. The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries. s realism. Of Gericault we find onlya few snappy studies of horses; and of Decampsa Napoleon at St. Helena, a Poacher, and Watchdogs — only this last with his well-known tour-de-force of reflecting light on white-plastered walls. Of Couture, who did not producemuch work after his first great success with TheRomans of the Decadence, we find a study headof a boy, and a small painting of a lady in a whitecostume, holding
. The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries. s realism. Of Gericault we find onlya few snappy studies of horses; and of Decampsa Napoleon at St. Helena, a Poacher, and Watchdogs — only this last with his well-known tour-de-force of reflecting light on white-plastered walls. Of Couture, who did not producemuch work after his first great success with TheRomans of the Decadence, we find a study headof a boy, and a small painting of a lady in a whitecostume, holding a mask. This is a beautiful, anexquisitely refined work. Michels four landscapes plainly show the influ-ence the old Dutch masters exerted over thisFrenchman; while the Harvest, by Jules Bre-ton, is a thoroughly modern French is shown in his three characteristic sub-jects, of poultry, a landscape with sheep, and apigsty; but of van Marcke, of whom we wouldexpect a cattle piece, we find a view of a smalltown on the French coast, with fishing boats, se-lected for its unusual subject and its artistic appeal. The still lives of Antoine Vollon are of the best. Ube Ibague Galleries 337 this artist has produced, in mellow tone, and dex-terous touch. Boulanger, the Belgian, has a wood-interior, full of feeling for the beauty of nature,in which wood-cutters are sawing big beeches andbirches. His compatriot, Verwee, has also threelandscapes of great merit. The well-known headsby Mettling gaze at us from three little panels. OfDaumier we find one of his rare oil paintings, onwhich two women, surrounded by children, areexchanging neighbourly confidences; and Herviershows one of his landscapes, which might be calleda poetic Rousseau. The genuine Dutch landscapes,by the Frenchman Stengelin, are in complete ac-cord with the best Weissenbruchs, or even withJacob Maris. To complete the foreigners before we turn to thenative school we must yet note three fine worksby Alma Tadema
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