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The apple scandal and the angel with the flaming sword are portrayed with a vivid line that recalls the miniaturist. A rare painter. Roeland Savery is an artist whose name, we confess, was not known to us until we saw his work in the Rijks. The rich pâte and bouquet-like quality of his colour recall Monticelli.
All has a touch of moving beauty. In the "Schlechte Gesellschaft" of the Louvre or the more vulgar "Nach dem Gelage" of the Rijks Museum least rewarding of pictures for the moralist how rich in beauties of color and line is the composition, how tender in modeling are the forms, how bewitching to the eye the fine enamel of the surface!
Must we stop before Mabuse, or before the cattle piece of the Dutch school, seventeenth century? A Monticelli seems out of key here, and the subject is an unusual one for him, Christ With the Little Children. The Little Princess, by P. Moreelse, has the honour, after Rembrandt, of being the most frequently copied picture in the Rijks. The theme is the magnet.
The daintiness and innocence of the young girl's profile, the refinement of the man's face, and the enchanting tones of the yellow bodice and blue skirt make of this picture a worthy sequel to "Die Menagerie." Another composition of two figures is "Das Trinkerpaar" in the Rijks Museum at Amsterdam.
We must bow, however, to the judgment of the learned Bredius who made the ascription. These two works are not as yet in the catalogue. It is a pity the catalogue to this gallery is not as complete as those of the Rijks Museum. To visitors they offer an abridged one, dated 1904.
Because I had strolled over to buy a newspaper at a kiosk hard by the Rijks Museum in Amsterdam, I discovered an announcement that the Italian Futurists were holding an exhibition in De Roos Gallery on the Rokindam. This was early in September, 1912. What a chance, I thought, to compare the new with the old.
Old David Bles is here, and Blommers, De Bock, Bosboom, Valkenburg, Alma-Tadema, Ary Scheffer of Dutch descent Roelofs, Mesdag, Mauve, Jakob Maris, Jongkind, and some of the Frenchmen, Rousseau, Millet, Dupré, and others. The Six gallery is not so accessible as it was some years ago. No doubt its Rembrandts and Vermeers will eventually find their way into the Rijks Museum.
The early Flemish school of the fifteenth century is strongly represented in several of the galleries up-stairs. And Rogier de la Pasture, otherwise known as Rogier van der Weyden, is shown in five pictures, and at his best. The Chevalier with the Arrow, a bust portrait, will be familiar to those who have visited the Rijks Museum, where a copy hangs.
Christine now conducted her artist friends out of the Palace and over to the Rijks Museum to see Rembrandt's largest and best work, his "Night Watch." It is on the right as you enter, covering the side of the room. It represents a company of arquebusiers, energetically emerging from their Guild House on the Singel.
After that glorious trinity, Rembrandt, Frans Hals, and Vermeer, hanging in the Rijks, what a piquant contrast to study the new-fangled heresies and fantastic high-kicking of the Futurists!
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