REMBRANDT was a master of both landscape motives, able alike to record with truthfulness the physical aspects of a scene or to infuse it with romantic suggestion; and nowhere more remarkably than in his etchings. In these, with a few lines that summarize the salient features of the scene, or with tonal effects of light and shade that elaborate and enrich the facts, he executed plates of pure landscape or of landscape as a setting for the figures. Among his paintings the examples of pure landscape are rare. The beautiful _Tobit and the Angel_ of the National Gallery may be considered one, as the figures are insignificant, and another, which, however, is a sea-piece, is in the Liechtenstein Gallery (No. 606): water, dotted with a boat and a few distant sails, stretching back to a low horizon, over which spreads a vast open creamy sky, with some finely buoyant clouds. It is as a setting to figures, especially in the Biblical subjects, that Rembrandt’s use of landscape may best be studied. Here it serves as an orchestration to the theme, enriching it with sensuous and emotional suggestion, and giving a free range to the artist’s romantic and dramatic imagination. PHILIPS KONINCK REMBRANDT’S best-known pupil in landscape was Philips Koninck, who was born in Amsterdam, 1619, and died there in 1688, some of his career being spent abroad. The character of his work suggests that he, too, may have been influenced directly by Hercules Seghers, for he affected far-reaching panoramas of flat country, interrupted by occasional low hills and traversed by streams. A fine sky extends above the ground, which is constructed in tones of warm pale yellow, olive green, and reddish brown. Notwithstanding the comparatively large size of the canvases and the extent of the scene included, the latter has been felt so synthetically, as well as comprehensively, that there is no lack of unity. An excellent example is _The Dunes_, “The Valley of the Rhine near Arnheim,” owned by Sir William van Horne of Montreal. Another memorable example is in the Dresden Gallery, _Dutch Landscape_, a view from the dunes looking across the level country. This canvas is scarcely so large, but involves the same sense of bigness. The foreground, which shows some red-roofed cottages amidst the olive greens, is constructed in an ample way; a river occupies the middle distance, and the further plain is dotted with little trees. Overhead is a sky of drabbish gray and rosy cream. The Berlin Museum owns a handsome example with figure and cattle in the foreground, and the Rijks Museum contains two. Here also are to be seen four portraits by Koninck of _Joost van den Vondel_, two at the age of seventy-eight and two at eighty-seven; the subject evidently being a friend of the artist, for on the back of one of the pictures is a dedicatory inscription. * * * * *