was intended, the dryness of the wayfarer being quite
secondary or unforeseen.

Dort's greatest artist was Albert Cuyp, born in 1605. His body
lies in the church of the Augustines in the same city, where he
died in 1691--true to the Dutch painters' quiet gift of living and
dying in their birthplaces. Cuyp has been called the Dutch Claude,
but it is not a good description. He was more human, more simple,
than Claude. The symbol for him is a scene of cows; but he had great
versatility, and painted horses to perfection. I have also seen good
portraits from his busy brush. Faithful to his native town, he painted
many pictures of Dort. We have two in the National Gallery. I have
reproduced opposite page 30 his beautiful quiet view of the town in
the Ryks Museum. Dort has changed but little since then; the schooner
would now be a steamer--that is almost all. The reproduction can
give no adequate suggestion of Cuyp's gift of diffusing golden light,
his most precious possession.

Another Dort painter, below Albert Cuyp in fame, but often above him,
I think, in interest and power, is Nicolas Maes, born in 1632--a
great year in Dutch art, for it saw the birth also of Vermeer of
Delft and Peter de Hooch. Maes, who studied in Rembrandt's studio,
was perhaps the greatest of all that master's pupils. England, as has
been so often the case, appreciated Maes more wisely than Holland,
with the result that some of his best pictures are here.

But one must go to the Ryks Museum in Amsterdam to see his finest work
of all--"The Endless Prayer," No. 1501, reproduced on the opposite
page. We have at the National Gallery or the Wallace Collection no
Maes equal to this. His "Card players," however, at the National
Gallery, a free bold canvas, more in the manner of Velasquez than of
his immediate master, is in its way almost as interesting.

To "The Endless Prayer" one feels that Maes's master, Rembrandt,
could have added nothing. It is even conceivable that he might have
injured it by some touch of asperity. From this picture all Newlyn
seems to have sprung.

According to Pilkington, Maes gave up his better and more
Rembrandtesque manner on account of the objection of his sitters to
be thus painted. Such are sitters!

Dordrecht claims also Ferdinand Bol, the pupil and friend of Rembrandt,
and the painter of the Four Regents of the Leprosy Hospital in the
Amsterdam stadhuis. He was born in 1611. For a while his pictures were
considered b