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Updated: May 20, 2025
Pierre Grassou stood with arms pendent, gaping mouth, and no word upon his lips as he recognized half his own pictures in these works of art. He was Rubens, he was Rembrandt, Mieris, Metzu, Paul Potter, Gerard Douw! He was twenty great masters all by himself. "What is the matter? You've turned pale!" "Daughter, a glass of water! quick!" cried Madame Vervelle.
He shivered at a snowstorm by Mieris; he seemed to take part in Salvator Rosa's battle-piece; he ran his fingers over a tomahawk form Illinois, and felt his own hair rise as he touched a Cherokee scalping-knife.
In this respect, Dou, Mieris, Potter, Van der Helst, and indeed all the Dutch painters in greater or less degree, were famous as prodigies of patience. On the other hand, realism, which imparts to Dutch painting such an original character and such admirable qualities, is, notwithstanding, the root of its most serious defects.
In the gallery at the Hague home-life is represented by Dou, by Adriaen van Ostade, by Steen, and by Van Mieris the elder.
Then, that said, they ate, and drank, and laughed, and picked cherries from each other's mouths like little blackbirds; the big white dog gnawed a crust at their feet; old Krebs who had a fiddle, and could play it, came out and trilled them rude and ready Flemish tunes, such as Teniers or Mieris might have jumped to before an alehouse at the Kermesse; Bébée and the children joined hands, and danced round together in the broad white moonlight, on the grass by the water-side; the idlers came and sat about, the women netting or spinning, and the men smoking a pipe before bedtime; the rough hearty Flemish bubbled like a brook in gossip, or rung like a horn over a jest; Bébée and the children, tired of their play, grew quiet, and chanted together the "Ave Maria Stella Virginis"; a nightingale among the willows sang to the sleeping swans.
Also the Woman with the Dropsy, which is accounted his chef-d'oeuvre. Among the scholars of Gerard Dou, FRANS VAN MIERIS, born at Leyden 1635, died 1681, takes the first place. In chiaroscuro, and in delicacy of execution he is not inferior to his master.
Monsieur du Guenic was a tall, straight, wiry, lean old man. His oval face was lined with innumerable wrinkles, which formed a net-work over his cheek-bones and above his eyebrows, giving to his face a resemblance to those choice old men whom Van Ostade, Rembrandt, Mieris, and Gerard Dow so loved to paint, in pictures which need a microscope to be fully appreciated.
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