the man with the hawk (?), another female representing _Hope_, and completing, in this manner, the Christian trilogy (1 Cor. xiii. 13.). Besides, in the middle compartment, not John Baptist but our Lord is seen, standing as victor over Hell, in which Satan is conspicuous. However, notwithstanding these deviations, I think the resemblance too striking not to consider the painting on the wall as the ensign of the _Jonge Kamer_. The third or last picture, representing the _marriage of Christ with the Church_, is the well-known blazon of the third _Rederÿkerkamer_ at Haarlem, surnamed _de Flaamsche_ (the Flemish), which bore the _Witte Angieren_ (white _stock-flowers_, not lilies), with the motto, _In liefd getrouw_. This shield too is still preserved in the town-hall at Beverwÿk. Thus, the three Haarlem Societies of Rhetoricians are represented by their shields in the room designed; nay, if I am not mistaken, the painter has given us a delineation of their meeting-place. This appears: 1. By the statue in the niche, _Rhetorica_. 2. By the two cup-boards, one of which contains the prizes, carried by the _Kamers_ at various entries and processions; to wit, silver and gold cups, flagons, and dishes: whilst in the other, its books are deposited. 3. By the table under the window, well to be distinguished from that around which the guests are seated, and used by the Rhetoricians as a movable stage, on which to rehearse their plays (whence Willems and Mone derive the name of _tafelspel_ [table-play]). 5. By the broad roller under the pictures, that occupies the space, where otherwise was commonly hung the _Keur_ (statutes) of the _Kamer_. This last inscription, connected with what is to be read over the fire-place, fully explains the meaning of the whole picture. The lines censure the disputes regarding the dogmata of religion, because every body thinks _his_ conviction the best one; many controversies being carried on "Wanneer het volck is vol" (whilst people are full), by incompetent and illiberal critics, and these contentions alienating their hearts from _Charity_, the chief commandment of Christ. In a word, the painting is the faithful representation of what the Haarlem Rhetorician, Dirk Volkerts Coornhert, professed {214} and advocated in his writings. Still the piece belongs to a later period, perhaps between the years 1618 and 1630, when the disputes with Remonstrants, Socinians, and _Kooledsjanten_ (_Collegianten_, collegians, sectarians of the van der Kodde's) had reached their highest point. It is known that the Rhetoricians frequently meddled with these contending parties, to the great displeasure of the Synods, which more than once contrived to elicit severe measures from the magistrates against them. How far the Haarlem Societies made themselves justly liable to such interferences, I have not been able to discover; but it might be ascertained by means of one or other of their works published about that