The ineffectual productions of Jan Victoors (1620-1670) include the _Portrait of a Young Lady_ (No. 2371), a typical example of the “niche” portrait which became so popular, and a large _Isaac blessing Jacob_ (No. 2370), which vividly recalls his small canvas in the Dulwich College Gallery that in less critical days passed as a Rembrandt. G. van den Eeckhout (1621-1674) in his picture (No. 2364) shows his dependence on Rembrandt; and Cornells Drost’s repulsive _Bathsheba_ (No. 2359A) has no claim to be regarded as a “_fort bonne peinture_,” as a French critic has thought fit to term it. VAN DER HELST Bartholomeus van der Heist (1612-1670), a native of Haarlem, who painted under the early Dutch master, Nicholas Elias, surnamed Pickenoy, and subsequently worked at Amsterdam, has fully signed his _Shooting Prize_ (No. 2394, Plate XXXI.), which is dated 1653. It has been regarded as a replica on a very reduced scale of _The Officers of the Brotherhood of St. Sebastian at Amsterdam_, in the Amsterdam Gallery, which, curiously enough, bears the date 1657, and is also signed on a slate. Pieter van der Faes, who is better known as Sir Peter Lely (1618-1680), after painting at Haarlem in the school of Pieter de Grebber, went to England in 1641. He there succeeded Van Dyck as Court painter, and at the Restoration became the favourite Royal painter. The affectation and mannerism of his _Windsor Beauties_, now at Hampton Court, is well known. He had a certain facility in painting “The sleepy eye that spoke the melting soul.” Three pictures (Nos. 2367-2369) are placed to his credit here, but “The bugle eyeball and the cheek of cream” have done their magic now. The name of H. van Vliet (1611?-1675) is, doubtless, correctly connected with two portraits on canvas (Nos. 2605 and 2605A), while his contemporaries, Cornelis Saftleven (1606-1681) and D. van Santvoort (1610-1680), are represented by _The Artist’s Portrait_ (No. 2562) and the _Pilgrims at Emmaus_ (No. 2564) respectively. Jakob van Loo (1614-1670), who became a naturalised Frenchman, may be judged by his diploma picture (No. 2451) and a very poor _Nude Female_ (No. 2452).