JORDAENS. J.STEIN. TENIERS. VAN DE A conversation of portraits, by Vanderhelst. Cattle, by Adrian Vandervelde. Bacchanalians, by Jordaens. Drinking and gaming, by J. Steen, a large composition of about twenty figures, well drawn and coloured: one of the women who has thrown her leg over a bagpipe-player, has a great degree of beauty. Two Teniers; guard-rooms. A Paul Potter. Another Jan Steen. Still-life, by Van de Hende, a wonderful instance of patience in finishing, particularly a globe, on which is seen the map of Europe. Flowers, by V. Huysum. A Bamboccio. An admirable portrait by Rubens. A portrait, by Frank Hals. A portrait, by Rembrandt. THE CABINET OF MR. LE BRUN. AMSTER Tobias taking leave of his father: his VICTOR mother with a spinning-wheel. school of RUBENS. A fresh gale, by Everdingen; like EVERBackhuysen, but the light mellower. DINGEN. A woman pouring milk from one D.VANvessel to another: by D. Vandermeere. DERMEERE Cattle by Vander Does; admirable, VANDER with great facility. A nativity, by Polemberg. A Linglebach, a Vanderheyden, and a Crabache. DOES. POLIM- A group of ships, by Vandervelde; avANDERcalm: admirable. VELDE. Flower pieces, by Rachael Roos. RACHAEL AMSTER DAM. BERKHEY DEN. C. MA RATTI. TERBURG. J. STEEN. WOUVER MANS. A view of a country house, by Berkheyden: a little harder than Vanderheyden. St. John writing the Apocalypse; two boy angels; the Virgin in the clouds. It is a rare instance to see an Italian picture here. Portraits of Terburg and his wife, small whole-lengths. A woman with a child sucking, a boy beating a drum; behind, figures drinking over a door is written-SALUS PATRIE, with Jan Steen's name in gold letters. There is great force in this picture. The pillaging of a village by Wou vermans. P. HOOGT. Inside of a room, with a woman and child. Its companion, a woman sweeping. SCHOOL.' THE account which has now been DUTCH given of the Dutch pictures is, I confess, more barren of entertainment, than I expected. One would wish to be able to convey to the reader some idea of that excellence, the sight of which has afforded so much pleasure: but as their merit often consists in the truth of representation alone, whatever praise they deserve, whatever pleasure they give when under the eye, they make but a poor figure in description. It is to the eye only that the works of this school are addressed; it is not therefore to be wondered at, that what was intended solely for the gratification of one sense, succeeds but ill, when applied to another. A market-woman with à hare in her hand, a man blowing a trumpet, or a boy blowing bubbles, a view of the inside or outside of a church, are the subjects of some of their most valuable pictures; but there is still entertain SCHOOL. DUTCH ment, even in such pictures: however uninteresting their subjects, there is some pleasure in the contemplation of the truth of the imitation. But to a painter they afford likewise instruction in his profession; here he may learn the art of colouring and composition, a skilful management of light and shade, and indeed all the mechanical parts of the art, as well as in any other school whatever. The same skill which is practised by Rubens and Titian in their large works, is here exhibited, though on a smaller scale. Painters should go to the Dutch school to learn the art of painting, as they would go to a grammar school to learn languages. They must go to Italy to learn the higher branches of knowledge. We must be contented to make up our idea of perfection from the excellencies which are dispersed over the world. A poetical imagination, expression, character, or even correctness of drawing, are seldom united with that |