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330 Route 39,
THE HAGUE. Steengracht Gall,
the persons of their ill-fated victims, whom tl
pieces with savage cruelty (comp. p. xli). The brothers are buried
in the Nieuwe Kerk (p. 834). The old prison now contains a collec-
tion of instruments of torture; several cells, including that of the
brothers De Witt, are shown (adm., see p. 317; ring at door No. 33).
The Vrvysreere, which is planted with trees and adjoins the
Plaats on the E., commands a charming view of the *Vyver (PI. D,
4, 5), a sheet of water enlivened with swans. F
into the Vyver by a steam-engine on the Dun
At Vyverberg No. 8 is the *“Steengracht Gallery (ELS D Rs):
belonging to Baron Steengracht van Duivenyoorde and containing
a collection of modern French and Dutch paintings besides many
important older works (adm., see p. 348; ring!).
The Mopern Pictures are exhibited in Room I (g
left of the entrance, Géréme, Scene in the desert; H.
in a vestibule; Decamps, Dogs and children; §. Z.
Amsterdam (4860); Waldorp, Sea-piece;
hey literally tore to
resh water is pumped
1€8.
nroom). To the
van Hove, Servant
Verveer, Canal at
Horace Vernet. The last cartridge
(1823). — B. ¢. Koekkoek, In the forest (4840); Schelyhout, Winter- scene
near Haarlem (4857); Z. Meyer, Sea-piece (1859); above, Wavez. Roman
women. — José Villegas, Siesta (1874); W. Bougu zu, Girl knitting (1469):
Dav. Bles, By the cradle; Meissonier,
Among the *Ancrent Protures are
of the 17th cent., some of them being cabinet-pieces of the first rank.
Room II (red room). On the left, Ger. Terburg, *The Toilet.
Rembrandt, *Bathsheba. after her bath, watched from a distance by
King David. The beautiful Jewesa is seated on a rug in a thickly-wooded
park, by the side of the basin in which she has been bathing; besidc
her are two attendants, The arrangement of the picture is analogous to
that of the Susanna in the Mauritshuis (p. 324), but this work is the finer ot
the two. The chiaroscuro, against which, as in the Susanna, the f
figure stands in exquisite re] is treated in the most mas
forcibly recalling the famous ‘Night Watch’ at Amsterdam. A
Vosmaer, the Bathsheba was painted in 1643,
completion of that splendid work.
G@. Metsu, *The sick child (1656); above, J. Ha andscape, with
Sportsmen; J. van Ruysdael, Waterfall: Nic. Maes, Pea woman making
pancakes; Qubens, Heads of SS. Peter and Paul, Infant Christ, Drunken
Bacchus. — Jac, Ochtervelt, Fish-market. — Jac. Jordaens, *At the fountain
(1640); Govert Flinck, Portraits of aman and woman (1648); 7h. de Ke
Portrait of a man; Alb. Cuyp, Horse; Adr. Brouwer, “The smokers, 0
the artist’s largest masterpieces; Paul Potter, *Cattle (1652); above,
de Champaigne, Portrait.
Room lil. To ther van Lverdingen, Mountain-
Scene. — W. van de Velde the Younger, Calm sea; J. van d Heyde, Town
on a river; A. van de Velde, Cattle; J. Hackaert and A. van de Velde,
Silvan landscape; Jan Steen, *Sick girl; above, Aert de Geld: ”, Oriental
prince; J. Lievens (not Rembrandt), Mother and child: Jan Steen, **As
the old have Sung, so chirrup the young’, nearly lif > aD unusually
large work for this master; Dirck van Delen, The advocate (1643); Adr
van Ostade, *Interior of a rustic tavern; Ph. Wouverman, The ferry; Jac.
Backer, *Boy in gray. — Ger. Dou, *Portraits of a man and a woman; Hiob
Berckheyde, Canal in Delft (1656); Th. de Keyser (?), Lace-maker; Jan Both.
Italian landscape; above, Ferd. Bol, Portrait; Adr. van de Velde, Landscapi
(1664); Z. de Jongh, Guard-room
Cainer. To the left, Pieter de Hooch,
(1677). — Casp. Netscher.
Soldiers playing cards (1858),
specimens of the chief Dutch masters
than a year after
ght of the entrance: A,
A family in the open air
Two portraits (1667); between these, D. Teniers
one of the artist’s most important
pers (1659). — Js. van Ostade. Pig driven
“Landscape, with a red-roofed mill,
the Younger, “The Seven Works of Mercy
efforts (1614); 4. van Ostade, *To
‘rom market (4614); Jf. Hobbema. |
