I Travel the Open Road - Classic Writings of Journeys Taken around the World. Various
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and Gerard Dou got their concentrated effects of illumination; but how this omnipresent radiance streamed from De Hooch’s palette is one of the mysteries. It is as though he did not paint light but found light on his canvas and painted everything else in its midst.
Rotterdam has some excellent pictures in its Boymans Museum; but they are, I fancy, overlooked by many visitors. It seems no city in which to see pictures. It is a city for anything rather than art—a mercantile centre, a hive of bees, a shipping port of intense activity. And yet perhaps the quietest little Albert Cuyp in Holland is here, “De Oude Oostpoort te Rotterdam,” a small evening scene, without cattle, suffused in a golden glow. But all the Cuyps, and there are six, are good—all inhabited by their own light.
Among the other Boymans treasures which I find I have marked (not necessarily because they are good—for I am no judge—but because I liked them) are Ferdinand Bols fine free portrait of Dirck van der Waeijen, a boy in a yellow coat; Erckhart’s “Boaz and Ruth,” a small sombre canvas with a suggestion of Velasquez in it; Hobbema’s “Boomrijk Landschap,” one of the few paintings of this artist that Holland possesses. The English, I might remark, always appreciative judges of Dutch art, have been particularly assiduous in the pursuit of Hobbema, with the result that his best work is in our country. Holland has nothing of his to compare with the “Avenue at Middelharnis,” one of the gems of our National Gallery. And his feathery trees may be studied at the Wallace Collection in great comfort.
Other fine landscapes in the Boymans Museum are three by Johan van Kessel, who was a pupil of Hobbema, one by Jan van der Meer, one by Koninck, and, by Jacob van Ruisdael, a corafield in the sun and an Amsterdam canal with white sails upon it. The most notable head is that by Karel Fabritius; Hendrick Pot’s “Het Lokstertje” is interesting for its large free manner and signs of the influence of Hals; and Emmanuel de Witte’s Amsterdam fishmarket is curiously modern. But the figure picture which most attracted me was “Portret van een jongeling,” by Jan van Scorel, of whom we shall learn more at Utrecht. This little portrait, which I reproduce on the opposite page, is wholly charming and vivid.
The Boymans Museum contains also modern Dutch paintings. Wherever modern Dutch paintings are to be seen, I look first for the delicate art of Matthew Maris, and next for Anton Mauve. Here there is no Matthew Maris, and but one James Maris. There is one Mauve. The modern Dutch painter for the most part paints the same picture so often. But Matthew Maris is full of surprises. If a new picture by any of his contemporaries stood with its face to the wall one would know what to expect. From Israels, a fisherman’s wife; from Mesdag, a grey stretch of sea; from Bosboom, a superb church interior; from Mauve, a peasant with sheep or a peasant with a cow; from Weissenbruch, a stream and a willow; from Breitner, an Amsterdam street; from James Maris a masterly scene of boats and wet sky. Usually one would have guessed aright. But with Matthew Maris is no certainty. It may be a little dainty girl lying on her side and watching butterflies; it may be a sombre hillside at Montmartre; it may be a girl cooking; it may be scaffolding in Amsterdam, or a mere at evening, or a baby’s head, or a village street. He has many moods, and he is always distinguished and subtle.
Rotterdam has a zoological garden which, although inferior to ours, is far better than that at Amsterdam, while it converts The Hague’s Zoo into a travesty. Last spring the lions were in splendid condition. They are well housed, but fewer distractions are provided for them than in Regent’s Park. I found myself fascinated by the herons, who were continually soaring out over the neighbouring houses and returning like darkening clouds. In England, although the heron is a native, we rarely seem to see him; while to study him is extremely difficult. In Holland he is ubiquitous: both wild and tame.
More interesting still was the stork, whose nest is set high on a pinnacle of the buffalo house. He was building in the leisurely style of the British working man. He would negligently descend from the heavens with a stick. This he would lay on the fabric and then carefully perform his toilet, looking round and down all the time to see that every one else was busy. Whenever his eye lighted upon a toddling child or a perambulator it visibly brightened. “My true work!” he seemed to say; “this nest building is a mere by-path of industry.” After prinking and overlooking, and congratulating himself thus, for a few minutes, he would stroll off, over the housetops, for another stick. He was the unquestionable King of the Garden.
Why are there no heronries in the English public parks? And why is there no stork? The Dutch have a proverb, “Where the stork abides no mother dies in childbed”. Still more, why are there no storks in France? The author of Fécondité should have imported them.
No Zoo, however well managed, can keep an ourang-outang long, and therefore one should always study that uncomfortably human creature whenever the opportunity occurs. I had great fortune at Rotterdam, for I chanced to be in the ourang-outang’s house when his keeper came in. Entering the enclosure, he romped with him in a score of diverting ways. They embraced each other, fed each other, teased each other. The humanness of the creature was frightful. Perhaps our likeness to ourang-outangs (except for our ridiculously short arms, inadequate lower jaws and lack of hair) made him similarly uneasy.
Rotterdam, I have read somewhere, was famous at the end of the eighteenth century for a miser, the richest man in the city. He always did his own marketing, and once changed his butcher because he weighed the paper with the meat He bought his milk in farthingsworths, half of which had to be delivered at his front door and half at the back, “to gain the little advantage of extra measure”. Different travellers note different things, and William Chambers, the publisher, in his Tour in Holland in 1839, selected for special notice another type of Rotterdam resident: “One of the most remarkable men of this [the merchant] class is Mr. Van Hoboken of Rhoon and Pendrecht, who lives on one of the havens. This individual began life as a merchant’s porter, and has in process of time attained the highest rank among the Dutch mercantile aristocracy. He is at present the principal owner of twenty large ships in the East India trade, each, I was informed, worth about fourteen thousand pounds, besides a large landed estate, and much floating wealth of different descriptions. His establishment is of vast extent, and contains departments for the building of ships and manufacture of all their necessary equipments. This gentleman, until lately, was in the habit of giving a splendid fête once a year to his family and friends, at which was exhibited with modest pride the porter’s truck which he drew at the outset of his career. One seldom hears of British merchants thus keeping alive the remembrance of early meanness of circumstances.”
At one of Rotterdam’s stations I saw the Queen-Mother, a smiling, maternal lady in a lavender silk dress, carrying a large bouquet, and saying pretty things to a deputation drawn up on the platform. Rotterdam had put out its best bunting, and laid six inches of sand on its roads, to do honour to this kindly royalty. The band played the tender national anthem, which is always so unlike what one expects it to be, as her train steamed away, and then all the grave bearded gentlemen in uniforms and frock coats who had attended her drove in their open carriages back to the town. Not even the presence of the mounted guard made it more formal than a family party. Everybody seemed on the best of friendly terms of equality with everybody else.
Tom Hood, who had it in him to be so good a poet, but living in a country where art and literature do not count, was permitted to coarsen his delicate genius in the hunt for bread, wrote one of his comic poems on Rotterdam. In it are many happy touches of description:—
Before me lie dark waters
In broad canals and deep,
Whereon the silver moonbeams
Sleep, restless in their sleep;
A sort of vulgar Venice
Reminds me where I am;
Yes, yes, you are in England,
And I’m at Rotterdam.
Tall houses with quaint gables,
Where frequent windows shine,
And quays that lead to bridges,
And trees in formal line,
And masts of spicy vessels
From western Surinam,
All tell me you’re in England,
But