How I wanted to have known Jan van Steen, and thanked him for his glorious, rollicking, extraordinary pictures (especially for "The Poultry Yard"), and have slyly stolen his bottle away from him sometimes, so that he might have painted even more, and not have come to ruin in the end! How I loved the gentle Van Ruysdaels, and how pathetic the everlasting white horse got to seem, after I had seen him repeated again and again in every sort of tender or eccentric landscape! Poor, tired white horse! I thought he must have been as weary of his journeyings as the Wandering Jew.
There are two Rubens in the Mauritshuis which intoxicated me, as if I'd been drinking new red wine; and there is one little Gerard Douw, above all other Gerard Douws, worth a three-days' journey on foot to see. In a window of the Bull's room I found it; and I stood so long staring, that at last I began to be afraid the others might have gone away. They came upon me, though, all too soon, and exclaimed, "Why, where have you been?" and "We've been looking for you everywhere." I said I was sorry, and wondered how I had been so stupid as to miss them. Then we were marshalled away by Robert for luncheon, as we'd been three hours in the Mauritshuis, and before long we must be driving to the Concours Hippique.
Only three hours in some of the best society on earth, and I shall be expected to tell about my impressions when I go back to England! I know well that I can tell nothing worth telling; and yet, even in this short time, I feel that I understand more about Holland and the Hollanders than I could have come to understand, except through their pictures—more even than Motley could have told me.
I said to myself as I went away from the galleries, that Dutch painting would stand for me henceforth as an epitome of the Dutch people. No one but the Dutch could have painted pictures like theirs—so quaint, so painstaking, and at the same time so splendid. Their love of rich brown shadow and amber light was learned in the dim little rooms of their own homes, and of inns where the brass and pewter gleamed in the mellow dusk of raftered kitchens, and piles of fruit and vegetables fell like jewels, from paniers such as Gerard Douw took three days to paint on a scale of three inches.
We had a hasty luncheon at a nice hotel with an air of Parisian gaiety about it, and sped away in the motor to the Horse Show, which was to be held in a park between The Hague and Scheveningen. It was advertised on every wall and hoarding, even on lamp-posts, and Freule Menela (gorgeous in a Paris frock and tilted hat) prophesied that, as the Queen and Prince Consort were honoring the occasion, we should see the loveliest women, handsomest men, and prettiest dresses, as well as the best horses that Holland could produce.
"When I say Holland, I mean The Hague; it is the same thing," she added, with a conceited toss of the chin; and I thought she deserved shaking for her sly dig at Robert of Rotterdam, than whom there can be no handsomer young man in the Netherlands.
Cousin Cornelia in filmy gray, and the twins radiant as fresh-plucked roses in their white frocks and Leghorn hats, had arrived, and were in one of the many long, open loggias close to the red-and-gold pavilion which was ready for the Royalties.
Over the pavilion, with its gilded crown and crest, floated the orange flag as well as the tricolor of Holland; everywhere flags were waving and red bunting glowing, and there was far more effect of color than at an English race-meeting. Every box, every seat, was full; pretty hats nodded like flowers in a huge parterre swept by a breeze; smart-looking men with women in trailing white walked about the lawns; and Robert and Menela pointed out the celebrities—ambassadors and ambassadors' wives, politicians, popular actresses, celebrated journalists, men of title or wealth who owned horses and gave their lives to sport.
All the men of the haut mond were in frock-coats and tall hats, and most of them looked English. There were few of the type which I preconceived as Dutch, yet I saw faces in the crowd which Rembrandt or Rubens might have used as models; thin, dark faces; hard, shrewd faces, with long noses and pointed chins; good-natured round faces, with wide-open gray eyes; important, conceited faces like the burgomasters in ancient portraits.
"Not a type has changed," I said to myself. "These people of to-day are the same people who suffered torture smiling, who were silent on the rack, who drove the Spaniards out of their land, and swept the English from the seas."