. Both the Mesdags, Taco Mesdag, a
brother and his wife are present. Also Ter Meulen, a gifted Dutch
artist. We have seldom seen better George Michels. The Monticelli
up-stairs is an unusual subject. It is a mountain path in the south of
France. The sun is disappearing behind a cluster of trees. Rocks in
the foreground. The scheme of colour is low for Monticelli, the forms
sharply accented. He could see line when he wished. The smaller
example is an interior, as rich as Monticelli knew how to lay the
colours on.

Seven Millets, one the large exhibition picture Hagar and Ishmael,
another the wonderful Resting Vintager. Alone these Millets would
cause a sensation if exhibited elsewhere. The Hagar seems a trifle too
rhetorical for the simple-minded painter. Brown predominates in the
colour scale, the composition is rather conventional, an echo,
perhaps, of the artist's Delaroche apprenticeship, but the Vintager is
a masterpiece. Seated among the vines in the blaze of the sun, he is
resting and has removed his heavy sabots. The relaxed attitude after
arduous labour is wonderfully expressed. The atmosphere indicates
stifling sultriness.

Ricard, Roelofs, Theodore Rousseau--halt! There are twelve of this
French master, dramatic and rich. Descente des Vaches dans le Jura is
the celebrated canvas refused at the Salon, 1834. But it is too
bituminous in parts. A greater composition, though only a drawing, is
Les grands chenes du vieux Bas-Breau. Four large trees illumined by
sun-rays. Two Segantinis, a drawing in chalk and pastel; Storm Van's
Gravesande; seven Troyons, one, Le retour du Marche, a masterpiece;
Vollon, still-life, fish, ivory goblets, violets; Weissenbruchs;
Zilcken etchings and two De Zwarts. There is old Rozenburg pottery,
designed by Colenbrander, scarce to-day; Dutch and Gothic brass,
Oriental portieres and brass, old Delft, Japanese armour, various
weapons and lanterns, Gobelin tapestry, carved furniture, Dutch and
Scandinavian, and a magnificent assortment of Satsuma pottery, Cmail
cloisonne, Japanese bronzes, Persian pottery, Spanish brasses,
majolica and bronzes and sculptures by Mattos, Constantin, Meunier,
and Van Wijk--the list fills a pamphlet. Next door is the studio of
the aged Mesdag, a hale old Dutchman who paints daily and looks
forward to seeing his ninety years. In Holland octogenarians are not
few. The climate is propitious; above all, the absence of hurry and
worry. To see The Hague without