This picture--which is signed (on the mantelpiece) and dated 1627--is interesting as showing us, in a particular instance, the condition of social and political life out of which the Dutch art of the seventeenth century arose. The merchant has his globes before him: he was one of those who had built up the riches of his country by foreign trade. But he is a man of taste as well as of business, and the two things are closely united.[113] His office is itself hung with rich tapestry, and amongst the implements of his trade, his plans and books and maps, is a guitar. "The United Provinces, grouped together by the Convention of Utrecht (1579), ... concentrated the public functions in the hands of an aristocratic middle class (such as we see them in Terburg's historical picture, 896), educated and powerful, eager for science and riches, bold enough to undertake everything, and persevering enough to carry their enterprises to a successful conclusion. The brilliant heroism, implacable will, and indefatigable perseverance which had aided the people to recover their liberty and autonomy were now directed to other objects.... Their shipbuilders covered the seas with vessels, a legion of adventurous sailors went forth in all directions to discover distant shores or to conquer unknown continents.... Gold was now to be found in plenty in the country which hitherto had been poor, and with the influx of riches, taste, luxury, appreciation of the beautiful and love of Art were developed" (Havard: _The Dutch School_, p. 62). 213. THE VISION OF A KNIGHT. _Raphael_ (Urbino: 1483-1520). _See_ 1171.