nd, that in past times, when a picture found
no bidder, the auctioneer would offer to throw in "a little Cuyp" in
order to induce a sale. The merit of having first given him his due rank
belongs to the English, who as early as 1785, gave at the sale of Linden
van Slingelandt's collection at Dortrecht high prices for Cuyp's works;
About nine-tenths of his pictures are consequently to be found in
England.

One of his finest works is the landscape, in bright, warm, morning
light, with two cows reposing in the foreground, and a woman conversing
with a horseman, in the National Gallery (No. 53). The whole picture
breathes a cheerful and rural tranquillity. In his mature time, these
admirable qualities are seen in higher development. In the Louvre (No.
104), is another fine example--a scene with six cows, a shepherd blowing
the horn, and two children listening to him. This is admirably arranged,
of greater truthfulness as regards the form and colouring of the cattle
than usual, and with the warm lighting of the sky executed with equal
decision and softness. This picture is one of the master's chief
productions, being also about 4 ft. high by 6 ft. wide. Another with
three horsemen, and a servant carrying partridges, and in the centre a
meadow with cattle, is also in the Louvre. This is less attractive in
subject, but ranks equally high as a work of art. In Buckingham Palace
are two pictures, one with three cows reposing, and one standing by a
clear stream, near them a herdsman and a woman; other cows are in water
near the ruins of a castle. In this picture, we see Cuyp in every
respect at his culminating point of excellence. Not less fine, and of
singular force of colour, is the landscape, with a broad river running
through it, and a horseman under a tree in conversation with a
countryman.

PAUL POTTER, born at Enckhuysen 1625, died at Amsterdam 1654. Although
the scholar of his father, Pieter Potter, who was but a mediocre
painter, he made such astonishing progress as to rank at the age of 15
as a finished artist. He removed very early to the Hague, where his
talents met with universal recognition, including that of Prince Maurice
of Orange, and where he married. In the year 1652, however, he removed
to Amsterdam at the instance of one of his chief patrons, the
Burgomaster Tulp. Of the masters who have striven pre-eminently after
truth he is, beyond all question, one of the greatest that ever lived.
In order to succeed in