IF it is a fact, as generally supposed, that Santvoort (1610-1680) was one of Rembrandt’s pupils, he did not follow the master’s use of chiaroscuro, but rather the example of his elaborately detailed portraits. In Santvoort’s own case, as he may be studied in the Rijks Museum, this led at first’ to hardness of modeling, as may be seen in the portrait group of the _Dirck Bas Jacobsz Family_, dated 1634, where the stiffness of the composition is increased by the gaze of every face being focused to one point. Still hard, but full of character, is a later portrait, dated 1638, of _Four Ladies of the Spinhuis_. The latter was the house of correction, and these guardians and matrons look competent to rule it firmly. More theatrical in arrangement, with hands pointing this way and that, is the _Four Governors of the Serge Hall_ (1643). Meanwhile, three years earlier, Santvoort painted the single portrait of _Frederick Dircksz Alewyn_, which again is harsh in texture and bronze-like in color. On the other hand, the portrait of this man’s wife, _Agatha Geelvinck_, has a distinct charm. The light falls upon her forehead and soft hair, which is frizzed out with little curls, while the features are modeled with a dainty discretion that recalls a Florentine primitive. Then follow two portraits of children, respectively ten and nine years old, _Martinus_ and _Clara Alewyn_. They are represented as a shepherd and shepherdess, the former in a rose tunic, with a scarf of goldish sheen, quite Rembrandtesque in quality, the latter in a satin dress of the hue of strawberries and cream. She carries a bow and arrow, and is accompanied by lambs, while the boy is attended by a black greyhound. The hands and faces are well modeled and have expression, while the painting throughout is fluent and limpid. The pictures are inclined to sentimentality, which, however, is more easily excused because of the youngness of the children and the painter-like quality of the technique. BARTHOLOMEUS VAN DER HELST From the above followers of Rembrandt, who reflect the manner but so little of the greatness of the master, it is a relief to turn to a portrait-painter who, while he owed something to Rembrandt in the way of chiaroscuro, was [Illustration: PORTRAIT OF PAUL POTTER BARTHOLOMEUS VAN DER HELST HAGUE MUSEUM]