face. Over the profile on the right are the words (in French), "of the two profiles this is the better." In this profile the compressed lips, the merciless eyes, the iron-gray hair and prominent nose bespeak the great Cardinal Minister of Louis XIII., and the maker of France, who summed up his policy and his character in the words, "I venture on nothing without first thinking it out; but once decided, I go straight to my point, overthrow or cut down whatever stands in my way, and finally cover it all up with my cardinal's red robes." In the full face one sees rather the man who was also a princely patron of the arts and artists (of De Champaigne amongst their number), and the founder of the French Academy. 993. A LANDSCAPE. 991. Jan van der Heyden (Dutch: 1637-1712). THE BROKEN TREE. Ruysdael (Dutch: 1625-1682). See under X. 628, p. 236. 992. ARCHITECTURAL SCENE. Jan van der Heyden (Dutch: 1637-1712). See under 866, p. 289. Classic v. Gothic. An interesting picture of the architectural tendency of the time-the classical Palladian architecture of stone rising over the ruins of the red brick Gothic of earlier times. The same mixture of the old and the new-in juxtaposition not altogether unlike what is here represented-may be seen in the town of Abingdon (Berks), where Inigo Jones's market-hall, built about the time of this picture, towers above the red bricks of the humbler and earlier styles. 1017. A WOODY LANDSCAPE. Unknown (Flemish: dated 1622). "The landscape is probably by Josse Mompers" (Official Catalogue), an Antwerp artist who lived 1564-1635. 978. A RIVER SCENE. Willem Vandevelde (Dutch: 1633-1707). See under X. 150, p. 215. A state barge in the centre; trumpeters sounding a salute on either side in other vessels. 982. A FOREST SCENE. Adrian Vandevelde (Dutch: 1639–1672). 980. DUTCH SHIPS OF WAR. Willem Vandevelde (Dutch: 1633–1707). 950. VILLAGE GOSSIPS. David Teniers, the elder (Flemish: 1609-1661). Wouwerman (Dutch: 1619-1668). See under 878, p. 292. 970. THE DROWSY LANDLADY. Gabriel Metsu (Dutch: born 1630, died after 1667). O sleep! it is a gentle thing, 983. A BAY HORSE. Adrian Vandevelde (Dutch: 1639-1672). See under 869, p. 287. 974. DISTANT VIEW OF ANTWERP CATHEDRAL. Philip de Koninck (Dutch: 1619-1689). See under 836, p. 291. 43. CHRIST TAKEN DOWN FROM THE CROSS. Rembrandt (Dutch: 1607-1669). See under X. 672, p. 223. A sketch for a composition which Rembrandt etched and also drew (see in the British Museum). 159. THE DUTCH HOUSEWIFE. Nicolas Maas (Dutch: 1632–1693). See under X. 207, p. 234. "There are few pictures in the National Gallery," says C. R. Leslie (Handbook for Young Painters, p. 243), “before which I find myself more often standing than at this." Its great attraction, he adds, is "the delight of seeing a trait of childhood we have often observed and been amused with in nature, for the first time so felicitously given by art." The Dutch housewife sits intently engaged in scraping a parsnip, whilst the child stands by her side "watching the process, as children will stand and watch the most ordinary operations, with an intensity of interest, as if the very existence of the whole world depended on the exact manner in which that parsnip was scraped." 995. A WOODY LANDSCAPE. Hobbema (Dutch: 1638-1709). See under X. 685, p. 235. 988. AN OLD OAK. Ruysdael (Dutch: 1625-1682). See under X. 628, p. 236. 153. THE LITTLE NURSE. Nicolas Maas (Dutch: 1632-1693). See under X. 207, p. 234. In this nursery of yours, JANE TAYLOR. 967. DUTCH SHIPPING. 966. A RIVER SCENE. Jan van der Cappelle (Dutch: painted about 1650-1680). See under 865, p. 285. 1013. GEESE AND DUCKS. Hondecoeter (Dutch: 1636-1695). See under X. 202, p. 212. 990. A WOODED PROSPECT. Ruysdael (Dutch: 1625-1682). See under X. 628, p. 236. 987. A ROCKY TORRENT. Ruysdael (Dutch: 1625-1682). See under X. 628, p. 236. 952, THE VILLAGE FÊTE. David Teniers (Flemish: 1610-1694). See under X. 154, p. 212. A "bank holiday" scene in drab-with a good deal of beer, and a little fighting, and penny flags: surely the world is much the same all the world over. A very minute and carefully done picture too; and it is all the more interesting therefore to notice (for the fact can hardly not have been intentional) that amongst all the village folk here assembled, there is hardly one pretty or happy face. Rather "A mark in every face I meet, Marks of weakness, marks of woe." In the foreground are Teniers and his party, with his little boy leading a greyhound, and the girl of this party is almost the only pleasant face in the picture. The painter, one begins to suspect, had not much real sympathy with his "village scenes after all; and perhaps the demand for such scenes on the part of his aristocratic patrons was only a kind of vicarious " slumming" —an anticipation of the fashionable craze of a later age. 960. THE WINDMILLS. 958. Cuyp (Dutch: 1605-1691). See under X. 53, p. 218. OUTSIDE THE WALLS OF ROME. Jan Both (Dutch: 1610-1662). See under X. 956, p. 217. 976. A BATTLE. Wouwerman (Dutch: 1619-1668). See under 878, p. 292. In Wouwerman's battle- pieces, says Mr. Ruskin, there is "nothing but animal rage and cowardice "—with which he contrasts the noble battle-piece by Paolo Uccello (see III. 583, p. 53). "It is very singular," he adds, "that unmitigated expressions of cowardice in battle should be given by the painters of so brave a nation as the Dutch. Not but that it is possible enough for a coward to be stubborn, and a brave man weak; the one may win his battle by a blind persistence, and the other lose it by a thoughtful vacillation. Nevertheless, the want of all expression of resoluteness in Dutch battle-pieces remains, for the present, a mystery to me. In those of Wouwerman, it is only a natural development of his perfect vulgarity in all respects" (Modern Painters, vol. v. pt. ix. ch. viii. 8-10). Jan Both (Dutch: 1610-1662). See under X. 956, p. 217. 1005. PLOUGHING. Berchem (Dutch: 1620-1683). See under X. 240, p. 212. 971. A LANDSCAPE. Jan Wynants (Dutch: 1615-1679). Spelt also Wijnants. He was probably born about the year 1615, as his earliest pictures bear the dates 1641 and 1642. He was still living in 1679, as one of his paintings in the Hermitage of St. Petersburg bears that date. In October 1642 the registers of St. Luke's Guild at Haarlem mention a Jan Wijnants as dealer in works of art; this probably refers to the painter. "Wijnants painted only landscapes. He looked at nature, so to speak, through a diminishing glass. A sandy bank (see 973, p. 298) is introduced in the foreground of most of his pictures. Wouwerman, Adrian Vandevelde, and Lingelbach painted the figures in his landscapes" (Richter: Dulwich Catalogue, pp. 185, 186). 211. A BATTLE-PIECE. Johan van Huchtenburgh (Dutch: 1646-1733). For some remarks on a similar Dutch battle-piece, see under 976, p. 300. 877. HIS OWN PORTRAIT. Van Dyck (Flemish: 1599-1641). See under X. 49, p. 226. The portrait of an artist and a man of refinement. Notice especially the long, tapering fingers-delicate almost to the point of feminineness. They are very characteristic of Van Dyck's work, who, indeed, drew all his hands from one model: the same delicate fingers may be seen in the so-called "portrait of Rubens" (X. 49, p. 226). In giving this delicacy to all sitters Van Dyck fell no doubt into mannerism; in giving it to |