Picture Gallery. BERLIN. Section.3. 79
period, and Anally a Pieta from the period of his return from Italy.
The collection also contains good examples of Snyders and Fyt.
The best works by Tenters the Younger are the Backgammon
Players, the Temptation of St. Anthony, and a Rural Feast. A large
landscape by Adrian Broutrer is remarkable for its idealised
fidelity to nature.
The Dutch School is also well represented. Frans Hals, the
chief master of the earlier period, is nowhere else studied to so
great advantage, except in the museum of his native town of Haar¬
lem, the best examples of his skill being the Nurse and the Hille
Bobbe. The collection of paintings by Rembrandt is one of the
finest of its kind and includes characteristic specimens in both his
earlier and later manner. The two small Biblical scenes, the large
painting of Pastor Anslo (acquired in 1894), the Preaching of John
the Baptist, the portraits of his wife Saskia and of his servant
Hendrikje Stoffels, the Vision of Daniel, the Joseph and Potiphar,
and the Susannah are in his most mature style. Among the ten
landscapes by Jacob ran Buysdael are two Views of the Dunes
near Ovei'veen , the great Oak Forest, and a large sea-piece. The
Violoncello Player of Terburg is perhaps his most finished work;
his so-called Paternal Admonition is mentioned by Goethe. Among
the genre-painters of Rembrandt's time, Pieter de Hooch contributes
an excellent interior, Nicolaas Maes a portrait of an Old Woman,
and Jan van. der Meer of Delft two works, while Ph. de Kouinck,
A. vait.de Velde, and Wouverman are also admirably represented.
The gallery contains excellent examples of De Heem, Hnysum,
Hondecoeter, Weeni.r, Kalf, and other depietors of still-life.
The pictures are hung in strict historical order, the Germanic
schools occupying the E. half of the building (to the left), the
Romanesque schools the W. half (to the right). In point of lighting,
attractive arrangement, and equipment the gallery yields to few or
none. We begin our enumeration of the most important works with
the small Vestibule, entered from the landing at the top of the
double staircase (see p. 76).
Descriptive catalogue (4th ed., lS'.iS), 1 JL; the same, with 70 photo¬
gravures, 10 .//. Photographs 80 pf. each. Each picture is inscribed with
the name of its subject and that of the. painter, with the rlatc of his
hirth and death.
The Vestibule is used for the exhibition of recent acquisitions,
both sculpture and paintings, until they are transferred to the various
groups to which they belong. At the beginning of 1902 the following
sculptures were exhibited here: to the right: School of Giovanni
Pisano, David, Apostle, Prophet, John the Baptist (in marble):
School of Pisa (about 1400), Annunciation, painted wooden figures:
Sieuese Master (early 15th cent.), Madonna (in marble): several
reliefs of the Madonna by Donatello and his followers; Studio of