In Dutch art the name of Rembrandt usually leads all the rest, and here in the London gallery are many examples put down to him. The early “Portrait of an Old Lady,” herewith reproduced, is perhaps the most satisfactory of all, not only because of its wonderful rendering of an aged face, but because of the great humanity shown in it. The tremulous line of the lips and chin, the flabby cheeks of old age, the eyes that seem filled with tears, all suggest a life that has known sorrow. That appealed to Rembrandt very strongly. He was always sympathetic with the suffering because, perhaps, he had suffered himself. No painter could put more feeling or meaning into a face, a hand, an arm, a bent form than he. He was the great genius of Netherland art. Hals was a mere tavern-roysterer with a gift for painting, compared with him. The National Gallery, however, has no first-rate example of Hals, though several mediocre canvases are attributed to him. Nor is Steen, or Vermeer of Delft, or De Hooch seen here at his best. By Terborch there is a “Guitar Lesson” showing a young woman in white and yellow satin that is attractive, and a beautifully drawn “Portrait of a Gentleman.” Cuyp (kipe) is shown, in many examples, and better than in any other European gallery. This is also true of the sea-painter Jan van de Cappelle. There is a whole wall devoted to examples by Ruisdael, (rise´-dale) and among the many Hobbemas is one at least of commanding interest--“The Avenue, Middelharnis.” It is slate-grey in color, but its linear perspective and atmosphere have made it very popular.
[Illustration: THE GRACES DECORATING A FIGURE OF HYMEN
The National Gallery is not by any means complete in its representations of the Spanish painters, though it has a number of excellent pictures. By Velasquez one bust portrait alone, that of Philip, is worth a day’s journey to see. There probably never was a more perfect presentation. It not only shows the physical but the moral and mental in the sitter in a most convincing way. There are several full-length portraits here ascribed to Velasquez, but they are not entirely by his hand. The “Christ Bound to the Column” is a great picture and the Rokeby “Venus” is another masterpiece; but neither of them can be attributed with certainty to Velasquez. He was the master-painter of Spain, and Murillo, with his “Holy Family” and “St. John and the Lamb” looks very weak and sentimental beside him. Ribalta who preceded Velasquez, and Goya, who came long after him, were painters in the Velasquez tradition if they were not of his class.