a mere diversion to
him.

His wife was the daughter of his instructor, Jan Wils, and was so
avaricious that she allowed him no rest. Busy as he was by nature, she
used to sit under his studio, and when she neither heard him sing nor
stir, she struck upon the ceiling to rouse him. She got from him all the
money he earned by his labour, so that he was obliged to borrow from his
scholars when he wanted money to buy prints that were offered him, which
was the only pleasure he had. _The Musical Shepherdess_ at Hertford
House is a good example of his style, and the description of it in
Smith's catalogue shows in what estimation the artist was held in early
Victorian days:--"This beautiful pastoral scene represents a bold rocky
coast under the appearance of the close of day. The rustics have ended
their labours and are recreating with music and dancing. A group
composed of two peasants and a like number of women occupies the
foreground; one of the latter, attired in a blue mantle, is gaily
striking a tambourine, and dancing to the music; her companion in a
yellow dress sits near her; the shepherds also are seated, and one of
them appears to have just ceased playing a pipe which he holds. The
goats are browsing near them. Painted in the artist's most fascinating
style."

That Berchem had been to Italy is pretty certain, and though no
authentic account of his visit is recorded, there is a story that when
Jacob Ruisdael went to Rome as a young man, Nicholas Berchem was the
first acquaintance he met, and that their friendship was of long
standing. Their frequent walks round about Rome gave them the
opportunity of working together from Nature, and one day a cardinal
seeing them at work, inquired what they were doing. His eminence was
agreeably impressed with their drawings, and invited them to visit him
in Rome. The painters returned to their work, where they met with a
second _rencontre_ of a very different nature; a gang of thieves robbed
and stripped them of their clothes. They returned in their shirts to the
city, and called on the cardinal, who took pity upon them, ordered them
clothes, and afterwards employed them in several considerable works in
his palace.

Berchem at one time took up his abode in the Castle of Bentheim, and as
both he and Ruisdael have left several pictures of this castle it may be
inferred that they worked there together, as at Rome.

Apart from personal friendship there is nothing to connect Berchem