To the Dutch method of treating Biblical subjects we have already alluded in the case of Rembrandt and Jan Steen. It shows in common the motive of translating the story into the vernacular of Dutch life, accompanied on the part of Rembrandt with strong emotional and dramatic appeal, expressed by means of color and chiaroscuro. It was also Rembrandt’s practice to employ models selected from the Ghetto in Amsterdam. Among his followers was a group of men who emulated his treatment of Biblical subjects, while they also distinguished themselves in portraiture. Hence the convenience of considering these two branches of Dutch painting in the same chapter. Moreover, the incongruity between the two is not so great as it may appear at first sight, since the Dutch perpetuated the Flemish tendency, which was also German, of not only personifying the sacred characters by personages of their own day, but of reproducing so faithfully their characterization that the heads were practically portraits. Among the pupils of Rembrandt who varied portraiture with pictures from the Bible story were, in order of their age, Govert Flinck, Ferdinand Bol, Carel Fabritius, Gerbrandt van den Eeckhout, and Aert de Gelder; while another, who is known solely as a portrait-painter, was Dirck Dircksz Santvoort. GOVERT FLINCK THIS artist (1615-1660) began by being so close an imitator of Rembrandt’s method of chiaroscuro that many of his pictures used to be taken for his master’s; later, however, when the fashion for Italian art was revived, he abandoned the chiaroscuro and devoted himself to line and form. Indeed, he seems to have been an able opportunist; but to mistake him for Rembrandt suggests a shallow conception of the latter. Flinck’s Biblical masterpiece is probably the _Isaac Blessing Jacob_; in the Rijks Museum. The patriarch’s half-figure, as he sits propped up by pillows, is clad in a splendid crimson robe; the gesture of the arms is full of dignity, and the head crowned with the majestic character of old age. And the aged face of Rebecca is reverently characteristic. The color throughout is rich, and the light and shadow are warm and luminous. It is an effective rendering of a grave incident, but the latter has been seen rather than felt, and certainly not with the depth and poignancy of feeling that Rembrandt would have suggested. Another fine example of Flinck’s is in the Dresden Gallery--_David Handing the Letter to Uriah_. Crimson again appears in the king’s robe, contrasted with which is a large mass of golden yellow with red border, formed by the cloak of a secretary at his side, while Uriah’s figure, kept in shadow, is clad in peacock blue and purplish brown. The whole forms a splendid scheme of color, and again the characterization is extremely interesting, especially that of the black-haired and-bearded king, who shows a certain mingling of hardness and nervousness in his face and demeanor. The treatment is seriously conceived, but with rather a faint