At a later period he established himself in Amsterdam, where he became the pupil and soon the comrade and friend of J. Ruysdael, who served as witness to his marriage with Eeltie Vinck, celebrated in this same city, Oct. 2, 1668.  From that time he scarcely ever left Amsterdam, where he died, Dec. 14, 1709, five years after his wife, in the sad Roosegraft, which had seen Rembrandt expire thirty years before.  He was sixty-seven years of age.  Have we any need to add that, like Rembrandt, the painter of painters, he died poor?

That is all we know of Meindert Hobbema.  It is little enough, but quite sufficient.  Have we not the man complete in his work?  What more could we wish?

    Jouin, Chefs-d’oeuvre:  Peinture, Sculpture, Architecture
    (Paris, 1895-97).

THE DANCE OF THE DAUGHTER OF HERODIAS

(ANDREA DEL SARTO)

ALGERNON CHARLES SWINBURNE

With the majestic and tragic things of art we began, at the landmarks set by Leonardo and Michael Angelo; and are come now, not quite at random, to the lyric and elegiac loveliness of Andrea del Sarto.  To praise him would need sweeter and purer speech than this of ours.  His art is to me as the Tuscan April in its temperate days, fresh and tender and clear, but lulled and kindled by such air and light as fills the life of the growing year with fire.  At Florence only can one trace and tell how great a painter and how various he was.  There only, but surely there, can the influence and pressure of the things of time on his immortal spirit be understood; how much of him was killed or changed, how much of him could not be.  There are the first-fruits of his flowering manhood, when the bright and buoyant genius in him had free play and large delight in its handiwork; when the fresh interest of invention was still his, and the dramatic sense, the pleasure in the play of life, the power of motion and variety; before the old strength of sight and of flight had passed from weary wing and clouding eye, the old pride and energy of enjoyment had gone out of hand and heart.  How the change fell upon him, and how it wrought, any one may see who compares his later with his earlier works, with the series, for instance, of outlines representing the story of St. John Baptist in the desolate little cloister of Lo Scalzo.  In these mural designs there is such exultation and exuberance of young power, of fresh passion and imagination, that only by the innate grace can one recognize the hand of the master whom hitherto we know by the works of his after life, when the gift of grace had survived the gift of invention.  This and all other gifts it did survive; all pleasure of life and power of mind, all the conscience of the man, his will, his character, his troubles, his triumphs, his sin and honour, heart-break and shame.  All these his charm of touch, his