Chapter VI: Part 6

Herein is the great merit of the Dutch animal-painters, and of Potter above all, that they have not only depicted animals, but have revealed, and told in the poetry of color, the delicate, attentive, almost maternal love with which this Dutch agricultural people cherish their cattle. Potter's animals interpret the poetry of rural life. By them he has expressed the silence and the peace of the meadows, the pleasure of solitude, the sweetness of repose, and the satisfaction of patient toil. One might almost say that he had succeeded in making himself understood by them, and that they must have put themselves in positions to be copied. He has given them the variety and attractiveness of human beings. The sadness, the quiet content which follows the satisfaction of physical needs, the sensations of health and strength, of love and gratitude toward mankind, all the glimmerings of intelligence and the stirrings of affection, all the variety of nature--all these he has understood and expressed with loving fidelity, and he has further succeeded in communicating to us the feelings by which he was animated. As we look at his pictures a strange primitive instinct of a rural life is gradually roused in us--an innocent desire to milk, to shear, to drive these gentle patient animals that delight the eye and heart. In this art Paul Potter is unsurpassed. Berghem is more refined, but Potter is more natural; Van de Velde is more graceful, but Potter is more vigorous; Du Jardin is more amiable, but Potter is more profound.

And to think that the architect who afterward became his father-in-law would not at first give him his daughter, because he was only a painter of animals! and if we may believe tradition his celebrated bull served as a sign to a butcher's shop and sold for twelve hundred and sixty francs.

Another masterpiece in the Hague Gallery is a small painting by Gerard Dou, the painter of the celebrated "Dropsical Woman," which hangs in the Louvre between pictures by Raphael and Murillo. He is one of the greatest painters of the home-life of the Dutch, and the most patient of the patient artists of his country. The picture simply represents a woman seated near a window, with a cradle by her side; but in this humble scene there is such a sweet and holy air of domestic peace, a repose so profound, a love so harmonious, that the most obstinate bachelor on earth could not look on it without feeling an irresistible desire to be the one for whom the wife is waiting in that quiet, clean room, or at least to enter it secretly for a moment, even though he remain hidden in the shadow, if so he might breathe the perfume of the innocent happiness of this sanctuary. This picture, like all the works of Dou, is painted with that wonderful finish which he carries almost to excess, which was certainly carried to excess by Slingelandt, who worked three years continuously in painting the Meerman family. This style afterward degenerated into that smooth, affected, painful mannerism where the figures are like ivory, the skies enamel, and the fields velvet, of which Van der Werff is the best known representative. Among other things to be seen in this picture by Dou is a broom-handle, the size of a pen-holder, on which they say the artist worked assiduously for three days. This does not seem strange when we reflect that every minute filament, the grain, the knots, spots, dents, and finger-marks are all reproduced. Anecdotes of his superhuman patience are recounted which are scarcely credible. It is said he was five days in copying the hand of a Madam Spirings whose portrait he painted. Who knows how long he was painting her head? The unhappy creatures who wished to be painted by him were driven to madness. It is believed that he ground his colors himself, and made his own brushes, and that he kept everything hermetically closed, so that no particle of dust could reach his work. When he entered his studio he opened the door slowly, sat down with great deliberation, and then remained motionless until the least sign of agitation produced by the exercise had ceased. Then he began to paint, using concave glasses to reduce the objects in size. This continual effort ended by injuring his sight, so that he was obliged to work with spectacles. Nevertheless, his coloring never became weakened or less vigorous, and his pictures are equally strong whether one looks at them near by or far off. They have been very justly compared to natural scenes reduced in photographs. Dou was one of the many disciples of Rembrandt who divided the inheritance of his genius. From his master he learned finish and the art of imitating light, especially the effects of candle-light and of lamps. Indeed, as we shall see in the Amsterdam Gallery, he equalled Rembrandt in these respects. He possessed the rare merit among the painters of his school in that he took no pleasure in painting ugliness and trivial subjects.

In the gallery at the Hague home-life is represented by Dou, by Adriaen van Ostade, by Steen, and by Van Mieris the elder.

Van Ostade--called the Rembrandt of home-life, because he imitated the great master in his powerful effects of chiaroscuro, of delicate shading, of transparency in shadows, of rich coloring--is represented by two small pictures which depict the inside and outside of a rustic house. Both are full of poetry, notwithstanding the triviality of the subjects which he has chosen in common with other painters of his school. But he has this peculiarity, that the remarkably ugly girls in his pictures are taken from his own family, which, according to tradition, was a group of little monstrosities, whom he held up to the ridicule of the world. Thus nearly all the Dutch painters chose to paint the least handsome of the women whom they saw, as if they had agreed to throw discredit on the feminine type of their country. Rembrandt's "Susanna," to cite a subject which of all others required beauty, is an ugly Dutch servant, and the women painted by Steen, Brouwer, and others are not worth mentioning. And yet, as we have seen, models of noble and gracious beauty were not wanting among them.

There are three fine paintings by Frans van Mieris the elder, the first disciple of Dou, and as finished and minute a painter as his master. He together with Metsu and Terburg, two artists eminent for finish and coloring, belonged to that group of painters of home-life who chose their subjects from the higher classes of society. One of these canvases portrays the artist with his wife.

Among other paintings, Steen is represented by his favorite subject, a doctor feeling the pulse of a lovesick girl in the presence of her duenna. It is an admirable study of expression, of piquant, roguish smiles. The doctor's face seems to say, "I think I understand;" the invalid's, "Something more than your prescriptions are needed;" the duenna's, "I know what she wants." Other pictures of home-life by Schaleken, Tilborch, Netscher, William van Mieris represent kitchens, shops, dinners, and the families of the artists.

Landscape and marine painting are represented by beautiful gems from the hands of Ruysdael, Berghem, Van de Velde, Van der Neer, Bakhuisen, and Everdingen. There are also a large number of works by Philips Wouverman, the painter of horses and battle-pieces.

There are two pictures by Van Huysum, the great flower-painter, who was born at a time when Holland was possessed with a mad love of flowers and cultivated the most beautiful flowers in Europe. He celebrated this passion with his brush and created it afresh in his pictures. No one else has so marvellously rendered the infinite shades, the freshness, the transparency, the softness, the grace, the modesty, the languor, the thousand hidden beauties, all the appearances of the noble and delicate life of the pearl of vegetation, of the darling of nature, the flower. The Hollanders brought to him all the miracles of their gardens that he might copy them; kings asked him for flowers; his pictures were sold for sums that in those days were fabulous. Jealous of his wife and his art, he worked alone, unseen by his fellow-artists, lest they should discover the secret of his coloring. Thus he lived and died, glorious and melancholy, in the midst of petals and fragrance.

But the greatest work in the gallery is the celebrated "Lesson in Anatomy" by Rembrandt.

This picture was inspired by a feeling of gratitude to Doctor Tulp, Professor of Anatomy at Amsterdam, who protected Rembrandt in his youth. Rembrandt portrays Tulp and his pupils grouped round a table on which is stretched a naked corpse, whose arm has been dissected by the anatomist's knife. The professor, who wears his hat, stands pointing out the muscles of the arm with his scissors, and explaining them to his pupils. Some of the scholars are seated, others stand, others lean over the body. The light coming from left to right illuminates their faces and a part of the dead man, leaving their garments, the table, and the walls of the room in obscurity. The figures are life-size.

It is difficult to describe the effect produced by this picture. The first sensation is a feeling of horror and disgust of the corpse. Its forehead is in shadow, its open eyes are turned upward, its mouth half shut as if in amazement; the chest is swollen, its legs and feet are rigid, the flesh is livid and looks as if it would be cold to the touch. In great contrast to this stiffened corpse are the living attitudes of the students, the youthful faces, the bright eyes, intent and full of thought, revealing, in different degrees, eagerness to learn, the joy of comprehension, curiosity, astonishment, the effort of the intellect, the activity of the mind. The face of the master is calm, his eye is serene, and his lips seem smiling with the satisfaction of intimate knowledge of his subject. The whole group is surrounded by an air of gravity, mystery, and scientific solemnity which imposes reverence and silence. The contrast between the light and shade is as marvellous as that between death and life. Everything is painted with infinite pains; it is possible to count the little folds of the ruff, the wrinkles in the face, the hairs of the beard. It is said that the foreshortening of the corpse is incorrect, and that in some places the finish degenerates into hardness, but universal approval places the "Lesson in Anatomy" among the greatest works of art in the world.

Rembrandt was only twenty-six years old when he painted this picture, which consequently has the mark of his early work. The impetuosity, audacity, and unequalled assurance of his genius, which shine forth in his maturer works, are not yet seen, but his immense power of painting light, his marvellous chiaroscuro, his fascinating magic of contrast, the most original features of his genius, are all to be found here.

However little we may know about art, and however much we may have resolved not to sin by excess of enthusiasm, when we come face to face with Rembrandt van Rijn, we cannot help opening the flood-gates of language, as the Spanish say. Rembrandt exerts an especial fascination. Fra Angelico is a saint, Michelangelo is a giant, Raphael is an angel, Titian a prince, Rembrandt is a spectre. What else can this miller's son be called? Born in a windmill, he arose unexpectedly without a master, without example, without any instruction from the schools, to become a universal painter, who depicted life in every aspect, who painted figures, landscapes, sea-pieces, animals, saints, patriarchs, heroes, monks, riches and poverty, deformity, decrepitude, the ghetto, taverns, hospitals, and death; who in short, reviewed heaven and earth, and enveloped everything in a light so mysterious that it seems to have issued from his brain. His work is at the same time grand and minute. He is at once an idealist and a realist, a painter and an engraver, who transforms everything and conceals nothing--who changes men into phantoms, the most ordinary scenes of life into mysterious apparitions; I had almost said who changes this world into another that does not seem to be and yet is the same. Whence has he drawn that undefinable light, those flashes of electric rays, those reflections of unknown stars that like an enigma fill us with wonder? What did this dreamer, this visionary, see in the dark? What is the secret that tormented his soul? What did this painter of the air mean to tell us in this eternal conflict of light and shadow? It is said that the contrasts of light and shade corresponded in him to moods of thought. And truly it seems that as Schiller, before beginning a work, felt within himself an indistinct harmony of sounds which were a prelude to his inspiration, so also Rembrandt, when about to paint a picture, beheld a vision of rays and shadows which had some meaning to him before he animated them with his figures. In his paintings there is a life, a dramatic action, quite distinct from that of human figures. Flashes of brilliant light break across a sombre surface like cries of joy; the frightened darkness flies away, leaving here and there a melancholy twilight, trembling reflections that seem to be lamenting, profound obscurity gloomy and threatening, flashes of dancing sunlight, ambiguous shadows, shadows uncertain and transparent, questionings and sighs, words of a supernatural language like music heard but not understood, which remains in the memory like a dream. Into this atmosphere he plunged his figures, some of them enveloped by the garish light of a theatrical apotheosis, others veiled like ghosts, others revealed by a single ray of light darting across their faces. Whether they be clothed with pomp or in rags, they all are alike strange and fantastic. The outlines are not clear; the figures are loaded with powerful colors, and are painted with such bold strokes of the brush that they stand out in sculpturesque relief, while over all is an expression of impetuosity and of inspiration, that proud, capricious, profound imprint of genius that knows neither restraint nor fear.

After all, every one likes to give his opinion: but who knows, if Rembrandt could read all the pages that have been written to explain the secret meanings of his art, whether he would not burst out laughing? Such is the fate of men of genius: every one holds that he has understood them better than his neighbor, and restores them in his own way. They are like a beautiful theme given by God which men distort into a thousand different meanings--a canvas upon which the imagination of man paints and embroiders after its own manner.

I left the Hague Gallery with one desire ungratified: I had not found in it any picture by Jerom Bosch, a painter born at Bois-le-Duc in the fifteenth century. This madcap of mischief, this scarecrow of bigots, this artistic sorcerer, had made my flesh creep first in the gallery at Madrid with a work representing a horrible army of living skeletons scattered about an immense space, in conflict with a motley crowd of desperate and confused men and women, whom they were dragging into an abyss where Death awaited them. Only from the diseased imagination of a man alarmed by the terrors of damnation could such an extravagant conception have issued. When you look at it, however long it may be since you were afraid of phantoms, you feel a confused reawakening dread. Such were the subjects of all his pictures--the tortures of the accursed, spectres, fiery chasms, dragons, uncanny birds, loathsome monsters, diabolical kitchens, sinister landscapes. One of these frightful pictures was found in the cell where Philip II. died; others are scattered throughout Spain and Italy. Who was this chimerical painter? How did he live? What strange mania tormented him? No one knows; he passed over the earth wrapped in a cloud, and disappeared like an infernal vision.

On the first floor of the museum there is a "Royal Cabinet of Curiosities," which contains some very precious historical relics, besides a great number of different objects from China, Japan, and the Dutch colonies. Amongst other things there is the sword of that Ruyter who began life as a rope-maker at Vlissingen, and became the greatest admiral of Holland; Admiral Tromp's cuirass perforated by bullets; a chair from the prison of the venerated Barneveldt; a box containing a lock of hair from the head of that Van Speyk who in 1831, on the Schelde, blew up his vessel to preserve the honor of the Dutch flag. Here, too, is the complete suit of clothes worn by William the Silent when he was assassinated at Delft--the blood-stained shirt, the jacket made of buffalo skin pierced by bullets, the wide trousers, the large felt hat; and in the same glass case are also preserved the bullets and pistols of the assassin and the original copy of his death-warrant.

This modest, almost rough dress, that was worn at the zenith of his power and glory by William, the head of the Republic of the Netherlands, is a noble testimony to the patriarchal simplicity of Dutch manners. There is perhaps no other modern nation, equally prosperous, that has been less given to vanity and pomp. It is related that when the Earl of Leicester, who was commissioned by Queen Elizabeth, arrived in Holland, and when Spinola came to sue for peace in the name of the King of Spain, their magnificence was considered almost infamous. It is further said that the Spanish ambassadors who came to the Hague in 1608 to negotiate the famous truce saw some deputies of the Dutch States seated in a field, meanly clad and breakfasting on a little bread and cheese which they had carried in their saddle-bags. The Grand Pensionary, John De Witt, the adversary of Louis XIV., kept only one servant. Admiral Ruyter lived at Amsterdam in the house of a poor man and swept out his own bedroom.

Another very curious object in the museum is a cabinet which opens in front like a book-case, representing in all its most minute details the inside of a luxurious Amsterdam house at the beginning of the eighteenth century. The Czar, Peter the Great, during his stay in Amsterdam, commissioned a rich citizen of that town to make for him this toy house, in order that he might take it back to Russia as a souvenir of Holland. The rich citizen, whose name was Brandt, executed the order like an honest Dutchman, slowly and well. The best cabinet-makers in Holland made the furniture, the cleverest silversmiths the plate, the most accurate printers printed the tiny books, the finest miniature-painters painted the pictures; the linen was prepared in Flanders, the hangings were made at Utrecht. After twenty-five years of work all the rooms were ready. In the nuptial chamber everything was prepared for the confinement of the young mistress; in the dining-room stood a microscopic tea service on a table which was the size of a crown; the picture-gallery, which was seen through a magnifying glass, was complete; in the kitchen was everything needful to prepare a savory dinner for a group of Liliputians; there was a library, and a cabinet of Chinese objects, bird-cages full of birds, prayer-books, carpets, linen for a whole family trimmed with lace and fine embroidery: there were lacking only a married couple, a lady's maid, and a cook rather smaller than ordinary marionettes. But there was one drawback: the house cost a hundred and twenty thousand francs, and the Czar, who as all know, was an economical man, refused it, and Brandt, to shame the imperial avarice, presented it to the Museum of the Hague.

In the streets of the Hague, from the first day, I had met women dressed in such a peculiar manner that I had followed them to observe every particular of their costume. At first sight I thought that they must belong to some religious order or that they were hermits, pilgrims, or women of some nomadic tribes which were passing through Holland. They wore immense straw hats lined with flowered calico, short chocolate-colored monk's cloaks made of serge and lined with red cloth; their petticoats were also of serge, short and puffed out as though they wore crinolines; they wore black stockings and white wooden shoes. In the morning they might be seen going to market bearing on their heads baskets full of fish or driving carts drawn by dogs. They usually went alone or in pairs, without any men. They walked in a peculiar manner, taking long strides, with a certain air of despondency, like those who are accustomed to walking on the sand; there was a sadness in their expression and appearance which harmonized with the monastic austerity of their attire.

I asked a Dutchman who they were, and the only answer he gave me was, "Go to Scheveningen."

Scheveningen is a village two miles from the Hague, and connected with it by a straight road bordered along its whole length by several rows of beautiful elms, which form a perfect shade. On either side of the road, beyond the elms, there are small villas, pavilions, and cottages with roofs that look like the kiosks of the gardens, and with facades of a thousand fantastic shapes, all bearing the usual inscriptions inviting to repose and pleasure. This road is the favorite promenade of the citizens of the Hague on Sunday evenings, but on the other days of the week it is almost always deserted. One meets only a few women from Scheveningen, and now and then a carriage or the coaches that come and go between the town and the village. As one walks along it seems as though the road must lead to some royal palace surrounded by a large garden or a wide park. The luxuriant vegetation, the shadow and silence, call to mind the forests of Andalusia and Granada. One no longer remembers Scheveningen and forgets that he is in Holland.

When the end of the road is reached the change of scene is so sudden that it seems unreal. The vegetation, the shade, the likeness to Granada,--all have disappeared, and one stands in the midst of dunes, sand, and desert; one feels the salt wind blow and hears its dull confused sound. From the summit of one of the dunes one may see the North Sea.

One who has seen only the Mediterranean is impressed by a new and profound feeling at sight of that sea and shore. The beach is formed of very fine, light-colored sand, over which the outermost edges of the waves flow up and down like a carpet which is being continually folded and unfolded. This sandy sea-shore extends to the foot of the first dunes, which are steep, broken, corroded mounds deformed by the eternal beating of the waves. Such is the Dutch coast from the mouth of the Meuse to the Helder. There are no mollusks, no star-fish, no shells or crabs; there is not a single bush or blade of grass. Nothing is seen but sand, waste, and solitude.

The sea is no less mournful than the coast. It corresponds closely to one's ideas of the North Sea, formed by reading about the superstitious terrors of the ancients, who believed it to be driven by eternal winds and peopled by gigantic monsters. Near the shore its color is yellowish, farther out a pale green, and still farther out a dreary blue. The horizon is usually veiled by the mist, which often descends even to the shore and hides all the waters with its thick curtain, which is raised to show only the waves that come to die on the sand and some shadowy fisherman's boat close to land. The sky is almost always gray, overcast with great clouds which throw dense changeable shadows on the waters: in places these are as black as night, and bring to mind images of tempests and horrible shipwrecks; in other parts the sky is lighted up by patches and wavy streaks of bright light, which seem like motionless lightning or an illumination from mysterious stars. The ceaseless waves gnaw the shore in wild fury, with a prolonged roar which seems like a cry of defiance or the wailing of an infinite crowd. Sea, sky, and earth regard each other gloomily, as though they were three implacable enemies. As one contemplates this scene some great convulsion of nature seems imminent.

The village of Scheveningen is situated on the dunes, which ward off the sea, and hide it so entirely that from the shore nothing is to be seen but the cone-shaped church-steeple rising like an obelisk in the midst of the sand. The village is divided into two parts, one of which is composed of elegant houses representing every kind of Dutch shapes and colors, and built for the use of strangers, with "to let" posted on them in various languages. The other part, in which the natives live, consists of black cottages, little streets, and retreats which foreigners never think of entering.

The population of Scheveningen, which numbers only a few thousands, is almost entirely composed of fishermen, the greater number of whom are very poor. The village is still one of the principal stations of the herring fishery, where are cured those celebrated fish to which Holland owes her riches and power. But the profits of this industry go to the captains of the fishing vessels, and the men of Scheveningen, who are employed as sailors, hardly earn a livelihood. On the beach, in front of the village, many of those wide staunch boats with a single mast and a large square sail may always be seen ranged in line on the sand one beside the other, like the Greek galleys on the coast of Troy: thus they are safe from the gusts of wind. The flotilla, accompanied by a steam sloop, starts early in June, directing its course toward the Scottish coast. The first herrings taken are at once sent to Holland, and conveyed in a cart ornamented with flags to the king, who in exchange for this present gives five hundred florins. These boats make catches of other fish as well, which are in part sold at auction on the sea-shore, and in part are given to the Scheveningen fishermen, who send their wives to sell them at the Hague market.

Scheveningen, like all the other villages of the coast, Katwijk, Vlaardingen, Maassluis, is a village that has lost its former prosperity in consequence of the decline of the herring fishery, owing, as every one knows, to the competition of England and the disastrous wars. But poverty, instead of weakening the character of this small population, beyond doubt the most original and poetical in Holland, has strengthened it. The inhabitants of Scheveningen in appearance, character, and habits seem like a foreign tribe in comparison with the people of their own country. They dwell but two miles from a large city, and yet preserve the manners of a primitive people that has always lived in isolation. As they were centuries ago, so are they now. No one leaves their village, and no one who is not a native ever enters it: they intermarry, they speak a language of their own, they all dress in the same style and in the same colors, as did their fathers' fathers. At the time of the fishing only the women and children remain in the village; the men all go to sea. They carry their Bibles with them on their departure. On board they neither drink nor swear nor laugh. When the stormy seas toss their little boats on the crests of the waves, they close all the apertures and await death with resignation. At the same moment their wives are singing psalms, shut in their cottages rocked by the wind and beaten by the rain. Those little dwellings, which have witnessed so many mortal griefs, which have heard the sobs of so many widows, which have seen the sacred joys of happy return and the disconsolate departure of many husbands, with their cleanliness, their white curtains, with the clothes and shirts of the sailors hanging at the windows,--tell of the free and dignified poverty of their inmates. No vagabonds nor fallen women come out of these homes; no inhabitant of Scheveningen has ever deserted the sea, and none of her daughters has ever refused the hand of a sailor. Both men and women show by their carriage and the expression of their faces a serious dignity that commands respect. They greet you without bending their heads, and look you in the face as much as to say, "We have no need of any one."

In this little village there are two schools, and it is a curious sight to see a swarm of fair-haired children with slates under their arms and pencils in their hands disperse at certain hours among these poverty-stricken streets.

Scheveningen is not only a village famous for the originality of its inhabitants which all foreigners visit and all artists paint. There are, besides, two great bathing establishments, where English, Russians, Germans, and Danes meet in the summer. The flower of the Northern aristocracy, princes and ministers, indeed half the Almanach de Gotha, come here; then there are balls, fantastic illuminations, and fireworks on the sea. The two establishments are placed on the dunes, and at all hours of the day certain carriages which look like gypsy caravans, drawn by strong horses, are driven from the shore into the sea, where they turn round. Whereupon ladies step out from them and bathe in the water, letting their fair hair blow about in the wind. At night the band plays, the visitors walk out, and the beach is enlivened by an elegant, festive, ever-changing crowd, in which every language is heard and the beauty of every country is represented. A few steps distant from this gayety the misanthrope can find solitude and seclusion on the dunes, where the music faintly strikes his ear like a far-off echo, and the houses of the fishermen show him their lights, directing his thoughts to domestic life and peace.

The first time I went to Scheveningen I took a walk on those dunes which have been so often painted by artists, the only heights on the immense Dutch plain that intercept the view--rebellious children of the sea, whose progress they oppose, being at the same time the prisoners and the guardsmen of Holland. There are three tiers of these dunes, forming a triple bulwark against the ocean: the outer is the most barren, the centre the highest, and the inner the most cultivated. The medium height of these mountains of sand is not greater than fifteen metres, and all together they do not extend into the land for more than a French league. But as there are no higher elevations near or remote, they produce the false impression of a vast mountainous region. The eye sees valleys, gorges, precipices, views that appear distant and are close at hand--the tops of neighboring dunes on which we imagine a man ought to appear as large as a child, and on which instead he seems a giant. Viewed from a height, this region looks like a yellow sea, tempestuous yet motionless. The dreariness of this desert is increased by a wild vegetation, which seems like the mourning of the dead and abandoned nature--thin, fragile grass, flowers with almost transparent petals, juniper, sweet-broom, rosemary, through which every now and then skips a rabbit. Neither house, tree, nor human being is to be seen for miles. Now and then ravens, curlews, and sea-gulls fly past. Their cries and the rustling of the shrubs in the wind are the only sounds that break the silence of the solitude. When the sky is black the dead color of the earth assumes a sinister hue, like the fantastic light in which objects appear when seen through colored glass. It is then, when standing alone in the midst of the dunes, that one feels a sense almost of fear, as if one were in an unknown country hopelessly separated from any inhabited land, and one looks anxiously at the misty horizon for the shadow of a building to reassure him.

In the whole of my walk I met but one or two peasants. The Dutch peasants usually speak to the people they meet on the road--a rare thing in a Northern country. Some pull off their caps at the side with a curious gesture, as if they did it for a joke. Usually they say "Good-morning" or "Good-evening" without looking at the person they are greeting. If they meet two people, they say, "Good-evening to you both," or if more than two, "Good-evening to you all." On a pathway in the middle of the first dunes I saw several of those poor fishermen who spend the whole day up to their waists in water, picking up the shells that are used to make a peculiar cement or to spread over garden-paths instead of sand. It must cost them at least half an hour of hard labor to take off the enormous leather boots that they wear to go into the sea; this would give an excuse to an Italian sailor for swearing by all the saints. But these men, on the contrary, perform the task with a composure that makes one sleepy, without giving way to any movement of impatience, nor would they raise their heads until they had finished even if a cannon were to be fired off.

On the dunes, near a stone obelisk recording the return of William of Orange from England after the fall of the French dominion, I saw for the first time one of those sunsets which awaken in us Italians a feeling of wonder no less than that awakened in people from the North by the sunsets at Naples and Rome. The sun, because of the refraction of light by the mists which always fill the air in Holland, is greatly magnified, and diffuses through the clouds and on the sea a veiled and tremulous splendor like the reflection of a great fire. It seemed as if another sun had unexpectedly appeared on the horizon, and was setting, never again to show itself on earth. A child might well have believed the words of a poet who said, "In Holland the sun dies," and the most cold-blooded man must have allowed a farewell to escape his lips.

As I have spoken of my walk to Scheveningen, I will mention two other pleasant excursions that I made from the Hague last winter.

The first was to the village of Naaldwijk, and from this village to the sea-coast, where they were opening the new Rotterdam canal. At Naaldwijk, thanks to the politeness of an inspector of schools who was with me, I gratified my desire to see an elementary school, and I will state at once that my great expectations were more than realized. The house, built expressly for the school, was a separate building one story in height. We first went into a little vestibule, where there were a number of wooden shoes, which the inspector told me belonged to the pupils, who place them there on their entrance into school and put them on again when they go out. In school the boys wear only stockings which are very thick, consequently their feet do not suffer from cold, especially as the rooms are as hot as if they were a minister's cabinet. On our entrance the pupils stood up and the master advanced toward the inspector. Even that poor village master spoke French, and so we were able to enter into conversation. There were in the school about forty pupils, both boys and girls, who sat on opposite sides of the room; all were fair and fat, with plump, good-natured faces; they had the precocious air of little men and women, which I could not observe without laughing. The building was divided into five rooms, each separated from the other by a large glass partition, which enclosed all the space like a wall, so that if a master were absent from one class the teacher of the next class could overlook the pupils of his colleague without leaving his post. All the rooms are large and have high windows which reach from the floor to the ceiling, so that it is almost as light inside as it is outside. The benches, walls, floors, windows, and stoves were as clean as if they had been in a ball-room. Having a lively recollection of certain unpleasant places in the schools I attended as a boy, I asked to see the closets, and found them such as few of the best hotels can boast. Afterward on the school-room walls I saw a great many things that I remember to have wished for when I sat at the desks, such as small pictures of landscapes or figures, to which the master referred in his stories and instruction, so that they should be stamped the better on the memory; representations of common objects and animals; geographical maps purposely made with large names and painted in bright colors; proverbs, grammatical rules, and precepts very plainly printed. Only one thing seemed to me lacking--personal cleanliness.

I will not repeat what many have written and some Dutchmen affirm, that in Holland cleanliness of the skin is generally neglected--that the women are dirty, and that the legs of the tables are cleaner than those of the citizens. But it is certain the cleanliness of inanimate objects is infinitely greater than personal cleanliness, and the deficiency in the last respect is made more apparent by excellence in the first. In an Italian school perhaps those boys might have seemed clean, but, comparing them with the marvellous purity of their surroundings, and reflecting that they were the children of the very women who take half a day to wash the doors and shutters, they seemed to me, and in fact were, rather dirty. In some schools in Switzerland there are lavatories where the boys are obliged to wash upon entering and leaving the school. I should have been pleased to see such lavatories in the Dutch schools too; then all would have been perfect.

I said "that poor master," but I found out afterward that he had a salary of more than two thousand two hundred francs and an apartment in a nice house in the village. In Holland the masters of elementary schools--the principals, that is, for there are assistant masters--never receive less than eight hundred francs a year. This the minimum that the commune can legally give. No commune keeps to this sum, and some masters have the same salaries as our university professors. It is true that it costs more to live in Holland than in Italy, but it is also true that the salaries which seem large to us are there considered small, and yet they propose to increase them. It must also be considered that, owing to the difference of national character, the Dutch masters are not obliged to expend as much of their breath, their patience, and good-humor as are our Italian masters, which is a consideration if it be true that health counts for something.

From Naaldwijk we went toward the coast. On the road my courteous companion explained to me clearly the point which the question of instruction has reached in Holland. In Latin countries persons when questioned by a stranger answer him with a view toward airing their knowledge and showing their conversational powers. In Holland they try rather to make you understand the subject, and if you do not comprehend directly, they impress it upon you until it is fixed in your mind as clearly and as well as it is in their own.

The question of instruction, in Holland as in most countries, is a religious question, which in its turn is the most serious, indeed the only great, question that now agitates the country.

Of the three and a half millions of inhabitants in Holland, a third, as I have remarked, are Catholics, about a hundred thousand are Jews, and the rest are Protestants. The Catholics, who chiefly inhabit the southern provinces of Limbourg and Brabant, are not divided politically as they are in other countries, but form one solid clerical legion,--Papists, Ultramontanists, the most faithful legion of Rome, as the Dutch themselves say--who buy the very straw that the pontiff is supposed to sleep on, and who thunder Italy from the pulpit and the press. This Catholic party, which would have no great strength of itself, gains a certain advantage from the fact that the Protestants are divided into a great many religious sects. There are orthodox Calvinists; Protestants who believe in the revelation, but do not accept certain doctrines of the Church; others who deny the divinity of Christ, without, however, separating themselves from the Protestant Church; others, again, who believe in God, but do not believe in any Church; others--and amongst these are many of the cleverest men--who openly profess atheism. In consequence of this state of things, the Catholic party has a natural ally in the Calvinists, who as fervent believers and inflexible conservers of the religion of their fathers, are much less widely separated from the Catholics than from a large party of those of their own co-religionists. These form, in a certain sense, the clerical wing of Protestantism. Hence in the Netherlands there are Catholics and Calvinists on one side, and on the other a liberal party, while between the two there hovers a vacillating legion that does not allow either side to gain an absolute supremacy. The chief point of contention between the extreme sections is the question of primary instruction, and this reduces itself, on the part of the Catholics and Calvinists, to insistence that so-called mixed schools, in which no special religious instruction is given (so that Catholics and Protestants of all doctrines may support them), shall be superseded by others in which dogmatic instruction is to be given, and that these shall be also supported by the commune under the direction of the state. It is easy to foresee the grave consequences that such a division in the popular educational system would produce--the germs of discord and religious animosity that would be sown, the trouble that would in time arise from separating young people into groups professing different faiths. Up to the present time the principle of mixed schools has prevailed, but the victories of the Liberals have been costly. The Catholics and the Calvinists successively obtained various concessions, and are prepared to obtain yet others. The Catholic party is, in a word, more powerful than the Calvinist party: the one, united and aggressive, gains ground day by day, and it is not unlikely that it will succeed in gaining a victory which, though not lasting, will provoke a violent reaction in the country. Things have come to such a pass that in that very Holland which fought for eighty years against Catholic despotism there are now serious reasons to fear the outbreak of a religious war.

Notwithstanding this state of things, which to the present time has prevented the institution of obligatory instruction demanded by the Liberals, and keeps a great number of Catholic children away from the schools, the education of the lower classes in Holland is in a condition that any European state might envy. In proportion, Holland contains less people who do not know their alphabet than does Prussia. "Of all Europe," as a Dutch writer has said with just pride, although he judges his country severely on other points, "Holland is the land where all such knowledge as is indispensable to civilized man is most widely diffused." I was once greatly surprised, on asking a Dutchman if there were any women-servants who could not read, to hear myself answered, "Well, yes. I remember twenty years ago that my mother had a servant who did not know her alphabet, and we thought it a very strange thing." It is a great satisfaction to a stranger who does not know the language to be sure that if he shows a name on his guide-book to the first street-urchin he meets, the boy will understand it and will try to direct him by gestures.

Talking of Catholics and Calvinists, we arrived at the dunes, and, although we were near the coast, we could not see the ocean. "Holland is a strange country," I said to my friend, "in which everything plays at hide and seek. The facades hide the roofs, the trees hide the houses, the city hides the ships, the banks hide the canals, the mist hides the fields, the dunes hide the sea." "And some day," answered my friend, "the sea will hide everything and all will be ended."

We crossed the downs and advanced toward the coast, where the preparatory works for the opening of the Rotterdam Canal were in progress.

Two dykes, one more than a thousand two hundred meters in length, the other more than two thousand meters long, separated from each other by the space of a kilometer, project into the sea at right angles to the coast. These two dykes, which are built to protect vessels entering the canal, are formed by several rows of enormous palisades made of huge blocks of granite, of fagots, stones, and earth; they are as wide as ten men drawn up in a line. The ocean, which continually washes against them, and at high tide overflows them in many parts, has covered everything,--stones, beams, and fagots, with a stratum of shells as black as ebony, which from a distance seems like a velvet coverlet, giving to these two gigantic bulwarks a severe and magnificent appearance, as if they were a warlike banner unfolded by Holland to celebrate her victory over the waves. At that moment the tide was coming in, and the battle round the extreme end of the dykes was at its height. With what rage did the livid waves avenge themselves for the scorn of those two huge horns of granite that Holland has plunged into the bosom of her enemy! The palisades and the rock foundations were lashed, gnawed, and buffeted on every side; disdainful waters dashed over them and spat upon them with a drizzling rain that hid them like a cloud of dust; then again the waves would flow back like furious writhing serpents. Even the sections far from the struggle were sprinkled by unexpected showers of spray, the advance guard of that endless army, and meanwhile the water kept rising and advancing, forcing the foremost workmen to retire step by step.

On the longest dyke, not very far from shore, they were planting some piles. Workmen with great labor were raising blocks of granite by means of derricks, and others, in groups of ten or fifteen, were removing old beams to make room for new ones. It was glorious to see the fury of the waves lashing the sides of the dyke, and the impassive calm of the workmen, who seemed almost to despise the sea. It crossed my mind that they must be saying in their hearts, as the sailor said to the monster of the Comprachicos in Victor Hugo's romance: "Roar on, old fellow!" A wind which chilled us to the bone blew the long, fair curls of the good Dutchmen into their eyes, and every now and then threw the spray at their feet or on their clothes--vain provocations to which they did not deign to reply even by a frown.

I saw a pile driven into the dyke. It was the trunk of a great tree pointed at one end and supported by two parallel beams, between which a steam-engine drove an enormous iron hammer up and down. The pile had to be driven through several very thick strata of fagots and stones; yet at every blow from the heavy hammer it sunk into the ground, breaking, tearing, and splintering, while it entered the dyke more than a hand's length, as if it were merely a mud hole. Nevertheless, what with adjusting and driving the pile, the operation lasted almost an hour. I thought of the thousands that had been driven, of the thousands still to be driven, of the interminable dykes that defend Holland, of the infinite number that have been overturned and rebuilt and for the first time my mind conceived the grandeur of the undertaking, and a feeling of dismay crept over me as I stood motionless and speechless.

Meanwhile, the waters had risen almost to the level of the dyke, with a sound of panting and breathlessness like tired-out voices that seemed to murmur secrets of distant seas and unknown shores; the wind blew colder, it was growing dark, and I felt a restless desire to withdraw from those front bastions into the interior of the fortress. I pulled the coat-tail of my companion, who had been standing for an hour on a boulder, and we returned to the shore and drank a glass of delicious Schiedam at one of those shops which are called in Dutch "Come and ask," where they sell wines, salt meats, cigars, shoes, butter, clothes, biscuits--in fact, a little of everything. Then we started on the road back to the Hague.