There is actually a Wouverman in which no white horse is to be discovered.  On Van der Werff and the romantic landscapist Wynants we need not dwell.  The miniatures, pastels, and framed drawings are of goodly array.  Of the former, Samuel Cooper (portrait of Charles II.), John Hoskins, Peter Oliver, Isaac Oliver, Laurence Crosse, and others.  English, Dutch, and French may be found.  The Liotard and Tischbein pastels are charming.  In the supplements of the catalogue we find underscored a Descent from the Cross, an anonymous work of the Flemish school (fifteenth century, second half).  The dead Christ is being lowered into the arms of his mother.  It is evidently a copy from a lost original in the style of Rogier van der Weyden.  There are such copies in Bruges and elsewhere.  Another composition is labelled as an anonymous work of undetermined school.  The Christ hangs on the cross, on His right are the Virgin Mary, the holy women and St. John; on His left jeering soldiers and scribes.  On either side of the composition is the figure of a saint much larger in size than the other figures; St. Cosmus on the left, St. Damian on the right.  The background is a hilly landscape.  An authority ascribes the work to the Catalonian school, date about 1440.  There were giants in those days.  Antonello da Messina has the portrait of a young man.  It is an attribution, yet not without some claim to authenticity.  The Jan Provosts are mostly of close study, especially The Virgin Enthroned.  A certain Pieter Dubordieu, who was living in Amsterdam in 1676 (born in Touraine), painted the portraits of a man and a woman, dated 1638.  Vivid portraits.  We must pass over the striking head of Hanneman, the Lucas Cranach (the elder), and the thousand other attractive pictures in this gallery.  The Rijks Museum could be lived with for years and still remain an inexhaustible source of joy.

ART IN ANTWERP

After passing Dordrecht on the way down to Antwerp the canals and windmills begin to disappear.  The country is as flat as Holland, but has lost its characteristic charm.  It has become less symmetrical; there is disorder in the sky-line, more trees, the architecture is different.  Dutch precision has vanished.  The railway carriages are not clean, punctuality is avoided, the people seem less prosperous, few speak English, and as you near Antwerp the villas and roads tell you that you are in the dominion of the King of Belgium.  But Antwerp is so distinctly Flemish that you forget that bustling modern Brussels is only thirty-six minutes away by the express—­a fast train for once in this land of snail expresses.  No doubt the best manner of approaching Antwerp is by the Scheldt on one of the big steamers that dock so comfortably along the river.  However, a trip to the vast promenoir that overlooks the river gives an excellent idea of this thriving port.  The city—­very much modernised during the