14. NATIONAL GALLERY.
'Painted in the warm, full tone, which is especially valuable in his
pictures'. — W.
*850. Rembrandt, Portrait of a man, 1635. — *849. Paul Potter,
Landscape with cattle, dated 1651.
'Picturesquely arranged.....Combines the master's plastic precision
of forms with softness'. — IF.
874. W. van de Velde, Calm; 865. Van der Capelle, Coast
scene. —• *830. Hobbtma, The Avenue, Middelharuis.
'From simple and by no means beautiful materials a picture is formed
which, by the feeling for nature and the power of art, makes a striking
impression on the intelligent spectator. Such daylight 1 have never
before seen in any picture. The perspective is admirable, while the
gradation, from the fullest bright green in the foreground, is so delicately
observed, that it may be considered a masterpiece in this respect, and
is, on the whole, one of the most original works of art with which I am
acquainted'. — W.
840. Frans van Mieris (Leyden, d. 1681), Lady in a crimson
jacket; *833. Hobbema, Forest scene; 875. W. van de Velde, A
light breeze; 882. Wouverman, Landscape (composed in the taste
of his master Wynants); 885. Reynolds, The snake in the grass;
854. J. van Ruysdael, forest scene; *857-860. Teniersthe Younger,
The four seasons, represented by four countrymen; 845. C. Net¬
scher, Lady seated at a spinning wheel, dated 1665 (finished with
great delicacy); 828. Du Jardin, Landscape with cattle; 877. Van
Dyck, Portrait of himself. — *822. Cuyp , Horseman and cows in
'Of exquisite harmony, in a bright cool light, unusual with him'. —IF.
*847. J. van Ostade, Village scene in Holland.
'This delicately drawn picture combines the greatest solidity with
the most spirited execution, and the linest impasto with the greatest
glow and depth of tone. Paul Potter himself could not have painted the
grey horse better'. — IF.
881. Wouverman, Gathering faggots ; 861. Teniersthe Younger,
River scene; 818. Bakhuizen, Coast scene; 829. Jan Hackaert (b.
at Amsterdam about 1636), Hunting a stag; *872. W. van de
Velde, Shipping off the coast; 862. Teniers the Younger, The hus¬
band surprised ; *839. Metsu, The music lesson (warm and full in
tone). — *869. A. van de Velde, Frost scene, dated 1668.
'Admirably drawn, touched with great spirit, and of a very pleasing,
though, for the suhject, perhaps too warm a tone'. — IF.
*868. A. van de Velde, The ford.
'The composition very tasteful, and the contrast between the con¬
centrated mass of light and the clear half shadow, which is repeated in
soft broken tones upon the horizon, is very attractive'. — IF.
827. Du Jardin, lording the stream, dated 1657; 853. Rubens,
Triumph of Silenus. — *857. Rubens, Portrait, known as the
'Chapeau de paille'.
'The chief charm of the celebrated 'Chapeau de Paille' (chapeau de
poil) consists in the marvellous triumph over a great difficulty, that of
painting a head entirely in the shadow cast by the hat, and yet in the
clearest and most brilliant tones'. — ■Jiuyler', edited by Crowe.
826. Du Jardin, Figures and animals reposing; 880. Wouver¬
man, On the seashore, selling fish (supposed to be his last work);