In the Vienna Gallery also is an example of one of his winter scenes, others appearing in the National Gallery and in the Wallace Collection. In these the artist indulges in a freer and livelier use of color, though the animation of the ground and its group of figures does not interfere with the delicate observation and sensitive feeling, that still regulate his treatment of the skies. It is on this that Van der Neer, like all painters of poetic moods, relies chiefly for expression. In one of Van der Neer’s landscapes in the National Gallery, cattle were painted by Cuyp. The reminder may serve at this point of our story for an introduction to the important part played in Holland landscape by those artists who enlivened it with figures and animals. LANDSCAPE WITH FIGURES AND ANIMALS THE popularity of this branch of painting in the seventeenth century can be explained by its affinity to genre painting. It is but a step from depicting a party of people in an interior to showing them engaged in some sport or occupation in the open air. The same tendency to depict the incidents of Dutch life, or to use such incidents as the theme of a pictorial presentation, appears in both; and some of the artists of this out-of-door genre, Wouwerman, Adriaen van de Velde, Cuyp, and Berchem, reached proficiency that compares favorably with the masterpieces of interior genre. As for the fondness for depicting cattle, we may recollect how Troyon, after visiting Holland, turned from pure landscape to cattle studies, while every observant visitor to that country has enjoyed the spots of rich color which the grazing herds make in the far stretches of green pasture. They form one of the notable features of the Holland landscape, and it would have been surprising if the painters, so intent on the study of their home surroundings, had overlooked it. The signal member of this group of painters is Paul Potter. PAUL POTTER POTTER is the prodigy among Dutch artists. At the age of twenty-two he produced a masterpiece that, despite its shortcomings, has compelled the admiration of the world. This is a work of trenchant, even brutal force, while the majority of his work, especially in his later years, wins by its charm of persuasiveness. He is personally known to us through the beautiful portrait by Van der Helst. It was painted in the year of Potter’s death, and shows him a man of distinguished mien, with soft auburn hair curling upon his shoulders, and a face that is marked by a high forehead, heavy-lidded eyes, a strong nose, and full, impulsive lips; a face upon which consumption has set the impress of fell refinement. [Illustration: THE YOUNG BULL PAUL POTTER HAGUE MUSEUM]