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306 Route 37. ROTTERDAM. Boymans
Cologne ; #348. Jan Wouverman, Landscape among the dunes; 349,
Ph. Wouverman, Plunderers. 324. 8. de Viieger, Mouth of a river;
50. J. D. Cool, Corporation-piece (1653); 27. P. de Bloot, Alms-
giving; 308. L. Verschuier, The Meuse at Rotterdam; 267. C. Saft-
leven, Satirical allegory of the legal profession (1629); no number,
Jan Porcellis, Sea-piece; 249. Julius Porcellis, Sea-piece.
‘oom C. To the right: 110. Adr. Hanneman, Grand Pensionary
Jan de Witt (1652); 65, 66, 63. Portraits by Jacob Gerritss Quyp,
father of Aelbert. Aelbert Cuyp, *56. River-scene by morning-light,
*05. Two grey horses, 59. Eating mussels, 60. The old Oostpoort at
Rotterdam, 58. Cow’s head. — Aelbert Cuyp, 61. Dish with apples,
O7. Cock and hen; Jan van Goyen, The Haarlemmer Meer (1651).
— 2&6. Jan Steen, Feast of St. Nicholas; 234, 235. A. Palamedesz,
Guard-rooms; no number, Q. van Brekelenkam, Saying grace; 248.
W. de Poorter, Still-life (Vanitas, 1636); 232. A. Palamedess,
Family-group. 287. Jan Steen, Stone-operation; a stone being cut
out of the head of a credulous peasant by a doctor, to the great
amusement of the bystanders (‘le malade imaginaire’), 325. H. van
Viiet, The Nieuwe Kerk at Delft (1666). — Abr. van Beyeren, #12.
Vish, “13. Sea-piece; 67. D. van Delen, Musical party (1636).
Room D. To the right: 87. G. Flinck, Dirck Graswinckel, the
lawyer, and his wife (1646); *160. S. Koninck, Gold-weigher (1654) ;
J. van Kessel, 154. Landscape, 155. Prinsen-Gracht at Amsterdam;
“157. Jac. Koninck, Farm ; *34. F. Bol, Portrait ( 1656); 9. A. Beer-
straaten, The old town-hall of Amsterdam; *79. G. van den Eeck-
hout, Boaz and Ruth (1655). — #262. Jacob van Ruysdael, Comfield
in sunshine, a very beautiful landscape, evidently influenced by
Rembrandt; NV. Maes, 175, 176. Portraits; 347. Em. de Witte, Fish
Market at Amsterdam (1672); 264. Jac. van Ruysdael, Old Fish
Market at Amsterdam. — *158. Ph. Koninck, Landscape (1664).
"255. Rembrandt, ‘De Rendracht van ’t land’ (union of the
country), an allegorical painting executed in 1648, the year of the
Peace of Westphalia, which Dutch poets and painters were never
tired of celebrating. Though merely a study in brown monochrome,
probably a sketch for a larger work, and unfinished, it is remark-
ably effective.
The foreground and part of the middle distance represent the interior
of a fortress. In the centre is a lion couchant, bound by two chains,
one of which is attached to a wall on the right, bearing the arms of
Amsterdam with the words ‘Soli Deo Gloria’, while the other is fastened
to the seat of Justice, who is represented in an attitude of supplication
on the left. The lion places his paws on a bundle of arrows, the emblem
of the United Provinces, the shields of which surround him. The fore-
ground is occupied by knights arming themselves to battle for the republic,
while the guns on the ramparts are seen firing on the enemy, who retreats
in wild confusion.
81. A. van Everdingen, Swedish landscape with waterfall; *425.
M. Hobbema, Wooded landscape ; *86. Carel Fabritius, Portrait: 159.
Sal. Koninck, The chief priests before Pilate (1645). |
