Mus. van der Hoop. AMSTERDAM. 40. Route. 265
bella, and others. 96. After Dilrer, Small portrait of Willibald
Pirkheimer. Hans Holbein(f), 167. Charles V.; 168. Maximilian I.
— Opposite, on the entrance-wall: 310. Pourbus the Elder, Eliza¬
beth of England; 170. Hans Holbein (f), Robert Sidney; 222.
Lucas van Leyden (?), Philip the Good of Burgundy; 169.
Holbein (?), Erasmus; 68, 67,66. ' Velvet' Brueghel, River views;
Jac. Cornelisz (Amsterdam, beginning of the 16th cent.), Saul and
the Witch of Endor. Several interesting historical portraits by un¬
known painters: 490. Earl of Leicester, 491. Admiral Coligny, etc.
The ground-floor contains the valuable collection of "'Engrav¬
ings, which merit careful inspection. The entrance is indicated
by an attendant in the hall downstairs, and the portfolios are ex¬
hibited in the most obliging manner. Nearly all of Rembrandt's
etchings are preserved here, many of them in several impressions
and at different stages of execution (comp. p. lvii). Other Dutch
artists, the engravers of Rubens's school, Van Dyck, Albert Dilrer,
etc., are also well represented. Of the 15th cent, are some works
of the artist known as the Master of 1480.
At the N. end of the Kloveniersburgwal lies the New Market
with the St. Anthonieswaag, see p. 270.
To the S. of the Trippenhuis, on the other side of the canal, is
the old Oudemannenhuis, or Hospital for Old Men, now being
altered for university purposes. It contains another public collec¬
tion of paintings, the —
*Museum van der Hoop (PL 48; E, 4), bequeathed by a banker
of that name in 1854. It consists of about 200 works, of which
159 belong to the old, and the remainder to the modern Dutch
school; some of the former belong to the highest class. The entrance
from the Kloveniersburgwal is by a gateway with columns leading
into a vaulted passage containing a number of second-hand book¬
stalls , where we turn to the right across a court embellished with
a bust of Rembrandt by Royer(1844). The fee for admission (25 or
50 c, see p. 252) is, in compliance with the founder's will, devoted
to charitable purposes. Catalogue 25 c.
Room I. To the left: 87. A. van Ostade, Confidential convex-
sation; 102. P. Saenredam, Church of Assendelft. — 28. A. Cuyp,
Starting for a day in the country; *121. A. van de Velde, Landscape,
the painter with his wife and children in the foreground, and a
waggon, shepherd, and flock in the background, in beautiful even¬
ing light, probably the master's finest work (1667) ; 145. Wynants,
Huntsmen on the Dunes ; 30. A. Cuyp, View of Dordrecht; *120.
Adrian van Utrecht, Large still-life piece; 122. A. van de Velde,
Hunting-party; 80. Musscher, Mother and children; 115. Teniers
the Younger, Village-festival; 54. P. de Hooch (?), Concert; 129.
Jan van der Meer van Delft, Girl reading a letter; 88. Isaac van
Ostade, Village inn, 1633. 10. Berchem, Italian landscape (1656);
70. Michael Mierevelt, Portrait of the poet Jacob Cats (1639).