Such mediocre producers of uninspired and unconvincing panels as Dirk Hals (1591-1656), the brother and pupil of Frans Hals, whose _Festive Repast_ (No. 2389) hangs in Room XXIII.; Cornelis van Poelenburg (1586-1667), whose art is here admirably illustrated (Nos. 2518-2523); Hendrick Pot (1585-1657), who evidently derived some satisfaction from the elaborate inscription he has placed on his quite ineffectual, but fortunately diminutive, _Portrait of Charles I._ (No. 2525); and the little-known and less-esteemed L. F. Zustris (1526-1600), whose absurd _Venus and Love_ (No. 2640) shows what a waste of time it was for him to study under Titian in Italy—these and many more worked as “business artists” for undiscriminating patrons. In the same category come Adriaen van de Venne (No. 2601), Pieter Codde (No. 2339A), Jacob Duck (No. 2360-2361), and A. Palamedesz (No. 2515A). [Illustration: PLATE XXXI.—VAN DER HELST (1613-1670) DUTCH SCHOOL No. 2394.—THE SHOOTING PRIZE (Les Chefs de la Gilde des arbalétriers) The four officers of the Brotherhood of St. Sebastian at Amsterdam are seated at a table in the foreground, with the insignia of the Brotherhood displayed before them. By the side of the officer who, seated to the right, is addressing his companions, is a slate on which are inscribed their names. In the background to the right are three young men with bows and arrows. From the left enters a maid-servant with a drinking-horn. Signed on the slate:—“BARTHOLOMEUS VAN DER HELST FECIT, 1653.” Painted in oil on canvas affixed to panel. 1 ft. 7¾ in. × 2 ft. 2½ in. (0·50 × 0·67.)] GENRE PAINTERS This rough sketch must suffice for our study of the History and Portrait Painters of Holland. Although, of course, portraiture played a most important part throughout the whole range of Dutch art, we must now deal with those of their contemporaries and successors who are classed as painters of genre subjects, Interiors, Conversation-pieces, and Rustic Scenes. The compositions of these men at first show high technical excellence, and a refined feeling for light and shade; they depict simple scenes and homely incidents which make a wide appeal in any age. By the end of the seventeenth century their scenes become festive, and eventually boisterous, and so degenerate into unimaginative renderings of far-fetched incidents which are treated with a parade of mere imitative skill. In the last phase of their art the subjects become even more uninviting, the panels are smoothly painted, and all originality disappears. ADRIAEN VAN OSTADE