One of the last lingering influences of Rembrandt is seen in the art of Nicolas Maes (1632-1693). The genre pictures of his early period are so vastly superior to his later portraits that it was formerly assumed that there might well have been two artists of the same name. He certainly delighted in painting several versions, which vary considerably in size, of _Grace before Meat_ (No. 2454). In his pictures we see the mind that broods, and women who meditate rather than act. The best examples of his domestic scenes are finely graduated, although the sadness of advancing age becomes monotonous in time. [Illustration: PLATE XXXV.—PIETER DE HOOCH (1629-1677?) DUTCH SCHOOL No. 2415.—DUTCH INTERIOR WITH A LADY PLAYING CARDS (Intérieur hollandais) By the fireplace to the left a lady is seated. She is playing cards with a gentleman, and shows her hand to a cavalier who stands beside her. In the background stand two lovers, and a boy is entering the room, a richly appointed room, hung with gilt leather. Signed on the base of one of the columns supporting the mantelpiece:—“P. D. HOOCH.” Painted in oil on canvas. 2 ft. 2½ in. × 2 ft. 6½ in. (0·67 × 0·77.)] GABRIEL METSU A high place among the painters of “Conversation-pieces” must be accorded to Gabriel Metsu (1630?-1667), a shortlived artist who was born at Leyden and learnt the first principles of his art from Dou. As early as 1644 he seems to have earned some reputation as a painter, his signature appearing on his _Court Physician_ in that year. He came under the influence of Rembrandt, and in later life practised as a painter at Amsterdam, where he died.