under it. Observe that the
handling of the whole school, from the least to the greatest, is
founded on a similar and perfect craftsmanship,--the same use of
materials; the same deliberateness; the same simple yet ample palette;
the same use of solid color candidly expressing the planes of
modelling, freely following the lines of structure; the absence of
affectation or invention of individual means. Whatever the
individuality of the artist, it rests on something else than
difference of technique. From the freest and most direct of painters,
Frans Hals, to the most smooth and detailed, Gerard Dou, the
directness and ingenuousness of means to ends is the same, and founded
on the same technical basis of color manipulation. The one is more
eager, terse, the other more deliberate and complete; but both use the
same pigments, both use the same solid color, are simple, lucid, both
occupied solely with the thing to be expressed, and the least degree
in the world with the manner of it. That manner comes from the same
previous technical training which each uses in the most
matter-of-course way, with only such change from the type, as his
temperament unconsciously imposes on him.

There is nothing like it elsewhere. Study it; notice the
unaffectedness of brush-stroke in Rembrandt. See how it is the same as
Hals, but less perfunctory. See how the brush piles up paint again and
again along the same ridge of flesh, taking no notice of its
revelation of the insistence of attempt at the right value, nor of its
roughness of surface. To get that drawing and that color in the
freest, frankest, most direct way: that is the aim. The absolute
conviction of it: that is the essence of this technique of the old
Dutch masters. And whatever else it may have or may not have, you will
find in it all that you can find anywhere of suggestion of direct and
frank and sincere painting, and nothing I can say will give you any
such clear idea of what you should strive for as the basis of all the
different sorts of brush-work necessary or useful in the production of
an oil painting.

[Illustration: =The Fisher Boy.= _Frans Hals._
To show the directness and sureness of brush-stroke, and candor and
simplicity of means, always present in Dutch work, though never so
free as with Hals.]

=Detail.=--The question of detail may well come in here. How far are
you to carry detail in your painting? The Dutch painters went to both
extremes. Gerard Dou worked two