Gallery. THE HAGUE. 39. Route. 327
26. Dirck van Delen, Hall of the Binnenhof during the grand
assembly of the States General in 1651; 206. Jan Weeniz, Dead
swan, natural size. as
#466. Jan Steen, Poultry-yard, known as the Menagerie (1660).
The picture represents a court with two steps leading to a plat-
form. A brook flows through it, and an old leafless tree stands on the
right, with a peacock on one of its branches. On one of the steps sits a
gir] with a saucer, out of which a lamb is drinking. A bald-headed man-
vant with a basket of eggs is speaking cheerfully with her, while an-
nding on the platform with a fowl under his arm looks at her
+ The last is a remarkably characteristic and lifelike figure.
By the first window: “170. Jan Steen, The Oyster Feast.
This work was formerly styled a ‘picture of human life’, many
persons being of opinion that § n painted scenes of conviviality with
the same izing tendency as Hogarth, for the purpose of rebuking
human f id vi The picture contains about twenty persons.
Vhile ing their oysters, the children are playing with
n himself plays a merry air, while a young
him, and a portly boor is laughing, glass in
are card-players and smokers.
woman is o
band. In the background
562. Quir. van Brekelenkam, The cupper; *620. J. Vermeer
van Delft, Allegorical representation of the New Testament.
Second window: *222. Phil. Wouverman, Huntsmen resting, a
specimen of his earlier style; 53. Jan van der Heyde and Adr. van
de Velde; Jesuits’ church at Diisseldorf (1667); 6415. A. Palame-
Musical party (1632).
32. G. Dou, The young housekeeper.
Alady with a child in the cradle, and an attendant, a carefully-exe-
cuted picture. The work, also known as ‘The Household’, is one of the
ems of the collection, and is of equal merit with the celebrated ‘Drop-
1 Lady’ in the Louvre. It is dated 1658.
557. Adriaen van Ostade, The proposal; 669. Salomon van
Ruysdael, Dutch canal-scene; 406. Jan Vermeer, Diana at the bath
Third window: 445. Pieter Codde, Soldiers playing backgammon
8. P. Quast, Peasants playing cards; 682. A. van der
Carnet XII (to the right). 662. J. V. Meulen, Still-life (books);
392. P, Codde, Dancers (1636); 694. J. M. Molenaer, Rustic marriage ;
8. J. D. de Heem, Still-life (books), an early work (1628); 659.
Versiralen, Winter-scene; above, 475. H. @. Pot, Merry com-
pany; 402. J. V. Meulen, Still-life (books).
Canrner XI (left). Corn. Troost, 179-185, 194, 193. Scenes from
192. Epiphany singers, 1486-190. Convivial scenes, known
elri’, from the first letters of the inscriptions. These fifteen
stel drawings illustrate the customs of the early 18th century. —
Tischbein, Crayon portrait of Princess Wilhelmina of Prussia.
Room XIII (comp. the Plan, p. 322), beginning to the left of the
door: 346. Carlo Cignani, Adam and Eve; 44, N. Berchem, The
attack; 642. Jan Weeniv, Dead hare; 656. Chardin, Still-life. —
By the first window: 394. Abr. Begeyn, Quarry (early work ; 1660);
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K 29612:[a,1,11], Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience
Baedeker, Karl, Belgium and Holland, including the Grand-Duchy of Luxembourg: handbook for travellers, K 29612:[a,1,11], Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience