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Picture Gallery. BERLIN. Section 3. 107
landscape by Adriaen Brouwer is remarkable for its idealised
fidelity to nature.
The Dutch School is also well represented. Frans Hals, the
chief master of the earlier period, is nowhere else studied to so
great advantage, except in the museum of his native town of Haar¬
lem, the best examples of his skill being the Nurse and the Hille
Bobbe. The collection of paintings by Rembrandt is one of the
finest of its kind and includes characteristic specimens in both bis
earlier and later manner. The two small Biblical scenes, the large
painting of Pastor Anslo (acquired in 1894), the Preaching of John
the Baptist, the portraits of his wife Saskia and of his servant
Hendrickje Stoffels, the Vision of Daniel, the Joseph and Potiphar,
and the Susannah are in his most mature style. Among the ten
landscapes by Jacob van Ruysdael are two Views of the Dunes
near Overveen, the great Oak Forest, and a large sea-piece. The
Violoncello Player of Terburg is perhaps his most finished work;
his so-called Paternal Admonition is mentioned by Goethe. Among
the genre-painters of Rembrandt's time, Pieter de Hooch contributes
an excellent interior, Nicola as Maes a portrait of an Old Woman,
and Jan. van der Meer of Delft two works, while Ph. de Koniuck,
A. van de Velde, and Ph. Wonverman are also admirably represent¬
ed. The gallery contains excellent examples of De Heem, Huysum,
Hondecoeter, Weenix, Kalf, and other depictors of still-life.
The pictures are hung in historical order (but comp. p. 96), the
Netherlandish and German schools occupying the S.W. side of the
building (to the left), the Italian schools the N. and N.E. sides (to
the right). We begin our enumeration of the most important works
with the small Room 73, entered from the landing to the left.
Room 73. Wesendonk Collection (on loan). To the left: at
the entrance, 251. Jac. van Ruysdael, Landscape with ruins; 223.
Adriaen van Ostade, Married couple in a village street; above, X7.
Francisco Zurbarau, Monk praying. — To the right: 10. Moretto
(Aless. Bouvicino), Virgin and Child (fragment); 243. Sir Joshua
Reynolds, Portrait of a lady; 230. Joachim Pat inir, Landscape;
15. Lorenzo Costa, Madonna and saints.
Cabinet 72. The main wall is occupied by six **Panels (Nos.
512-523) of the famous Altar-piece of the Lamb, by Hubert and Jan
van, Eye!:, painted for the church of St. Bavon at Ghent and finished
in 1432, the first painting executed wholly in oils. The central por¬
tion of the altar-piece, representing the Adoration of the Mystic
Lamb, surmounted by figures of God the Father, the Virgin Mary,
aud John the Baptist, is still in St. Bavon; two other panels (Adam
and Eve) are in the Museum at Brussels. The remaining six panels
were purchased by Mr. Solly for 4000/. The panels which had paint¬
ings on both sides have lately been divided into two plates, which