It will be convenient here to group Adam Pynacker (1622-1673) with his three pictures, Willem Romeyn (1624?-1696?) with one, Abraham Begeyn (1637?-1697) with one, Guilliam de Heusch (1625?-1692) with one, Dirk van den Berghen (1645-1690?) with two, and Glauber (1646-1726) with a single _Landscape_ (No. 2374) in which the figures are inserted by Gerard de Lairesse. Mention must, however, be made of Paul Potter, the highly esteemed cattle painter, who died in 1654 at the early age of twenty-nine. One of his latest canvases is the _Cows and Sheep in a Field_ (No. 2527), of 1652; but his _Horse in a Field_ (No. 2528) of the following year, and the _Wood at The Hague_ (No. 2529), give an excellent idea of his art. These and the _Horses at the Door of a Cottage_ (No. 2526) show that Paul Potter had a sound knowledge of animal anatomy. He is seen at his best in small compositions such as are here exhibited, in which the construction and _mise-en-scène_ are simple and the details delicately rendered. It is a popular fallacy that his chief contribution to the fame of Dutch art was his large _Bull_ of 1647, which measures 8 ft. by 12 ft., in The Hague Gallery. He did not live long enough to form a “school.” THE ITALIAN INFLUENCE The Italianising influence was already beginning to make itself felt, to the lasting detriment of Dutch painting, and the typical example of this downward movement is Nicolaes Berchem (1620-1683), who was founded on his father, Pieter Claesz, and on Pieter de Grebber, and Jan Wils at Haarlem, while he also was impressed by Claes Moyaert and J. B. Weenix at Amsterdam, where he removed in 1677. There is scarcely a well-furnished gallery in Europe that does not seek to pride itself on possessing one of Berchem’s renderings of _Crossing the Ford_, or a _Woman upon an Ass in conversation with another Person_. The Louvre is no exception to this rule, and exhibits his _Cattle crossing a Ford_ (No. 2315) and nine other canvases and panels, nearly all of which bear his much-vaunted signature. His art is to-day deservedly out of fashion with discerning collectors. Berchem’s pupil, Karel du Jardin (1622-1678), who is invariably at much pain to sign his pictures, is seen to some advantage in his very Italian and in every way characteristic _Italian Charlatans_ (No. 2427), the typical _Ford in Italy_ (No. 2428), and eight other works. His attempts to depict a _Calvary_ (No. 2426) have not been crowned with success, as the composition is overcrowded and undramatic; nor do we experience any emotion on regarding his _Portrait of Himself_ (No. 2434), a small production on copper.