reminded of the fact that though a people of the sea the Dutch do not seem to possess a single strong marine painter.  One looks in vain for any pictures of the open sea reflecting the seafaring traditions and activities of the Dutch, and if it were not for Mastenbroek’s masterly harbor pictures, one would have to console oneself over this lack of the briny element with a view of the Amsterdam Marine Aquarium.  Mastenbroek’s big canvas is full of life and well painted.  It shows the harbor of Rotterdam animated by a host of vessels of all kinds and descriptions.  While there is a fine feeling of loose accidental arrangement about this big picture, it is nevertheless well composed.  His small canvas in the adjoining gallery is technically superb, and to my mind the best canvas in the whole Dutch show.  In the middle of the same wall Gorter’s very decorative autumnal landscape, of a group of beech-trees, commends itself by an unusual feeling for colour and design, so lacking in the two almost monochromatic, untemperamental Witsens on either side.  Almost opposite in the same gallery, the most western in the Netherlands section, hangs a broadly painted canvas by Breitner, of the timber harbor of Amsterdam.  It is not so original a subject as one is accustomed to see from Breitner, but fully deserving of the best place on the wall.  Thérèse van Duyl-Schwartze’s portrait alongside is equal to her usual performances, and very broad in style and full of vigor.  Jurres’ “Don Quixote”, Goedvriend’s little canvas, and Bauer’s “Oriental Equestrian” should all be mentioned in this gallery.

In the middle gallery, on the right of the big Mastenbroek, Christian Addicks’ “Mother and Child” charms by its richness of colouring, while in the left corner hangs a very decorative still-life in the best manner of such old Dutch painters as Hondekoeter.  Nicolaas Bastert has a typical Dutch canal, and Willy Sluiter a good study of a Volendam fisherman.  One gallery is entirely devoted to etchings, woodcuts, and mezzotints, and the standard maintained in this gallery is high.  Martinus Bauer’s three etchings are among the finest to be seen anywhere in the exhibition, and the work of Harting, van Hoytema, and Haverman do not fall much below his standard.  There is young Israels (Isaac) with some very snappy sketches.  Nieuwenkamp is intensely interesting in the few things he has there, with a certain sense of humor which is conspicuous for its absence in most Dutch work.  The woodcuts of Veldheer are vital and unusually free from any academic feeling.  Considering the relative size of the Netherlands, they have a remarkably large number of artists, but scarcely of sufficient bigness of caliber and independence of character to live up to the traditions of this people.

Germany