My Query respecting this picture has been answered in the _Navorscher_ by a learned gentleman who writes under the signature of CONSTANTER, in that publication. The editor of the _Navorscher_ has communicated to me the name of this gentleman, and also the following translation of his remarks on my Query, and has also kindly permitted me to make what use of the latter I think fit. I therefore transmit them to you, that you may, if you think the subject of sufficient interest, insert them in your pages. JAS. H. TODD. Trinity College, Dublin. * * * * * Did not the whole arrangement of the picture give me reason to suppose that it must be a kind of symbolical point (figuurlÿk punt), such as the Rhetoricians were wont to show during their solemn processions--the character also of the additional verses, and especially the description of the paintings against the wall of the room, which is represented on the piece, would corroborate this meaning. These pictures, with the arms mentioned as making part of them, point directly at _Haarlem_ as the town whence the painting must have had its origin; for who is not acquainted, albeit only through the title of the _Opregte Haarlemsche Courant_[1], with, "the sword proper, on a red field, between four stars, surmounted by a cross, or?" Now, in the seventeenth century there existed at Haarlem _three_ Societies of Rhetoricians. One, the Oude Kamer[2], erected in 1503, had chosen for its motto, _Trou moet blÿcken_; and for its symbol, the _pelican_ or _speelkoornen_; whilst her shield was emblazoned as follows,--in the middle our Saviour crucified, and, behind the cross, Æneas bearing his father. To this _Kamer_ the painting alludes, of which Dr. James H. Todd says, "That nearest the fire-place is oval, representing the crucifixion. There is a white scroll across the picture, containing words which I cannot make out." Had the sentence not been obliterated, the querist would have read, _Trou moet blÿcken_. The second allegory, with illegible subscription, cannot be anything but the ensign of the so-called _Jonge Kamer_ at Haarlem, _de Wÿngaertrancken_, with the symbol, _Liefde boven al_ (Love above all). I presume this on account of the framework of the painting, ornamented on each side with bunches of red grapes (vine-branches) dependent from below. These bunches have been figured in the identical way on a scutcheon of the same _Kamer_, which is still preserved in the council-hall of _Beverwÿk_: there also we see, to the right, a female statue representing _Faith_; and, on the upper part, in the middle, another with a burning heart in her hand, and two (not three) children at her side, representing _Charity_, who thus has been placed _above all_ the rest, conformably to the motto of the Society. But, in lieu of the third child, stands immediately under her on the Beverwÿk blazon another woman, _Rhetorica_; and to the left, instead of