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Gallery. THE HAGUE. 39. Route. 325
404. Abr. van Beyeren, Fish; *198. Adriaen van de Velde, Beach
at Scheveningen, enlivened with charming groups of figures, and an
aérial perspective perhaps unequalled by the painter in any other
work (1665); 165. Jan Steen, Dentist (1651); 20. Jan Both, Italian
landscape ; *137. Paul Potter, ‘La Vache qui se mire’, a herd of cattle
by ariver, with the form of a cow reflected by the water in the fore-
cround and men bathing behind (1648) ; 128. A. van Ostade, Peasants
in a tavern (1662); 666. W. Kal/f, Still-life ; Phil. Wouverman, 221.
Huntsmen resting, #217. ‘Un mandge en pleine campagne’ (an
equestrian puts his steed through its paces, before a lady seated in
a carriage drawn by six grey horses); 127. Casp. Netscher, Portrait
of Mme. van Waalwyk (1683; comp. No. 126, p. 324).
Room IX. The entrance-wall is devoted to works by Rem-
brandt: #560, Head of his brother the miller Adriaen Harmensz van
Ryn (4650); *449. Portrait of himself as an officer (ca. 1634-35);
#621. David playing the harp before Saul, the most important ex-
ample left in Holland of the Biblical compositions of Rembrandt,
dating from the master’s zenith (ca. 1665), brilliant in colour and
impressive in effect; *685. Two negroes (1661).
#584. Homer, a broad and masterly work of the master’s later
style (1663).
The features of the blind bard, who is dictating his verses to the
sound of the lyre. copied from an antique bust that was in Rembrandt's
possession until 1656 (comp. the photograph at the door). The fingers of
a second figure and the inkstand in the lower corner to the right show
that the canvas has been mutilated.
Opposite, on a stand, four other works by Rembrandt: 598. Head
of a laughing man (ca. 1629-30); 579. Rest on the Flight into Ezypt
(painted about 1634-35, in shades of brown); 556. His mother (ca.
1629); 640. Old woman praying (ca. 1654).
__On the back of the stand: #607. Adr. Browwer, Study of a head;
*670, Jan Vermeer, Study of a girl’s head; 618. Frans Hals, Por-
trait; *605. Karel Fabritius, Goldfinch (1654).
By the second window: 93. G. Metsu, Huntsman (1661); Frans
van Mieris the Elder, 407. Portrait of Prof. Florentius Schuyl of
Leyden (1666), “408. The artist and his wife, 106. Soap-bubbles
(1663). 33. G@. Dow, Woman with a lamp.
Back Wall: *#92. Jan Vermeer, View of Delft.
Among Vermeer’s landscapes especial mention must be made of the
famous ‘View of Delft’, which has once more, in the 19th century, exerted
a most powerful influence on the entire domain of landscape-painting.
In the foreground is the canal, with a portion of its banks shown on the
left; among the figures on the latter we note once more the woman in
blue skirt and yellow jacket. In the middle distance and dominating the
composition appears the town, with its red and blue roofs, partly lit up
with yellow sunlight. This simple view is perhaps unmatched by any
other landscape in the world for the truthfulness of its atmospheric and
light effects and for the vigour and brilliance of its colouring (Woltmann
& Wérmann’s ‘Geschichte der Malerei’).
A. van Beyeren, *665. Fruit, *648, Flowers; between these,
599. Jac. van Loo, Portrait; 25. A. Cuyp, Portrait of De Roovere,
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