Van Ostade died in Haarlem in 1685. Among his pupils were his brother Isaac van Ostade (1621-1649), Cornelis Bega (1620-1664), and Cornelis Dusart (1660-1704). The last named inherited a great number of his master’s studies and sketches, which he worked upon and finished. These after Dusart’s death were sold as his own, a fact which helps to explain the similarity of his style to that of Adriaen van Ostade. Bega often imitated the latter’s choice of subject, and also with some success his manner of gray tonality, but his colors lack transparency, and the flesh parts are dry and brickish. The outdoor scenes of Isaac van Ostade, alive with figures in characteristic action, are exceedingly interesting as pictures of the “passing show” of Dutch life. Lastly, it is to the credit of Adriaen van Ostade that he was the teacher of, or at least exercised considerable influence over, Jan Steen during the latter’s sojourn in Haarlem. But the manner of his own pictures is that of the earlier genre which preceded the great School of Holland. [Illustration: PEASANTS ROUND A HEARTH ADRIAEN VAN OSTADE RIJKS MUSEUM, AMSTERDAM] GERARD (GERRIT) DOU THIS artist, born in Leyden, 1613, and dying there in 1675, spent his whole life in his native city, helped to found its Guild of St. Luke, and influenced several other genre painters. Among the latter were Gabriel Metsu, Godfried Schalcken, Pieter Cornelisz van Slingeland, and Frans van Mieris the Elder, who handed on the tradition of the Leyden School to his son, Willem van Mieris. Dou himself had enjoyed the influence of Rembrandt, in whose studio he worked during the three years preceding the master’s move to Amsterdam in 1631. But before this time he had been instructed by his father, who was a painter on glass, and by Bartholomeus Dolando, an engraver. Dou’s own matured style very remarkably reflects both the earlier and the later experiences of his training. While he learned to feel his subject in the manner of Rembrandt, he contrived also to see it with a precise eye for detail and to render it with the nicety of a painter on glass or of one who uses the burin. He was an impeccable draftsman and a good composer, so long as the subject contained only a few figures and was treated in a small size. For large canvases and the handling of a complicated composition his style was altogether too minute in character. On the other hand, his color is always harmonious, though in some works inclined to an excessive polish; and the chiaroscuro, skilfully applied, is, when the subject permits, very charmingly expressive of the sentiment. He devoted himself to the representation of interiors and, as we have seen, adopted the device of showing them through an arch or beyond a lambrequin, formed of a heavily draped curtain, frequently also representing one or more figures at a window with the obscurity of the room behind them. In thus adapting Rembrandt’s principle of chiaroscuro