_Mercury and Argus_, Eeckhout has treated this mythological subject with some charm. The young nude figure of Mercury, with a blue drapery over his knees, as he sits playing his pipe, is a charming white spot against the warm ruddiness of the rocky landscape, where beside a white and red cow the brown nude form of Argus is stretched, as if in sleep. Farther back in shadow are the sheep and goats. The feeling of the picture is pleasant; but its suggestion is inclined to be rather superficial. Of this artist’s portraits there is an example in the Brunswick Gallery and one excellent specimen in the National Gallery. This is _The Wine Contract_, in which the four governors of the Wine Guild of Amsterdam, dressed in black, are seated at a table, examining a contract. AERT DE GELDER DE GELDER was a pupil of Rembrandt’s old age. He himself was not born until 1645, and, it is supposed, was little over fifteen when, after studying with Hoogstraten in their native city, Dordrecht, he went to Amsterdam. Then he returned to Dordrecht and resided there until his death in 1727. He is thus one of the latest of the artists of the period we are considering. An early work, dated 1671, directly inspired by Rembrandt, is in the Dresden Gallery. _The Presentation of Christ in the Temple_ is a reproduction in color of Rembrandt’s well-known etching of this subject, worked out in red and brown and olive green, enveloped in a dull, warm glow, which, however, has more of mannerism than of suggestion to the imagination. The accompanying example in this gallery, _An Important Document_, shows a man and woman seated at a table, covered with a red cloth, examining a paper. The coloring is warm, the hands and faces, however, inclining to an unpleasant brickiness of red, while the whole aspect of the scene is lifelike but uninspired. The Dresden Gallery also owns the _Portrait of a Halberdier_, a well-painted and fairly interesting study of a stout man, with rosy, glowing face beneath a fur-brimmed hat, whose uniform is of various tones of olive green. De Gelder is also represented by three portraits in the Rijks Museum and by a Biblical subject, _Judah and Thamar_, in the Hague Gallery, but the best example of the latter kind is in the Museum of Art at Budapest. This _Esther and Mordecai_, dated 1685, shows the queen, seated at a table before an open book, resplendent in a brocaded and jeweled cloak and a tagged and tufted dress, listening while Mordecai, bending forward with humble admiration, addresses her. The coloring is rich and mellow, and the delineation of character, especially in the case of Mordecai, has considerable suggestion of the spirit of the story. DIRCK DIRCKSZ SANTVOORT