Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/225

formed himself after the works of Brouwer, though more dull and heavy in colour. He represented peasant scenes, conversations, and kitchen interiors, with genuine feeling for nature, good drawing, and careful execution. Works: Boors at Cards, Man and Woman at Table, National Gallery, London; Old Woman by the Fireside, Madrid Museum; Alchemist, Mr. Henderson, ib.; Kitchen Interior, Louvre; Fish Market, Lute Player (1661), Storm (1668), Amsterdam Museum; Rustic Interior (1650), Great Market at Rotterdam (1654), Rotterdam Museum; Card Players, Dubus Collection, Brussels; Peasants Smoking, Augsburg Gallery; Party of Peasants, Labourers in the Vineyard (1665), Brunswick Gallery; Peasants' Brawl, Berlin Museum; Quarrel in a Cellar, Fisherman with Salmon, Carlsruhe Gallery; Dutch Vegetable Market, do. Fish Market, Cassel Gallery; Peasant Family (1646), Tavern Interior, Old Pinakothek, Munich; Card Players (1643), Fishmongers and Cook (1664), Labourers receiving Pay (1667), Dresden Gallery; Adoration of the Shepherds (1642), Copenhagen Gallery; do. (1646), Marine with Vessels (1650), Peasant's Brawl (1665), Hermitage, St. Petersburg.—Ch. Blanc, École hollandaise; Burger, Musées, ii. 271; Riegel, Beiträge, ii. 322; Kramm, vi. 1902; Kugler (Crowe), ii. 424.

Sortie of the Banning Cock Company, Rembrandt, Amsterdam Museum.

SORTIE OF THE BANNING COCK COMPANY, Rembrandt, Amsterdam Museum; canvas, H. 11 ft. 9 in. × 14 ft. 3 in.; signed, dated 1642. Erroneously called Ronde de nuit and Patrouille de nuit by French writers, and Night Watch by Sir Joshua Reynolds. It represents the gathering in broad daylight, of the Civic Guard of Amsterdam outside of their quarters, from which they are emerging at the sound of the drum calling them to practise. Captain Banning Cock and his lieutenant, Willem van Ruytenberg, in centre, are followed by the ensign, with the orange, white, and blue standard of Amsterdam, and the sergeants with their halberds; the drummer, with a dog at his heels, is beating his drum, in right hand front corner, and the guards, armed with arquebuses and pikes, are crowding through the open door behind. On a shield on the building are the names of sixteen of the principal figures, all of which are portraits. One of the most important works of the master, who received for it 1,600 florins. It remained in the possession of the arquebusiers until about 1700, when it was removed to the Hotel de Ville, where, in order to fit it into a space between two doors, it is supposed to have been reduced in size. A copy (H. 2 ft. 2 in. × 2 ft. 9 in.), now in the National Gallery, London, ascribed formerly both to Rem-