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They recalled neither her genius nor her womanly qualities which they had admired, appreciated, and so soon forgotten! <b>OOSTERWYCK, MARIA VAN.</b> The seventeenth century is remarkable for the perfection attained in still-life and flower painting. The most famous masters in this art were William van Aelst of Delft, the brothers De Heem of Utrecht, William Kalf and the Van Huysums of Amsterdam.
Paul's, which is probably, in the abstract, as perfect flower sculpture as could be produced at the time; and which is just as rational an ornament of the building as so many valuable Van Huysums, framed and glazed and hung up over each window.
The most recent were Greuze's Jeune Fille Effrayee, from the last King of Poland's Gallery; two Canalettis, once the property of Pope Clement XIII; James II of England's Wife, by Netscher; the same king's portrait, by Lely, in addition to a Van Dyck, two Van Huysums, and three canvases by Rotari, a Venetian painter of the eighteenth century. The winter was not propitious to Madame Hanska either.
A Govert Flinck. How truthful! The De Heems are excellent fruit and flower pieces. Excellent, too, the Huysums, Hondecoeters, and Weenixes. There is a dead baby of the Dutch school which is as realistic as a Courbet. We admired the small Memlic, or Memling, and, naturally, the Metsus, Mierevelts, and Mierises. The Holy Virgin and Infant Christ, by Murillo, is tender and sleek in colour.
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