§ 4. On the nearer side of the river, a bank of broken ground rises from the water's edge up to a group of very graceful and carefully studied trees, with a French-antique statue on a pedestal in the midst of them, at the foot of which are three musicians, and a well-dressed couple dancing; their coach is in waiting behind. In the foreground are hunters. A richly and highly-dressed woman, with falcon on fist, the principal figure in the picture, is wrought with Wouvermans' best skill. A stouter lady rides into the water after a stag and hind, who gallop across the middle of the river without sinking. Two horsemen attend the two Amazons, of whom one pursues the game cautiously, but the other is thrown headforemost into the river, with a splash which shows it to be deep at the edge, though the hart and hind find bottom in the middle. Running footmen, with other dogs, are coming up, and children are sailing a toy-boat in the immediate foreground. The tone of the whole is dark and gray, throwing out the figures in spots of light, on Wouvermans' usual system. The sky is cloudy, and very cold. § 5. You observe that in this picture the painter has assembled all the elements which he supposes pleasurable. We have music, dancing, hunting, boating, fishing, bathing, and child-play, all at once. Water, wide and narrow; architecture, rustic and classical; trees also of the finest; clouds, not ill-shaped. Nothing wanting to our Paradise: not even practical jest; for to keep us always laughing, somebody shall be for ever falling with a splash into the Kishon. Things proceed, nevertheless, with an oppressive quietude. The dancers are uninterested in the hunters, the hunters in the dancers; the hirer of the pleasure-boat perceives neither hart nor hind; the children are unconcerned at the hunter's fall; the bathers regard not the draught of fishes; the fishers fish among the bathers, without apparently anticipating any diminution in their haul.