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Updated: June 2, 2025
Opposite the foot of the steps was a doorway, without a door, leading to two larders, dimmer even than the kitchen, vague retreats made visible by whitewash, where bowls of milk, dishes of cold bones, and remainders of fruit-pies, reposed on stillages; in the corner nearest the kitchen was a great steen in which the bread was kept.
Master Maloney's statement that "about 'steen" visitors had arrived proved to be a little exaggerated. There were five men in the room. As Smith entered, every eye was turned upon him. To an outside spectator he would have seemed rather like a very well-dressed Daniel introduced into a den of singularly irritable lions. Five pairs of eyes were smoldering with a long-nursed resentment.
In London he bought a portrait by Raeburn; in Paris a plowing scene by Millet, a small Jan Steen, a battle piece by Meissonier, and a romantic courtyard scene by Isabey. Thus began the revival of his former interest in art; the nucleus of that future collection which was to mean so much to him in later years.
Terburg is simple as a page of seventeenth-century prose; and in Keene there is the same deep, rich, classic simplicity. The material is different, but the feeling is the same. I might, of course, say Jan Steen; and is it not certain that both Terburg and Steen, working under the same conditions, would not have produced drawings very like Keene's?
Oftentimes Steen indulges in a gay and harmless badinage as different as possible from the bold and keen irony of his wilder themes.
And then, every sense on the strain, he heard his own name called softly, and he laughed to himself for very joy of it, and lay still to hear it again, and laughed once more to think that in her simplicity she still thought of him as "Mr. Gard." He would teach her to call him "Steen," as his mother used to do.
Of living creatures only birds came there freely, the sea-birds especially, to attract and detain which there were all sorts of ingenious contrivances about the windows, such as one may see in the cottage sceneries of Jan Steen and others. There was something, doubtless, of his passion for distance in this welcoming of the creatures of the air.
The second letter, which surprised me more, was from the editor of the, at that time, powerful Daily Paper, Steen Bille, offering me the entire management of the paper after the retirement of Molbech, except so far as politics were concerned, the editor naturally himself retaining the latter. As Danish things go, it was a very important offer to a young man.
After many consultations he was given the task of trying to construct a thermograph out of the hygrograph and the disabled thermograph; this was just the job for him. The production he showed me a few hours later made my hair stand on end. What would Steen say? Do you know what it was? Well, it was an old meat-tin circulating inside the thermograph case.
Leaving out the Three Maries of Perugino at Marseilles, and at Lyons the Ascension, which was once the glory of San Pietro di Perugia, the Moses of Paul Veronese, and Palma Giovanni's Flagellation, these two galleries put together cannot match Dublin with its Jan Steen, most characteristic without being coarse, its Terburg, a life-size portrait of the painter's favourite model, a young Flemish gentleman, presented to him as a token of regard, its portrait of a Venetian personage by Giorgione, with a companion portrait by Gian Bellini, its beautiful Italian landscape by Jan Both, its flower-wreathed head of a white bull by Paul Potter, its exquisitely finished "Vocalists" by Cornells Begyn, its admirable portrait of a Dutch gentleman by Murillo, and its two excellent Jacob Ruysdaels.
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