /> +Boeyermans, Theodoor, <a href="#Page_103">103</a><br /> +<br /> +Bol, Ferdinand, <a href="#Page_21">21</a>-<a href="#Page_23">23</a>, <a href="#Page_126">126</a>, <a href="#Page_255">255</a>, <a href="#Page_260">260</a><br /> +<br /> +Bol, Ferdinand, Portrait of, <a href="#Page_122">122</a><br /> +<br /> +Bolen, van, <a href="#Page_102">102</a><br /> +<br /> +Bollongier. <i>See</i> <a href="#Boulengier">Boulengier, Hans</a>.<br /> +<br /> +Boone, Daniel, <a href="#Page_137">137</a><br /> +<br /> +Boonen, Arnold, <a href="#Page_82">82</a><br /> +<br /> +Borman, J., <a href="#Page_159">159</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Boreelen'">Borselen</ins>, van, <a href="#Page_208">208</a><br /> +<br /> +Borssom, A. van, <a href="#Page_159">159</a><br /> +<br /> +Bosboom, <a href="#Page_208">208</a><br /> +<br /> +Bosboom, Johannes, <a href="#Page_188">188</a>, <a href="#Page_205">205</a>, <a href="#Page_242">242</a><br /> +<br /> +Bosch (Hieronymus van Aeken), <a href="#Page_184">184</a><br /> +<br /> +Bosch, Jerome, <a href="#Page_172">172</a><br /> +<br /> +Bosch, L. J. van den, <a href="#Page_156">156</a><br /> +<br /> +Bosschaert, Ambrosius, <a href="#Page_156">156</a><br /> +<br /> +Bosse, Mevrouw Bilders van, <a href="#Page_208">208</a><br /> +<br /> +Both, Andreas (or Andries), <a href="#Page_31">31</a>, <a href="#Page_34">34</a>, <a href="#Page_146">146</a><br /> +<br /> +Both, Jan (or Johannes), <a href="#Page_31">31</a>, <a href="#Page_34">34</a>-<a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_220">220</a>, <a href="#Page_224">224</a>, <a href="#Page_233">233</a>, <a href="#Page_246">246</a><br /> +<br /> +Boudwijns, N., <a href="#Page_225">225</a><br /> +<br /> +<a name="Boulengier" id="Boulengier"></a>Boulengier (or Bollongier), Hans, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>, <a href="#Page_269">269</a><br /> +<br /> +Bourdon, Sebastian, <a href="#Page_184">184</a><br /> +<br /> +Bourse, Esaias, <a href="#Page_137">137</a><br /> +<br /> +Bout, Pieter, <a href="#Page_220">220</a>, <a href="#Page_225">225</a><br /> +<br /> +Bouts, Dierick (or Dirck), <a href="#Page_271">271</a><br /> +<br /> +Braekeleer, F. der, <a href="#Page_188">188</a><br /> +<br /> +Brakenburgh (or Brakenburg), Richard, <a href="#Page_169">169</a>, <a href="#Page_171">171</a>, <a href="#Page_268">268</a><br /> +<br /> +Bramer, Leonard, <a href="#Page_185">185</a><br /> +<br /> +Brandt, Isabella, <a href="#Page_100">100</a>, <a href="#Page_101">101</a><br /> +<br /> +Brassauw, Mechior, <a href="#Page_185">185</a><br /> +<br /> +Breakfast, The (Metsu), <a href="#Page_182">182</a><br /> +<br /> +Bredael, Pieter van, <a href="#Page_103">103</a><br /> +<br /> +Bredius, quoted, <a href="#Page_10">10</a>, <a href="#Page_18">18</a>, <a href="#Page_21">21</a>, <a href="#Page_42">42</a>-<a href="#Page_44">44</a>, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_100">100</a>, <a href="#Page_154">154</a><br /> +<br /> +Breenborch, B., <a href="#Page_31">31</a><br /> +<br /> +Breitner, G. H., <a href="#Page_205">205</a>, <a href="#Page_207">207</a><br /> +<br /> +Brekelenkam, Q. G., <a href="#Page_166">166</a>, <a href="#Page_167">167</a><br /> +<br /> +Breughel, Abraham, <a href="#Page_251">251</a><br /> +<br /> +Breughel, Jan ("Velvet"), <a href="#Page_57">57</a>, <a href="#Page_153">153</a>, <a href="#Page_234">234</a><br /> +<br /> +Breughel, Jan, the Elder, <a href="#Page_36">36</a>, <a href="#Page_102">102</a>, <a href="#Page_184">184</a>, <a href="#Page_186">186</a>, <a href="#Page_190">190</a>, <a href="#Page_234">234</a><br /> +<br /> +Breughel, Pieter, III., <a href="#Page_104">104</a><br /> +<br /> +Bril, Paul, <a href="#Page_46">46</a><br /> +<br /> +Brisé, C., <a href="#Page_157">157</a><br /> +<br /> +Broeck, Elias van den, <a href="#Page_157">157</a>,252<br /> +<br /> +Bronckhorst, Jan van, <a href="#Page_223">223</a><br /> +<br /> +Brouwer, Adriaen, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_83">83</a>, <a href="#Page_85">85</a>, <a href="#Page_105">105</a>, <a href="#Page_119">119</a>, <a href="#Page_134">134</a>, <a href="#Page_135">135</a>, <a href="#Page_215">215</a><br /> +<br /> +Bull (Paul Potter), <a href="#Page_9">9</a>, <a href="#Page_10">10</a><br /> +<br /> +Burgh, R. van der, <a href="#Page_159">159</a><br /> +<br /> +Burgher, quoted, <a href="#Page_10">10</a>, <a href="#Page_14">14</a>, <a href="#Page_25">25</a>-<a href="#Page_26">26</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_101">101</a>, <a href="#Page_106">106</a>, <a href="#Page_126">126</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_144">144</a>, <a href="#Page_154">154</a>, <a href="#Page_173">173</a>-<a href="#Page_174">174</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>, <a href="#Page_243">243</a><br /> +<br /> +Burgomasters Deliberating with Regard to the Visit of Marie de <ins title="Transcriber's Note: original reads 'Medici'">Médici</ins> (T. de Keijser), <a href="#Page_19">19</a>-<a href="#Page_21">21</a><br /> +<br /> +Byler, Jan van, <a href="#Page_227">227</a><br /> +<br /> +<br /> +C<br /> +<br /> +Campen, Jacob van, <a href="#Page_3">3</a><br /> +<br /> +Camphuysen, Govert, <a href="#Page_237">237</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Candlelight'">Candle-light</ins> Scenes, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_163">163</a><br /> +<br /> +Capelle, Jan van de, <a href="#Page_55">55</a><br /> +<br /> +Carree, M., <a href="#Page_235">235</a><br /> +<br /> +Cascades (<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>), <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_129">129</a><br /> +<br /> +Cate, Hendrik Gerrit Ten, <a href="#Page_188">188</a><br /> +<br /> +Cate, Herman Ten, <a href="#Page_205">205</a>, <a href="#Page_206">206</a><br /> +<br /> +Cattle (A. Cuijp), <a href="#Page_143">143</a><br /> +<br /> +Cels, Cornelis, <a href="#Page_260">260</a><br /> +<br /> +Ceulen, C. J. van, <a href="#Page_260">260</a><br /> +<br /> +Champaigne, P. van, <a href="#Page_260">260</a><br /> +<br /> +Chase, The (A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>), <a href="#Page_141">141</a><br /> +<br /> +Chattel, Du, <a href="#Page_208">208</a><br /> +<br /> +Chemical laboratories, pictures of, <a href="#Page_135">135</a><br /> +<br /> +Chinese Boudoir, <a href="#Page_191">191</a><br /> +<br /> +Civic Guard Banquet (B. van der Helst), <a href="#Page_123">123</a>, <a href="#Page_124">124</a><br /> +<br /> +Claen, Jacques de, <a href="#Page_216">216</a><br /> +<br /> +Claez, Pieter, <a href="#Page_98">98</a>, <a href="#Page_216">216</a><br /> +<br /> +Codde, Pieter, <a href="#Page_133">133</a>, <a href="#Page_185">185</a><br /> +<br /> +Coene, Constantinus, <a href="#Page_188">188</a><br /> +<br /> +Coignet, Gilles, <a href="#Page_29">29</a>, <a href="#Page_30">30</a><br /> +<br /> +Collections in the Rijks, <a href="#Page_191">191</a><br /> +<br /> +Colonial Museum, <a href="#Page_216">216</a><br /> +<br /> +Compe, Jan Ten, <a href="#Page_188">188</a><br /> +<br /> +Conflagrations, pictures of, <a href="#Page_149">149</a>, <a href="#Page_190">190</a>, <a href="#Page_236">236</a><br /> +<br /> +<a name="Coninck" id="Coninck"></a>Coninck, David de, <a href="#Page_155">155</a>, <a href="#Page_156">156</a><br /> +<br /> +Conversation pictures, <a href="#Page_6">6</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_262">262</a><br /> +<br /> +Coques, Gonzales, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_175">175</a><br /> +<br /> +Cornelissen, Jacob, <a href="#Page_185">185</a><br /> +<br /> +Cornelisz, Cornelis, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_156">156</a><br /> +<br /> +Corporation pictures, <a href="#Page_125">125</a>-<a href="#Page_127">127</a>, <a href="#Page_215">215</a>, <a href="#Page_216">216</a><br /> +<br /> +Cossiers, Jan, <a href="#Page_103">103</a><br /> +<br /> +Cows in a Shady Nook (Mauve), <a href="#Page_238">238</a><br /> +<br /> +Crabeth, Wouter, the Younger, <a href="#Page_133">133</a><br /> +<br /> +Cradle, By the (Neuhuys), <a href="#Page_202">202</a><br /> +<br /> +Craeyer, Gasper de, <a href="#Page_185">185</a><br /> +<br /> +Croos, <a href="#Page_188">188</a><br /> +<br /> +Crowe, quoted, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_51">51</a>-<a href="#Page_54">54</a>, <a href="#Page_58">58</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_75">75</a>, <a href="#Page_80">80</a>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>, <a href="#Page_175">175</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a><br /> +<br /> +Cuijp, Aelbert, <a href="#Page_37">37</a>, <a href="#Page_141">141</a>-<a href="#Page_143">143</a>, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_171">171</a>, <a href="#Page_236">236</a>, <a href="#Page_243">243</a>, <a href="#Page_251">251</a>, <a href="#Page_270">270</a><br /> +<br /> +Cuijp, Benjamin G., <a href="#Page_143">143</a>, <a href="#Page_144">144</a>, <a href="#Page_184">184</a><br /> +<br /> +Cuijp, Gerrit Gerritsz, <a href="#Page_143">143</a><br /> +<br /> +Cuijp, Jacob G., <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_141">141</a>, <a href="#Page_143">143</a>, <a href="#Page_261">261</a><br /> +<br /> +<br /> +D<br /> +<br /> +Dam, Palace on the, <a href="#Page_3">3</a>, <a href="#Page_112">112</a>, <a href="#Page_214">214</a><br /> +<br /> +Dead Game and Vegetables (<ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snyders</ins>), <a href="#Page_152">152</a><br /> +<br /> +Decker, Cornelis, <a href="#Page_235">235</a><br /> +<br /> +Deelen, Dirck (or Dirk) van, <a href="#Page_58">58</a>, <a href="#Page_261">261</a>, <a href="#Page_262">262</a><br /> +<br /> +Delff, Cornelis J., <a href="#Page_156">156</a><br /> +<br /> +Delff, Jacobus, <a href="#Page_260">260</a><br /> +<br /> +Delft, View of (Vermeer), <a href="#Page_43">43</a>, <a href="#Page_44">44</a><br /> +<br /> +Despatch, The (Ter Borch), <a href="#Page_6">6</a>, <a href="#Page_71">71</a><br /> +<br /> +Dietz, <a href="#Page_187">187</a><br /> +<br /> +Dijck, A. van, <a href="#Page_6">6</a>, <a href="#Page_102">102</a>, <a href="#Page_121">121</a>, <a href="#Page_126">126</a>, <a href="#Page_184">184</a>, <a href="#Page_260">260</a><br /> +<br /> +Dijk, Philip van, <a href="#Page_82">82</a><br /> +<br /> +Dinner, Picture of a (<ins title="Transcriber's Note: Both 'Tilborch' and 'Tilborgh' were used in this text. This was retained.">Tilborgh</ins>), <a href="#Page_107">107</a><br /> +<br /> +Doctor's Visit, The (Jan Steen), <a href="#Page_85">85</a><br /> +<br /> +<i>Doelen</i> pictures, <a href="#Page_125">125</a>-<a href="#Page_127">127</a><br /> +<br /> +Donck, Gerrit, <a href="#Page_232">232</a>, <a href="#Page_233">233</a><br /> +<br /> +Dordrecht, View of (Cuijp), <a href="#Page_37">37</a>, <a href="#Page_143">143</a><br /> +<br /> +Dordrecht (J. van Goyen), <a href="#Page_38">38</a><br /> +<br /> +Dou (or Dow), Gerrit (or Gerard), <a href="#Page_6">6</a>, <a href="#Page_59">59</a>-<a href="#Page_64">64</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_80">80</a>, <a href="#Page_87">87</a>, <a href="#Page_138">138</a>, <a href="#Page_162">162</a>-<a href="#Page_164">164</a>, <a href="#Page_166">166</a>, <a href="#Page_206">206</a>, <a href="#Page_255">255</a><br /> +<br /> +Dou, Gerrit, Portrait of, <a href="#Page_122">122</a><br /> +<br /> +"Dou of Architectural Painters," The, <a href="#Page_187">187</a><br /> +<br /> +Dreamer, The (Maes), <a href="#Page_138">138</a><br /> +<br /> +Drinking Horn, Silver, <a href="#Page_123">123</a>, <a href="#Page_191">191</a><br /> +<br /> +Droochsloot, Joost C., <a href="#Page_104">104</a>, <a href="#Page_105">105</a>, <a href="#Page_216">216</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a><br /> +<br /> +Drost, Cornelis, <a href="#Page_183">183</a><br /> +<br /> +Dubbels, Jan, <a href="#Page_55">55</a>, <a href="#Page_149">149</a><br /> +<br /> +Dujardin, Karel, <a href="#Page_31">31</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_56">56</a>, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>, <a href="#Page_175">175</a>, <a href="#Page_225">225</a><br /> +<br /> +Dupper Collection, <a href="#Page_113">113</a><br /> +<br /> +Dupper Hall, <a href="#Page_114">114</a><br /> +<br /> +Dürer, <ins title="Transcriber's Note: Both 'Albert' and 'Albrecht' Dürer were used in this text. This was retained.">Albrecht</ins>, <a href="#Page_260">260</a><br /> +<br /> +Dusart, C., <a href="#Page_170">170</a><br /> +<br /> +Dutch artists in Rome, colony of, <a href="#Page_31">31</a><br /> +<br /> +Dutch buildings, <a href="#Page_191">191</a><br /> +<br /> +Dutch garden, <a href="#Page_191">191</a><br /> +<br /> +"Dutch Hogarth, The," <a href="#Page_86">86</a><br /> +<br /> +Dutch Kitchen in the Stedelijk Museum, <a href="#Page_195">195</a><br /> +<br /> +<a name="Dutch_landscapes" id="Dutch_landscapes"></a>Dutch landscapes, <a href="#Page_37">37</a>-<a href="#Page_44">44</a>, <a href="#Page_55">55</a>, <a href="#Page_128">128</a>, <a href="#Page_146">146</a>, <a href="#Page_229">229</a>-<a href="#Page_231">231</a>, <a href="#Page_235">235</a>, <a href="#Page_237">237</a><br /> +<br /> +"Dutch Watteau, The," <a href="#Page_86">86</a><br /> +<br /> +Duval, Robert, <a href="#Page_5">5</a><br /> +<br /> +Duyster, Willem Cornelisz, <a href="#Page_133">133</a><br /> +<br /> +Duyts, Jan de, <a href="#Page_103">103</a><br /> +<br /> +<br /> +E<br /> +<br /> +Eeckhout (or Eckhout), G. van der (or van den), <a href="#Page_23">23</a>, <a href="#Page_155">155</a>, <a href="#Page_183">183</a>, <a href="#Page_226">226</a>, <a href="#Page_260">260</a><br /> +<br /> +Eerelman, <a href="#Page_209">209</a><br /> +<br /> +Ehrenberg, Willem van, <a href="#Page_103">103</a><br /> +<br /> +Elias, Claes, <a href="#Page_11">11</a><br /> +<br /> +Elias, N., <a href="#Page_127">127</a><br /> +<br /> +Elliger, Ottomar, <a href="#Page_160">160</a><br /> +<br /> +<a name="Elsheimer" id="Elsheimer"></a>Elsheimer (or Elshaimer, Elzheimer), Adam, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_225">225</a><br /> +<br /> +Esselens, Jacob, <a href="#Page_223">223</a><br /> +<br /> +Essen, van, <a href="#Page_209">209</a><br /> +<br /> +Evening School (Dou), <a href="#Page_64">64</a>, <a href="#Page_162">162</a>, <a href="#Page_163">163</a><br /> +<br /> +Everdingen, A. van, <a href="#Page_46">46</a>, <a href="#Page_55">55</a>, <a href="#Page_129">129</a>, <a href="#Page_216">216</a>, <a href="#Page_231">231</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Eversdijck' and 'Eversdijcks' were used in this text. This was retained.">Eversdijcks</ins>, C. W., <a href="#Page_254">254</a><br /> +<br /> +Eversdijcks, Willem, <a href="#Page_254">254</a><br /> +<br /> +Eysden, Robbert van, <a href="#Page_260">260</a><br /> +<br /> +<br /> +F<br /> +<br /> +<ins title="Transcriber's Note: Both 'Carel Fabritius' and 'Karel Fabricius' (or vice versa) were used in this text. This was retained.">Fabricius, Karel</ins>, <a href="#Page_43">43</a>, <a href="#Page_183">183</a>, <a href="#Page_260">260</a><br /> +<br /> +Fantasmagories, <a href="#Page_157">157</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'farm-house' and 'farmhouse' were used in this text. This was retained.">Farm-house</ins>, The Old (Murant), <a href="#Page_187">187</a><br /> +<br /> +Fergusson, W. G., <a href="#Page_159">159</a><br /> +<br /> +Fiddler, The (Ostade), <a href="#Page_65">65</a><br /> +<br /> +Fish markets, pictures of, <a href="#Page_240">240</a><br /> +<br /> +Fish, pictures of, <a href="#Page_98">98</a>, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_240">240</a>, <a href="#Page_252">252</a><br /> +<br /> +Fisherman's Children (Israëls), <a href="#Page_197">197</a><br /> +<br /> +Flamen, <a href="#Page_56">56</a><br /> +<br /> +Flemalle, Bertholet, <a href="#Page_186">186</a><br /> +<br /> +Flemish pictures in the Rijks, <a href="#Page_184">184</a>, <a href="#Page_185">185</a><br /> +<br /> +Flinck, Govert, <a href="#Page_122">122</a>, <a href="#Page_125">125</a>, <a href="#Page_126">126</a>, <a href="#Page_183">183</a>, <a href="#Page_260">260</a><br /> +<br /> +Floating Feather, The (M. d'<ins title="Transcriber's Note: original reads 'Hondécoeter'">Hondecoeter</ins>), <a href="#Page_89">89</a>, <a href="#Page_154">154</a><br /> +<br /> +Floris, Frans, <a href="#Page_28">28</a><br /> +<br /> +Flowers, pictures of, <a href="#Page_8">8</a>, <a href="#Page_91">91</a>-<a href="#Page_98">98</a>, <a href="#Page_156">156</a>-<a href="#Page_158">158</a>, <a href="#Page_248">248</a>-<a href="#Page_253">253</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Helena Fourment' and 'Eleanor Forman' were used in this text. This was retained.">Fourment, Helena</ins>, <a href="#Page_99">99</a>-<a href="#Page_101">101</a>, <a href="#Page_121">121</a><br /> +<br /> +Francken, Frans, the Younger, <a href="#Page_57">57</a>, <a href="#Page_104">104</a>, <a href="#Page_262">262</a><br /> +<br /> +Francken, Frans, II., <a href="#Page_184">184</a><br /> +<br /> +Francken, Frans, III., <a href="#Page_57">57</a><br /> +<br /> +French pictures in the Mauritshuis, <a href="#Page_8">8</a><br /> +<br /> +French pictures in the Rijks, <a href="#Page_191">191</a><br /> +<br /> +Fromantiou, de, <a href="#Page_50">50</a><br /> +<br /> +Fruit, pictures of, <a href="#Page_8">8</a>, <a href="#Page_91">91</a>-<a href="#Page_98">98</a>, <a href="#Page_156">156</a>-<a href="#Page_161">161</a>, <a href="#Page_248">248</a>-<a href="#Page_253">253</a><br /> +<br /> +Fyt, Jan, <a href="#Page_88">88</a>, <a href="#Page_152">152</a>, <a href="#Page_153">153</a>, <a href="#Page_155">155</a><br /> +<br /> +<br /> +G<br /> +<br /> +<ins title="Transcriber's Note: Both 'Gabriël' and 'Gabriel' were used in this text. This was retained.">Gabriël</ins>, <a href="#Page_208">208</a>, <a href="#Page_245">245</a><br /> +<br /> +Gael, Barent, <a href="#Page_37">37</a>, <a href="#Page_47">47</a>, <a href="#Page_131">131</a>, <a href="#Page_241">241</a><br /> +<br /> +Gaesbeeck, Adriaen van, <a href="#Page_133">133</a><br /> +<br /> +Gelder, Aert de, <a href="#Page_6">6</a><br /> +<br /> +Gelder, N. van, <a href="#Page_250">250</a><br /> +<br /> +German pictures in the Mauritshuis, <a href="#Page_8">8</a><br /> +<br /> +German pictures in the Rijks, <a href="#Page_184">184</a>,185<br /> +<br /> +Gheyn, de, <a href="#Page_28">28</a><br /> +<br /> +Gijselaer, Nicolaes de, <a href="#Page_185">185</a><br /> +<br /> +Gillemans, J. P., <a href="#Page_250">250</a><br /> +<br /> +Gilpin, quoted, <a href="#Page_27">27</a><br /> +<br /> +Glauber, Johannes, <a href="#Page_186">186</a><br /> +<br /> +Goethe, <a href="#Page_167">167</a><br /> +<br /> +Gogh, Vincent van, <a href="#Page_238">238</a><br /> +<br /> +Goltzius, H., <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_186">186</a>, <a href="#Page_216">216</a>, <a href="#Page_227">227</a><br /> +<br /> +Golz, Hubert, <a href="#Page_28">28</a><br /> +<br /> +Gool, Jan van, <a href="#Page_235">235</a><br /> +<br /> +Goubau, Antoni, <a href="#Page_103">103</a><br /> +<br /> +Goyen, Jan van, <a href="#Page_6">6</a>, <a href="#Page_35">35</a>,37, <a href="#Page_38">38</a>, <a href="#Page_46">46</a>, <a href="#Page_144">144</a>, <a href="#Page_233">233</a>, <a href="#Page_243">243</a>, <a href="#Page_244">244</a><br /> +<br /> +Goyen, Jan van, pupils of, <a href="#Page_37">37</a>-<a href="#Page_39">39</a><br /> +<br /> +Goyen, <ins title="Transcriber's Note: Both 'Marguerite' and 'Margarita' van Goyen were used in this text. This was retained.">Marguerite</ins> van, <a href="#Page_38">38</a>, <a href="#Page_84">84</a>, <a href="#Page_179">179</a>, <a href="#Page_180">180</a><br /> +<br /> +Graat, Barend, <a href="#Page_185">185</a><br /> +<br /> +Grebber, Pieter de, <a href="#Page_35">35</a><br /> +<br /> +Greef (or Gryff, Grif, Grifir, Gryef), Anton, <a href="#Page_89">89</a><br /> +<br /> +Gréville, quoted, <a href="#Page_157">157</a><br /> +<br /> +Grimani, H. Jacobs, <a href="#Page_132">132</a><br /> +<br /> +Grocer's Shop (F. van Mieris the Younger), <a href="#Page_173">173</a><br /> +<br /> +Grocer's Shop (W. van Mieris), <a href="#Page_78">78</a>, <a href="#Page_79">79</a><br /> +<br /> +Gysels, Peter, <a href="#Page_103">103</a><br /> +<br /> +<br /> +H<br /> +<br /> +Haag, T. P. C., <a href="#Page_5">5</a><br /> +<br /> +Haanen, G. G., <a href="#Page_260">260</a><br /> +<br /> +Haarlem, <a href="#Page_213">213</a><br /> +<br /> +Haarlem Museum, <a href="#Page_17">17</a><br /> +<br /> +Haarlem, View of (<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>), <a href="#Page_41">41</a>, <a href="#Page_42">42</a><br /> +<br /> +Haas, J. H. L. de, <a href="#Page_208">208</a>, <a href="#Page_238">238</a><br /> +<br /> +Hackaert, Jan, <a href="#Page_37">37</a>, <a href="#Page_132">132</a>, <a href="#Page_224">224</a><br /> +<br /> +Haerlem, C. van, <a href="#Page_185">185</a><br /> +<br /> +Haerlem, Pieter Claes van, <a href="#Page_159">159</a><br /> +<br /> +Hagen, Joris van der, <a href="#Page_27">27</a>, <a href="#Page_48">48</a>, <a href="#Page_225">225</a><br /> +<br /> +Hague Gallery, <a href="#Page_5">5</a>, <a href="#Page_8">8</a><br /> +<br /> +Hals, Dirck (or Dirk), <a href="#Page_119">119</a>, <a href="#Page_249">249</a><br /> +<br /> +Hals, Frans, <a href="#Page_6">6</a>, <a href="#Page_18">18</a>, <a href="#Page_44">44</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_74">74</a>, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>, <a href="#Page_125">125</a>, <a href="#Page_178">178</a>,181, <a href="#Page_213">213</a>-<a href="#Page_215">215</a>, <a href="#Page_260">260</a>, <a href="#Page_270">270</a><br /> +<br /> +Hals, Frans, Portrait of Himself and Wife, <a href="#Page_119">119</a><br /> +<br /> +Hanneman, A., <a href="#Page_260">260</a><br /> +<br /> +Hanselaere, P. van, <a href="#Page_185">185</a><br /> +<br /> +Happy Family, The (Jan Steen), <a href="#Page_179">179</a><br /> +<br /> +Haseleer, Frans, <a href="#Page_185">185</a><br /> +<br /> +Hauser, <a href="#Page_22">22</a><br /> +<br /> +Hawking Scene (<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>), <a href="#Page_146">146</a><br /> +<br /> +Hay-wagon, The (Wouwermans), <a href="#Page_91">91</a>, <a href="#Page_249">249</a>, <a href="#Page_250">250</a><br /> +<br /> +Heck, C. D. van der, <a href="#Page_188">188</a>, <a href="#Page_189">189</a><br /> +<br /> +Hecke, J. van den, <a href="#Page_103">103</a><br /> +<br /> +Hecke, van der, <a href="#Page_56">56</a><br /> +<br /> +Hecken, A. van der, <a href="#Page_133">133</a><br /> +<br /> +Heda, G. W., <a href="#Page_216">216</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Heda'">Héda</ins>, W. C., <a href="#Page_91">91</a>, <a href="#Page_249">249</a><br /> +<br /> +Heem, Cornelis de, <a href="#Page_92">92</a>, <a href="#Page_249">249</a><br /> +<br /> +Heem, David de, <a href="#Page_91">91</a>, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a>, <a href="#Page_248">248</a><br /> +<br /> +Heem, Jan Davidsz (or David) de, <a href="#Page_6">6</a>, <a href="#Page_91">91</a>-<a href="#Page_94">94</a>, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a><br /> +<br /> +Heem, Johan de (false signature), <a href="#Page_159">159</a><br /> +<br /> +Heemskerck, M. van, <a href="#Page_184">184</a><br /> +<br /> +Heerschop, H., <a href="#Page_186">186</a><br /> +<br /> +Helst, B. van der, <a href="#Page_10">10</a>, <a href="#Page_17">17</a>, <a href="#Page_20">20</a>, <a href="#Page_107">107</a>, <a href="#Page_121">121</a>-<a href="#Page_127">127</a>, <a href="#Page_258">258</a><br /> +<br /> +Henkes, <a href="#Page_208">208</a><br /> +<br /> +Herkulens, Mariette, <a href="#Page_84">84</a><br /> +<br /> +Hermit, The. <i>See</i> <a href="#Swanevelt">Swanevelt</a>.<br /> +<br /> +Hermit, The (Dou), <a href="#Page_163">163</a><br /> +<br /> +Heusch, Willem de, <a href="#Page_220">220</a><br /> +<br /> +<ins title="Transcriber's Note: 'Van der Heyden,' 'Van der Heyde,' and 'Venderheydene' were used in this text. This was retained.">Heyden (or Heyde)</ins>, Jan van der, <a href="#Page_48">48</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_187">187</a>, <a href="#Page_232">232</a><br /> +<br /> +Hilverdink, E. A., <a href="#Page_189">189</a><br /> +<br /> +History of the Netherlands, pictures of the, <a href="#Page_195">195</a><br /> +<br /> +Hobbema, Meyndert, <a href="#Page_37">37</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a>, <a href="#Page_230">230</a><br /> +<br /> +Homer Reciting His Poems (Rembrandt), <a href="#Page_16">16</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>, G. d', <a href="#Page_90">90</a>, <a href="#Page_153">153</a>, <a href="#Page_155">155</a>, <a href="#Page_254">254</a><br /> +<br /> +Hondecoeter, Gillis d', <a href="#Page_153">153</a><br /> +<br /> +Hondecoeter, M. d', <a href="#Page_6">6</a>, <a href="#Page_56">56</a>, <a href="#Page_88">88</a>-<a href="#Page_90">90</a>, <a href="#Page_142">142</a>, <a href="#Page_153">153</a>, <a href="#Page_154">154</a>, <a href="#Page_254">254</a><br /> +<br /> +Hondius, Abraham, <a href="#Page_253">253</a>, <a href="#Page_254">254</a><br /> +<br /> +Honthorst, <a href="#Page_21">21</a>, <a href="#Page_121">121</a>, <a href="#Page_134">134</a>, <a href="#Page_216">216</a>, <a href="#Page_258">258</a><br /> +<br /> +Honthorst, Portrait of, <a href="#Page_122">122</a><br /> +<br /> +Hooch, Pieter de, <a href="#Page_20">20</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_75">75</a>, <a href="#Page_82">82</a>, <a href="#Page_137">137</a>, <a href="#Page_171">171</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_198">198</a><br /> +<br /> +<ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraten</ins>, S. van, <a href="#Page_26">26</a>, <a href="#Page_64">64</a>, <a href="#Page_177">177</a>, <a href="#Page_184">184</a><br /> +<br /> +Hoop, van der, Collection, <a href="#Page_113">113</a>, <a href="#Page_114">114</a><br /> +<br /> +Horse-pond, The (<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>), <a href="#Page_146">146</a><br /> +<br /> +Houbraken, <a href="#Page_6">6</a>, <a href="#Page_77">77</a>, <a href="#Page_158">158</a><br /> +<br /> +Houckgeest (or Hoogest), Gerard, <a href="#Page_6">6</a>, <a href="#Page_58">58</a><br /> +<br /> +House in the Wood, The, <a href="#Page_4">4</a>, <a href="#Page_111">111</a><br /> +<br /> +Housekeeper, The Good (Dou), <a href="#Page_59">59</a>, <a href="#Page_60">60</a><br /> +<br /> +Hove, B. T. van, <a href="#Page_238">238</a>, <a href="#Page_239">239</a><br /> +<br /> +Hove, <ins title="Transcriber's Note: original reads 'Huburtus'">Hubertus</ins> van, <a href="#Page_206">206</a>, <a href="#Page_238">238</a><br /> +<br /> +Huchtenburgh, Jacob, <a href="#Page_222">222</a>, <a href="#Page_223">223</a><br /> +<br /> +Huchtenburgh, Johan, <a href="#Page_221">221</a>, <a href="#Page_222">222</a><br /> +<br /> +Hulst, Frans de, <a href="#Page_239">239</a><br /> +<br /> +Huntsman's Present, The (Metsu), <a href="#Page_181">181</a>, <a href="#Page_182">182</a><br /> +<br /> +<ins title="Transcriber's Note: 'Vanhuysum,' 'Van Huysum,' and 'Huysum' were used in this text. This was retained.">Huysum</ins>, Jan van, <a href="#Page_6">6</a>, <a href="#Page_93">93</a>-<a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_160">160</a>, <a href="#Page_161">161</a><br /> +<br /> +Hymans, quoted, <a href="#Page_77">77</a>-<a href="#Page_78">78</a><br /> +<br /> +<br /> +I<br /> +<br /> +Industrial Art, Museum of, <a href="#Page_216">216</a><br /> +<br /> +Insects in art, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_156">156</a>, <a href="#Page_158">158</a>, <a href="#Page_159">159</a>, <a href="#Page_250">250</a>, <a href="#Page_251">251</a><br /> +<br /> +Interiors in the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins>, <a href="#Page_261">261</a>-<a href="#Page_264">264</a><br /> +<br /> +"Inventor of Cascades," <a href="#Page_130">130</a><br /> +<br /> +Isacsz, Isaac, <a href="#Page_185">185</a><br /> +<br /> +Israëls, Josef, <a href="#Page_197">197</a>-<a href="#Page_199">199</a>, <a href="#Page_206">206</a><br /> +<br /> +Italian influence on Dutch painters, <a href="#Page_27">27</a>-<a href="#Page_36">36</a><br /> +<br /> +<a name="Italian_Landscapes" id="Italian_Landscapes"></a>Italian Landscapes, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_222">222</a>-<a href="#Page_227">227</a><br /> +<br /> +Italian pictures in the Mauritshuis, <a href="#Page_7">7</a>, <a href="#Page_8">8</a><br /> +<br /> +Italian pictures in the Rijks, <a href="#Page_184">184</a>, <a href="#Page_185">185</a><br /> +<br /> +<br /> +J<br /> +<br /> +Jacobsz, Dirck, <a href="#Page_127">127</a><br /> +<br /> +Jäger, Gerard de, <a href="#Page_238">238</a><br /> +<br /> +Jansen, <a href="#Page_208">208</a><br /> +<br /> +Janson, Johannes, <a href="#Page_189">189</a><br /> +<br /> +Jester (Hals), <a href="#Page_119">119</a><br /> +<br /> +Jewish Bride (Rembrandt), <a href="#Page_115">115</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a><br /> +<br /> +Jewish Peddler, Old (Israëls), <a href="#Page_197">197</a><br /> +<br /> +Jong, Sosselin de, <a href="#Page_207">207</a><br /> +<br /> +Jongkind, <a href="#Page_245">245</a><br /> +<br /> +Jordaens, J., <a href="#Page_186">186</a><br /> +<br /> +Jordaens, Maes's visit to, <a href="#Page_24">24</a>, <a href="#Page_25">25</a><br /> +<br /> +Jouckeer, <a href="#Page_56">56</a><br /> +<br /> +<br /> +K<br /> +<br /> +Kaemmerer, <a href="#Page_209">209</a><br /> +<br /> +Kalff (or Kalf), Willem, <a href="#Page_98">98</a>, <a href="#Page_158">158</a>, <a href="#Page_159">159</a>, <a href="#Page_265">265</a><br /> +<br /> +Karssen, K., <a href="#Page_189">189</a><br /> +<br /> +Kate, Mari Ten, <a href="#Page_208">208</a><br /> +<br /> +Keijser, Theodor de, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, <a href="#Page_143">143</a><br /> +<br /> +Keijser, Thomas de, <a href="#Page_11">11</a>, <a href="#Page_18">18</a>-<a href="#Page_21">21</a>, <a href="#Page_127">127</a><br /> +<br /> +Keirinckx, Alexander, <a href="#Page_232">232</a><br /> +<br /> +Kessel, Jan van, <a href="#Page_159">159</a>, <a href="#Page_230">230</a><br /> +<br /> +Key, William, <a href="#Page_28">28</a><br /> +<br /> +Kicking White Horse (<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>), <a href="#Page_147">147</a><br /> +<br /> +Kitchen, The Good (Teniers), <a href="#Page_6">6</a>, <a href="#Page_106">106</a><br /> +<br /> +Kitchen utensils, painted by Kalff, <a href="#Page_158">158</a>, <a href="#Page_159">159</a><br /> +<br /> +Kitchen, Village, <a href="#Page_265">265</a><br /> +<br /> +Klinkenberg, J. C. C., <a href="#Page_7">7</a>, <a href="#Page_189">189</a>, <a href="#Page_205">205</a>, <a href="#Page_208">208</a>, <a href="#Page_243">243</a><br /> +<br /> +Kloster, E., <a href="#Page_189">189</a><br /> +<br /> +Kobell, <a href="#Page_207">207</a><br /> +<br /> +Koekkoek, H., <a href="#Page_207">207</a>, <a href="#Page_247">247</a><br /> +<br /> +Koninck, Jacob, <a href="#Page_235">235</a><br /> +<br /> +Koninck, Philip, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_171">171</a><br /> +<br /> +Koninck, Salomon, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_32">32</a>, <a href="#Page_266">266</a><br /> +<br /> +Korff, Bakker, <a href="#Page_208">208</a><br /> +<br /> +"Krabbetje." <i>See</i> <a href="#Asselijn">Asselijn</a>.<br /> +<br /> +Kruseman, C., <a href="#Page_185">185</a><br /> +<br /> +Kruseman, J. A., <a href="#Page_185">185</a><br /> +<br /> +Kuyl, G., van der, <a href="#Page_133">133</a><br /> +<br /> +<br /> +L<br /> +<br /> +Lachtropius, N., <a href="#Page_160">160</a><br /> +<br /> +Lady at the Clavecin (Molenaer), <a href="#Page_181">181</a><br /> +<br /> +Lady with a Parrot (A. de Vois), <a href="#Page_165">165</a><br /> +<br /> +Laen, D. J. van der, <a href="#Page_189">189</a><br /> +<br /> +Laer, P. de, <a href="#Page_135">135</a><br /> +<br /> +Lairesse, G. de, <a href="#Page_35">35</a>, <a href="#Page_79">79</a>, <a href="#Page_127">127</a>, <a href="#Page_186">186</a><br /> +<br /> +Lamme, Cornelia, <a href="#Page_267">267</a><br /> +<br /> +Lampson, D., <a href="#Page_28">28</a><br /> +<br /> +Landscapes. <i>See</i> <a href="#Dutch_landscapes">Dutch Landscapes</a> and <a href="#Italian_Landscapes">Italian Landscapes</a>.<br /> +<br /> +Lastman, Pieter, <a href="#Page_33">33</a>, <a href="#Page_185">185</a>, <a href="#Page_226">226</a><br /> +<br /> +Leducq, Jean, <a href="#Page_56">56</a><br /> +<br /> +Leemans (or Leemens), A., <a href="#Page_99">99</a>, <a href="#Page_159">159</a><br /> +<br /> +Leenhoff, F., statuette of Israëls by, <a href="#Page_197">197</a><br /> +<br /> +Leeuw, P. van der, <a href="#Page_235">235</a><br /> +<br /> +Leeuw, S. van der, <a href="#Page_235">235</a><br /> +<br /> +Leichert, C. H. J., <a href="#Page_239">239</a>, <a href="#Page_240">240</a><br /> +<br /> +Lemke, quoted, <a href="#Page_44">44</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Lievens' and 'Lievensz' were used in this text. This was retained.">Lievens</ins>, Jan, <a href="#Page_33">33</a><br /> +<br /> +Lijs, Jan, <a href="#Page_132">132</a>, <a href="#Page_133">133</a><br /> +<br /> +Limborch, H. van, <a href="#Page_228">228</a><br /> +<br /> +Limborgh, H. van, <a href="#Page_186">186</a><br /> +<br /> +Lingelbach, J., <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_222">222</a><br /> +<br /> +Lingelbach, J., figures by, <a href="#Page_26">26</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_45">45</a>-<a href="#Page_47">47</a>, <a href="#Page_57">57</a>, <a href="#Page_131">131</a>, <a href="#Page_148">148</a>, <a href="#Page_220">220</a>, <a href="#Page_224">224</a>, <a href="#Page_225">225</a>, <a href="#Page_230">230</a>, <a href="#Page_241">241</a><br /> +<br /> +"Little Van Dijck, The," <a href="#Page_104">104</a><br /> +<br /> +Loffelt, A. C., quoted, <a href="#Page_196">196</a><br /> +<br /> +Lombard, Lambert, <a href="#Page_28">28</a><br /> +<br /> +"Long Peter." <i>See</i> <a href="#Aertsen">Aertsen</a>.<br /> +<br /> +Looten, Jan, <a href="#Page_234">234</a><br /> +<br /> +Lorme, A. de, <a href="#Page_261">261</a><br /> +<br /> +Lorraine, Claude, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_45">45</a>, <a href="#Page_224">224</a><br /> +<br /> +<br /> +M<br /> +<br /> +Maartsen, Jan, <a href="#Page_220">220</a><br /> +<br /> +Maas, Dirk, <a href="#Page_220">220</a><br /> +<br /> +Maes, Evert C. van der, <a href="#Page_227">227</a><br /> +<br /> +Maes, Nicholas, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>-<a href="#Page_26">26</a>, <a href="#Page_44">44</a>, <a href="#Page_122">122</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_257">257</a><br /> +<br /> +Man, Cornelus de, <a href="#Page_263">263</a><br /> +<br /> +Man, L. G., <a href="#Page_247">247</a><br /> +<br /> +Mans, Fredericus, <a href="#Page_247">247</a><br /> +<br /> +Marines in the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins>, <a href="#Page_246">246</a>-<a href="#Page_247">247</a><br /> +<br /> +Marines in the Mauritshuis, <a href="#Page_8">8</a>, <a href="#Page_52">52</a>, <a href="#Page_56">56</a><br /> +<br /> +Marines in the Rijks, <a href="#Page_149">149</a>, <a href="#Page_150">150</a><br /> +<br /> +Marines in the Stedelijk, <a href="#Page_203">203</a>, <a href="#Page_204">204</a><br /> +<br /> +Maris, J., <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_208">208</a><br /> +<br /> +Maris, <ins title="Transcriber's Note: Both 'Matthys' and 'Thys' Maris were used in this text. This was retained.">Matthys</ins>, <a href="#Page_202">202</a><br /> +<br /> +Maris, Willem, <a href="#Page_201">201</a>, <a href="#Page_208">208</a><br /> +<br /> +Marius, G. H., quoted, <a href="#Page_200">200</a>-<a href="#Page_202">202</a><br /> +<br /> +Marrel, Jacob, <a href="#Page_158">158</a><br /> +<br /> +Marseus. <i>See</i> <a href="#Schrieck">Schrieck</a>.<br /> +<br /> +Marshy Landscape (Roelofs), <a href="#Page_199">199</a><br /> +<br /> +"Marvel of Her Century, The," <a href="#Page_159">159</a><br /> +<br /> +"Master of the Half-Length Female Figures," <a href="#Page_271">271</a><br /> +<br /> +Maurice (or Maurits) of Nassau, Prince, and portraits of, <a href="#Page_3">3</a>, <a href="#Page_121">121</a>, <a href="#Page_256">256</a><br /> +<br /> +Mauritshuis, The, <a href="#Page_3">3</a>, <a href="#Page_112">112</a><br /> +<br /> +Mauve, Anton, <a href="#Page_195">195</a>-<a href="#Page_197">197</a>, <a href="#Page_208">208</a>, <a href="#Page_238">238</a><br /> +<br /> +Meer, Jan van der, the Younger, <a href="#Page_173">173</a><br /> +<br /> +Meer, Van der, <a href="#Page_174">174</a><br /> +<br /> +Meer, Jan van der, <a href="#Page_238">238</a>, <a href="#Page_239">239</a><br /> +<br /> +Meer, Madame van der, Portrait of, <a href="#Page_118">118</a><br /> +<br /> +Memling, <a href="#Page_46">46</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Menagarie'">Menagerie</ins>, A (Jan Steen), <a href="#Page_86">86</a><br /> +<br /> +Mesdag, H. W., <a href="#Page_203">203</a>, <a href="#Page_204">204</a>, <a href="#Page_247">247</a>, <a href="#Page_248">248</a><br /> +<br /> +Metsu, Gabriel, <a href="#Page_6">6</a>, <a href="#Page_20">20</a>, <a href="#Page_68">68</a>-<a href="#Page_75">75</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>, <a href="#Page_85">85</a>, <a href="#Page_181">181</a>, <a href="#Page_182">182</a>, <a href="#Page_258">258</a><br /> +<br /> +Michau, Theobald, <a href="#Page_236">236</a><br /> +<br /> +Michel, Emile, quoted, <a href="#Page_13">13</a><br /> +<br /> +Mierevelt, Michael, <a href="#Page_11">11</a>, <a href="#Page_16">16</a>, <a href="#Page_21">21</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>, <a href="#Page_256">256</a><br /> +<br /> +Mieris, F. van, <a href="#Page_6">6</a>, <a href="#Page_76">76</a>-<a href="#Page_78">78</a>, <a href="#Page_173">173</a>, <a href="#Page_240">240</a><br /> +<br /> +Mieris, Willem van, <a href="#Page_76">76</a>, <a href="#Page_78">78</a>-<a href="#Page_80">80</a>, <a href="#Page_173">173</a><br /> +<br /> +Mignon, Abraham, <a href="#Page_92">92</a>, <a href="#Page_94">94</a>, <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_252">252</a><br /> +<br /> +<i>Mignon au Chat</i>, <a href="#Page_160">160</a><br /> +<br /> +Mirrored Cow (Potter), <a href="#Page_9">9</a>, <a href="#Page_10">10</a><br /> +<br /> +Modern Dutch Art, <a href="#Page_205">205</a>-<a href="#Page_209">209</a>, <a href="#Page_238">238</a><br /> +<br /> +Modern pictures in the Stedelijk, <a href="#Page_204">204</a>, <a href="#Page_205">205</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Moeyaert' and 'Moijaert' were used in this text. This was retained.">Moeyaert</ins>, Nicolas, <a href="#Page_32">32</a>, <a href="#Page_133">133</a><br /> +<br /> +Molenaer, Jan Miense, <a href="#Page_181">181</a>, <a href="#Page_264">264</a><br /> +<br /> +Molenaer, Nicolaas, <a href="#Page_234">234</a><br /> +<br /> +Molyn (or Molijn), Pieter, <a href="#Page_55">55</a>, <a href="#Page_234">234</a><br /> +<br /> +Mommers, Hendrick, <a href="#Page_225">225</a><br /> +<br /> +Moni, Louis de, <a href="#Page_82">82</a>, <a href="#Page_138">138</a><br /> +<br /> +Moonlight Scenes, <a href="#Page_149">149</a><br /> +<br /> +Moor, K. de, <a href="#Page_63">63</a><br /> +<br /> +Moreelse, Paulus, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_127">127</a>, <a href="#Page_227">227</a>, <a href="#Page_228">228</a><br /> +<br /> +Moreelse's portrait of himself, <a href="#Page_6">6</a>, <a href="#Page_21">21</a><br /> +<br /> +Moro, A., <a href="#Page_20">20</a>, <a href="#Page_21">21</a><br /> +<br /> +Mostert, Jan, <a href="#Page_254">254</a><br /> +<br /> +Moucheron, F. R. de, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_223">223</a><br /> +<br /> +Murant, Emanuel, <a href="#Page_187">187</a>, <a href="#Page_234">234</a><br /> +<br /> +Musscher, M. van, <a href="#Page_169">169</a>, <a href="#Page_170">170</a><br /> +<br /> +"Mute of Kampen, The," <a href="#Page_149">149</a><br /> +<br /> +Muys, N., <a href="#Page_266">266</a>, <a href="#Page_267">267</a><br /> +<br /> +Mytens, <a href="#Page_255">255</a><br /> +<br /> +Mythological pictures in the Mauritshuis, <a href="#Page_8">8</a>, <a href="#Page_29">29</a>-<a href="#Page_34">34</a><br /> +<br /> +Mythological pictures in the Rijks, <a href="#Page_185">185</a>-<a href="#Page_187">187</a><br /> +<br /> +<br /> +N<br /> +<br /> +Nason, Pieter, <a href="#Page_256">256</a><br /> +<br /> +Neeffs, Pieter, <a href="#Page_57">57</a><br /> +<br /> +Neeffs, Pieter the Elder, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a>, <a href="#Page_242">242</a><br /> +<br /> +Neer, A. van der, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_231">231</a><br /> +<br /> +Neer, Eglon van der, <a href="#Page_57">57</a>, <a href="#Page_81">81</a>, <a href="#Page_266">266</a><br /> +<br /> +Neo-Classic School, French, <a href="#Page_205">205</a><br /> +<br /> +Netscher, Caspar, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#Page_235">235</a>, <a href="#Page_257">257</a><br /> +<br /> +Neuhuys, Albert, <a href="#Page_202">202</a><br /> +<br /> +Night Watch, The (Rembrandt), <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a><br /> +<br /> +Noort, Pieter, <a href="#Page_156">156</a><br /> +<br /> +Nymegen, G. van, <a href="#Page_232">232</a><br /> +<br /> +<br /> +O<br /> +<br /> +Ochtervelt, Jacob van, <a href="#Page_82">82</a>, <a href="#Page_262">262</a><br /> +<br /> +Olis, Jan, <a href="#Page_134">134</a><br /> +<br /> +Ommeganck, Maria J., <a href="#Page_237">237</a><br /> +<br /> +Oosterwyck, Maria van, <a href="#Page_93">93</a><br /> +<br /> +Operator, The (Jan Steen), <a href="#Page_269">269</a>, <a href="#Page_270">270</a><br /> +<br /> +Opzoomer, Simon, <a href="#Page_256">256</a><br /> +<br /> +Orange, Princes of, <a href="#Page_4">4</a><br /> +<br /> +Orley, Bernard van, <a href="#Page_272">272</a><br /> +<br /> +Orpheus (Potter), <a href="#Page_139">139</a><br /> +<br /> +Os, Georgius, J. J. van, <a href="#Page_162">162</a>, <a href="#Page_237">237</a>, <a href="#Page_252">252</a><br /> +<br /> +Os, Jan van, <a href="#Page_162">162</a><br /> +<br /> +Os, Marie M. van, <a href="#Page_162">162</a><br /> +<br /> +Os, Peter G. van, <a href="#Page_162">162</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a><br /> +<br /> +Os, Pieter F. van, <a href="#Page_236">236</a><br /> +<br /> +Ostade, Adriaen van, <a href="#Page_47">47</a>, <a href="#Page_64">64</a>-<a href="#Page_68">68</a>, <a href="#Page_74">74</a>, <a href="#Page_83">83</a>, <a href="#Page_85">85</a>, <a href="#Page_107">107</a>, <a href="#Page_135">135</a>, <a href="#Page_168">168</a>, <a href="#Page_169">169</a>, <a href="#Page_231">231</a>, <a href="#Page_258">258</a><br /> +<br /> +Ostade, Isaak van, <a href="#Page_170">170</a>, <a href="#Page_231">231</a><br /> +<br /> +Oudenrogge, Johannes van, <a href="#Page_134">134</a><br /> +<br /> +Overschie in Moonlight (Jongkind), <a href="#Page_245">245</a><br /> +<br /> +<br /> +P<br /> +<br /> +Palamedesz, A., <a href="#Page_261">261</a><br /> +<br /> +Pape, Abraham de, <a href="#Page_80">80</a><br /> +<br /> +Parrot Cage (Jan Steen), <a href="#Page_178">178</a>, <a href="#Page_179">179</a><br /> +<br /> +Paternal Advice (Ter Borch), <a href="#Page_167">167</a><br /> +<br /> +Pavilion Hall, <a href="#Page_114">114</a><br /> +<br /> +Paviljoen Welgelegen, <a href="#Page_112">112</a>, <a href="#Page_216">216</a><br /> +<br /> +Peleus and Thetis, Marriage of, (Bloemaert), <a href="#Page_34">34</a>, <a href="#Page_35">35</a><br /> +<br /> +Pencz, George, <a href="#Page_266">266</a><br /> +<br /> +Physicians, Jan Steen's, <a href="#Page_84">84</a>, <a href="#Page_85">85</a><br /> +<br /> +Picture Gallery, picture of a (Coques), <a href="#Page_103">103</a>, <a href="#Page_104">104</a><br /> +<br /> +Pierson, Christoffel, <a href="#Page_98">98</a>, <a href="#Page_99">99</a><br /> +<br /> +Pinas, Jan, <a href="#Page_33">33</a><br /> +<br /> +Poel, Egbert van der, <a href="#Page_135">135</a>, <a href="#Page_190">190</a>, <a href="#Page_236">236</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Polemburg (Polenburg, Polenburgh, or Poelenburg)'">Poelemburg (Poelenburg, or Poelenburgh)</ins>, Cornelis van, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_148">148</a>, <a href="#Page_220">220</a>, <a href="#Page_223">223</a>, <a href="#Page_232">232</a><br /> +<br /> +Poll Collection, van der, <a href="#Page_113">113</a><br /> +<br /> +Poll Hall, van der, <a href="#Page_114">114</a><br /> +<br /> +Pompe, Gerrit, <a href="#Page_244">244</a><br /> +<br /> +Pool, Juriaan, <a href="#Page_257">257</a><br /> +<br /> +Pork Butcher, The (Victors), <a href="#Page_182">182</a>, <a href="#Page_183">183</a><br /> +<br /> +Portrait of a Girl (Vermeer), <a href="#Page_44">44</a>, <a href="#Page_45">45</a><br /> +<br /> +Portrait of F. van Mieris and his wife, <a href="#Page_6">6</a>, <a href="#Page_76">76</a><br /> +<br /> +Portrait of Sieur de Roovere (Cuijp), <a href="#Page_37">37</a><br /> +<br /> +Portrait of Ter Borch by himself, <a href="#Page_71">71</a><br /> +<br /> +Portrait Hall in the Rijks, <a href="#Page_114">114</a>, <a href="#Page_128">128</a><br /> +<br /> +Portraits, F. Hals, <a href="#Page_214">214</a><br /> +<br /> +Portraits in the <ins title="Transcriber's Note: original reads 'Boijmars'">Boijmans</ins>, <a href="#Page_254">254</a>-<a href="#Page_261">261</a><br /> +<br /> +Portraits in the Mauritshuis, <a href="#Page_8">8</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_21">21</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_37">37</a>, <a href="#Page_71">71</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_80">80</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a>-<a href="#Page_102">102</a><br /> +<br /> +Portraits in the Rijks, <a href="#Page_118">118</a>-<a href="#Page_122">122</a>, <a href="#Page_145">145</a><br /> +<br /> +Post, Frans, <a href="#Page_3">3</a><br /> +<br /> +Post, Pieter, <a href="#Page_3">3</a><br /> +<br /> +Pot, Hendrik, <a href="#Page_17">17</a><br /> +<br /> +Potter, Paul, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_138">138</a>, <a href="#Page_139">139</a><br /> +<br /> +Potter, Paul, portraits of, <a href="#Page_10">10</a>, <a href="#Page_107">107</a><br /> +<br /> +Potter, Pieter Symonsz, <a href="#Page_10">10</a>, <a href="#Page_156">156</a><br /> +<br /> +Pourbus, Pieter, <a href="#Page_256">256</a><br /> +<br /> +Presentation in the Temple (Rembrandt), <a href="#Page_13">13</a>, <a href="#Page_14">14</a><br /> +<br /> +Princess, The Little (Moreelse), <a href="#Page_119">119</a>, <a href="#Page_120">120</a><br /> +<br /> +Pynacker (or Pijnacker), Adam, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_145">145</a>, <a href="#Page_222">222</a><br /> +<br /> +<br /> +Q<br /> +<br /> +Quack Doctor (of the school of F. Hals), <a href="#Page_270">270</a><br /> +<br /> +Quast, Peter J., <a href="#Page_135">135</a><br /> +<br /> +Queborn, C. van den, <a href="#Page_255">255</a><br /> +<br /> +Quellinus, E., <a href="#Page_265">265</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Quinkhard' and 'Quinckhard' were used in this text. This was retained.">Quinckhard</ins>, Julius, <a href="#Page_138">138</a><br /> +<br /> +<br /> +R<br /> +<br /> +"Ramelaer." <i>See</i> <a href="#Coninck">Coninck, David de</a>.<br /> +<br /> +Ravesteyn, J. A. van, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_21">21</a><br /> +<br /> +Realistic School, <a href="#Page_207">207</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Reeckers'">Reekers</ins>, H., <a href="#Page_253">253</a><br /> +<br /> +Regent pictures, <a href="#Page_125">125</a>-<a href="#Page_127">127</a>, <a href="#Page_213">213</a>, <a href="#Page_214">214</a><br /> +<br /> +Reinst, G., <a href="#Page_145">145</a><br /> +<br /> +Rembrandt, <a href="#Page_11">11</a>-<a href="#Page_16">16</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_125">125</a><br /> +<br /> +Rembrandt, compared with Dou, <a href="#Page_61">61</a><br /> +<br /> +Rembrandt, compared with Hals, <a href="#Page_215">215</a><br /> +<br /> +Rembrandt, masters of, <a href="#Page_33">33</a><br /> +<br /> +Rembrandt, portraits by, <a href="#Page_15">15</a>, <a href="#Page_16">16</a><br /> +<br /> +Rembrandt, pupils of, <a href="#Page_21">21</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_32">32</a><br /> +<br /> +Reptiles, pictures of, <a href="#Page_98">98</a>, <a href="#Page_157">157</a>, <a href="#Page_158">158</a><br /> +<br /> +Reynolds, Sir Joshua, quoted, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_40">40</a>, <a href="#Page_43">43</a>, <a href="#Page_51">51</a>, <a href="#Page_55">55</a>, <a href="#Page_62">62</a>, <a href="#Page_81">81</a>, <a href="#Page_83">83</a>, <a href="#Page_91">91</a>, <a href="#Page_100">100</a>, <a href="#Page_102">102</a>, <a href="#Page_107">107</a>, <a href="#Page_124">124</a>, <a href="#Page_150">150</a>, <a href="#Page_161">161</a>, <a href="#Page_252">252</a><br /> +<br /> +Rijck, Pieter C. van, <a href="#Page_132">132</a><br /> +<br /> +Rijks Museum, <a href="#Page_111">111</a>-<a href="#Page_113">113</a><br /> +<br /> +Rinder, Frank, <a href="#Page_45">45</a><br /> +<br /> +Ring, Pieter de, <a href="#Page_98">98</a>, <a href="#Page_157">157</a><br /> +<br /> +River Scenes, <a href="#Page_242">242</a>-<a href="#Page_245">245</a><br /> +<br /> +<i>Robe de Satin</i> (Ter Borch), <a href="#Page_69">69</a>, <a href="#Page_167">167</a><br /> +<br /> +Roelofs, <ins title="Transcriber's Note: Both 'William' and 'Willem' Roelofs were used in this text. This was retained.">Willem</ins>, <a href="#Page_199">199</a>, <a href="#Page_207">207</a>, <a href="#Page_238">238</a><br /> +<br /> +Roepel, Conrad, <a href="#Page_162">162</a><br /> +<br /> +Roestraeten, Pieter, <a href="#Page_98">98</a><br /> +<br /> +Romantic School, <a href="#Page_205">205</a>, <a href="#Page_206">206</a><br /> +<br /> +Ronner-Knip, Henrietta, <a href="#Page_208">208</a><br /> +<br /> +Roosenboom, Margaretha, <a href="#Page_253">253</a><br /> +<br /> +Rooses, Max, <a href="#Page_205">205</a>-<a href="#Page_209">209</a><br /> +<br /> +Rubens, <a href="#Page_99">99</a>-<a href="#Page_102">102</a>, <a href="#Page_121">121</a>, <a href="#Page_185">185</a><br /> +<br /> +Rubens, wives of, <a href="#Page_99">99</a>-<a href="#Page_101">101</a><br /> +<br /> +Ruijsch, Rachel, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_250">250</a><br /> +<br /> +Ruijsch, Rachel, Portrait of, <a href="#Page_257">257</a><br /> +<br /> +Ruijven, Pieter Jan, <a href="#Page_156">156</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Ruisdael' and 'Ruysdael' were used in this text. This was retained.">Ruisdael</ins>, <ins title="Transcriber's Note: original reads 'Isack'">Izack</ins> van, <a href="#Page_229">229</a>, <a href="#Page_230">230</a><br /> +<br /> +Ruisdael, Jacob, <a href="#Page_37">37</a>, <a href="#Page_39">39</a>-<a href="#Page_43">43</a>, <a href="#Page_128">128</a>, <a href="#Page_229">229</a><br /> +<br /> +Ruisdael, Salomon, <a href="#Page_37">37</a>, <a href="#Page_39">39</a>, <a href="#Page_130">130</a>, <a href="#Page_243">243</a><br /> +<br /> +Ruth and Boaz (Rembrandt), <a href="#Page_115">115</a>, <a href="#Page_116">116</a><br /> +<br /> +Ruyter, Admiral de, Portrait of (Bol), <a href="#Page_23">23</a><br /> +<br /> +Ruyter, Engel de, Portrait of (Bol), <a href="#Page_23">23</a><br /> +<br /> +Ryckaert, D., <a href="#Page_266">266</a><br /> +<br /> +<br /> +S<br /> +<br /> +Saenredam, Pieter, <a href="#Page_58">58</a>, <a href="#Page_242">242</a><br /> +<br /> +Saenredam, Pieter Jansz, <a href="#Page_190">190</a><br /> +<br /> +Saftleven, Cornelis, <a href="#Page_134">134</a><br /> +<br /> +Saftleven, Hermann, <a href="#Page_39">39</a><br /> +<br /> +Saint Nicholas, Eve of (Jan Steen), <a href="#Page_180">180</a>, <a href="#Page_181">181</a><br /> +<br /> +Saint Nicholas, Feast of (Brakenburgh), <a href="#Page_171">171</a><br /> +<br /> +Saint Nicholas, Feast of (Jan Steen), <a href="#Page_269">269</a><br /> +<br /> +Santvoort, Dirk van, <a href="#Page_255">255</a><br /> +<br /> +Saskia van Ulenborgh, <a href="#Page_14">14</a>, <a href="#Page_15">15</a><br /> +<br /> +Satin Dress, The (Ter Borch), <a href="#Page_167">167</a><br /> +<br /> +Savery, Roelandt, <a href="#Page_152">152</a>, <a href="#Page_153">153</a><br /> +<br /> +Schalcken, G., <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_163">163</a>, <a href="#Page_164">164</a><br /> +<br /> +Scheffer, Arie (or Ary), <a href="#Page_267">267</a>, <a href="#Page_268">268</a><br /> +<br /> +Scheffer, Hendrik, <a href="#Page_268">268</a><br /> +<br /> +Scheffer, J. B., <a href="#Page_267">267</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Schelthout'">Schelfhout</ins>, Andreas, <a href="#Page_247">247</a><br /> +<br /> +Scheveningen, Coast of (A. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>), <a href="#Page_150">150</a>, <a href="#Page_151">151</a><br /> +<br /> +Schipperus, Pieter A., <a href="#Page_237">237</a>, <a href="#Page_238">238</a><br /> +<br /> +School, Early Netherlands, <a href="#Page_271">271</a>, <a href="#Page_272">272</a><br /> +<span style="margin-left: 1em;">Gray, <a href="#Page_196">196</a></span><br /> +<span style="margin-left: 1em;">Leyden, <a href="#Page_59">59</a></span><br /> +<span style="margin-left: 1em;">Romantic, <a href="#Page_205">205</a>, <a href="#Page_206">206</a></span><br /> +<span style="margin-left: 1em;">Utrecht, <a href="#Page_34">34</a></span><br /> +<br /> +Schotel, J. C., <a href="#Page_246">246</a><br /> +<br /> +<a name="Schrieck" id="Schrieck"></a>Schrieck, <ins title="Transcriber's Note: Both 'Otho Marcellis' and 'Otto Marseus' (or vice versa) were used in this text. This was retained.">Otto Marcellis</ins> van, <a href="#Page_98">98</a>, <a href="#Page_157">157</a>, <a href="#Page_251">251</a><br /> +<br /> +Schurman, Anna Maria van, <a href="#Page_159">159</a><br /> +<br /> +Schuttersmaaltijd (B. van der Helst), <a href="#Page_123">123</a><br /> +<br /> +Seghers, D., <a href="#Page_98">98</a>, <a href="#Page_249">249</a><br /> +<br /> +Seghers, F., <a href="#Page_250">250</a><br /> +<br /> +Sheep on the Dunes (Mauve), <a href="#Page_195">195</a><br /> +<br /> +Shells, picture of, <a href="#Page_98">98</a><br /> +<br /> +Shepherds and Flocks (Cuijp), <a href="#Page_142">142</a><br /> +<br /> +Shepherds and Flocks (Potter), <a href="#Page_139">139</a><br /> +<br /> +Sick Lady (<ins title="Transcriber's Note: 'Hoogstraten,' 'Hoogstraaten,' and 'Hooghstraten' were used in this text. This was retained.">Hoogstraten</ins>), <a href="#Page_177">177</a><br /> +<br /> +Simeon in the Temple (Rembrandt), <a href="#Page_13">13</a>, <a href="#Page_14">14</a><br /> +<br /> +Skates, Repairing (Bisschop), <a href="#Page_202">202</a><br /> +<br /> +Slabbaert, Karel, <a href="#Page_136">136</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Slingelandt' and 'Slingerlandt' were used in this text. This was retained.">Slingelandt</ins>, P. C. van, <a href="#Page_164">164</a><br /> +<br /> +Smissaert, H., quoted, <a href="#Page_199">199</a>, <a href="#Page_204">204</a><br /> +<br /> +<ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Snijders (or Snyders)</ins>, Frans, <a href="#Page_102">102</a>, <a href="#Page_152">152</a><br /> +<br /> +"Snuffelaer, De." <i>See</i> <a href="#Schrieck">Schrieck</a>.<br /> +<br /> +Soap Bubbles (F. van Mieris), <a href="#Page_6">6</a>, <a href="#Page_76">76</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Sonje'">Sonjé</ins>, Johannes, <a href="#Page_244">244</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Sorg'">Sorgh</ins>, Hendrik M., <a href="#Page_264">264</a>, <a href="#Page_265">265</a><br /> +<br /> +Spanish pictures in the Mauritshuis, <a href="#Page_8">8</a><br /> +<br /> +Spinner, The (Maes), <a href="#Page_137">137</a>, <a href="#Page_138">138</a><br /> +<br /> +Stedelijk Museum, <a href="#Page_195">195</a>-<a href="#Page_209">209</a><br /> +<br /> +Steen, Jan, <a href="#Page_38">38</a>, <a href="#Page_76">76</a>, <a href="#Page_82">82</a>-<a href="#Page_86">86</a>, <a href="#Page_178">178</a>-<a href="#Page_181">181</a>, <a href="#Page_269">269</a>, <a href="#Page_270">270</a><br /> +<br /> +Steen, Jan, family of, <a href="#Page_84">84</a><br /> +<br /> +Steen, Jan, Portrait of, <a href="#Page_122">122</a><br /> +<br /> +Steenbergen, A., <a href="#Page_253">253</a><br /> +<br /> +Steenwyck, Hendrik van, II., <a href="#Page_57">57</a><br /> +<br /> +Steenwyck, Pieter H. van, <a href="#Page_189">189</a><br /> +<br /> +Still Life in the <ins title="Transcriber's Note: Both 'Boijmans' and 'Boijman's' were used in this text. This was retained.">Boijmans</ins>, <a href="#Page_248">248</a>, <a href="#Page_265">265</a><br /> +<br /> +Still Life in the Mauritshuis, <a href="#Page_8">8</a>, <a href="#Page_98">98</a><br /> +<br /> +Still Life in the Rijks, <a href="#Page_152">152</a>, <a href="#Page_153">153</a>, <a href="#Page_156">156</a>-<a href="#Page_162">162</a><br /> +<br /> +Stolker, Jan, <a href="#Page_258">258</a><br /> +<br /> +Storck, Abraham, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_246">246</a><br /> +<br /> +Storck, Jan, <a href="#Page_246">246</a><br /> +<br /> +Straaten, Bruno van, <a href="#Page_236">236</a><br /> +<br /> +Stry, Abraham van, <a href="#Page_270">270</a><br /> +<br /> +Sunrise on the Dutch Coast (Mesdag), <a href="#Page_248">248</a><br /> +<br /> +Susanna (Rembrandt), <a href="#Page_14">14</a>, <a href="#Page_15">15</a><br /> +<br /> +<a name="Swanevelt" id="Swanevelt"></a>Swanevelt, Herman, <a href="#Page_33">33</a><br /> +<br /> +Syndics (Rembrandt), <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_128">128</a><br /> +<br /> +<br /> +T<br /> +<br /> +Tap Room (Jan Steen), <a href="#Page_85">85</a>, <a href="#Page_86">86</a><br /> +<br /> +Tavern Interior (Ostade), <a href="#Page_169">169</a><br /> +<br /> +Tedesco. <i>See</i> <a href="#Elsheimer">Elsheimer, Adam</a>.<br /> +<br /> +Tempel, A. van den, <a href="#Page_259">259</a><br /> +<br /> +Temptation of St. Anthony (Teniers), <a href="#Page_172">172</a><br /> +<br /> +Teniers, David, the Younger, <a href="#Page_66">66</a>, <a href="#Page_105">105</a>-<a href="#Page_107">107</a>, <a href="#Page_171">171</a>, <a href="#Page_172">172</a><br /> +<br /> +Ter Borch (or Terburg), <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_167">167</a>, <a href="#Page_168">168</a><br /> +<br /> +Ter Borch, portrait of, <a href="#Page_122">122</a><br /> +<br /> +Ter Meulen, <a href="#Page_208">208</a><br /> +<br /> +Teyler Museum, <a href="#Page_216">216</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Tilborch' and 'Tilborgh' were used in this text. This was retained.">Tilborch</ins>, Gilles, <a href="#Page_107">107</a>, <a href="#Page_263">263</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'town-hall' and 'town hall' were used in this text. This was retained.">Town Hall</ins>, Haarlem, <a href="#Page_213">213</a>-<a href="#Page_216">216</a><br /> +<br /> +Toys in the Rijks, <a href="#Page_191">191</a><br /> +<br /> +Trippenhuis, The, <a href="#Page_112">112</a>, <a href="#Page_216">216</a><br /> +<br /> +Troost, Cornelis, <a href="#Page_86">86</a>-<a href="#Page_88">88</a>, <a href="#Page_143">143</a>, <a href="#Page_268">268</a><br /> +<br /> +Tulp, Dr. N., <a href="#Page_11">11</a><br /> +<br /> +Turkey and a Cock, Fight between a (Cuijp), <a href="#Page_142">142</a><br /> +<br /> +<br /> +U<br /> +<br /> +Ulft, Jacob van der, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_58">58</a>, <a href="#Page_188">188</a>, <a href="#Page_228">228</a><br /> +<br /> +Utrecht, Adriaen van, <a href="#Page_153">153</a><br /> +<br /> +<br /> +V<br /> +<br /> +<i>Vache qui se mire</i> (Paul Potter), <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a><br /> +<br /> +<ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">Velde</ins>, Adriaen van de, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>-<a href="#Page_49">49</a>, <a href="#Page_139">139</a>-<a href="#Page_140">140</a>, <a href="#Page_231">231</a><br /> +<br /> +Velde, Adriaen van de, figures by, <a href="#Page_57">57</a>, <a href="#Page_220">220</a>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a><br /> +<br /> +Velde, E. van de, <a href="#Page_37">37</a>, <a href="#Page_39">39</a>, <a href="#Page_149">149</a>, <a href="#Page_221">221</a>, <a href="#Page_233">233</a><br /> +<br /> +Velde, Willem van de, <a href="#Page_23">23</a>, <a href="#Page_52">52</a>-<a href="#Page_55">55</a>, <a href="#Page_150">150</a>, <a href="#Page_247">247</a><br /> +<br /> +Velde, Willem van de, the Elder, <a href="#Page_54">54</a>, <a href="#Page_150">150</a><br /> +<br /> +Verboom, A. H., <a href="#Page_232">232</a><br /> +<br /> +Verheijen, Jan H., <a href="#Page_242">242</a><br /> +<br /> +Verkolje, Johannes, <a href="#Page_182">182</a>, <a href="#Page_259">259</a><br /> +<br /> +Vermeer of Delft, <a href="#Page_43">43</a>, <a href="#Page_44">44</a><br /> +<br /> +Verschuier, Lieve, <a href="#Page_245">245</a><br /> +<br /> +Verschuring, Hendrick, <a href="#Page_233">233</a>, <a href="#Page_234">234</a><br /> +<br /> +Vertin, P. G., <a href="#Page_239">239</a><br /> +<br /> +Veth, J., <a href="#Page_197">197</a>-<a href="#Page_199">199</a><br /> +<br /> +Victors, Jan, <a href="#Page_182">182</a>, <a href="#Page_183">183</a><br /> +<br /> +View on the Y (W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van de Velde</ins>), <a href="#Page_53">53</a><br /> +<br /> +Vijver, The, <a href="#Page_3">3</a>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a><br /> +<br /> +Vijver, View of the (Klinkenberg), <a href="#Page_243">243</a><br /> +<br /> +Vinck Boons, D., <a href="#Page_104">104</a>, <a href="#Page_105">105</a><br /> +<br /> +Vlieger, Simon de, <a href="#Page_56">56</a><br /> +<br /> +Vliet, Hendrik van, <a href="#Page_52">52</a>, <a href="#Page_242">242</a><br /> +<br /> +Vliet, H. C. van, <a href="#Page_190">190</a><br /> +<br /> +Vliet, J. J. van, <a href="#Page_259">259</a><br /> +<br /> +Vois, Arie de, <a href="#Page_80">80</a>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a><br /> +<br /> +Vonck, Jan, <a href="#Page_155">155</a><br /> +<br /> +Vos, C., <a href="#Page_228">228</a><br /> +<br /> +Vos, Jan de, <a href="#Page_258">258</a><br /> +<br /> +Vos, Maria, <a href="#Page_253">253</a><br /> +<br /> +Vos, Simon de, <a href="#Page_259">259</a><br /> +<br /> +Vosmaer, <a href="#Page_233">233</a><br /> +<br /> +Vrancx, Sebastian, <a href="#Page_221">221</a><br /> +<br /> +Vriendt, Frans Floris de, <a href="#Page_229">229</a><br /> +<br /> +Vries, Jan Vriedeman de, <a href="#Page_57">57</a><br /> +<br /> +Vrolijk, J., <a href="#Page_208">208</a><br /> +<br /> +<br /> +W<br /> +<br /> +Walscapelle, Jacob, <a href="#Page_93">93</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Watermills'">Water Mill</ins> (Hobbema), <a href="#Page_130">130</a><br /> +<br /> +Weenix, Jan, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>, <a href="#Page_155">155</a>, <a href="#Page_252">252</a><br /> +<br /> +Weenix, J. B., <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_225">225</a><br /> +<br /> +Weijden (or Weyden), <ins title="Transcriber's Note: original reads 'Roger'">Rogier</ins> van, <a href="#Page_226">226</a>, <a href="#Page_271">271</a><br /> +<br /> +Weissenbruch, J. H., <a href="#Page_237">237</a><br /> +<br /> +Werff, A. van der, <a href="#Page_81">81</a><br /> +<br /> +Werff, Pieter van der, <a href="#Page_227">227</a>, <a href="#Page_259">259</a><br /> +<br /> +<ins title="Transcriber's Note: 'Wijck,' 'Wyck,' and 'Wijk' were used in this text. This was retained.">Wijck (or Wyck)</ins>, Thomas, <a href="#Page_135">135</a>, <a href="#Page_265">265</a><br /> +<br /> +Wijnants (or Wynants), Jan, <a href="#Page_37">37</a>, <a href="#Page_43">43</a>-<a href="#Page_47">47</a>, <a href="#Page_147">147</a>-<a href="#Page_148">148</a><br /> +<br /> +Wijngaerdt, A. J. van, <a href="#Page_237">237</a><br /> +<br /> +Wild Boar Hunt (Berchem), <a href="#Page_36">36</a><br /> +<br /> +Willaerts, Adam, <a href="#Page_245">245</a><br /> +<br /> +Willaerts, Isaac, <a href="#Page_245">245</a><br /> +<br /> +William III., portrait of, <a href="#Page_163">163</a><br /> +<br /> +William V. of Orange, <a href="#Page_5">5</a>, <a href="#Page_111">111</a><br /> +<br /> +Windmills, The two (J. Maris), <a href="#Page_200">200</a><br /> +<br /> +Winghen, Joos van, <a href="#Page_132">132</a><br /> +<br /> +Winter in Friesland (Bisschop), <a href="#Page_202">202</a><br /> +<br /> +Wit, Jacob de, <a href="#Page_228">228</a><br /> +<br /> +Witte, Emanuel de, <a href="#Page_58">58</a>, <a href="#Page_190">190</a>, <a href="#Page_240">240</a><br /> +<br /> +Wolfert, J. B., <a href="#Page_136">136</a><br /> +<br /> +Woman Reading (Van der Meer), <a href="#Page_173">173</a>, <a href="#Page_174">174</a><br /> +<br /> +Wonder, Pieter C., <a href="#Page_240">240</a><br /> +<br /> +<ins title="Transcriber's Note: Both 'Wouvermans' and 'Wouwermans' were used in this text. This was retained.">Wouwermans</ins>, Jan, <a href="#Page_234">234</a><br /> +<br /> +Wouwermans, Philips, <a href="#Page_47">47</a>, <a href="#Page_49">49</a>-<a href="#Page_51">51</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a>, <a href="#Page_233">233</a><br /> +<br /> +Wouwermans, Pieter, <a href="#Page_147">147</a><br /> +<br /> +<br /> +Y<br /> +<br /> +Y at Amsterdam (W. <ins title="Transcriber's Note: 'Van de Velde,' 'Van der Velde,' and 'Vandervelde' were used in this text. This was retained.">van der Velde</ins>), <a href="#Page_150">150</a><br /> +<br /> +Ykens, F., <a href="#Page_250">250</a><br /> +<br /> +Young Lady who is Ill (Jan Steen), <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_180">180</a><br /> +<br /> +<br /> +Z<br /> +<br /> +Zeeman, Reinier, <a href="#Page_246">246</a><br /> +<br /> +<ins title="Transcriber's Note: original reads 'Zilchen'">Zilcken</ins>, <a href="#Page_200">200</a><br /> +<br /> +Zimmerman, J. W. G., <a href="#Page_260">260</a><br /> +</div> + + + +<hr /> +<h2>FOOTNOTES:</h2> + + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This picture, representing Dr. Johan <ins title="Transcriber's Note: 'Deyman,' 'Deyment,' and 'Deeman' were used in this text. This was retained.">Deyman</ins>'s lecture in anatomy, +was partly burned in the eighteenth century, and the fragment +now hangs in the Rijks with the other collection of anatomical pictures +from the Surgeons' Guild of Amsterdam.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The figures in this landscape were painted by Lingelbach.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Bredius.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Reynolds.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Dr. Bredius.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> In the Louvre.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Hymans.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Greef (Grif, Grifir, or Gryef), Anton, Flemish painter of landscapes +with dogs and dead game, born at Antwerp in 1670; died in +Brussels in 1715. He is supposed to have been a pupil of Frans +<ins title="Transcriber's Note: Frans 'Snijders,' 'Snyders,' 'Snyder,' and 'Synders' were used in this text. This was retained.">Synders</ins>. There seem to have been two painters of the same name.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Victor, Jakob or Giacomo, Dutch painter of the seventeenth +century. Pictures by him are in Dresden, Copenhagen, and Munich; +in the latter, his Barnyard bears the forged signature of <ins title="Transcriber's Note: Both 'Hondecoeter' and 'Hondekoeter' were used in this text. This was retained.">Hondecoeter</ins>.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> J. F. White.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Burger.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> J. A. Crowe.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Blanc.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> H. Smissaert.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> G. H. Marius.</p></div> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> H. Smissaert.</p></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Standard Galleries - Holland, by +Esther Singleton + +*** END OF THIS PROJECT GUTENBERG EBOOK THE STANDARD GALLERIES - HOLLAND *** + +***** This file should be named 37313-h.htm or 37313-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/3/1/37313/ + +Produced by Juliet Sutherland, Judith Wirawan and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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