UC-NRLF ^ 5^ l^3.gv^-^iP'^ THE ART GALLERIES OF EUROPE QoOKD ^>s^»;vs>;.>»vv>; THE NATIONAL GALLERY LONDON THE DUTCH SCHOOL :•':['.: t t I < e t t f f f i t r t r t ■* t * t hoto Hanfsiaengl A LADY AT ■ P I N E T from, the painting by Jan Verrtxeer -tO' '- J ■ THE NATIONAL GALLERY- LONDON THE DUTCH SCHOOL LONDON'GEORGE NEWNES • LIMITED- SOUTHAMPTON STREET • STRANDWC NEW YORK- l'KLDK;WARNt: y Giistuw (rctfroy ........ A List of Painters of the Dutch School and thfii- Pictures at ilu' National Gallery, Londun ............ i.\ .\.\v L I S r O F ILL I S r R . V IK) N S /'/..u- A Lady at a Spinet. l>y Jan \'i;kmki;k ..... Jax van Scokhl Piirtrait of a Lady ....... J. A. Ka\ i:s'j i:ijN portrait of a Lad\- ....... Fkans Hals Portrait of a Woman ....... HkXDKIK van AVKKCAMI' A Winter Scene ........ Dirk H a l s A merry Part}' of (,"a\ahers and Ladie.-^ at t.ihlc Jan \ax ("iovfn A Winter .Scene ........ Thomas di; K[:vsi:k A Mt'rchant with his Cderk. portraits .... /\art \an I)i:r Ni;i-:r A Landsca[)c, \\ it li I"i,L;nrcs ;iiid ("attic : L\c:iinL,' Ri\cr Scene 1)\- Mooiilii;ii(, witli Sliippiii;; RKMinCANDT \AN R\ N .\ lim',i;omaster ........ The .Adoration of the Sliepherds .... .\ Woiii.in I l.it iiin.L; ....... Landsca[)e. w ith l'"i,i;ure>. ri'pn'sentini; the story oi Tohi .\m;cl .\ Jiw i^h Kahili . . ... 'I'lie Painter's own Portrait. ,it .in aih.uiced a.s^e Ptirtrait ol a Woni.in ....... His own Portrait wlien .•i;.;ed .ihont J.J Portrait of an ( )ld I.ad\- Christ before Pilate . The Wonrin taixcn ni .\diiltery . ... V /• t-(?nf'i/f:t'ic IS anil til III \ii \ ill IX X XI XII Mil XIV X\ XVI \\ 11 will \l\ XX 272798 THE NATIONAL GALLERY—DUTCH SCHOOL Phte Buildiii,i;s of Renaissance Architecture ...... xxi Adkiaan van Ostadk The Alchyiiiist . . ........ xxii J AN" Both Cattle and l''it;ares . . . . . . . . . . xxiii o .... H. VAN DKR HeLST Portrait of a Yonng Lady ......... xxrv Gerard Dou The Painter's Own Portrait ........ xxv GhKAKD TeRI;(1K( h The " Gnitar Lesstin " ......... xx\i The Peace of Minister . . ■ . . . . . . . xxvii Portrait ^i^' \ai THE NATIONAL GALLERY, LON'DON THE DUTCH SCHOOL BY GUSTA\:E (lEFFIs^OY 1. BEFORE REMBRANDT Hh liistoiA' of Fnti'li ait ina\' be dixitlrd into lour [Kirts : Firsth'. the stiid\- of the "' l'riniili\cs."" dim tl\- allied to the piiniitiw Flemish ai1i>l>. and often eonneeted I with the(iernian "" I'linntiNc-^."" with whoni ihev also ha\e kinship. Seeondlw the stnd\- of those r.rtists who came after, - and were inflni'need i)\- Italian arr. M^*: ThirdK'. the stud\' of the national school, whieh hiokt' a\\a\" from all tradition, not alont' that of the '" I'l innlix'es," — Flemish, (ierman and Dutch — but of the Italians, and clearh' rewaled itself as sprn.j.'.mg from the soil, as arising ont of surroundings, and (ustoms and the great historical ewnts which had jnst come to ])ass. x\nd, lastl\-. the stiuK' of the decadenei' — of artists who fell into mannerisms and relapsed into the Italian st\le. It is im])ossibl(> to stud\- the lir>t peiiod — that of the " Primiti\-es "' — in the National dallerx' of Eondon ; and the cause of the absence of sui'h works from the great English collection is easih' explained. The works of the earh' Duteli ))ainters. like ncarh' all " I'linnt i\e "" woi'k. consisted of rejiresentations of religious histoiw paintings which were designed foi' churches and con\-ents. and thus did not p.iss from sale to sale, or from one collection to anothei. There are none of the>e works in tlu' National (iallerw and \-ei\- few mdi'ed ni the I.onxK'. To liceonie accjuainted with them- I lutan to see them, foi' the work ol classilying them is tar fidiu com])lrte. and their identit\- olten i>bscnre — one must \-isit the THEmATIONAL CxALLERY— DUTCH SCHOOL galU'iii'S and colkM-tions of Holland itself, I'specialh' the arehicpiscopad museum at Utieelit. where may be seen an intinitelv interesting collection of paintings, \vood-(ai\'ing, metal work, lV'c, everything in fact, in the way of religious art, and of the beginnings of art generally, that could be discovered and rescued in the Netherlands. So I,ondon jiossesses no Dutch works of the fourteenth and hfteentli centuries ; urithei" (ieerten \'on Saint-Jans noi" Lucas de Le\'de is repre- sented. On the other hand, Jan Mostaert. who was born at Haarlem m 1474, and died in the same town some time after I54(), is to be seen in a 1'/;-;'//; iUid (liild ill a Cciydcn. Jan \dn Scorel too (I4()5-I5b2), \\iio was of those who introdu(\'d the Italian maimer into Holland, after nrany years ot tra\'el, during which he x'isited not Rome and \'ienna alone but Jei"usalem, Rhodes and (icrmanw Judging b\' the works attributt'd to him Scorel would seem to \vd\v been an artist of supple and assimi- lati\"e gifts. The greater part of his pictures are based on Italian and Eastern landscapes : and e\-en wlien, returned and settled at I'trecht, he painted Dut(di laces, he ga\e them an Italian toiirmirc and e.\})ression, as one mav see b\- his Portrait of a Lad\\ which is e\-i(lentl\' reminiscent of Ra])ha(L I he national art of Holland came into being aftei" the great re\'olu- tion which ended in tlie expulsion of the S])aniards. and established the independence of the Dutch States. The repul)lic of the United Provini^'S was jiroclaimed. and in addition to the jiolitical rex'ohitiou thei'c was a revolution in leligion — Catholicism being replaced by Protestantism. Quite logicall\- an artistic revolution followed. Suddenly the cWu: life of the free man found artistic interpreters. No more ecclesiastical art. Hencelorth it \\-as the e\\'r\'-da\' life of all and sundrx' that nwis to be studied. The meetings of the ci\ac guards, the assemblies of cori)orationfs the gatherings of syndics, of managers and manageresses of hos})itals and alms-houses — e\'erything in fact which signihed the defence, the adminis- tration, the y^'ecaution. the commerce, the riches of the land, from that day forth serwd to inspire the artist. Then, ]~)ortraits and still more ]3ortraits. And tlien the peaceful lite of the bui-gess in his home, with its well-regulated luxury, its musical and other di\'ersions, its feastings, and at times its scenes dc i^alantcric. Nor did the artist disdain peasant life amid rur il laudscajX'S, with its di\'ersions of ale-house and card-able. As with the productions of primiti\'e art — ecclesiastical ornaments — it is but natural that the great works of the national l)ut(di Sclio()l should still remain in Holland. The jMctures of ci\'ic guards, and corporations and hospitals, and anatom\' lessons stawd in the |)laces for which the\' were made, and then, as a matter of course, took their jiositions by right in the Dutch galleries. Foreign galleries possess a fe\\' jiortraits of this |)ei'iod. Here, foi" instan(^e, is a Portrait of a Ladw b\' J. A. Rawsteijn, gra\i' and thoughtful of as]X'ct. the head co\'ered bv a black cap, and the shoulders bv an X THE NATIONAL CALLlvKY Dl'IVII ^'"IIOOL immense starehed collar, over a l)laek body'. Like Kawsti-ijn, Frans Hals (1580-1666), while contemporary with Rembrandt, was also slightly his predecessor. Hals is quite himself hcrr with two line jiortraits. One is that of a man with moustache and llattcncd hair_ keen glance, and month half-laughing. He is clothed in black, hi-^ neck enclox'd in an enormous goffered collar. The painting is broad and silkw and slashed with light, and gi^'e^ a gtiod idea of Hals's sure and expeditions manner. The portrait of a woman. liowe\'er, is the more imi)ortant of the two, and shows the master hand more plainh'. She is a bnxoin creature, with fairh' rehned filatures and well-oiled liead. Ilei' e\'es are keen; she has a small mouth and a double chin. The cr()>M>d liands are linely painted, and tlu' dark bodice, the full ruff, the indented wristbands, and the littU> white caj') are done with all the artist's knowledge and adroitness. Th(^ Portrait of a Jesuit, a correct composition 1)\- W'lllem \'an der \'het (1584-1642). has not the same artistic interot. derard \-an Hon- thorst (i59o-ib50) ma\' easil\- be surpassed as a ])ainter of ])opular customs ; at the same time one umst be grateful to him for haxing ])ainttHi with so much boiilwiiiic thi> fanul\- of old peasant- waianing theinseh'es. Dirk Hals, the date of whose birth is unknown, but who dwd in i(\=)6. ten years befoi"e his brother Fraus. shows himself to be a chaiining painter in his Partic dc Cavaliers ct dc Danics. which lia^ tjie vcri'C of Frans Hals, and also, in places, a fluid colour after the manner of Rubens, ("ornelis Janssens yan Ceulen (15^4-1004) is another of the ])ortrait4)ainters who were so j^lentiful in Holland. Thomas de Key>cr (i5<)b i()67) was among those who most clearh" ])ercei\'ed the picturesfpie in the po])nlai". and he did excellent portraits cii action, such a^ the Marcliaud ct sou Cojjuuis. The latter is handing a ticki't to his master seated at a table, and both ha\'e the exact characteristic's of their station — the calm authority of the master, the respectful alacrit\' of the cicik. .\lso one must mention the scenes, treated in somewhat dr\' and di>torted bishion b\- W'ilU'in Cornelisz Dnyster (i59()-rOj5) — a (piaiiel among soldiers, and men play- ing backgammon. And lastl\-. befoie coming to Reuibi-andt. a l-'a»iil\\ genially composed b\' Jan \an l)\'lert ( i()()j-i()7i ). 11. kI-:M15k.\.\l)T Rembrandt \an !\\n (iboG-ibOc)) is admirably rejiresented in the National (iallerw \\\\\ no mattei- where he ma\- be found he always shines with the same singular hi>tiel I'A'eiA'w here he gi\e> prool ol his genius — ne\'er scorning the hiunbk'^t lealitw ex'er mamt">ting lile in the simplest, profountlest, nrost |)athetic manner. As his wurk was so wa^ hi^ life ilhnuuied iu parts, in others wiapt THE NATIONAL GALLERY— DUTCH SCHOOL in mysterious shadow. A few of the principal facts one knows, the rest is doubtful. The writings he left behind are quite unimportant. In the way of archival documents there are one or two legal papers relating to him, an inventory of his belongings, which at least throw some light on his tastes, and the thoughts that occupied his mind, and further certain narrati\-es and anecdotes, more or less authentic, transmitted by his contemporaries. The truth is, none of those living at the same time, and in the same town with Rembrandt had any idea that they had among them a great artist, whose mind and life and sayings demanded to be understood and made known. Thus we do not even know his exact name with any certainty, nor the precise spot where he was born. Some believe his name was Paul, others hold a different opinion ; some declare he was born in the outskirts of Leyden, others that he saw the light in that town itself. It is supposed that his father was a miller or the owner of a mill. No documents exist to show for certain that his teachers were Swanenburg, Lastman, Pinas and Schooten, or what was the social position of his first wife, Saskia Nylenburg. Did he marry a second time ? And was it his servant, Hendrickie Stoffels ? And was there yet another wife ? We know he lived till the age of twenty-two at Leyden ; that he married Saskia in 1634 ; that she died in 1642 ; that he had four children, of whom one only Titus, lived beyond infancy, and that he was brought up bv Hendrickie. We know too, that among his friends were citizens and high officials of the town of Amsterdam, where he took up his abode : the mmister-preacher Jan Cornelisz ; the art dealer, Pieterzoon Goorner ; the poet-secretary of the Stadtholder Constantin Huygens ; the memnonite minister, Renier Anslo ; Dr. Tulp, Professor of Anatomy ; the burgomaster, Jan Six ; the print collector, Abraham Franco ; the goldsmith, Janus Lutina ; the theologian. ^lanasseh ben Israel ; the States-Receiver, Uiitenboogaerd, and the burgomaster, Corneille Witzen. Further it is supposed that public favour was withdrawn from him after the appearance of his picture of the Sortie of Captain Cocq's Com- pany (known the world over as the Ronde du Nuit, or '' Night- Watch"), in which, for the sake of the general effect, he dared to take certain liber- ties with the features of his models. Also the rich collectors among his friends would seem to have given him up to some extent ; nevertheless, he was commissioned to paint the Drapers' Syndics, in 166 1, and he did the portrait of Jan Six between 1656 and 1660. Finallv we know that Rembrandt buried his father Harmen Gerritsz. known as Van Ryu; his mother, Cornelie van Zuitbroeck ; his wife Saskia, and their first three children, then his youngest son, Titus, and finally Hendrickie. His last years he lived in a room in the Rosengracht, and there he died, leaving nothing behind but his bed, his clothing and his painter's tools. One cannot repress a feeling of angry regret and bitter- ness when searching for Rembrandt's lodging places in Amsterdam, for in doing so one seems to see in the passers-by the same heedless crowd xii THE NATIONAL GALLERY— DUTCH SCHOOL that watched the coffin of the great neglected man borne away withont so mnch as exclaiming, '' Rembrandt is dead ! " Bnt we are now in London, in the Halls of the National Gallery, and here we find our Rembrandt in fullest life and \igour. Here we have Rembrandt's work and Rembrandt himself. First, the portrait of himself as a young man, signed and dated 1640. Thus he was thirty-three or thirty-four 3^ears of age at the time. It was six years after his marriage, and two years before the death of Saskia. He is dressed in perfect taste in the costume of a well-to-do burgess. His dress is a harmony in silk and velvet and furs, with a pleated chemisette and an embroidered collar. On his head a plumed cap, a mantle over his right arm. The face is youthful, placid, confident, prudent, and with a touch of childish candour remaining, if one examine carefully the mild, frank eyes, and the full and amiable mouth. This painting, wliicli dates from about the same period as the Xight ]]'citcli, has a masterly air, with Rembrandt's own blacks, those transparent blacks, full of colour and yet densely dark, and with the whole canxas illumined b\' the triple radiance of light from the face itself, the chemisette, and the hand resting on the ledge of a balustrade. And here again we ha\-e Rembrandt in Old Age, less sad to the eye than the Louvre portrait of the same period. There is indeed weariness in the features, and with the years the grave and brilliant Rembrandt of the earlier picture has lost his comeliness. Here he wears a white serre-tete, or skull-cap, and a black cap whence his hair straggles loose. He is dressed in a loose coat with a well-worn fur collar, and we cannot repress a feeling of sadness at the visible senility and decadence of the great painter. The fact is, Rembrandt is one of those men whom we would ha\'e loved to meet amid the crowd of his fellows. His work tnakes us picture him great yet accessible, and on his features, which as a \-()ung man showed candour, we may now discern, amid the signs of age, profound humanitv and infinite goodness. The National Gallerv has other and ver\' fine portraits by Rembrandt, apart from those he painted of himself. All his styles are represented here — from his exact, precise manner, with its silvery lights, to his more broadly-executed method, which notes details while subjugating them to the general effect, under a golden light. In this Old Lady (1634) with l^^''^" white head-dress and collar, her ])ut1y ficsh, her restless eyes and rather peevish mouth, he shows kinship with his predecessors, but it is i-xident that even then he possessed a gift of obserx-ation and an eiierg\- ,ill his own. Further, he belongs to his own national school in his Portrait of a ilf^r;/ (1635) — a horseman with a gold chain and a wide lace-bordered collar. Another Portrait of a Man (1659) is not one of the great works of his second manner, nor is thi' Capiicin Brother. These are paintings in which the reflection iiiul the power of the ;irti>t aie not disphiN-ed with lluit clear evidence which shmes forth from thost' otlier tluei- portraits : a I\ah})i, of sad ;ind pensi\'e countenance : the Burgomaster, a li'an old man ra])i(lly THE NATIONAL GALLERY— DUTCH SCHOOL and skilfully "fixed" ; and the Jewish Merchant, which is of the same picturesque fadiirc as the sketch of the Concorde du Pays in the Rotterdam Gallery. But the Portrait of a ]]'oiiiaii, of 1666, reveals a more special beauty. This was done three years before Rembrandt's death, and the old master knew better than ever how Nature should be grasped and realised by Art. He dominates his subject with all his knowledge, all his experience, and all his intellect. Thus, this unknown woman, like all the most celebrated effigies, propounds to us the enigma of life. Nevertheless, she is quite simple in bearing and in feature. She has some resemblance to the Portrait of Hendrickie Stoffels in the Louvre, but it is supposed that Hendrickie died before 1666, in which case it can only be an accidental similarity. The two women both wear in their ears the same long pen- dants with large pearls attached. Be it how it may, the woman here depicted would appear to be a comely country-woman with rosy cheeks and big hands, dressed like a prosperous hourgeoise, with rings on her little fingers, and hands resting on a big clasped book. Nothing could be more frank than the understanding between the fine black eyes and the full lips, nothing more pleasing than her air of smiling gravity, nothing more beautiful than the luminous gleam of the pink and amber flesh of her face and hands. I have reserved till the end of the portraits one canvas which is a sketch — that of the Woman Bathing — the woman in a chemise entering the water bare-legged. The date of it is 1654, ^^^^ this time it is assuredly Hendrickie, the Bathshcba of the Louvre, who lived with Rembrandt and bore him two children, and who, luckily for him, made a model where- on he was able to show the measure of his genius as a painter of the nude. In the Woman Bathing the National Gallery possesses one of his finest studies of the real human body, of flesh firm and full, healthy and brown ; and those who, in the name of the academic ideal, have proclaimed it ugly, have indeed misinterpreted that rounded neck, that delicate wrist, that charming hand, and that pretty smiling face which is enjoying the feeling of the water. Nor is this all. The National Gallery is rich in paintings based on the Old and the New Testament. And there it was that Rembrandt showed the full splendour of his imagination, all the depth of his mind. No one ever combined so well as he the observation of the real with a sense of visionary divination. To the subject of Tobias and the Angel he adds a landscape setting of astonishing reality : mounds of earth, low hills, a little house concealed among the trees at the turn of a road, people walking about, an old peasant seated near a fence, a sombre wood quivering with light ; below, a running stream, and above, a grey lowering sky with a vivid brightness on the horizon. Tobias and the Angel are crossing the stream by the ford, stone by stone, and very simply and very forcibly they form part of this humble and mysterious piece of nature. xiv THE NATIONAL GALLERY— DITCH SCHOOL This keen penetration of the natural scenes amidst which he hved, and his faculty for conceiving, against a familiar background, the biblical figures with which his daily reading brought him into contact, led him to imagine scenes truly grandiose in their large humanity. Certain it is that in the synagogues and the by-streets of the Jews' quarter of Amster- dam (his house was situated there, in the Joden-Brustraat, near the St. Anthony dam) Rembrandt seemed to see working, living, thronging around him the people of Jerusalem who had their share in the events of Christ's life on earth. He saw faces which time had not changed — the rounded profile, the heavy lip, the piercing eye, the heavy beard. He saw too the black eyes of the daughters of the East, the worn and pensive features of the doctors, the eager faces of the merchants, the resignation of the beggars. His forceful imagination stepped in and threw back into the long-past these emotions and these expressions. The crowded market-places, the religious gatherings, the discussions in squares and streets, with their tumult and their violence, indicating as they did the perpetuity of action and of gesture, brought before his eyes the spectacles of bygone days. He clothed the actors in his dramas in thi^ costumes he had collected — costumes which he could see in the plates of his cartoons. With the Roman soldiery he mingled priests in sacerdotal vestments, and turbaned personages armed with scimitars. As for the poor, their rags are alwavs much the same — they do not change, and Rembrandt had little trouble in transposing the aspect of a crowd of seventeenth- century beggars to fit the episodes of the Gospels or thc^ dramatic scenes of the Passion. He fixes the scene of The Woman taken in Adultery within the Temple of Jerusalem, which he pictures as a vast edifice, supported by high columns, and hung with draperies. On an estrade a car\-ed throne, out- lined with shells, gleams with its relief of gold. Thereon sits the High Priest, a mild, bearded patriarch surrounded by the faithful. On the steps leading to this platform kneels the woman in charge of a soldier, with breastplate and helmet, who holds the guilty one's veil. Around her crowd faces brutal or slv, with others gra\'e and reserwd. IJefore her stands the Christ, with the strange and beautiful visage Rembrandt so often gi\'es Him — a blending of serenity and mildness, of force ami commiseration, an expression which, all judicial as it is. melts into conscient kindness. He looks at the weeping woman, and. looking. He piniders, weighing the jirobable faidts of her accusers. Then He i)ronounces that clearest of all judgments: ''Let liini that is without sin among yon cast th(> first stone." Soon the crowd will liaxc (li>i)erse(l. and jesns will be alone with her w^ho had expected punishmt'nt, and now receiws nnhoj)tcl- for . aid. A strong light, starting from the left angle of the i)icture through some in\"isible ojxning, slants across the mox'ing scene, falling on the neck of one of the Ai-ostU s. on the face and liands of Christ, the features of the priests, the soldier, the spectators, while the whole liody of the wrman is en\'elo]-)cd in its \-i\-id rays. THE NATIONAL GALLERY— DUTCH SCHOOL Other three episodes in the hfe of Christ display the extraordinary variety of method and of feehng possessed by Rembrandt. The Adoration of the Shepherds is marvellous, lighted by a large lantern carried by one of the figures. By means of this light one can distinguish the beams of the stable, the ox and the ass, half hidden in the obscurity, the shadowy forms advancing slowly and in silence, and then the group formed by Mary and the Child all gilded and silvered by the beams arising from out the darkness, while above them is Joseph's anxious face, and the forms of those who are kneeling, or bending over the infant Christ. Christ before Pilate shows a brutal crowd thronging the courtyard of the palace, around the image of one of the Roman Emperors ; shows the hideous faces of the mob howling " Death ! '' the timid, hesitating Governor, ready to commit any cowardice, the soldiery stolid or mocking, and the Victim, crowned with thorns, bound ready for the sacrifice. In Christ Descended from the Cross we have the end of the tragedy — the Victim dead, with eyes revulsed, prostrate. His head resting on the mother's knees, and surrounded by His disciples and friends, while the two thieves still remain nailed to their crosses, and the crowd wends its way back towards Jerusalem. III. MANNERS AND CUSTOMS The national Dutch School — the School which filled the seventeenth century with its productions — may be studied at the National Gallery through the medium of its principal representatives. Among the painters I am about to name are some who date from the same period as Rem- brandt. He had a great influence not only on those who came after him, but on his contemporaries, and indeed on some of those who were his seniors. Is not this influence visible, for instance, in the paintings of Frans Hals in the Haarlem Gallery, which were done during the second half of his artistic life ? We may pass swiftly by an example of the School of Rembrandt : Christ Blessing a Little Child, and the same course may be taken with regard to the portraits by G. Donck, who '' flourished " about 1636, and Jan Elevens (1607-1674). There is a somewhat vulgar '^ go " about the Passe-temps nmsieal by Molenaer (1610-1668), with a certain delicacy about the face of the woman playing the guitar. But now we come to a real master of humorous observation and full-flavoured painting — Adriaan Van Ostade (1610-1685). His Alchemist is an ancient, humpbacked elf, who is blowing the fire under a saucepan, which perhaps holds nothing but a stew. But he is surrounded by old volumes, books of magic, damaged xvi THE NATIONAL GALLERY— DUTCH SCHOOL pots, retorts and mortars, littered about in extreme disorder ; and Van Ostade succeeds in creating order out of (^haos, in clothing all these accessories with life. After this brilliant mise-en-scenc the gamblers and drinkers of Hendrik Sorgh (1611-1669) seem commonplace. The Portrait of a Young Lady painted by Bartholomeus Van der Heist (1612-1670) is in the laborious, feebly correct and coldly exact style which earned for its author the popu- larity which had once been Rembrandt's, (ierard Dou (1613-1675) was a pupil of Rembrandt, but e\'idently he did not grasp the meaning of his master's lessons and example, and one can take no pleasure in the dry details of the shop in the Marchande dc Volailles, nor the forced expressions on the faces. I prefer the same painter's portrait, in which are certain charming shades of expression, combined with delicate modelling. Gerard Terborch (1617-1681) was an excellent painter and an observer of delicate intent and apt commentary. How carefully he notes the manners of the characters in The Guitar Lesson! The master reads the music from a little copy-book, and beats time with hand extended. The ladv-pupil, in yellow satin tunic bordered with ermine, and white satin skirt, lingers the strings with her pretty, plump hand, and practises away with a will. A third figure stands between the other two, he also having his share in the pleasure of the music, and in the agreeable domestic surroundings. This same Terborch is further seen in a Portrait of a Gentleman — a figure in a large pointed hat, with a white embroidered band, and all the ceremonial costume of the period — doublet opening over the chemisette, lace-trimmed trunk hose, wide-tfounced stockings, square-toed shoes with flowing ribbons, and short mantle. The face is serious and shrewd, the hand well tended. This gorgeous creature might be some lo\'er or consequential person in one of ^loliere's comedies. And here again we have Terborch as a painter of history — real, visible history — in the Peace of Munster, concluded between the ambassadors of Philip IV. of Spain and the Delegates of the United Provinces of Holland on Mav 15, 1648. The painter has accomplished his task very skilfully, and one cannot but admire the diversity of his human types, and the suppleness of his talent in giving the right characteristics and expressions to the several races. Interest is attached to a work bv Genit Lundens (1622-1677). It is a copv, made for Captain Cocq, of Rembrandt's Rondc dc Xuit. but this copy shows us the original state of the masterpiece, which was pared on the left side in order to make it lit into a wall-space. Furthermore, this copy of the complete work })i()\es that the scene passes in tiie street, outside the building, and in broad daylight. The title of Rondc dc Xitit, or " Night Watch," must therefore be abandoned once and for all in favour of La Sortie dc la Cotnpagnic du Capitainc Cocq. Brekelenkam (1630-1668) painted scenes sliowing more ob.servation than tliis Interior icith l-igitrcs. But Jan Steen (i62()-ib7()). thougli lu> x \ i I THE NATIONAL Gx\LLERY- DUTCH SCHOOL restrains his verve somewhat therein, was never more snbtle, more "precious," more elegant than in the Music Master — a keen-faced man, resting his elbows on a line harpsichord with painted ornaments and devices, on which a buxom young woman with smooth hair and arched fore- head is playing. And how line the bourgeois interior, with its background of tapestry, and its luminous passage ! And the beautiful dress, gleaming with frank and sonorous colour — the skirt blue as the cornflower, the bodice yellow as the buttercup ! Steen's other picture, The Terrace, lacks this clearness of accent, this air of reality. It gives the impression of labour and arrangement. Gabriel Metsu (1630-1667) reveals all the keenness of his talent, all the delicacy of his modelling, all the harmonv of his colouring in The Duet and The Music Lesson. Again we discover the beauty of the Dutch dwelling ; the massive furniture, the floors covered with Oriental carpets, the walls hung with paintings. Here are ladies jocular or tender, clad in pink and in scarlet ; here too are jovial music-masters. One of them is screwing up his violin, and the lady is about to sing. Another, during a pause, sips a glass of Rhine wine what time the fair pupil rests in front of her harpsichord. Two perfect artists are Pieter de Hooch (1630-1677) and Jan Vermeer, otherwise Van der Meer, of Delft (1632-1675). They are ranked among the " little masters," but they are great little masters. In all probabilit}' both learnt from Rembrandt. As for Pieter de Hooch it may well be that he was acquainted with the painter of The Syndics ; but I was thinking rather of learning by means of studying his works. Both of these painters came to understand the relief of matter, the unification of lumin- ous effect. Nevertheless, both differ not only from Rembrandt, but also the one from the other. Pieter de Hooch excels in bringing out the poetry of familiar things. Very ordinary, quite simple, is the setting of this Courtyard. In appear- ance it is just such as one finds on the outskirts of every town : a little stone pavement, a fountain covered by a wooden shed, a stone trough, a few small houses, brick walls, some leafless trees, a plant climbing along a low wall, and a grey sky overhead. A maid-servant is washing a dish. A bourgeoise in a black velvet jacket edged with ermine is giving an order of some sort. And through the passage comes a burgess dressed in black, with a white collar. That is all. And here is another Courtyard : the back view of a woman, in a corridor ; another woman holding a little girl by the hand, on the threshold of a shed. Or take this Interior of a Dutch House : an apartment paved with white and black stones, a geographical chart on the wall, and a religious picture over the big fire- place. Two horsemen are seated at table near a window. A woman, seen from behind, and resembling in e\'ery way the bourgeoise we saw a moment ?go in the Courtyard, has just poured into a beautiful glass a golden liquor which she is holding up to the light. A maid — clearly the fish-cleaner of the picture already mentioned — carefullv bears a brazier THE NATIONAL GALLERY— DUTCH SCHOOL for the smokers. The mar\-el of all these scenes is the quality of the light in the court^'ards, and on bricks, and tiles and walls. By means of this light the constructive force of beings and of things is brought out to the full ; the colours meet and play and harmonise in richest combinations — fine blacks and beautiful deep reds, lovely ambered whites, and all the delights of tints logically disposed. Pieter de Hooch was indeed a very great artist, and on his canvases he installed as by magic a series of back- grounds and effects of light which are still admirable even when compared with those of Rembrandt himself. Of course, he had not his incessant touches of genius, or the li\-ely passion which carries all before it as it moves, or that depth of humanity which makes a really great man so brotherly to all who approach him. He painted the scenes he saw and understood, and did not attempt the grandiose and illuminated canvases of the unequalled master. x\nd he did well to show obedience to his nature, and to love the accessible realities around him, thereby he won for himself individuality and lasting fame. Vander Meer, of Delft, is even more astonishing than Pieter de Hooch, and the National Gallery is luckv to possess a canvas by this surprising artist, who is like no one else, and has a distinction which is quite singular when compared with the bonhomie, the jovial humour, the placid bourgeois feeling, the vulgar jesting, which are so conspicuous in the pictures of the Dutch School. Beside him even Pieter de Hooch himself is somewhat effaced, and seems rather heavy as regards the expression of his figures and the atmosphere that surrounds them. See this Yoioig Wodhui at the Spinet, dressed in a robe of white satin, with large puffed sleeves, leaving the arms bare, and a blue lace-trimmed fichu thrown negligently over her shoulders. She is standing in front of a spinet, her hands — but half visible — lightlv touching the keys. An arm-chair is in the foreground, hiding part of the figure and part of the beautiful white satin skirt, which has a sheen unsurpassed e\'en in the can\'ases of Terborch or Mftsu. But neither Terborch nor Metsu nor any other had the exquisite taste shown in the arrangement of the scene or in tlie purity of the light coming through the small-paned window behind the j)layer. In the room tiiere is nought but the arm-chair and the spinet, with a couple of pictures on the bare walls. Van der Meer is the master of the baic wall. How solid he makes it ! How he coats it with the light of day ! In this case the wall makes an admirable background for the figure. His atmosphere is an atmosphere of silver, with a gleam as of pale sunlight — a sort of lunar reflex. What he — like Pieter de Hooch — doubtless learnt from Rem- brandt was the knowledge of perspective and of masses : but. like Pieter de Hooch, he used that kncnvledge in quite a personal manner. He chose his hour, and he chose his figures, and he gave them — as he has given the lady at the spinet — a thoughtful, dreamy expressiou. clear. i)ensive eyes, and an enigmatical smile. And one remembers his clean coh)uring, burnished. h\ the nuditv of his rooms, his bright harmonies, and all his charm of limpi(lit\- and of silence. .XIX THE NATIONAL GALLERY— DUTCH SCHOOL Nicolas Maes (1632-1693), a more direct pupil of Rembrandt, did not succeed in combining with his imitation of the master a rare individuality such as that of Pieter de Hooch or of Van der Meer. He showed skill in arranging his ligures amid the effects of light and shade of which he had learnt the secret, as in The Idle Servant, and in the Card Party. He too acquired a knowledge of masses, and of the right disposal of a scene. But altogether he does not quite satisfy one's mind, for he always retained something of vulgarity and bombast, and his work emphasises the draw- backs attendant on too literal imitation. Reference to the Dutch painters of manners may be closed by a bare mention of the names of Van Mieris, Casper Netscher, and Godfried Schalcken. In the case of Frans van Mieris that School kept something of its reality and subtlety, and in that of Godfried Schalcken, something of its luminous effect ; but so far as the last representatives of the National School are concerned painting degenerated rapidly into mannerism combined with feebleness of handling. IV. LANDSCAPE A place apart must be reserved for the Dutch landscapists, who were marvellous interpreters of Nature^as true, as observant in their way as the painters of manners. Moreover, they often relieved the scenes they depicted with animated groups of villagers, on work or pleasure bent. Among them were certain great artists who succeeded in expressing them- selves by means of river and field, forest and sky. One of the oldest Dutch landscapists in the National Gallery is Hendrik Averkamp (1585-1663), from whom we have a }]' inter Scene, — a common enough subject — with ice all around, and snow on the roofs, and the bustle of skaters. Poelenburgh (1596-1656) was a painter of the Italian style. Van Goyen (1596-1656) on the other hand was a real initiator ; he really discovered the poetry of Holland, and showed the way to the landscapists of modern times. When one examines the River, with the church, the ferry-boat, the tree-shaded houses, and the water luminous as the sky, the connection between Van Goyen and Constable is evident. His Winter Scene is full of beautv — the broad stream, the icy clouds, and the people darting hither and thither on skates or in sledges, while a flight of birds passes across the leaden-grey skies. Jan Wynants (1641-1679) was also a landscapist with an eye for rustic effects — ancient trees, roads with passing flocks or herds, and far- away horizons. Aart van der Neer (1603-1677) was one of the most delightful and most subtle of the Dutch landscapists. He shows us — and we feel an acute sensation of cold — the village in the grip of winter. Everything is frozen — river, and houses, and bridge, and mill and spire ; THE NATIONAL GALLERY— DUTCH SCHOOL and we perceive the little shadows of the village folk half obscured in the frosty air. He painted the twilight hour, too, the hour of peaceful peasant life on summer e\'enings, when the plough-horses come back to stable, and folk stop to gossip in the lane, and a sense of meditation spreads over all. And he was the moonlight painter, the painter of thr dark outlines of houses and boats, of waters lit uj). as though with laiiy lamps, by the silvery rays of the stars of night. Jan Both (1610-1652), his real talent for arrangement notwilhslanding. strikes one as conventional, after a tine landscapist like Wynants, who was ever seeking and ever discovering the reality of things. Jan Both aimed at the Italian style of landscape — trees, rocks and hills. relie\'ed l)y muleteers, and shepherds and cattle. Philips de Koninck (i()ic)-i688) tried his hand, and not with success, at Rembrandt's extended land- scapes. Nicolas Berchem (1670-1683). like Both, endeavoured to wed style with rusticity. Isaak van Ostade (1621-1649) rightlv ronrnied himself to the familiar scenes of Halland^the frozen river, thu pull-up at the inn-door, or the group of men and horses. But here we have Jacob van Ruisdael (1628-1682). who proxcs in pictural language most moving, most serene, that grandeur and stvle are everywhere to be found. The National (Taller\' contains several landscapes by him : waterfalls, black pine-trees, and rocks with torrents rushing over them. These works naturally follow those of \'an Everdingen. and they are supposed to prove that Ruisdael had travelled in Norwav. Other two landscapes there are here which reveal his genius at its full height : the Beach of Schcvcningcn, with its dunes gleaming under bright-coloured clouds, its little groups of promenaders, the incoming of the concentric waves, the fringes of foam left upon the sand, and the broad sky with its clouds rolling across the swelling sea ; the Wooded Plain, wliicli also is over-set with light vaporous clouds, stretches right awav to the horizon, with its streams and forests and harvest fields, and a point de repere in the shape of a steeple or a windmih. The \cl\i't\- p, tinting of the l.nul and the delicate handling of the sky harmonise in one ot the most beautiful landscapes in existence — a landscape simple^ and solemn, forming an admirable theme for meditation. Adriaen van de X'elde (1635-1672) excels in his gioups of skaters and golf players on icebound rivers, and in Ins representations of rustic life. The last of the great landscapists was ."Mcinacrt Hobbcma (1638-1701)), the painter of underwoods and red-roofed hi)uscs. From his jMctures there springs the odour of the forest, and a beautiful greenish goklen light rtickers in the glades through the foliage of his sturdv trees. One of his masterpieces, the Avenue of Middelharnis. is in the National (lalU-ry. Under a moving sky we see a nuiddv high road, lined with tall well- trimmed tre(>s ; the road winds, and there are houses, a church steeple, a nan"(iw canal, and a garden in which a ni.m i> wmkniL;. In ihi-- picture', full of the poetry of the banlieue. llnMxnia aj)})roaches the giandeur and the mc^lanchoh' of Ruisdael. XXl THE NATIONAL GALLERY— DUTCH SCHOOL In closing this brief review of the rural landscapists I must pause for a moment to note the flowers, precious as gems, by Van Huysum (1682- 1749)- But we have not seen all the Dutch painters of outdoor life. There remain the seascapists : Jan van de Capelle, who worked between 1650 and 1680, had a marvellous gift of representing ships in full sail, boats full of passengers, with big clouds rolling overhead ; Ludolf Bakhuizen (1631-1705), not so atmospheric a painter, but likewise a faithful limner of his country's splendid ships; Willem van de Velde (1633-1707), a true poet of the elements, with his Fresh Breeze — ships and boats running before the wind amid clouds and waves. And after the seascapists we have the painters of cities and buildings : Dirck van Delen (1607-1673), who has bequeathed to us a representation of a Renaissance palace, with its porticoes, marble columns and statues ; Herman Steenwyck, whose date is unknown, with an Interior of a Church ; Van der Poel (1621-1664), who painted a View of Delft after the explosion of the powder magazine in 1654 ; Beerstraaten (1622-1666), with his skating scene near a castle; Jan van der Heyden (1637-1712), with a line archi- tectural view ; Gerrit Berck-Heyde(i638-i698) with a very beautiful view of the Square at Haarlem, showing the peristyle of the Hotel de Ville, the cattle-market, the church and a throng of figures admirably placed and individualised ; also the Interior of a Church, which gives a true impression of the vast edifice and its congregation. Then again there is the group of animal painters, including some of the greatest and most distinguished artists of HoUand. Phihps Wouwer- man (1619-1668) was the painter of fine spirited horses, neighing and scraping the ground with impatient hoof, and well-seated riders. In his Interior of a Stable all is brisk and animated, and the painting nervous and silky. Jan Hackaert (1629-1696) depicts a stag hunt across a marsh fringed by fine trees. Albert Cuyp (1620-1691) is one of the great painters of the group ; he is recognisable from among them all by his golden sunset tints, by the somewhat studied, yet grave and moving arrangement of his landscapes, and by the serenity of his animal life, which he invests with all the poetry of the twilight hour. Such is his Evening, with its cattle, sheep, horses and dogs, and its horse- man and shepherdess ; such too is the Ruin, bathed in the light of the golden waters of a lake ; and such the River, showing a herd of cows and a number of boats under a magnificent cloudy sky. pierced by sun- rays ; such, finally, is the picture styled Animals and Figure, splendidly tranquil and full of character. Karel du Jardin (1622-1678), meticulous and exact, lacks this high atmospheric poetry. Paulus Potter (1625- 1654), another great painter, died quite young, yet he found time to express his love of truth and his patient efforts towards the realisation of his vision. He recounted the story of country life, with its sheep and its cattle, its humble tree-shaded cottages nestling on the hillside, where the harvest lies bound in stacks. XX 11 THE NATIONAL GALLERY— DUTCH SCHOOL Or, again, he shows us the huntsman resting beside his dog and his horse — a good white horse, wont to career over the downs under the moist sky. Melchior de Hondecoeter (1636-1695) is tlie painter of the farmyard, witli its cocks and hens and chicks. Here I close my stuch'. The works which liaw herein been classed and characterised formjan imposing group, truly representatixc ot lliat National School which is the glorv of se\'enteenth-centur\- Holland. NXlll PAINTERS OF THE DUTCH SCHOOL A LIST OF PAINTERS AND THEIR PICTURES AT THE NATIONAL GALLERY, LONDON ARRANGED CHRONOLOGICALLY IX PURSUAN'CE OF THE XATIOXAL GALLERY LOAX ACT, CERTAIX PICTURES HAD, IX l8qt, BEEX TEMPORARILY REMOVED. THESE ARE MARKED WITH AX ASTERISK SCOREL. JAN VAN. 1495-1562. The Holy Family resting near a Fountain : a repose in Egypt. 720. Portrait of a Ladv. 721. RAVESTEIJN, JAN ANTHONISZ. 1572-1657. Portrait of a Lady. 1423. SAVERY. ROELANDT. 1576-1639. * Orpheus charming the Beasts. 920. HALS, FRANS. 1580 or 1581-1666. Portrait of a Woman. 1021. Portrait of a Man. 1251. VLIET, WILLEM YEN DER. 1584-1642. Portrait of a Jesuit. 1168. AYERCAMP, HENDRIK \\\N. 1585— after 1663. A Winter Scene. 1346. A Scene on the Ice. 1479. POELENBURGH. CORNELIS YAN. 1586-1667. A Ruin. Women F)athing. 955. HALS. DIRK -165O. A merry Party of Cavaliers and Ladies at talile. 1074. HONTHORST. GERARD YAN. 1590-1656. Peasants warming themselves. 1444. JOKDAENS. JAKOB. 1593-1678. Portrait of Baron de Linter. 1895. JANSSENS YAN CEULEN, CORNELIS. 1594-1664 ? Portrait of Aglonius Yoon. 1320. Portrait of Cornelia Remocns. l32l. HEDA, WILLEM KLAASZ. 1594— after 1678. A Study of Still Life. 1469. THE NATIONAL GALLERY— DUTCH SCHOOL GOYEN, JAN JOSEFSZ VAN. 1596-1656. Landscape with Figures. 137. A River Scene. 151. A Winter Scene. 1327. KEYSER, THOMAS DE. 1596 ^-1667. A Merchant witli his Clerk. Portraits. 212. SAENREDAM, FILTER. 1597-1665. Interior of a Church. 1896. POTTER, FILTER -^ 1597-1652. Stag Hunt. 1008. ROGHMAN, ROELAND. 1597— hving 1686. * Landscape. 1340. POT, HENDRIK. Attributed to. Living 1600-1656. A Convivial Party. 1278. DUYSTER. WILLEM CORNELISZ. 1599-1635. Soldiers quarrelling over their Booty. i386. Players at Tric-trac. 1387. BREENBERGH, BARTHOLOMEUS. 1599— before 1659. * Landscape. 208. WYNANTS, JAN. Painting 1641-1679. Landscape with a hilly Country in the Distance. 883- Landscape with Figures. 884. Landscape, a hilly Country with a few Trees. 971. Landscape, a hilly Country. 972. RUYSDAEL, SALOMON VAN. 1600 ?-i67o. Landscape. 1344. Fishing in the River. 1439. OOST. JACOB VAN (The Elder). 1600 :'-ib7i. Portrait of a Boy. 1137. BYLERT, JAN VAN. 1603-1671. A Family Group. 1292. NEER, AART VAN DER. 1603-1677. A Landscape with Figures and Cattle : Evening. 152. River Scene by Moonlight, with Shipping. 239. Landscape with Figures : a Canal Scene, Holland. 732. Frost Scene. 969. A Frost Scene. 1288. REMBRANDT VAN RYN. 1606-1669. Christ taken down from the Cross. 43. The Woman taken in Adultery. 45. The Adoration of the Shephei'ds. 47. Portrait of a Jew Merchant. 51. A W'oman Bathing. 54. THE NATIONAL GALLERY— I )rTCH SCHOOL RFAIRRANDT VAN RYN {ron/un,c,/) Landscape, with Figures representing the storx' of Tobias and the AngeL 72. Portrait of a Capuchin Friar. 166. A Jewish Rabbi, igo. The Painter's own Portrait, at an advanced age. 221. Portrait of a Woman. 237. A Man's Portrait. 243. His own Portrait when aged about 32. 672. Portrait of an Old Lady, in black, with white caj) and rui^". 775. \ Man's Portrait. 850. Christ before Pilate. 1400. A Burgomaster. 1674. Portrait of an Old Ladw 1675. REMBRANDT (School of). Christ Blessing Little Children. 757. DELEN DIRCK VAN. 1607 :^-i673 ? Extensive Palatial Buildings in variegated marbles of Renaissance architecture, adorned \vith statues. loio. STEENWYCK, HERMAN. 16 . . :^-i6 . . . A Study of Still Life. 1256. LIEVENS. JAN. 1607-1674. Portrait of Anna Maria van Schurman. 1095. WITTE. EMANUEL DE. 1607-1692. Literior of a Church, probabl}- at Delft, with Figures. 1053. DONCK, G. Living 1636. Portraits of Jan van Hensbeeck and his wifi' Mana Koeck. 1305. MOLENAER. JAN MIENSE. Before 1610-1668. ^Musical Pastime. 1293. OSTADE. ADRIAAN JANSZ VAN. 1610 1685. The Alchymist. 846. WET, J. DE. Painting 1635. Landscape. 1342. BOTH. JAN. 1610 ?-i652. Landscape, a Party of Muleteers, with Laden Mules : Morning. 71. Landsca])e with Figures. (And Poelenburg.) 20(). Rockv Italian Landscape. 956. Cattle and Figures. 957. Outside the Walls of Rome. ()38. River Scene. 959. Landscape. 1917. POORTER. WHXEM DE. 16.. ^-living i(.45. An Allegorical Suhit'ct. 121)4. \XV11 THE NATIONAL GALLERY— DUTCH SCHOOL HELST, BARTHOLOMEUS VAN DER. 1611 or 1612-1670. Portrait of a Lady. 140. Portrait of a Young Lady. 1248. Portrait of a Lady. 1937. SORGH, HENDRIK. i6ii-i66g ? Boors at Cards. 1055. Group of Two Figures drinking. 1056. DOU. GERARD. 1613-1675. The Painter's own Portrait. 192. The Poulterer's Shop. 825. The Painter's Wife : bust. 968. Supposed Portrait of Anna Maria van Schurman. 1415. HERP, GUILLIAM VAN. 1614-1677. * Conventual Charity. 203. BOL. FERDINAND. 1616-1680. The Portrait of an Astronomer (?) 679. TERBORCH, (OR TERBURG) GERARD. 1617 ?-i68i. The " Guitar Lesson." 864. The Peace of Miinster. 896. Portrait of a Gentleman. 1399. LOOTEN. JAN. i5i8 :'-i68i. Landscape. 901. KONINCK, PHILIPS DE. 1619-1688. Landscape : a View in Holland. 836. A Hilly Woody Landscape. 974. WILS, JAN. 16.. ?— before 1670. Rocky Landscape. 1007. FABRITIUS, BERNHARD. Painting 1650-1672. The Adoration of the Shepherds. 1338. The Nativity of St. John. 1339. PAPE. ABRAHAM DE ^-1666. Interior of a Cottage, with Figures. 1221. WOUWERMAN. PHILIPS. 1619-1668. Halt of Officers. 878. ' Interior of a Stable. 879. On the Sea Shore. 880. Gathering Faggots. 881. Landscape. 882. Sandbank on a River. 973. The Stag Hunt. 975. A Battle : Cavalry and Infantry. 976. Two Vedettes on the Watch. 1060. THE NATIONAL GALLERY— DFTCH SCHOOL DECKER. CORNELIS G ^-1678. Landscape, with Buildings and Figures. 134. Landscape, with Figures. 1341. BEGA, CORNELIS PIETERSZ. 1620-1664. " The Philosopher." 1481. WEIER. JACOB ?-i67o. A Battle Scene. 1470. BERCHEM, NICOLAS. 1620-1683. Landscape with Ruin. 78. Crossing the Ford. 240. Landscape with Ruin. 820. Italian Landscape. 1004. Ploughing. 1005. Landscape. 1006. CUYP. AELBERT. 1620-1691. Landscape, with Cattle and Figures : Evening. 53. A Man's Portrait. 797. Horseman and Cows in a Meadow : Evening. 822. River Scene with Cattle. 823. Ruined Castle in a Lake. 824. The Windmills. q6o. Cattle and Figures. 961. Cattle and Figures. 962. Landscape, with Cattle and Figures. 1289. Studv of a Horse. 1683. DUBBELS. HENDRIK. 1620 1^-1676. A Sea Piece with Shipping. 1462. VICTORS, JAN. 1620— living 1672. The Village Cobbler. 1312. EECKHOUT, GERBRAND VAN DEN. 1621-1674. The Wine Contract. 1459. EVERDINGEN, ALLART VAN. 1621 1075. Landscape, with Water-Mill. 1701. OSTADE, ISAAK VAN. 1621-1649. Village Scene. 847. Frost Scene. 848. A Frozen River. 963. A Farmyard Scene. 1347. WEENl.X. JAN BAPTIST. 1621-1660. A Hunting Scene. 1096. POLL. EGBERT VAN DER. 1621-1664. \'iew near Delft ;iftrr tlie Explosion of a Powder Mill in i()54. it)6l. BEERSTRAATEN. JAN ABKAHAMSZ. 1622 i()()(). A Winter Scene : The Castle of Muiden : Skaters on ilie Ice. 1311. .\xix THE NATIONAL GALLERY— DUTCH SCHOOL JARDIN, KAREL DU. 1622-1678. Figures and Animals reposing in the shadow of some Trees in a Meadow. 826. Fording the Stream. 827. Landscape, with Cattle. 828. Sheep and Goats. CJ85. Portrait of a Young Man. 1680. LUNDENS, GERRIT. i622~livmg 1677. The March-out of a Company of the Amsterdam Musketeers. (Copy of Rembrandt's so-called "Night-Watch.") 289. VELDE, JAN JANSZ VAN DE. 1622-1642? A Study of Still Life. 1255. LINGELBACH. JOHANN (OR JAN). 1623-1674. The Hay Harvest. 837. RAGUINEAU (OR RAGUENEAU). A. 1623— living 1681. Portrait of a Young Man. 1848. POTTER, PAULUS. 1625-1654. Landscape, with Cattle. 849. The Old Grey Hunter. loog. BREKELENKAM, OUIRYN VAN. Between 1625-30-1668. An Interior, with Figures. 1329. STEEN, JAN. 1626 ?-i679. The Music Master. 856. An Interior, with Figures. 1378. A Terrace Scene, with Figures. 1421. RUISDAEL, JACOB VAN. 1628 or 1629-1682. Bleaching Ground. 44. Landscape, with Waterfall. 627. Landscape, with WaterfaU. 628. Landscape, with Waterfall. 737. A Landscape, with Rums. 746. Forest Scene. 854. A Waterfall. 855. The Watermills.^ 986. Rocky Landscape with Torrent. 987. An Oid Oak. 988. Watermills. 989. Landscape : an extensive Flat Wooded Country. 990. The Broken Tree. 991. View on the Shore at Scheveningen. 1390. HACKAERT, JAN. 1629-1696 ? A Stag Hunt. 829. WOUWERMAN, JAN. 1629-1666. Landscape. 1345. THE NATIONAL GALLERY— DC TCH SCIKKM. HOOCH (HOOGH). PIETER DE. 1630— after 1677. The Courtyard of a Dutch House. 794. Interior of a Dutch House. 834. Court of a Dutch House, paved with Bricks. 835. METSU, GABRIEL. 1630-1667. The Duet. 838. The Music Lesson. 83Q. The Drowsy Landlady. 970. AACK, JOHANNES AB. (Attributed to). 16. . ?>-.... ? An Old Woman Sewing. 1397. WALSCAPPELLE, JACOB. Painting before 1667 until 1717-1718. Flowers, Insects, and some Strawberries. 1002. STORCK. ABRAHAM. 1630 ?-i7io. A \'iew of the Maes, with Shipping and Rotterdam in the distance. 146. BAKHUIZEN. LUDOLF. 1631-1708. * Dutch Shii)}Mng. 204. Dutch Shipping, iz},. Coast Scene. 818. Off the Mouth of the Thames. 819. Shipping, the Estuary of a River. 1000. A Sea View, off a Port, with Shi]:)ping. 1050. Ships in a Gale. 1442. VERMEER, JAN (OR VAN DER MEER OF DELFT). 1632-1675. A Young Lady at a Spinet. 1383. VERMEER, JAN (Attributed to). The Lesson. 1699. MAES (MAAS), NICOLAS. 1632-1693. The Cradle. 153. The Dutch Housewife. 159. The Idle Servant. 207. The Card-players. 1247. A Man's Portrait. 1277. VELDE, WILLEM VAN DE (Thk Younger). 1633-1707. A Calm at Sea. 14(1. A Fresh Gale at Sea. 150. Shipj^ing in a Calm. 870. Coast Scene : a Calm. 871. Shipping off the Coast. 872. The Coast of Scheveningen. 873. A Calm at Sea. 874. A Light Breeze. 875. A (iale. 876. Sea Piece. 977. .\x.\: THE NATIONAL GALLERY— DUTCH SCHOOL VELDE, WILLEM VAN DE (The Younger) {cjutmuni) River Scene. 978. Shipping. 979. Dutch Ships of War saluting. 980. A Storm at Sea. 981. MOUCHERON, FREDERIC DE. 1633 or 1634-1686. A Garden Scene, bounded by Trees. 842. Landscape, with Ruins and Figures. 1352. MIERIS, FRANS VAN (Senior). 1635-1681. A Lady in a Crimson Jacket. 840. VELDE, ADRIAEN VAN DE. 1635 or 1636-1672. The Farm Cottage. 867. The Ford. 868. Frost Scene. 869. A Forest Scene. 982. A Bay Horse. 983. Landscape, with Cattle. 984. Landscape, with a Goat and Kid. 1348. HONDECOETER, MELCHIOR DE. 1636-1695. Domestic Poultry. 202. Geese and Ducks. 1013. A Study of Foliage, Birds, Insects, &c.. 1222. HEYDEN, JAN VAN DER. 1637-1712. A Street in Cologne. 866. Architectural Scene. 992. Landscape. 993. A Street in a Town. 994. A Dutch Ch:"iteau. 1914. A Dutch Market Place. 1915. BERCK-HEYDE. GERRIT ADRIAENSZ. 1638-1698. A View in Haarlem. 1420. Interior of a Church. 1451- HOBBEMA, MEINDERT. 1638-1709. Landscape : Showery Weather. 685. The Avenue. Middelharnis, Hohand. 830. Ruins of Brederode Castle. 831. A ViUage, with Watermills. 832. Forest Scene. 833. Woody Landscape. 995. A Castle in a rocky Landscape. 996. NETSCHER, CASPAR. 1639-1684. Blowing Bubbles. 843. I THE NATIONAL GALLP:RV— Dl'TCH SCHOOL NETSCHER. CASPER {amfiinwd) Maternal Instruction. 844. Lady seated at a Spinning Wheel. 845. Supposed Portrait of George, first Earl of Berkeley. 1332. WEENIX, JAN (The Younger). 1640-1719. Dead Game and Dog. 238. SCHALCKEN, GODFRIED. 1643-1706. Lesbia weighing Jewels against her S]:»arro\v. iqo. An Old Woman. 997. A Duet or Singing Lesson. 998. A Candle-Light Scene. 999. HUCHTENBURGH. JOHAN VAN. 1646-1733. A Battle. 211. PLAAS (OR PLAES), DAVID VAN DER. 1647-1704. * Portrait of John Milton. 175. CAPPELLE, JAN VAN DE. Painting from 1650-1680. Coast Scene. 865. River Scene, with many Sailing Boats. 964. River Scene, with State Barge. 965. River Scene. 966. Shipping. 967. WERFF, ADRIAN VAN DER. 1659-1722. •• Portrait of the Artist." 1660. MIERIS, WILLEM VAN. 1662-1747. A Fish and Poultry Shop. 841. RUYSCH, RACHEL. 1664-1750. A Study of Flowers. 1445. A Study of Flowers. 1446. SNYERS, PIETER. 1681-1752. A Study of Still Life. 140 1. HUYSUM, JAN VAN. 1682-1749. A Vase with Flowers. 796. Flowers in a Vase. looi. DUTCH SCHOOL. XVII. CENTIRY. Portrait of a Young Man. 1243. Interior of an Art Gallery. 1287. * Amsterdam Musketeers on Parade. i343- Portrait of a Gentleman. 1700. LA FARGUE. PAUL CONSTANTIN. 17.. ?-i782. Market-Place — the Hague. 1018. OS. JAN \'AN. 1744-1808. Fruit and Flowers and Drad liirds. 1015. Fruit and Flowers. 1380. xxxiii ILLUSTRATIONS i PLATg, I PORT K AIT OF A LAbY BY JAN VAN SCOREL Photo, Han/slatngi .''■ .-. ; ; ;;'.•■', '";PP^F^', ^^ PORTKAir Ol' A l.ADV BY J. A KA\i;sri:i jN Photo, llaufstatui^l ■ PLATE III , 1 i y'/iWc, iianjAiatttgl PORTRAIT Ul" A WOMAX BY FRAxNS HALS ) . » > « ' J J . ' - ■ • • ■ • ' ' PLA'tE IV >.■>.>',•>- I A WINTER SCENE BY HENDRIK VAN AVERCAMP Photo, Han/slaengl PQ C/3 Pi W U » » 1 1 O I <> 1 ■> y. y. O iM \'i i: \ n A MMKC IIAN 1 Willi lllS Cl.l-.KK, l'(Jl 15Y THOMAS DE KEYSEk \rrs Photo, Hanfslatngl > , » \» > » > , . 1)1 I > ) > 1 > t ^ f > » » 1 > t . > < » ; •,•;•.:•;..*. X li^ u u :/3 r pa o y. < > . Photo, Han/statn^l A BURGOMASTER BY REMBRANDT VAN RYN ■PIATE-Xr. P/toti; Hanfslatngl THE ADORATION OF THE Sni'l'H I^RDS BY REMBRANDT VAX RYN PLATE XII A WOMAN BATHING BV HI'.MP.KAND'r \AX KVN /■// ■.',■. . ,■ I ■; 'j-.'.f.- < O P W c I— I H z w C/5 X - < Y. _; a. » * t 'PLATE XIV A JEWISH RABBI BY REMBRANDT VAX RYN rhofo, fitiit/staeni^l PLATE XV / '!.•:■•. II ti ny \:.i' »;,_ THF. PAINTER'S OWN PORTRAIT, Al AN Al )\ ANCi:! ) AGE BY REMBRANDT VAX RVX > > > > > > PLATE XVI Photo, Han/sta€ngl PORTRAIT OF A WOMAN BY REMBRANDT VAN RYN ^l;At^X\ II Pholo, Ha > ' > Photo, Hanfstacnsl PORTRAIT OF AN OLD LADY BY REMBRANDT VAX RY\ PLA-TE. XIX CHRIST BEFORE PILATE BY REMBRANDT VAN RYN Photo, Han/staensl » > » 1 '..' ."•'. ;.. : : ..- ',\? >? ',.'•', THE \V(3MAX TAKI-IX IX ADULTERY BY REMBRAXDT VAN RYX Phoh\ Unii/itaeiixt , , > » > ■> > > ' 1 > , • ,J ., . . ' . > \> > > > > > 5 O C C C' c C5 o ■,••• - • ■ . , PI.ft.TE XXJV, . . PORTRAIT OF A YOUNG LADY BY B. VAN DER HELST Photo. Ilanjslaensl c ' * PL AT I-' XXV ritolo. Mail sell THE PAINTER'S OWN PORTRAPr BY GERALD DOU »>,»,^*»*, ■*' ' '>,.^.\i,Ji-*'^'^^^^^ rhcio, I/a/iistaeiigl THE "GUITAR LESSON" BY GERARD TERBORCH — u ■r. :^ ■•A O < 'J f Sic ^PLATJE JKXVUI Photo, Ho n/staciiffl PORTRAIT OF A GENTLEMAN BY GERARD TKRBORCH g ■s y. '___, — /, ^-' y. — — '_^ > < <— 1 ■ji in Z-4 •~-~i ^ ^ ' ^-. f- "~" y. — ^ •^ ^ » . s*c c , . *> • ■> ;\-':^i^ C e c C C r- 5 ■^ § w )4 < J < 'A o. l-H >^ W p J o H o w m Q p W w ^ ^ 1— 1 P >4 Pi « < — ^ (/) ; *^ Jl Y. T' C » f , c f • ' ' . ' ,1 > > •">', ''' ^ ' PLATE XXXVI II /Viw.V, JI^iiJ^:Ut.:i^ LANDSCAPE WITH CATTLE BY PAULUS POTTIiR > » » t i ;P.LAt'siX>Kj:5^i'X ■* > t > THE OLD GREY HUNTER BY PAULUS POTTER Photo. Hanf^taengl PLATA XL Photo, Haiifstaengl THE MUSIC MASTER V,\ JAN STEEN FJw4T£; X^I Photo, lian/sr,tfn:;! LANDSCAPE WITH WATERFALL BY JACOB VAN RUISDAEL '^ i o > X ^1. - v. < < PIATE XLIV > f^ <^ :^' ^ '' s. ' '■ THE COURTYARD BY PIETER DE HOOCH Photo, Hanfstaengl > > > , > ' '' PliAT'hZ XLV Photo, llan/staeu^l inti>:rior of a dutch house by pieter de hooch *■ r r r r PLATE XL VI COURT OF A DUTCH HOUSE V>Y PIETER DI'I HOOCH Wftik-^-V— ^—^ JVto/o, //itttJi/at'Hi^^ * « *, J) 'PtAST^ XLVII Pholo., Hixu/staeu^t THE DUET BY CABRIEL METSU PLaTK XL VI 1 1 THE MUSIC LESSON BY GABRIEL METSU Photo, llati/stae>t!:l > 1 » • ' > > , 3 .. N D - fa /■. o _ Q Q M c C C C » f , <■ ore - :Vi*Ate t I'iioto, }lit>i/slaiHgl THE IDLE SERVANT BY NICOLAS MAES O oft "-O » » S O 9 O 9 9 PIRATE LI THE CARD PLAYERS BY NICOLAS MAES Photo, tf.tn/staeiigl W O 2'. ■ o >^ w Q X I— < » » »>»*,>,>>,», >» I- t' w Q > Q > 1 W H Q O ^ PLATE LIV Phofo, Kan/staeita;^! A LADY IX A CRIMSON JACKET liY FKANZ VAN MII'.l^TS w O z o 5 5 <5 r" So m 5 o < y. •■J -I ■r. -J y. -■ >< < O Z /. < p. en ■ , r— 1 ~ "P. 5 > ■. y :' '• ''Pl}^j.F T^xi > ■ I > > AX OLD WOMAN P.Y GOUFKIED SCUALCKEN P'loto, HanfslatU!;! — < u > ****** r ,*^ r t r c f * PLATE LXIII Photo, Ilan/stacitj^l A STUDY OF STILL LIFE BY PIETER SNYERS re c c c c c t t c r c PLXTE LXIV rhoto, Hai{/s.'atii^l FLOWERS BY JAN VAN HUySUM ^TUW'TODBSK^ ,,'js;.ror-?-^"- U.C. BERKELEY LIBRARIES CD3flETMS7b 1