be classed with those of Van Dyck, whose contemporary he was, and whose skill he closely rivaled. They represent his own engaging little daughters. The Dutch schools of the same day furnish us many valuable examples of the subtle art of child portraiture. It was a fashion there for well-to-do merchants to have group pictures painted of the entire family. From this custom we see in the galleries a wonderful array of these pictures showing well the solidarity of the Dutch home life. It goes without saying that Dutch children are always chubby and rosy, and the soberness of their costume gives them an air of quaint gravity. Besides the more common or typical works, we have a few priceless gems which every child-lover values.
It was the glory of the English eighteenth-century art to develop the beauty of womanhood and childhood, and from this school came forth a host of picture children to delight the world. A characteristic quality is their animation. Contrasted with the staid and quiet figures of the little Italians, Spaniards, and Flemings of the previous centuries these English young folk are sparkling with life and gayety. In altitude, gesture, and expression we get the whole story of the child’s individual temperament. Sir Joshua Reynolds was the head of the School. He was one of those rare spirits who win the complete confidence of a child. He was their boon companion, and while he romped with them as a playmate, his keen artist’s eye noted their qualities as models. Delightful stories are told of that great octagonal room in Lei-
