grasp of the dramatic possibilities involved in the theme. In the _Angel and the Shepherds_ of the Louvre there is still less feeling for the scene, except in so far as it offered an opportunity for chiaroscuro. Even the composition is rather perfunctory, the shepherds being huddled on the right, balanced by a cow and sheep on the opposite side of the foreground, while the angel who brings the message of Christ’s birth appears above in the center with cherubs. Nor is the chiaroscuro satisfactory, for while there are some nice passages of color in the lighted parts, the shadows are without quality and seem used only as foils to the light, and not as having individual value. More successful in its recollection of the Rembrandt manner, and altogether a picture of considerable charm, is the classical subject, _Diana and Endymion_, in the Liechtenstein Gallery, Vienna. In the Dresden Gallery are two of the old-men studies that this artist frequently painted, while a more important example of his fondness for representing old age is shown in the Art-History Museum, Vienna. This _Gray-Bearded Old Man_ suggests, like the others, the influence of Rembrandt, but superficially. It has the venerableness of old age, but not the power of expression that makes Rembrandt’s treatment of this subject so spiritually compelling. The Louvre has a charming _Portrait of a Little Girl_, in an olive-green dress, holding a spade. In arrangement of costume and choice of color it is quite Rembrandtesque. Again, in the Berlin Gallery is a very pleasing _Portrait of a Young Woman_. But it is in the Rijks Museum that the portraiture of Flinck can best be studied, both in corporation pictures and single figures. They vary in quality from the quite impressive bust portrait (No. 931) of _M. Johannes Wittenbogaert_ (?), with its mellow flesh tints and strong suggestion of character, to the showy but perfunctory _Fête of the Civil Guard, Münster,, 1648_. In this there is no charm of flesh and little of fabrics. The whole is pompously theatrical, done apparently for “business,” with no eye to anything but satisfying the vanity of the subjects. FERDINAND BOL