faces, poses, accessories.
Same valet pouring out wine; variants of this figure. A Merry Party is
the usual title. At The Hague in the Mauritshuis there is another such
subject; also in Antwerp and Brussels. But a jolly painter. Steen and
Teniers we may sidestep. Also the artificial though graceful
Tischbein. There is a Winterhalter here, a mannered fashionable
portrait painter (he painted the Empress Eugenie), and let us leave
the Titians to the experts. When you are in Holland look at the Dutch
pictures. A De Vos painted topers and fishermen with gusto, and there
is Vinckboons, who doted on scenes of violence. Fancy Vollon flowers
in the midst of these old Dutchmen. The Frenchman had an extraordinary
feeling for still-life, though more in the decorative Venetian manner
than in Chardin's serene palette, or the literalism of Kalf.
Whistler's Effie Deans, presented by the Dowager Baroness R. van
Lynden in 1900, is not one of that master's most successful efforts.
It is a whole-length figure painted in misty semi-tones, the feeling
sentimental, un-Whistlerian, and, as we before remarked, wraith-like
and lacking in substance when compared to Hals.

There is actually a Wouverman in which no white horse is to be
discovered. On Van der Werff and the romantic landscapist Wynants we
need not dwell. The miniatures, pastels, and framed drawings are of
goodly array. Of the former, Samuel Cooper (portrait of Charles II.),
John Hoskins, Peter Oliver, Isaac Oliver, Laurence Crosse, and others.
English, Dutch, and French may be found. The Liotard and Tischbein
pastels are charming. In the supplements of the catalogue we find
underscored a Descent from the Cross, an anonymous work of the Flemish
school (fifteenth century, second half). The dead Christ is being
lowered into the arms of his mother. It is evidently a copy from a
lost original in the style of Rogier van der Weyden. There are such
copies in Bruges and elsewhere. Another composition is labelled as an
anonymous work of undetermined school. The Christ hangs on the cross,
on His right are the Virgin Mary, the holy women and St. John; on His
left jeering soldiers and scribes. On either side of the composition
is the figure of a saint much larger in size than the other figures;
St. Cosmus on the left, St. Damian on the right. The background is a
hilly landscape. An authority ascribes the work to the Catalonian
school, date about 1440. There were giants in those days. Antonello d