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There are several battle-pieces by Gerard Lairesse, in one of which, a dashing cavalry-charge, the Courance banner leads the van. Boucher has two landscapes, scenes in the park according to M. Gambeau very careful, faithful works; and there are several large pictures by Vien, similar to his suburban studies in the Louvre.
The description of the glory of sunrise in Bernard de Mandeville, the description of the Chapel in Christopher Smart, the praise of a woman's beauty in Francis Furini, the amazing succession of mythological tours de force in Gerard de Lairesse, the delightful picture of the blackcap tugging at his prize, a scrap of rag on the garden wall, amid the falling snow of March, in the opening of Charles Avison these are sufficient evidence of the abounding force of Browning's genius as a poet at a date when he had passed the three score years and ten by half an added decade.
Nor would we willingly forget that magical lyric of life and death, of the tulip beds and the daisied grave-mound "Dance, yellows and whites and reds" which closes Gerard de Lairesse.
Forty years after his death, Gerard de Lairesse, a popular painter, now forgotten, wrote of Rembrandt "In his efforts to attain a yellow manner, Rembrandt merely achieved an effect of rottenness.... The vulgar and prosaic aspects of a subject were the only ones he was capable of noting." Poor Gerard de Lairesse!
Three more years passed, and the last book which Browning published in his lifetime was Parleyings with Certain People of Importance in their Day, a book which consists of apostrophes, amicable, furious, reverential, satirical, emotional to a number of people of whom the vast majority even of cultivated people have never heard in their lives Daniel Bartoli, Francis Furini, Gerard de Lairesse, and Charles Avison.