_Aart van der Neer_ (Dutch: 1603-1677). _See_ 152. A good example of "the penetrating melancholy of moonlight"--an effect in which this painter excelled. 240. CROSSING THE FORD. _Nicolas Berchem_ (Dutch: 1620-1683). _See_ 78. 242. THE GAME OF BACKGAMMON. _Teniers_ (Flemish: 1610-1694). _See_ 154. "An example," says Mr. J. T. Nettleship in a comparison between Morland and some of the Dutch masters, "not only of the works that Morland loved, but of the life (alas!) he best loved too. In one respect it at once takes rank above the English painter, for every man must be a portrait; the two playing might indeed be English as well as Dutch, the man looking on is a degraded boor. In the chimney-place are several men farther off--one with his back to you is seated on a bench with his head against the chimney-jamb, a 'poor drinker,' he seems. The standing man, standing with his back to the fire, smoking a long clay, looks half-pitying, half-scornful at the feebler sinner" (_George Morland_, p. 23). 243. AN OLD MAN. _Rembrandt_ (Dutch: 1606-1669). _See_ 45. A noble picture of the dignity of old age (dated 1659). 244. A SHEPHERD WITH A LAMB. _Spagnoletto_ (Spanish: 1598-1648). _See_ 235. 245. PORTRAIT OF A SENATOR. _Hans Baldung_ (German-Swabian: 1476-1545). This portrait is dated 1514, and signed with the monogram of Albert Dürer, to whom it was formerly ascribed. But the monogram is now said to be a forgery, and the picture is identified as the work of Dürer's friend Baldung. On the death of Dürer (in 1528) Baldung received a lock of his hair (now preserved in the Library of the Academy of Arts at Vienna), and Dürer, in his Journal in the Low Countries, records having sold several of Baldung's engravings. Baldung, painter, engraver, and designer, was a native of Gmünd in Swabia, and his earliest works show the influence of Martin Schongauer (see 658). He lived at Freiburg-in-the-Breisgau (in the monastery at which place is his greatest work, a "Coronation of the Virgin"), and also at Strassburg, of which latter city he became a senator shortly before his death. Baldung's portraits, says the Official Catalogue, "are highly individual and full of character. When unsigned they have sometimes passed for the work of Dürer, but they want his searching modelling." Baldung acquired and adopted the name of Green or Grün, either from his habit of dressing in that colour or from his fondness for a peculiarly brilliant tint of green often found in his pictures.