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The Banquet of the Arquebusiers.

Van der Helst.

"'The Captain Witse' is placed at the head of the table, and attracts our attention first. He is dressed in black velvet, his breast covered with a cuirass, on his head a broad-brimmed black hat with white plumes. He is comfortably seated on a chair of black oak, with a velvet cushion, and holds in his left hand, supported on his knee, a magnificent drinking-horn, surrounded by a St. George destroying the dragon, and ornamented with olive-leaves. The captain's features express cordiality and good-humour; he is grasping the hand of 'Lieutenant Van Wavern' seated near him in a habit of dark grey, with lace and buttons of gold, lace-collar and wrist-bands, his feet crossed, with boots of yellow leather, with large tops, and gold spurs, on his head a black hat and dark-brown plumes. Behind him, at the centre of the picture, is the standard-bearer, 'Jacob Banning,' in an easy martial attitude, hat in hand, his right hand on his chair, his right leg on his left knee. He holds the flag of blue silk, in which the Virgin is embroidered" (such a silk! such a flag! such a piece of painting!), "emblematic of the town of Amsterdam. The banner covers his shoulder, and he looks towards the spectator frankly and complacently.

"The man behind him is probably one of the sergeants. His head is bare. He wears a cuirass, and yellow gloves, grey stockings, and boots with large tops, and knee-caps of cloth. He has a napkin on his knees, and in his hand a piece of ham, a slice of bread and a knife. The old man behind is probably 'William the Drummer.' He has his hat in his right hand, and in his left a gold-footed wineglass, filled with white wine. He wears a red scarf, and a black satin doublet, with little slashes of yellow silk. Behind the drummer, two matchlock-men are seated at the end of the table. One in a large black habit, a napkin on his knee, a hausse-col of iron, and a linen scarf and collar. He is eating with his knife. The other holds a long glass of white wine. Four musketeers, with different shaped hats, are behind these, one holding a glass, the three others with their guns on their shoulders. Other guests are placed between the personage who is giving the toast and the standard-bearer. One with his hat off, and his hand uplifted, is talking to another. The second is carving a fowl. A third holds a silver plate; and another, in the background, a silver flagon, from which he fills a cup. The corner behind the captain is filled by two seated personages, one of whom is peeling an orange. Two others are standing, armed with halberts, of whom one holds a plumed hat. Behind him are other three individuals, one of them holding a pewter pot on which the name 'Poock,' the landlord of the 'Hotel Doele,' is engraved. At the back, a maid-servant is coming in with a pasty, crowned with a turkey. Most of the guests are listening to the captain. From an open window in the distance, the façades of two houses are seen, surmounted by stone figures of sheep."

There, now you know all about it: now you can go home and paint just such another. If you do, do pray remember to paint the hands of the figures as they are here depicted; they are as wonderful portraits as the faces. None of your slim Van Dyck elegancies, which have done duty at the cuffs of so many doublets; but each man with a hand for himself, as with a face for himself. I blushed for the coarseness of one of the chiefs in this great company, that fellow behind "William the Drummer," splendidly attired, sitting full in the face of the public; and holding a pork-bone in his hand. Suppose the Saturday Review critic were to come suddenly on this picture? Ah! what a shock it would give that noble nature! Why is that knuckle of pork not painted out? at any rate, why is not a little fringe of lace painted round it? or a cut pink paper? or couldn't a smelling-bottle be painted in instead, with a crest and a gold top, or a cambric pocket-handkerchief in lieu of the horrid pig, with a pink coronet in the corner? or suppose you covered the man's hand (which is very coarse and strong), and gave him the decency of a kid glove? But a piece of pork in a naked hand? O nerves and eau de Cologne, hide it, hide it!

In spite of this lamentable coarseness, my noble sergeant, give me thy hand as nature made it! A great, and famous, and noble handiwork I have seen here. Not the greatest picture in the world—not a work of the highest genius—but a performance so great, various, and admirable, so shrewd of humour, so wise of observation, so honest and complete of expression, that to have seen it has been a delight, and to remember it will be a pleasure for days to come. Well done, Bartholomeus Van der Helst! Brave, meritorious, victorious, happy Bartholomew, to whom it has been given to produce a masterpiece!

… Was it a dream? It seems like one. Have we been to Holland? Have we heard the chimes at midnight at Antwerp? Were we really away for a week, or have I been sitting up in the room dozing, before this stale old desk? Here's the desk; yes. But if it has been a dream, how could I have learned to hum that tune out of Dinorah? Ah, is it that tune, or myself that I am humming? If it was a dream how comes this yellow Notice des Tableaux du Musée d'Amsterdam avec Fascimile des Monogrammes before me, and this signature of the gallant

Bartholomeus van der Helst fecit; 1648.

Yes, indeed, it was a delightful little holiday; it lasted a whole week.

Roundabout Papers (London, 1863).