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diff --git a/22690.txt b/22690.txt new file mode 100644 index 0000000..91b5620 --- /dev/null +++ b/22690.txt @@ -0,0 +1,4656 @@ +The Project Gutenberg eBook, Rembrandt and His Works, by John Burnet + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Rembrandt and His Works + Comprising a Short Account of His Life; with a Critical Examination into His Principles and Practice of Design, Light, Shade, and Colour. Illustrated by Examples from the Etchings of Rembrandt. + + +Author: John Burnet + + + +Release Date: September 20, 2007 [eBook #22690] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS WORKS*** + + +E-text prepared by Carl Hudkins, Chrome, David Garcia, and the Project +Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 22690-h.htm or 22690-h.zip: + (https://www.gutenberg.org/dirs/2/2/6/9/22690/22690-h/22690-h.htm) + or + (https://www.gutenberg.org/dirs/2/2/6/9/22690/22690-h.zip) + + + + + +REMBRANDT AND HIS WORKS: + +Comprising a Short Account of His Life; +with a Critical Examination into His Principles and Practice +of Design, Light, Shade, and Colour. + +Illustrated by Examples from the Etchings of Rembrandt. + +by + +JOHN BURNET, F.R.S. + +Author of "Practical Hints on Painting." + + + + + + + +[Illustration: HEAD OF REMBRANDT] + + + +London: +David Bogue, 86, Fleet Street. +MDCCCXLIX. + + + + + TO + THE EARL OF ELLESMERE, + THE ENLIGHTENED PATRON OF ART AND LITERATURE, + THIS WORK + IS MOST RESPECTFULLY INSCRIBED, + + + BY HIS OBLIGED, HUMBLE SERVANT, + JOHN BURNET. + + + + +PREFACE. + + +The high estimation in which I have ever held the works of Rembrandt +has been greatly increased by my going through this examination of his +various excellencies, and such will ever be the case when the emanations +of genius are investigated; like the lustre of precious stones, their +luminous colour shines from the centre, not from the surface. With such +a mine of rich ore as the works of Rembrandt contain, it is necessary +to apologise for the paucity of examples offered, for in a work of this +kind I have been obliged to confine myself to a certain brevity and +a limited number of illustrations; still I must do my publisher the +justice to say, he has not grudged any expense that would be the means +of doing credit to the great artist, the enlightened patron, or my +own reputation. Another circumstance has been elicited in preparing +this work for publication--the great interest that all have shown in +this humble attempt to make Rembrandt and his works more generally +appreciated. His genius and productions seem to be congenial to the +English taste. As a colourist he will ultimately lay the foundation of +the British School of Painting, and prove the justice of Du Fresnoy's +lines-- + + "He who colours well must colour bright; + Think not that praise to gain by sickly white." + + +Had it been possible, I would have given some examples of his colour as +well as of his chiaro-scuro; but I found his great charm consists more +in the tone of his colouring than its arrangement. I have mentioned in +the body of the work that Sir Joshua, certainly the greatest master of +colour we have yet had in England, frequently speaks ambiguously of many +of Rembrandt's pictures. I am therefore bound to quote a remark that he +makes to his praise. In his Memoranda he says--"I considered myself as +playing a great game; and instead of beginning to save money, I laid it +out faster than I got it, in purchasing the best examples of art that +could be procured, for I even borrowed money for this purpose. The +possession of pictures by Titian, Vandyke, Rembrandt, &c., I considered +as the best kind of wealth." + +With these remarks I must now launch the result of my labours, having +had constantly in mind that feeling which an advocate has in a good +cause, not to expect, by all his exertions, to increase the reputation +of his client, but an anxiety not to damage it by his weakness. Before +concluding I must again revert to the interest that all my friends +have taken in the success of this publication; and though it may +appear invidious to particularise any, I cannot omit mention of that +enthusiastic admirer of Rembrandt, my young friend Mr. E. W. Cooke; +the Messrs. Smith, of Lisle-street, the connoisseurs and extensive +dealers in his Etchings; Mr. Carpenter, the keeper of the prints in +the British Museum; and, lastly, my young literary friend, Mr. Peter +Cunningham, who has, from the beginning, entered heartily into the +cause of "Rembrandt and his Works." + +BROMPTON, November 4th, 1848. + + + + +ILLUSTRATIONS. + + + 1. HEAD OF REMBRANDT _Facing Title-page._ + 2. INTERIOR OF THE MILL OF REMBRANDT'S FATHER _page_ 2 + 3. EXTERIOR OF THE SAME 2 + 4. REMBRANDT'S HOUSE AT AMSTERDAM 6 + 5. FAC-SIMILE OF A LETTER OF REMBRANDT'S 14 + 6. CHRIST AND HIS DISCIPLES AT EMMAUS 24 + 7. THE ENTOMBMENT 26 + 8. THE RETURN FROM JERUSALEM 26 + 9. THE NATIVITY 32 + 10. DOCTOR FAUSTUS 38 + 11. BURGOMASTER SIX 40 + 12. PORTRAIT OF VAN TOLLING 44 + 13. SIX'S BRIDGE 46 + 14. REMBRANDT'S MILL 48 + 15. FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM 72 + 16. PORTRAIT OF REMBRANDT'S MOTHER 74 + 17. PORTRAITS OF REMBRANDT AND HIS WIFE 74 + 18. VIEW OF AMSTERDAM 80 + 19. COTTAGE WITH WHITE PALINGS 80 + + + + +REMBRANDT. + + +In commencing an account of the life of Rembrandt Van Rhyn and his +works, I feel both a pleasure and a certain degree of confidence, as, +from my first using a pencil, his pictures have been my delight and +gratification, which have continued to increase through a long life of +investigation. Though I cannot expect to enhance the high estimation +in which Rembrandt is held by all persons competent to appreciate his +extraordinary powers, nevertheless, the publication of the results of +my study may tend to spread a knowledge of his principles and practice, +which may be advantageous to similar branches in other schools; for, +notwithstanding that his style is in the greatest degree original and +peculiar to himself, yet it is founded upon those effects existing in +nature which are to be discovered, more or less, in the works of all the +great masters of colouring and chiaro-scuro. Of his early life little +is known; for, unless cradled in the higher circles of society, the +early lives of eminent men frequently remain shrouded in obscurity. +The development of their genius alone draws attention to their history, +which is generally progressive; hence a retrospective view is ambiguous. +Little is known either of Rembrandt's birth or the place of his death; +what is known has already been related, from Houbraken to Bryan, and +from Bryan to Nieuwenhuys, and anecdotes have accumulated, for something +new must be said. It is, however, fortunate that in searching into +the source from which this extraordinary artist drew his knowledge, +we have only to look into the great book of Nature, which existed at +the time of Apelles and Raffaelle; and, notwithstanding the diversity of +styles adopted by all succeeding painters, beauties and peculiarities +are still left sufficient to establish the highest reputation for any +one who has the genius to perceive them, and the industry to make them +apparent. This was the cause of Rembrandt's captivating excellence; +neither a combination of Coreggio and Titian, nor of Murillo and +Velasquez, but as if all the great principles of chiaro-scuro and colour +were steeped and harmonized in the softening shades of twilight; and +this we perceive in nature, producing the most soothing and bewitching +results. These digressions may, however, come more properly into notice +when Rembrandt's principles of colour come under review. + +Rembrandt Van Rhyn, the subject of this memoir, was born in the year +1606, between Leydendorp and Koukerk, in the neighbourhood of Leyden, on +the Rhyn, but certainly not in a mill, as there is no habitable dwelling +in the one now known as his father's. My excellent young friend, Mr. E. +W. Cooke, whose works breathe the true spirit of the best of the Dutch +school, in a letter upon this subject, says-- + + "MY DEAR SIR, + + "I send you another sketch of the mill; the picture, including the + doorzigte, or view out of the window, I painted on the spot, and + that picture is now in the possession of the King of Holland, having + taken it back with me to show him. The mill was a magazine for powder + during the Spanish invasion; it was soon after converted into a corn + mill, and was in the possession of Hernan Geritz Van Rhyn when his + son Rembrandt was born; it is situated at Koukerk, on the old Rhyn, + near Leyden. I hope you will correct the vulgar error that Rembrandt + was born IN a mill. There are often dwelling houses attached to + water-mills, such as we have in England; but in Holland, not such a + structure as a water-mill, with water-power; the water-mills there + are only _draining mills_, such as we have in Lincolnshire, Norfolk, + &c. Surely the noise and movement of a windmill would ill accord with + the confinement of any lady, especially the mother of so glorious a + fellow as _Rembrandt_. For the honour of such association I hope you + will not omit my name in the work, for I painted three pictures of + that precious relic. + + "Yours, &c. + + "E. W. COOKE." + + +[Illustration: INTERIOR OF THE MILL OF REMBRANDT'S FATHER] + +[Illustration: EXTERIOR OF THE SAME] + +The mill now known as the one possessed by Rembrandt's father is built +of stone, with an inscription, and "_Rembrandt_," in gold letters, over +the door. The one etched by his eminent son is a wooden structure, which +must have long since fallen into decay. As they are both interesting, +from association of ideas, I have given etchings of them. + +The mother of Rembrandt was Neeltje Willems Van Zuitbroek, whose +portrait he has etched. As he was an only child, his parents were +anxious to give him a good education, and therefore sent him to the +Latin school at Leyden, in order to bring him up to the profession of +the law; but, like our own inimitable Shakspere, he picked up "small +Latin and less Greek." Having shown an early inclination for painting, +they placed him under the tuition of Jacob Van Zwaanenburg, a painter +unmentioned by any biographer; he afterwards entered the studio of Peter +Lastman, and finally received instruction from Jacob Pinas. The two +last had visited Rome, but, notwithstanding, could have given little +instruction to Rembrandt, as their works show no proof of their having +studied the Italian school to much purpose. After receiving a knowledge +of a few rules, such as they could communicate, he returned home, and +commenced painting from nature, when he laid the foundation of a style +in art unapproached either before his time or since. In 1627 he is said, +by Houbraken, to have visited the Hague, when, by the price he received +for one of his pictures, he discovered his value as an artist. The +neighbourhood of the Rhine was now given up for the city of Amsterdam, +where he set up his easel in the year 1628, under the patronage of the +Burgomaster Six, and other wealthy admirers of the fine arts. + +Rembrandt's first works, like all the early works of eminent artists, +were carefully finished; the work that raised him to the greatest +notice, in the first instance, is Professor Tulpius giving an Anatomical +Lecture on a dead Body,[1] and is dated 1632. Reynolds, in his Tour +through Flanders, speaking of this picture, says:--"The Professor +Tulpius dissecting a corpse which lies on the table, by Rembrandt. To +avoid making it an object disagreeable to look at, the figure is just +cut at the wrist. There are seven other portraits, coloured like nature +itself; fresh, and highly finished. One of the figures behind has a +paper in his hand, on which are written the names of the rest. Rembrandt +has also added his own name, with the date 1632. The dead body is +perfectly well drawn, (a little foreshortened,) and seems to have been +just washed; nothing can be more truly the colour of dead flesh. The +legs and feet, which are nearest the eye, are in shadow; the principal +light, which is on the body, is by that means preserved of a compact +form; all these figures are dressed in black." He further adds--"Above +stairs is another Rembrandt, of the same kind of subject: Professor +Nieman, standing by a dead body, which is so much foreshortened that the +hands and feet almost touch each other; the dead man lies on his back, +with his feet towards the spectator. There is something sublime in the +character of the head, which reminds one of Michael Angelo; the whole is +finely painted,--the colouring much like Titian." + +Simeon in the Temple, in the Museum of the Hague, painted in 1631, is in +his first manner; as are The Salutation, in the Gallery of the Marquis +of Westminster, painted in 1640; and The Woman taken in Adultery, in the +National Gallery, painted in 1644, all on panel, and finished with the +care and minuteness of Gerhard Dow. His most successful career may be +taken from 1630 to 1656. About the year 1645 he married Miss Saskia Van +Uylenburg, by whom he had an only son, named Titus, the inheritor of the +little wealth left after his father's embarrassments, but, though bred +to the arts, inheriting little of his father's genius. In what part of +Amsterdam he resided at this time we have no record, nor is the house +now shown as Rembrandt's, and which was the subject of a mortgage, +sufficiently authenticated to prove its identity; he may have lived in +it, but it could not at any time have been sufficiently capacious to +contain all the effects given in the catalogue extracted from the +register by Mr. Nieuwenhuys. + +The late Sir David Wilkie, in a letter to his sister, says:--"At the +Hague we were delayed with rain, which continued nearly the whole of our +way through Leyden, Haarlem, and Amsterdam. Wherever we went, our great +subject of interest was seeing the native places of the great Dutch +painters, and the models and materials which they have immortalized. +At Amsterdam we sallied forth in the evening, in search of the house +of Rembrandt; it is in what is now the Jews' quarter, and is, in short, +a Jew's old china shop; it is well built, four stories high, but it +greatly disappointed me. The shop is high in the ceiling, but all the +other rooms are low and little, and, compared with the houses of Titian +at Venice, of Claude at Rome, and of Rubens at Antwerp, is quite +unworthy the house of the great master of the school of Holland. Even if +stuffed, as it is now, with every description of the pottery of Canton, +it could not have held even a sixth part of the inventory Nieuwenhuys +found, as the distrained effects of Rembrandt, and the only solution is, +that he may have once lived there; but as his will, still extant, is +dated in another street, and as several of the pictures he painted could +not be contained in the rooms we were in, we must conclude that, like +the shell which encloses the caterpillar, it was only a temporary abode +for the winged genius to whom art owes so much of its brilliancy." + +As the place of his residence is veiled in obscurity, so is the place of +his demise, which is supposed to have taken place in 1664, as Mr. Smith, +in a note to his Life of Rembrandt, says--"that no picture is recorded +bearing a later date than 1664, and the balance of his property was paid +over to his son in 1665." + +Mr. Woodburn, in a Catalogue of his Drawings, says:--"It is uncertain +what became of him after his bankruptcy, or where he died; a search has +been made among the burials at Amsterdam, until the year 1674, but his +name does not occur; probably Baldinucci is correct in stating that he +died at Stockholm, in 1670;" others have mentioned Hull, and some give +a credence to his having fled to Yarmouth, during his troubles, and +mention two pictures, a lawyer and his wife, said to have been painted +there; they are whole lengths, and certainly in his later manner, but +I could not gather any authentic account to build conjecture upon, as +the intercourse between Amsterdam and Yarmouth has been kept up from +olden time, and a Dutch fair held every three years on the shore. The +ancestors of the family in whose possession they still are, may have +visited Holland; but, amongst such conflicting opinions, it is useless +to attempt elucidation of the truth of this. We may rest certain that +his works will be appreciated in proportion as a knowledge of their +excellence is extended. + +[Illustration: REMBRANDT'S HOUSE AT AMSTERDAM] + +[Sidenote: _Extract from the Book of Sureties of Real Estates remaining +at the Secretary's Office of the City of Amsterdam, fol. 89, &c._] + + +LEGAL RECEIPT AND DISCHARGE, GIVEN BY TITUS VAN RYN, FOR THE BALANCE OF +THE ESTATE OF HIS FATHER, REMBRANDT VAN RYN. + + + Good for Gls. 6952--9. + the 29.7bre--Willem Muilm. + + I the undersigned acknowledge to have + received of the said Commissaries + the undermentioned six thousand nine + hundred and fifty-two Guldens nine + Stuivers, the 5th November, 1665. + +Received the contents, TITUS VAN RYN. + + Before the undersigned Magistrates appeared Titus Van Ryn, + the only surviving son of Rembrandt Van Ryn and of Saskia + Van Uylenburg (having obtained his veniam aetatis), as + principal,--Abraham Fransz, merchant, living in the Angelier + Straat, and Bartholomeus Van Benningen, woollen-draper, in + the Liesdel, as guarantees. And jointly, and each of them + separately, promised to re-deliver into the hands of the + Commissaries of the Insolvent Estates, when called upon, + the said six thousand nine hundred fifty-two Guldens and + nine Stuivers, which the said Titus Van Ryn shall receive + of and from the before-mentioned Commissaries, the money + arising from the house and ground in the Anthonis bree + Straat, A. 1658, which was sold under execution, and from + the personal estate of Saskia Van Uylenburg and Rembrandt + Van Ryn aforesaid; hereby binding all their goods, moveables, + and immoveables, present and future, in order to recover the + said sum and costs. Therefore the before-mentioned principal + promised to indemnify his said sureties under a similar + obligation as above written.--Actum, the 9th September, 1665. + + A. J. J. HINLOPEN AND ARNOUT HOOFT. + H. V. BRONCHORST. + + 2207: a 3:3 6952:1 + (Stamp) 8 + ________ + 6952 9 + + +_The following Catalogue is extracted from the Register L R. fol. 29 +to 39 inclusive, of the Inventory of the Effects of_ REMBRANDT VAN RHYN, +_deposited in the Office of the Administration of Insolvent Estates at +Amsterdam, Anno 1656._ + + +PICTURES, &c. + + +IN THE ENTRANCE HALL. + +A Picture, representing The Gingerbread + Baker By _Brauwer_. + +A ditto, The Gamblers _Ditto_. + +A ditto, A Woman and Child _Rembrandt_. + +A ditto, The Interior of an Artist's Painting Room _Brauwer_. + +A ditto, The Interior of a Kitchen _Ditto_. + +A Statue of a Woman, in plaster. + +Two Children, in plaster. + +A Sleeping Child, in plaster. + +A Landscape By _Rembrandt_. + +A ditto _Ditto_. + +A Woman represented standing _Ditto_. + +A Christmas Night Piece _Jean Lievensz_. + +St. Jerome _Rembrandt_. + +Dead Hares, a small picture _Ditto_. + +A small picture of a Pig _Ditto_. + +A small Landscape _Hercules Segers_. + +A Landscape _Jean Lievensz_. + +A ditto _Ditto_. + +A ditto _Rembrandt_. + +A Combat of Lions _Ditto_. + +A Landscape, by moonlight _Jean Lievensz_. + +A Head _Rembrandt_. + +A ditto _Ditto_. + +A picture of Still Life, objects retouched _Ditto_. + +A Soldier, clad in armour By _Rembrandt_. + +A Skull, and other objects, styled a Vanitas, + retouched _Ditto_. + +A ditto, ditto, retouched _Ditto_. + +A Sea Piece _Hendrick Antonisz_. + +Four Spanish Chairs, covered with leather. + +Two ditto, ditto in black. + +A Plank of Wood. + + +IN THE FRONT PARLOUR. + +A small picture of the Samaritan, retouched By _Rembrandt_. + +The Rich Man _Palma Vecchio_. + (The half of this picture belongs to _Peter + de la Tombe_). + +A View of the Back of a House By _Rembrandt_. + +Two Sporting Dogs, done after nature _Ditto_. + +The Descent from the Cross, a large picture, + in a gilt frame _Ditto_. + +The Raising of Lazarus _Ditto_. + +A Courtesan Dressing _Ditto_. + +A Woody Scene _Hercules Segers_. + +Tobias, &c. _Lastman_. + +The Raising of Lazarus _Jean Lievensz_. + +A Landscape, representing a mountainous country _Rembrandt_. + +A small Landscape By _Govert Jansz_. + +Two Heads _Rembrandt_. + +A Picture, _en grisaille_ _Jean Lievensz_. + +A ditto, _ditto_ _Parcelles_. + +A Head _Rembrandt_. + +A ditto _Brauwer_. + +A View of the Dutch Coast _Parcelles_. + +A ditto of the same, smaller _Ditto_. + +A Hermit _Jean Lievensz_. + +Two Small Heads _Lucas Van + Valkenburg_. + +A Camp on Fire _The elder Rassan_. + +A Quack Doctor _After Brauwer_. + +Two Heads By _Jan Pinas_. + +A perspective View _Lucas Van Leyden_. + +A Priest _Jean Lievensz_. + +A Model _Rembrandt_. + +A Flock of Sheep _Ditto_. + +A Drawing _Ditto_. + +The Flagellation of our Lord _Ditto_. + +A Picture, done _en grisaille_ _Parcelles_. + +A ditto, ditto _Simon de Vlieger_. + +A small Landscape _Rembrandt_. + +A Head of a Woman, after Nature _Ditto_. + +A Head _Rafaelle Urbino_. + +A View of Buildings, after Nature _Rembrandt_. + +A Landscape, after Nature _Ditto_. + +A View of Buildings _Hercules Segers_. + +The Goddess Juno _Jacob Pinas_. + +A Looking Glass, in a black ebony frame. + +An ebony Frame. + +A Wine Cooler, in marble. + +A Table of walnut tree, covered with a carpet. + +Seven Spanish Chairs, with green velvet cushion. + + +BACK PARLOUR. + +A Picture By _Pietro Testa_. + +A Woman with a Child _Rembrandt_. + +Christ on the Cross, a model _Ditto_. + +A Naked Woman _Ditto_. + +A Copy, after a picture _Annibal Caracci_. + +Two Half Figures _Brauwer_. + +A Copy, after a picture _Annibal Caracci_. + +A Sea View _Parcelles_. + +The Head of an Old Woman _Van Dyck_. + +A Portrait of a deceased Person _Abraham Vink_. + +The Resurrection _A. Van Leyden_. + +A Sketch _Rembrandt_. + +Two Heads, after Nature _Ditto_. + +The Consecration of Solomon's Temple, + done _en grisaille_ _Ditto_. + +The Circumcision, a copy After _Ditto_. + +Two small Landscapes By _Hercules + Segers_. + +A gilt Frame. + +A small Oak Table. + +Four Shades for engraving. + +A Clothes Press. + +Four old Chairs. + +Four green Chair Cushions. + +A Copper Kettle. + +A Portmanteau. + + +THE SALOON. + +A Woody Scene By _An Unknown + Master_. + +An Old Man's Head _Rembrandt_. + +A large Landscape _Hercules Segers_. + +A Portrait of a Woman _Rembrandt_. + +An Allegory of the Union of the Country _Ditto_. + + This is probably the picture now in the Collection + of Samuel Rogers, Esq. + +A View in a Village By _Govert Jansz_. + +A Young Ox, after Nature _Rembrandt_. + +The Samaritan Woman, a large picture, attributed + to _Giorgione_, the half of which belongs to + _Peter de la Tombe_. + +Three antique Statues. + +A Sketch of the Entombment By _Rembrandt_. + +The Incredulity of St. Peter _Aertje Van + Leyden_. + +The Resurrection of our Lord _Rembrandt_. + +The Virgin Mary _Rafaelle Urbino_. + +A Head of Christ _Rembrandt_. + +A Winter Scene _Grimaer_. + +The Crucifixion. Probably intended for _Novellari_ _Lely of + Novellaene_. + +A Head of Christ _Rembrandt_. + +A young Bull or Ox _Lastman_. + +A Vanitas, retouched _Rembrandt_. + +An Ecce Homo, _en grisaille_ _Ditto_. + +Abraham Offering up his Son _Jean Lievensz_. + +A Vanitas, retouched _Rembrandt_. + +A Landscape, _en grisaille_ _Hercules Segers_. + +An Evening Scene _Rembrandt_. + +A large Looking Glass. + +Six Chairs, with blue cushions. + +An oak Table. + +A Table Cloth. + +A Napkin Press. + +A Wardrobe, or Armoir. + +A Bed and a Bolster. + +Two Pillows. + +Two Coverlids. + +Blue Hangings of a Bed. + +A Chair. + +A Stove. + + +IN THE CABINET OF ARTS. + +A pair of Globes. + +A Box, containing minerals. + +A small Architectural Column. + +A Tin Pot. + +The Figure of an Infant. + +Two pieces of Indian Jadd. + +A Japan or Chinese Cup. + +A Bust of an Empress. + +An Indian Powder Box. + +A Bust of the Emperor Augustus. + +An Indian Cup. + +A Bust of the Emperor Tiberius. + +An Indian Work-Box, for a lady. + +A Bust of Caius. + +A pair of Roman Leggins. + +Two Porcelain Figures. + +A Bust of Heraclitus. + +Two Porcelain Figures. + +A Bust of Nero. + +Two Iron Helmets. + +An Indian Helmet. + +An ancient Helmet. + +A Bust of a Roman Emperor. + +A Negro, cast from Nature. + +A Bust of Socrates. + +A Bust of Homer. + +A ditto of Aristotle. + +An antique Head, done in brown. + +A Faustina. + +A Coat of Armour, and a Helmet. + +A Bust of the Emperor Galba. + +A ditto of the Emperor Otho. + +A ditto of the Emperor Vitellius. + +A ditto of the Emperor Vespasian. + +A ditto of the Emperor Titus Vespasian. + +A ditto of the Emperor Domitian. + +A ditto of Silius Brutus. + +Forty-seven specimens of Botany. + +Twenty-three ditto of Land and Marine Animals. + +A Hammock, and two Calabashes. + +Eight various objects, in plaster, done from Nature. + + +ON THE LAST SHELF. + +A quantity of Shells, Marine Plants, and sundry curious objects, in +plaster, done from Nature. + +An antique Statue of Cupid. + +A small Fuzil, and a Pistol. + +A steel Shield, richly embossed with Figures, by Quintin Matsys, very +curious and rare. + +An antique Powder-horn. + +A ditto; Turkish. + +A Box, containing Medals. + +A Shield of curious workmanship. + +Two Naked Figures. + +A Cast from the face of Prince Maurice, taken after his death. + +A Lion and a Bull, in plaster, after Nature. + +A number of Walking Sticks. + +A long Bow. + + +BOOKS ON ART. + +A Book, containing Sketches by _Rembrandt_. + +A ditto, containing Prints engraved in wood by _Lucas Van Leyden_. + +A ditto ditto, by _Wael and others_. + +A ditto, containing Etchings by _Baroccio and Vanni_. + +A ditto, containing Prints after _Rafaelle Urbino_. + +A gilt Model of a French Bed, by _Verhulst_. + +A Book full of Engravings, many of which are double impressions, by +_Lucas Van Leyden_. + +A ditto, containing a great number of Drawings by the best masters. + +A ditto, containing a number of fine Drawings by _Andrea Mantegna_. + +A ditto, containing Drawings by various masters, and some Prints. + +A ditto, larger, full of Drawings and Prints. + +A ditto, containing a number of Miniatures, Wood-cuts, and Copper-plate +Prints, of the various costumes of countries. + +A Book, full of Prints by _Old Breughel_. + +A ditto, containing Prints after _Rafaelle Urbino_. + +A ditto, containing valuable Prints, after the same. + +A ditto, full of Prints by _Tempesta_. + +A ditto, containing Wood-cuts and Engravings by _Lucas Cranach_. + +A ditto, containing Prints after the _Caracci_ and _Guido_, and +_Spagnoletti_. + +A ditto, containing Engravings and Etchings by _Tempesta_. + +A large Folio of ditto ditto, by _Ditto_. + +A ditto ditto, various. + +A Book, containing Prints by _Goltius_ and _Mueller_. + +A ditto, containing Prints after _Rafaelle Urbino_, very fine +impressions. + +A Book, containing Drawings by _Brauwer_. + +A Folio, containing a great number of Prints after _Titian_. + +A number of curious Jars and Venetian Glasses. + +An old Book, containing a number of Sketches by _Rembrandt_. + +A ditto ditto. + +A large Folio of Sketches by _Rembrandt_. + +An empty Folio. + +A Backgammon Board. + +An antique Chair. + +A Book, containing Chinese Drawings in miniature. + +A large Cluster of White Coral. + +A Book full of Prints of Statues. + +A ditto full of Prints, a complete work by _Heemskirk_. + +A ditto, full of Sketches by _Rubens_, _Van Dyck_, and other masters. + +A ditto, containing the Works of _Michael Angelo Buonarotti_. + +Two small Baskets. + +A Book, containing Prints of free Subjects, after _Rafaelle_, _Roest_, +_Annibal Caracci_, and _Giulio Romano_. + +A ditto, full of Landscapes by the most distinguished masters. + +A Book, containing Views of Buildings in Turkey, by _Melchoir Lowick_, +_Hendrick Van Helst_, and others; and also the Costumes of that Country. + +An Indian Basket, containing various Engravings by _Rembrandt_, +_Hollar_, _Cocq_, and others. + +A Book, bound in black leather, containing a selection of Etchings by +_Rembrandt_. + +A paper Box, full of Prints by _Hupe Martin_, _Holbein_, _Hans Broemer_, +and _Israel Mentz_. + +A Book, containing a complete set of Etchings by _Rembrandt_. + +A Folio, containing Academical Drawings of Men and Women, by +_Rembrandt_. + +A Book, containing Drawings of celebrated Buildings in Rome, and other +Views, by the best masters. + +A Chinese Basket, full of various Ornaments. + +A Folio. + +A ditto. + +A ditto, containing Landscapes after Nature by _Rembrandt_. + +A Book, containing a selection of Proof Prints after _Rubens_ and +_Jacques Jordaens_. + +A ditto, full of Drawings by _Miervelt_, _Titian_, and others. + +A Chinese Basket. + +A ditto ditto, containing Prints of Architectural Subjects. + +A ditto, containing Drawings of various Animals from Nature by +_Rembrandt_. + +A ditto, full of Prints after _Frans Floris_, _Bruitwael_, _Goltius_, +and _Abraham Bloemart_. + +A quantity of Drawings from the Antique, by _Rembrandt_. + +Five Books, in quarto, containing Drawings by _Rembrandt_. + +A Book full of Prints of Architectural Views. + +The Medea, a Tragedy, by _Jan Six_. + +A quantity of Prints, by _Jacques Callot_. + +A Book, bound in parchment, containing Drawings of Landscapes, after +Nature, by _Rembrandt_. + +A ditto, full of Sketches of Figures by _Rembrandt_. + +A ditto, various. + +A small Box, with wood divisions. + +A Book, containing Views drawn by _Rembrandt_. + +A ditto, containing fine Sketches. + +A ditto, containing Statues after Nature by _Rembrandt_. + +A ditto, various. + +A ditto, containing pen Sketches by _Peter Lastman_. + +A ditto, containing Drawings in red chalk by _Ditto_. + +A ditto, containing Sketches drawn with the pen by _Rembrandt_. + +A ditto, various. + +A ditto, ditto. + +A Book, various. + +A ditto, ditto. + +A ditto, ditto. + +A Folio of large Drawings of Views in the Tyrol, by _Roeland Savery_. + +A ditto, full of Drawings by celebrated masters. + +A Book, in quarto, containing Sketches by _Rembrandt_. + +A Book of Wood-cuts of the proportions of the Human Figure, by _Albert +Durer_. + +A Book, containing Engravings by _Jean Lievensz_ and _Ferdinand Bol_. + +Several parcels of Sketches by _Rembrandt_ and others. + +A quantity of Paper, of a large size. + +A Box, containing Prints by _Van Vliet_, after Pictures by _Rembrandt_. + +A Screen, covered with cloth. + +A steel Gorget. + +A Drawer, containing a Bird of Paradise, and six Forms of divers +patterns. + +A German Book, containing Prints of Warriors. + +A ditto, with Wood-cuts. + +Flavius Josephus, in German, illustrated with Engravings by _Tobias +Kinderman_. + +An ancient Bible. + +A marble Inkstand. + +A Cast, in Plaster, of Prince Maurice. + + +IN AN ANTI-CHAMBER OF THE ROOM OF ARTS. + +St. Joseph By _Aertje Van + Leyden_. + +Three Prints, in frames. + +The Salutation. + +A Landscape after Nature _Rembrandt_. + +A Landscape _Hercules Segers._ + +The Descent from the Cross _Rembrandt_. + +A Head after Nature. + +A Skull Retouched by + _Rembrandt_. + +A Model, in plaster, of the Bath of Diana By _Adam Van + Vianen_. + +A Model from Nature _Rembrandt_. + +A Picture of Three Puppies, after Nature _Titus Van Ryn_. + +A ditto of a Book _Ditto_. + +A Head of the Virgin _Ditto_. + +The Flagellation A Copy after + _Rembrandt_. + +A Landscape by Moonlight Retouched by + _Ditto_. + +A Naked Woman, a Model from Nature By _Ditto_. + +An unfinished Landscape from Nature _Ditto_. + +A Horse painted from Nature By _Rembrandt_. + +A small Picture _Young Hals_. + +A Fish, after Nature. + +A Model, in plaster, of a Bason, adorned with Figures, by _Adam Van +Vianen_. + +An old Chest. + +Four Chairs, with black leather seats. + +A Table. + + +IN THE SMALL PAINTING ROOM. + +Thirty-three pieces of Armour and Musical Instruments. + +Sixty pieces of Indian Armour, and several Bows, Arrows, and Darts. + +Thirteen bamboo Pipes, and several Flutes. + +Thirteen objects, consisting of Bows, Arrows, Shields, &c. + +A number of Heads and Hands, moulded from Nature, together with a Harp, +and a Turkish Bow. + +Seventeen Hands and Arms, moulded from Nature. + +Some Stag Horns. + +Five ancient Casques. + +Four long Bows, and cross Bows. + +Nine Gourds and Bottles. + +Two modelled Busts of Bartholt Been and his Wife. + +A plaster Cast from a Grecian Antique. + +A Bust of the Emperor Agrippa. + +A ditto of the Emperor Aurelius. + +A Head of Christ, of the size of Life. + +A Head of a Satyr. + +A Sibil--Antique. + +The Laocoon--Ditto. + +A large Marine Vegetable. + +A Vitellius. + +A Seneca. + +Three or four antique Heads of Women. + +A metal Cannon. + +A quantity of Fragments of antique Dresses, of divers colours. + +Seven Musical stringed Instruments. + +Two small Pictures by _Rembrandt_. + +[Illustration: FAC-SIMILE OF A LETTER OF REMBRANDT'S] + + +IN THE LARGE PAINTING ROOM. + +Twenty Objects, consisting of Halberds and Swords of various kinds. + +Dresses of an Indian Man and Woman. + +Five Cuirasses. + +A wooden Trumpet. + +A Picture of Two Negroes by _Rembrandt_. + +A Child by _Michael Angelo Buonarotti_. + + +IN THE SHED. + +The Skins of a Lion and a Lioness, and two Birds. + +A large Piece, representing Diana. + +A Bittern, done from Nature, by _Rembrandt_. + + +IN A SMALL ROOM. + +Ten Paintings, of various sizes, by _Rembrandt_. + +A Bed. + + +IN THE KITCHEN. + +A pewter Pot. + +Several Pots and Pans. + +A small Table. + +A Cupboard. + +Several old Chairs. + +Two Chair Cushions. + + +IN THE PASSAGE. + +Nine Plates. + +Two earthen Dishes. + + +THE LINEN (THEN AT THE WASHER-WOMAN'S). + +Three Shirts. + +Six Pocket Handkerchiefs. + +Twelve Napkins. + +Three Table Cloths. + +Some Collars and Wristbands. + + +The preceding Inventory was made on the 25th and 26th of July, 1656. + + * * * * * + +_Free Translation of the Autograph Letter on the opposite page._ + + + SIR, + + It is, your Honour, with reluctance, that I am about to trouble + you with a letter, and that, because on applying to the receiver + Utenbogaert, (to whom I have entrusted the management of my money + matters,) as to how the treasurer Volberger acquits himself of the + yearly 4 per cent. interest, the said Utenbogaert, on Wednesday + last, replied,--that Volberger has every half year received the + interest on this annuity, and has done so up to the present time; + so that now, at the annuity office, more than 4000 florins being + owing, and this being the exact and true statement, I beg of you, + my kind-natured Sir, that the exact sum of money at my disposal may + be at once made clear, in order that I may at last receive the sum + of 1244 florins, long since due; as I shall always strive to + recompense such by reciprocal services, and with lasting friendship; + so that with my most cordial greetings, and the prayer that God may + long keep you in good health, and grant you bliss hereafter, + + I remain, + Your Honour's + Obedient and devoted Servant, + + REMBRANDT. + + I am living on the Binnen Aemstel, at the Confectioner's. + + 10th Oct. + + VAN SUYLYKEN, Esq. + Counsellor and Secretary to his Highness in the Hague. + + _Per post._ + + +We cannot reflect upon the foregoing Catalogue without regretting that +Rembrandt, in his old age, should have, like our own Milton, + + "Fall'n on evil days, + On evil days though fall'n and evil tongues." + + +The troubles existing at that time pervaded the whole of Europe, and +works, both of poetry and painting, produced little emolument to the +possessors; consequently the whole of this rich assemblage of works of +art, the accumulation of years, fell a sacrifice to the hammer of the +auctioneer, producing little more than four thousand nine hundred +guilders. By its list, however, we are enabled to refute the assertion +of many of his biographers, that he neglected the antique, and the works +of the great masters of the Italian school, the catalogue including +casts from ancient sculpture, and drawings and prints after Michael +Angelo, Raffaelle, and Titian, which at that time were rare and of great +value. We find by a memorandum on the back of one of Rembrandt's proofs, +on India paper, of his etching of "Christ Healing the Sick," which now +goes by the name of "The Hundred Guilder Print," that, "wishing to +possess a print of the Plague, by Mark Antonio, after Raffaelle, valued +by the dealer Van Zomers at a hundred florins, he gave the proof in +exchange;" and further, "that such proofs were never sold, but given as +presents to his friends." We may perceive by this the anxiety he had to +collect works that were excellent. As we do not discover amongst the +various articles enumerated, either palette or brushes, we may infer +that on quitting Amsterdam he carried off all his working apparatus. + +With this short notice of his life, and these few remarks, I must now +enter into what is more properly the subject of this work, a critical +examination into his principles and practice. + +[Footnote 1: Mr. Nieuwenhuys, in a note in his Life of Rembrandt, +mentions that the Directors of the Anatomical Theatre resolved to sell +this picture by auction, for the purpose of augmenting the funds for +supporting the widows of members, and in consequence the sale was +announced for Monday the 4th of August, 1828. Since the year 1632, until +this period, it had always remained in that establishment, as a gift +from Professor N. Tulp, who presented it as a remembrance of himself and +colleagues. Mr. N. had no sooner heard that the piece in question was to +be sold, than he went to Amsterdam, with the intention of purchasing +it; but, upon arriving, was informed that his Majesty, the King of the +Netherlands, had opposed the sale, and given orders to the Minister for +the Home Department to obtain it for the sum of 32,000 guldens, and +caused it to be placed in the Museum at the Hague, where it remains. +The picture is on canvas: height 64-1/2 inches, width 83-1/2 inches.] + + + + +REMBRANDT AND HIS WORKS. + + +The early pictures, in all ages, either merely indicate the character +of bas-reliefs or single statues,--a cold continuity of outline, and +an absence of foreshortening. The first move in advance, and that +which constitutes their pictorial character, in contradistinction to +sculpture, is an assemblage of figures, repeating the various forms +contained in the principal ones, and thus rendering them less harsh by +extension and doubling of the various shapes, as we often perceive in a +first sketch of a work, where the eye of the spectator chooses, out of +the multiplicity of outlines, those forms most agreeable to his taste. +The next step to improvement, and giving the work a more natural +appearance, is the influence of shadow, so as to make the outlines of +the prominent more distinct, and those in the background less harsh +and cutting, and consequently more retiring. The application of shadow, +however, not only renders works of art more natural, by giving the +appearance of advancing and retiring to objects represented upon a flat +surface--thus keeping them in their several situations, according to the +laws of aerial perspective--but enables the artist to draw attention to +the principal points of the story, and likewise to preserve the whole in +agreeable form, by losing and pronouncing individual parts. Coreggio was +the first who carried out this principle to any great extent; but it was +reserved for Rembrandt, by his boldness and genius, to put a limit to +its further application. Breadth, the constituent character of this mode +of treatment, cannot be extended; indeed, it is said that Rembrandt +himself extended it too far; for, absorbing seven-eighths in obscurity +and softness, though it renders the remaining portion more brilliant, +yet costs too much. This principle, however, contains the greatest +poetry of the art, in contradistinction to the severe outline and harsh +colouring of the great historical style. + + + + +COMPOSITION. + + +To arrive at a true knowledge of the inventions and compositions of +Rembrandt, it is necessary, in the first instance, to examine those +of Albert Durer, the Leonardo da Vinci of Germany. The inventions of +this extraordinary man are replete with the finest feelings of art, +notwithstanding the Gothic dryness and fantastic forms of his figures. +The folds of his draperies are more like creased pieces of paper than +cloth, and his representation of the naked is either bloated and +coarse, or dry and meagre. His backgrounds have all the extravagant +characteristics of a German romance, and are totally destitute of aerial +perspective; yet, with the exception of the character of the people and +scenery of Nuremburg, he is not more extravagant in his forms than the +founder of the Florentine school, and had he been educated in Italy, he +in all probability would have rivalled Raffaelle in the purity of his +design. In his journal, which he kept when he travelled into the +Netherlands, he mentions some prints he sent to Rome, in exchange for +those he expected in return, and it is mentioned that Raffaelle admired +his works highly. The multitude of his engravings, both on copper and +wood, which were spread over Germany, influenced, in a great degree, +the style of composition of those artists who came after him, and +accordingly we see many points of coincidence in the compositions of +Rembrandt. A century, however, had opened up a greater insight into the +mysteries of painting than either Leonardo da Vinci or Albert Durer ever +thought of; one alone,--viz. aerial perspective, seems to mark the line +between the ancient and modern school; for though Durer invented several +instruments for perfecting lineal perspective, his works exhibit no +attempt at giving the indistinctness of distant objects. To Rubens, +Germany and Holland were indebted for this essential part of the art, so +necessary to a true representation of Nature. This great genius, in his +contemplation of the works of Titian and others, both at Venice and in +Madrid, soon emancipated the art of his country from the Gothic hardness +of Lucas Cranach, Van Eyck, and Albert Durer; but notwithstanding his +taste and knowledge of what constituted the higher qualities of the +Italian school, the irregular combinations and multitudinous assemblage +of figures found in the early German compositions remained with him to +the last. His works are like a melodrama, filled with actors who have +no settled action or expression allotted them, while in the works of +Raffaelle, and other great composers, the persons introduced are limited +to the smallest number necessary to explain the story. This condensing +of the interest, if I may use the expression, was borrowed originally +from the Greeks, of whose sculptures the Romans availed themselves to a +great degree. On the other hand, this looseness of arrangement, and what +may be termed ornamental, not only spread through Germany, but infected +the schools of Venice; witness the works of Tintoret and Paul Veronese, +in which the expression of the countenance absolutely goes for nothing, +and the whole arrangement is drawn out in a picturesque point of view, +merely to amuse and gratify the eye of the spectator. + +Now, with all these infectious examples before him, Rembrandt has done +much to concentrate the action, and reduce the number drawn out on the +canvas to the mere personages who figure in the history. Witness his +"Salutation of the Virgin," in the Marquis of Westminster's collection, +which is evidently engendered from the idea contained in the design of +Albert Durer. His strict application to nature, while it enabled him +to destroy the unmeaning combinations of his predecessors, led him +into many errors, by the simple fact of drawing from the people in his +presence. But are not others chargeable with some incongruities? Are the +Madonnas of Murillo anything but a transcript of the women of Andalusia? +The women of Venice figure in the historical compositions of Titian and +Paul Veronese, and the Fornarina of Raffaelle is present in his most +sacred subjects; those, therefore, who accuse Rembrandt of vulgarity +of form, might with equal justice draw an invidious comparison between +classic Italian and high Dutch. In many of his compositions he has +embodied the highest feeling and sentiment, and in his study of natural +simplicity approaches Raffaelle nearer than any of the Flemish or Dutch +painters. Of course, as a colourist and master of light and shade, he +is all powerful; but I allude, at present, to the mere conception and +embodying of his subjects on this head. + +Fuseli says,--"Rembrandt was, in my opinion, a genius of the first +class in whatever relates not to form. In spite of the most portentous +deformity, and without considering the spell of his _chiaro-scuro_, such +were his powers of nature, such the grandeur, pathos, or simplicity of +his composition, from the most elevated or extensive arrangement to +the meanest and most homely, that the best cultivated eye, the purest +sensibility, and the most refined taste, dwell on them equally +enthralled. Shakspere alone excepted, no one combined with so much +transcendent excellence so many, in all other men unpardonable, +faults,--and reconciled us to them. He possessed the full empire of +light and shade, and of all the tints that float between them; he tinged +his pencil with equal success in the cool of dawn, in the noon-day ray, +in the livid flash, in evanescent twilight, and rendered darkness +visible. Though made to bend a steadfast eye on the bolder phenomena of +nature, yet he knew how to follow her into her calmest abodes, gave +interest to insipidity and baldness, and plucked a flower in every +desert. None ever, like Rembrandt, knew how to improve an accident into +a beauty, or give importance to a trifle. If ever he had a master, he +had no followers; Holland was not made to comprehend his power." + +And in another lecture, speaking of the advantage of a low horizon, he +says:--"What gives sublimity to Rembrandt's Ecce Homo more than this +principle? a composition which, though complete, hides in its grandeur +the limits of its scenery. Its form is a pyramid, whose top is lost in +the sky, as its base in tumultuous murky waves. From the fluctuating +crowds who inundate the base of the tribunal, we rise to Pilate, +surrounded and perplexed by the varied ferocity of the sanguinary +synod to whose remorseless gripe he surrenders his wand, and from +him we ascend to the sublime resignation of innocence in Christ, and, +regardless of the roar, securely repose on his countenance. Such is the +grandeur of a conception, which in its blaze absorbs the abominable +detail of materials too vulgar to be mentioned. Had the materials been +equal to the conception and composition, the Ecce Homo of Rembrandt, +even unsupported by the magic of its light and shade, or his spell of +colours, would have been an assemblage of superhuman powers." + +Reynolds, in his Eighth Discourse, speaking of the annoyance the mind +feels at the display of too much variety and contrast, proceeds to +say:--"To apply these general observations, which belong equally to all +arts, to ours in particular. In a composition, where the objects are +scattered and divided into many equal parts, the eye is perplexed and +fatigued, from not knowing where to find the principal action, or which +is the principal figure; for where all are making equal pretensions to +notice, all are in equal danger of neglect. The expression which is used +very often on these occasions is, the piece wants repose--a word which +perfectly expresses a relief of the mind from that state of hurry and +anxiety which it suffers when looking at a work of this character. On +the other hand, absolute unity, that is, a large work consisting of one +group or mass of light only, would be as defective as an heroic poem +without episode, or any collateral incidents to recreate the mind with +that variety which it requires. An instance occurs to me of two painters +(Rembrandt and Poussin) of characters totally opposite to each other in +every respect, but in nothing more than in their mode of composition and +management of light and shadow. Rembrandt's manner is absolute unity; he +often has but one group, and exhibits little more than one spot of light +in the midst of a large quantity of shadow: if he has a second mass that +second bears no proportion to the principal. Poussin, on the contrary, +has scarcely any principle mass of light at all, and his figures are +often too much dispersed, without sufficient attention to place them in +groups. The conduct of these two painters is entirely the reverse of +what might be expected from their general style and character, the works +of Poussin being as much distinguished for simplicity as those of +Rembrandt for combination. Even this conduct of Poussin might proceed +from too great affection to simplicity of another kind, too great a +desire to avoid the ostentation of art with regard to light and shadow, +on which Rembrandt so much wished to draw the attention; however, each +of them ran into contrary extremes, and it is difficult to determine +which is the most reprehensible, both being equally distant from the +demands of nature and the purposes of art." + +This unity is observable in the composition of Rembrandt; even where +a multiplicity of figures are employed, they are so grouped that the +masses of light and shade are interrupted as little as possible; and it +is only in his earlier works, such as those now in the Munich Gallery, +where this isolated light is carried to extravagance. In many of his +later pictures, we have not only subordinate groups, but a repetition +of the principal lights; also a greater breadth of half-tint. +"Composition," says Reynolds, "which is the principal part of the +invention of a painter, is by far the greatest difficulty he has to +encounter. Every man that can paint at all, can execute individual +parts; but to keep these parts in due subordination as relative to a +whole, requires a comprehensive view of the art, that more strongly +implies genius than perhaps any other quality whatever." Now Rembrandt +possessed this power in an eminent degree. At the revival of painting +in Italy, the compositions consisted entirely of subjects taken from +Sacred Writ--subjects that imposed a purity of thought and a primitive +simplicity upon the artists; these qualities were, however, in a great +measure lost in passing through the Venetian and German schools, where +either the love for pictorial effect or the introduction of catholic +ceremonies took precedence of every other arrangement. The prolific +genius of Rubens spread this infectious mode of treatment through +Flanders and Holland, till at length, in the hands of the painters of +smoking and drinking scenes, historical subjects, even of a sacred +character, became quite ridiculous. Yet, with all these examples of bad +and vulgar taste around him, we find many compositions of Rembrandt less +degraded by mean representation than many of the best of the works of +the Venetian and Flemish painters. Take, for example, his design of +Christ and his Disciples at Emmaus, the principal figure in which is +certainly more refined than the Christ either in the pictures of Titian +or Rubens of the same subject; in fact, the idea of it is taken from the +Last Supper, by Raffaelle, (the Mark Antonio print of which he must have +had.) Raffaelle is indebted for the figure to Leonardo da Vinci; and if +we were to trace back, I have no doubt we should find that the Milanese +borrowed it from an earlier master; indeed, we perceive in the progress +of painting much of the primitive simplicity and uniformity preserved +in the best works of the Italian school. It was only when composition +passed through the prolific minds of such artists as Paul Veronese, +Tintoret, and Rubens, that it was made subservient to the bustle, +animation, and picturesque effect of their works. When we find, +therefore, any remains revived in the pictures of Rembrandt, who was +surrounded by compositions of a vulgar and low cast, we can only ascribe +it to the taste and genius of this great painter. In the design just +mentioned, the idea of the Disciples, as if struck with astonishment +and awe at the bursting forth of the divinity of Christ, is admirably +conceived. As the heads are taken from the people of his country, they +of necessity partake of the character of the people. This cannot be +justified, though it is excusable. Reynolds, on this head, speaking +of the ennobling of the characters in an historical picture, says, +"How much the great style exacts from its professors to conceive and +represent their subjects in a poetical manner, not confined to mere +matter of fact, may be seen in the Cartoons of Raffaelle. In all the +pictures in which the painter has represented the apostles, he has +drawn them with great nobleness; he has given them as much dignity as +the human figure is capable of receiving. Yet we are expressly told in +Scripture they had no such respectable appearance; and of St. Paul +in particular we are told by himself that his _bodily_ presence was +_mean_. In conformity to custom, I call this part of the art History +Painting: it ought to be called Poetical, as in reality it is." He +further adds, "The painter has no other means of giving an idea of the +mind but by that external appearance which grandeur of thought does +generally, though not always, impress on the countenance, and by that +correspondence of figure to sentiment and situation which all men wish, +but cannot command." As I cannot defend the mean appearance of the +disciples, neither shall I exculpate our great artist from blame in +introducing a dog into so grand a subject; we can only excuse him on +the plea of following the practice of his predecessors. Titian, in his +celebrated picture, has not only introduced a dog, but a cat also, which +is quarrelling with the former for a bone under the table. To this love +for the introduction of animals into their compositions, for the sake of +picturesque variety, many of the greatest painters must plead guilty; +and though the incongruity has been pointed out over and over again by +the writers on art, it is still clung to as means of contrast with the +human figure. In one of the sketches by the late Sir D. Wilkie for his +picture of "Finding the Body of Tippoo Saib," he had introduced two +dogs, and only obliterated them when informed that dogs were considered +unclean by the people of the east, and therefore it was an impossibility +for them to be in the palace of Seringapatam. While I am upon this +subject, it may not be amiss to refer to one of the authorities who +censures this practice. Fresnoy says, in his poem on the "Art of +Painting," + + "Nec quod inane, nihil facit ad rem sive videtur + Improprium minimeque urgens potiora tenebit + Ornamenta operis." + + "Nor paint conspicuous on the foremost plain, + Whate'er is false, impertinent, or vain." + + MASON. + + +[Illustration: CHRIST AND HIS DISCIPLES AT EMMAUS] + +On this rule, Reynolds remarks--"This precept, so obvious to common +sense, appears superfluous till we recollect that some of the greatest +painters have been guilty of a breach of it; for--not to mention Paul +Veronese or Rubens, whose principles as ornamental painters would allow +great latitude in introducing animals, or whatever they might think +necessary to contrast or make the composition more picturesque--we can +no longer wonder why the poet has thought it worth setting a guard +against this impropriety, when we find that such men as Raffaelle and +the Caracci, in their greatest and most serious works, have introduced +on the foreground mean and frivolous circumstances. Such improprieties, +to do justice to the more modern painters, are seldom found in their +works. The only excuse that can be made for those great artists, is +their living in an age when it was the custom to mix the ludicrous with +the serious, and when poetry as well as painting gave in to this +fashion." + +Many of the compositions of Rembrandt indicate not only a refined +taste, but the greatest sensibility and feeling. For example, the small +etchings of the "Burial of Christ," and the "Return from Jerusalem;" +these, from their slightness, may lay me under the same category as the +old Greek, who, having a house to sell, carried in his pocket one of the +bricks as a sample; yet, being his own indications, I have given them. +It is worth while to compare the "Entombment" with the same subject by +Raffaelle, in the Crozat Collection. The whole arrangement is treated in +the finest taste of the Italian school. The other design has been always +a favourite with the admirers of Rembrandt. The feeling character of the +youthful Saviour is admirably portrayed. Holding his mother's hand, he +is cheering her on her tiring journey, looking in her face with an +expression of affection and solace; while she is represented with +downcast eyes, fatigued and "pondering in her mind" the import of the +words he had addressed to her, "How is it that ye sought me? wist ye not +that I must be about my Father's business?" And even here we can almost +excuse the introduction of the little dog, who, running before the +group, is looking back, giving a bark of joy at their having found the +object of their solicitude. The background is conceived in the finest +spirit of Titian. + +These are the touches of nature that, like the expressions of our own +immortal Shakspere, however slight, and though dressed in modern garb or +familiar language, reach the innermost sensibilities of the human heart. + +[Illustration: THE ENTOMBMENT] + +[Illustration: THE RETURN FROM JERUSALEM] + +The character and costume of the people, as well as the scenery of those +subjects taken from Holy Writ, have been a matter of investigation both +by artists and writers upon art; for although the events related in the +New Testament are not of so ancient a date as those of the heathen +writers, yet the mind seems to require that the style should be neither +classic nor too strictly local. Hence, though the costume represented in +the Venetian pictures is no doubt nearer the truth than that made use of +by Raffaelle and other Italians, it fails to carry us back to ancient +and primitive simplicity. The early pictures delineating Christian +subjects are modelled upon Greek forms and dresses, and having been +made the foundation of those works afterwards produced by the great +restorers of painting, have gained a hold upon our ideas, which, if not +impossible, is yet difficult to throw off. As the late Sir David Wilkie +travelled into the East with the express purpose of painting the +subjects mentioned in Scripture in more strict accordance with the +people and their habits, it may be of advantage to give the student his +opinions. In his Journal, he says--"After seeing with great attention +the city of Jerusalem and the district of Syria that extends from Jaffa +to the river Jordan, I am satisfied it still presents a new field for +the genius of Scripture painting to work upon. It is true the great +Italian painters have created an art, the highest of its kind, peculiar +to the subjects of sacred history; and in some of their examples, +whether from facility of inquiry or from imagination, have come very +near all the view of Syria could supply. The Venetians, (perhaps +from their intercourse with Cyprus and the Levant,) Titian, Paul +Veronese, and Sebastian del Piombo, have in their pictures given +the nearest appearance to a Syrian people. Michael Angelo, too, from +his generalizing style, has brought some of his prophets and sybils +to resemble the old Jews about the streets of the Holy City; but in +general, though the aspect of Nature will sometimes recall the finest +ideas of Leonardo da Vinci and Raffaelle, yet these masters still want +much that could be supplied here, and have a great deal of matters quite +contrary to what the country could furnish. These contrarieties, indeed, +are so great, that in discussions with the learned here, I find a +disposition to that kind of change that would soon set aside the whole +system of Italian and European art; but as these changes go too much +upon the supposition that the manners of Scripture are precisely +represented by the present race in Syria, it is too sweeping to be borne +out by what we actually know. At the same time, there are so many +objects in this country so perfectly described, so incapable of change, +and that give such an air of truth to the local allusions of Sacred +Writ, that one can scarcely imagine that these, had they been known to +the painters of Italy, would not have added to the impressive power of +their works. Without trying to take from the grand impression produced +by the reading of the Sacred Writings, it may be said that from its +nature many things must be confined to narrative, to description, to +precept--and these are no doubt so strong as to supply to a pious mind +everything that can be desired; but if these are to be represented, as +certainly they have been, by those of an art who have not seen Syria, it +is clear some other country, Italy, Spain, or Flanders, will be drawn +upon to supply this, and the reader of Scripture and the admirer of art +will be alike deluded by the representation of a strange country in the +place of that so selected and so identified as the Land of Promise--so +well known and so graphically described from the first to the last of +the inspired writers." + +These remarks are certainly applicable, but only in a degree. What +is quoted from Reynolds, in a former part, shows that a licence is +indispensable; and yet, without destroying the apparent truth of the +subject, many things are now established that, without their being +facts, have taken such hold of our ideas that they cannot with safety be +departed from. I may instance the countenances of our Saviour and the +Virgin, as given by Raffaelle and Coreggio--we recognise them as if they +had been painted from the persons themselves; I may also add the heads +of the Apostles. With regard to the scenery, many circumstances may +certainly be taken advantage of, always guarding against a topographical +appearance that, by its locality, may prevent the work leading the +spectator back into distant periods of time. Before quitting this part +of the subject, which refers to Rembrandt's powers of composition, I may +notice one or two of his designs, which stamp him as a great genius in +this department of the art--viz., his "Christ Healing the Sick," "Haman +and Mordecai," the "Ecce Homo," "Christ Preaching," and the "Death of +the Virgin." + + + + +CHIARO-SCURO. + + +From the position we are now placed in, surrounded by the accumulated +talent of many centuries, it is easy to take a retrospective view of +the progress of art; and it is only by so doing that we can arrive at +a just estimate of the great artists who advanced it beyond the age +in which they lived, and this seems mainly to have been achieved by +a close observance of nature. As in philosophy the genius of Bacon, +by investigating the phenomena of visible objects, put to flight +and dissipated the learned dogmas of the school of Aristotle, so in +sculpture the purity and simplicity of the forms of Phidias established +a line of demarcation between his own works and those of the formal, +symmetrical, and dry sculpture of his predecessors. Sculpture, till +then, lay fettered and bound up in the severity of Egyptian +Hieroglyphics. Likewise we perceive the genius of Michael Angelo and +Raffaelle setting aside the stiffness and profile character existing +in the works of Signorelli and Masaccio. In Venice, Titian emancipated +the arts from the grasp of Giovanni Bellini. In Germany, Rubens must +be considered the great translator of art out of a dead language into +a living one, to use a metaphor, and into one that, like music, is +universal. Previous to Rembrandt, the pupils of Rubens had thrown off +every affinity not only to Gothic stiffness, but even to that degree +of regularity of composition which all classes of historical subjects +require. Independent of Rubens and his pupils, we find Rembrandt was +aware of the great advances made in natural representations of objects +by Adrian Brauwer, (several of whose works, by the catalogue given of +his effects, were in his possession;) therefore, as far as transparency +and richness, with a truthfulness of tint, are concerned, Brauwer had +set an example. But in the works of Rembrandt we perceive a peculiarity +entirely his own--that of enveloping parts in beautiful obscurity, and +the light again emerging from the shadow, like the softness of moonlight +partially seen through demi-transparent clouds, and leaving large +masses of undefined objects in darkness. This principle he applied to +compositions of even a complicated character, and their bustle and noise +were swallowed up in the stillness of shadow. If breadth constitutes +grandeur, Rembrandt's works are exemplifications of mysterious sublimity +to the fullest extent. This "darkness visible," as Milton expresses it, +belongs to the great founder of the school of Holland, and to him alone. +Flinck, Dietricy, De Guelder, and others his pupils, give no idea of it; +their works are warm, but they are without redeeming cool tints; they +are yellow without pearly tones; and in place of leading the eye of the +spectator into the depths of aerial perspective, the whole work appears +on the surface of the panel. There are none of those shadows "hanging +in mid air," which constitute so captivating a charm in the great +magician of chiaro-scuro; not only are objects of solidity surrounded +by softening obscurity, but the contiguous atmosphere gives indications +of the influence of the light and shade. To these principles the art +is indebted for breadth and fulness of effect, which constitute the +distinct characteristics between the early state and its maturity--and +to Rembrandt we owe the perfection of this fascinating quality. + +We must, nevertheless, always look back with wonder at what was +achieved by Coreggio. Even when painting flourished under the guidance +of Leonardo da Vinci and Giorgione, Reynolds, speaking of this quality +in contradistinction to that of relief, says, "This favourite quality +of giving objects relief, and which De Piles and all the critics have +considered as a requisite of the greatest importance, was not one of +those objects which much engaged the attention of Titian. Painters of an +inferior rank have far exceeded him in producing this effect. This was a +great object of attention when art was in its infant state, as it is at +present with the vulgar and ignorant, who feel the highest satisfaction +in seeing a figure which, as they say, looks as if they could walk round +it. But however low I might rate this pleasure of deception, I should +not oppose it, did it not oppose itself to a quality of a much higher +kind, by counteracting entirely that fulness of manner which is so +difficult to express in words, but which is found in perfection in the +best works of Coreggio, and, we may add, of Rembrandt. This effect is +produced by melting and losing the shadows in a ground still darker +than those shadows; whereas that relief is produced by opposing and +separating the ground from the figure, either by light, or shadow, +or colour. This conduct of inlaying, as it may be called, figures on +their ground, in order to produce relief, was the practice of the old +painters, such as Andrea Mantegna, Pietro Perugino, and Albert Durer, +and to these we may add the first manner of Leonardo da Vinci, +Giorgione, and even Coreggio; but these three were among the first +who began to correct themselves in dryness of style, by no longer +considering relief as a principal object. As those two qualities, +relief and fulness of effect, can hardly exist together, it is not +very difficult to determine to which we ought to give the preference. +An artist is obliged for ever to hold a balance in his hand, by which +he must determine the value of different qualities, that when some fault +must be committed, he may choose the least. Those painters who have +best understood the art of producing a good effect have adopted one +principle that seems perfectly conformable to reason--that a part may be +sacrificed for the good of the whole. Thus, whether the masses consist +of light or shadow, it is necessary that they should be compact and +of a pleasing shape; to this end, some parts may be made darker and +some lighter, and reflections stronger than nature would warrant. Paul +Veronese took great liberties of this kind. It is said, that being once +asked why certain figures were painted in shade, as no cause was seen in +the picture itself, he turned off the inquiry by answering, 'Una nuevola +che passa,'--a cloud is passing, which has overshadowed them." + +Before entering more minutely into an investigation of the principles +of Rembrandt with regard to chiaro-scuro, I must again revert to those +of Coreggio. Opie, speaking of the method of this great artist, says, +"To describe his practice will be in a great degree to repeat my +observations on chiaro-scuro in its enlarged sense. By classing his +colours, and judiciously dividing them into few and large masses of +bright and obscure, gently rounding off his light, and passing, by +almost imperceptible degrees, through pellucid demi-tints and warm +reflections into broad, deep, and transparent shade, he artfully +connected the finest extremes of light and shadow, harmonized the most +intense opposition of colours, and combined the greatest possible effect +with the sweetest and softest repose imaginable." Further on, he +remarks--"The turn of his thoughts, also, in regard to particular +subjects, was often in the highest degree poetical and uncommon, of +which it will be sufficient to give as an instance his celebrated +_Notte_, or painting of the 'Nativity of Christ,' in which his making +all the light of the picture emanate from the child, striking upwards +on the beautiful face of the mother, and in all directions on the +surrounding objects, may challenge comparison with any invention in the +whole circle of art, both for the splendour and sweetness of effect, +which nothing can exceed, and for its happy appropriation to the person +of Him who was born to dispel the clouds of ignorance, and diffuse the +light of truth over a darkened world!" Now, this work Rembrandt must +have seen, or at least a copy from it, as his treatment of the same +subject, in the National Gallery, indicates; but the poetry is lost, for +it would be impossible to imitate it without a direct plagiarism. It +may, however, have given a turn to his thoughts, in representing many of +his subjects under the influence of night in place of day, such as his +"Taking down from the Cross," by torch light; his "Flight into Egypt," +with the lantern; the "Burial of Christ," &c. While other men were +painting daylight, he turned the day into night, which is one of the +paths that sublimity travels through. The general idea most people have +of Rembrandt is, that he is one of the dark masters: but his shadows +are not black, they are filled with transparency. The backgrounds to his +portraits are less dark than many of either Titian or Tintoret. His +landscapes are not black, they are the soft emanations of twilight; and +when he leads you through the shadows of night, you see the path, even +in the deepest obscurity. As colour forms a constituent part of +chiaro-scuro, I must, in this division, confine myself more particularly +to black and white, both in giving examples from his etchings, and +explaining the various changes he made upon them in order to heighten +the effect. The etching I have here given is the "Nativity," in the +darkest state; in the British Museum there are no less than seven +varieties, and the first state is the lightest. But in order to render +his mode of proceeding more intelligible, I shall explain the progress +of his working. His first etchings are often bit in with the aquafortis, +when the shadows have but few ways crossed with the etching point: these +are often strongly bit in, that, when covered over with finer lines, the +first may shine through, and give transparency. In the next process he +seems to have taken off the etching ground, and laid over the plate a +transparent ground, (that is to say, one not darkened by the smoke of a +candle;) upon this he worked up his effect by a multiplicity of fresh +lines, often altering his forms, and adding new objects, as the idea +seemed to rise in his mind. After which, when the plate was again +subjected to the operation of the acid, the etching ground was removed, +and the whole worked up with the greatest delicacy and softness by means +of the dry needle, to the scratches of which the aquafortis is never +applied. This process it is that gives what is termed the _burr_, and +renders the etchings of Rembrandt different from all others. Now this +_burr_ is produced, not by the ink going into the lines, but by the +printer being obstructed in wiping it off by the raised edge which the +dry point has forced up; for when these lines run through deep shadows, +we often see that they print white, from the ink being wiped off the +top of the ridge. + +[Illustration: THE NATIVITY] + +This is the foundation of what is called mezzotint engraving, which +I shall notice in another place. By keeping these remarks in mind, +we shall easily perceive how it is that so many variations occur in +impressions from his plates, depending entirely on the direction in +which the printer wiped off the ink--whether across the ridges, or in +the same direction as the lines. Varieties have also arisen from these +ridges wearing away by the friction of the hand; and as Rembrandt's +copper plates, judging from those I have examined, were soft, they soon +wore down. We also find this dark effect given in many of his varieties +by merely leaving the surface partially wiped, and touching out the high +lights with his finger, or a piece of leather. These impressions must +have been taken by himself, or, at least, under his superintendence. +Several of his plates are worked on with the graver, such as his "Taking +down from the Cross;" but that evidently is by the hand of an engraver. +We see the same in several of the etchings of Vandyke, but their value +decreases as the finishing extends. + +While we are upon the subject of his etchings, it will, perhaps, be of +use to confine the conduct of his chiaro-scuro to his etchings alone, as +his treatment is very different to what he adopted when he had colour +to deal with; and in this respect he must have been influenced by the +example of Rubens and Vandyke, proofs of all the engravings after whose +pictures we perceive he had in his possession. In order that we may +more clearly understand the reason of many of his etchings remaining +unfinished in parts, while other portions are worked up with the +greatest care, I shall give an extract from the Journal of Sir Joshua +Reynolds, when in Flanders. In describing a picture in the Church of the +Recollets, at Antwerp, he says:--"Over the altar of the choir is the +famous 'Crucifixion of Christ between two Thieves,' by Rubens. To give +animation to this subject, he has chosen the point of time when an +executioner is piercing the side of Christ, whilst another, with a bar +of iron, is breaking the limbs of one of the malefactors, who, in his +convulsive agony, which his body admirably expresses, has torn one of +his feet from the tree to which it was nailed. The expression in the +action of this figure is wonderful. The attitude of the other is more +composed, and he looks at the dying Christ with a countenance perfectly +expressive of his penitence. This figure is likewise admirable. The +Virgin, St. John, and Mary the wife of Cleophas, are standing by, with +great expression of grief and resignation; whilst the Magdalen, who is +at the feet of Christ, and may be supposed to have been kissing his +feet, looks at the horseman with the spear with a countenance of great +horror. As the expression carries with it no grimace or contortion of +the features, the beauty is not destroyed. This is by far the most +beautiful profile I ever saw of Rubens, or, I think, of any other +painter. The excellence of its colouring is beyond expression. To say +that she may be supposed to have been kissing Christ's feet, may be +thought too refined a criticism; but Rubens certainly intended to convey +that idea, as appears by the disposition of her hands, for they are +stretched out towards the executioner, and one of them is before and one +behind the cross, which gives an idea of their having been round it. And +it must be remembered that she is generally represented as kissing the +feet of Christ: it is her place and employment in those subjects. The +good Centurion ought not to be forgotten--who is leaning forward, one +hand on the other, resting on the mane of his horse, while he looks at +Christ with great earnestness. The genius of Rubens nowhere appears to +more advantage than here; it is the most carefully finished picture of +all his works. The whole is conducted with the most consummate art. +The composition is bold and uncommon, with circumstances which no other +painter had ever before thought of--such as the breaking of the limbs, +and the expression of the Magdalen; to which we may add the disposition +of the three crosses, which are placed perspectively, in a very +picturesque manner--the nearest bears the thief whose limbs they are +breaking; the next the Christ, whose figure is straighter than ordinary, +as a contrast to the others; and the furthermost the penitent thief. +This produces a most interesting effect, but it is what few but such a +daring genius as Rubens would have attempted. It is here, and in such +compositions, that we properly see Rubens, and not in little pictures of +Madonnas and Bambinos. It appears that Rubens made some changes in this +picture after Bolswert had engraved it. The horseman who is in the act +of piercing the side of Christ holds the spear, according to the print, +in a very tame manner, with the back of the hand over the spear, +grasping it with only three fingers, the forefinger lying straight over +the spear; whereas, in the picture, the back of the hand comes _under_ +the spear, and he grasps it with his whole force. The other defect, +which is remedied in the picture, is the action of the executioner who +breaks the legs of the criminal: in the print, both of his hands are +over the bar of iron, which makes a false action; in the picture, the +whole disposition is altered to the natural manner in which every person +holds a weapon which requires both hands--the right is placed over, and +the left under it. This print was undoubtedly done under the inspection +of Rubens himself. It may be worth observing, that the keeping of the +masses of light in the print differs much from the picture; this change +is not from inattention, but design; a different conduct is required in +a composition with colours from what ought to be followed _when it is in +black and white only_. We have here the authority of this great master +of light and shadow, that a print requires more and larger masses of +light than a picture. In this picture, the principal and the strongest +light is the body of Christ, which is of a remarkably clear and bright +colour. This is strongly opposed by the very brown complexion of the +thieves, (perhaps the opposition here is too violent,) who make no great +effect as to light; the Virgin's outer drapery is dark blue, and the +inner a dark purple, and St. John is in dark strong red. No part of +these two figures is light in the picture but the head and hands of the +Virgin, but in the print, they make the principal mass of light of the +whole composition. The engraver has certainly produced a fine effect, +and I suspect it is as certain that if this change had not been made, +it would have appeared a black and heavy print. When Rubens thought it +necessary, in the print, to make a mass of light of the drapery of the +Virgin and St. John, it was likewise necessary that it should be of a +beautiful shape, and be kept compact; it therefore became necessary to +darken the whole figure of the Magdalen, which in the picture is at +least as light as the body of Christ; her head, linen, arms, hair, +and the feet of Christ, make a mass as light as the body of Christ. +It appears, therefore, that some parts are to be darkened, as well as +other parts made lighter. This, consequently, is a science which an +engraver ought well to understand before he can presume to venture on any +alteration from the picture he means to represent. The same thing may be +remarked in many other prints by those engravers who were employed by +Rubens and Vandyke; they always gave more light than they were warranted +by the picture--a circumstance which may merit the attention of +engravers." + +As most of these engravings were made from studies in black and white, +perhaps reduced from the picture by the engraver, but certainly touched +on afterwards by the painters themselves, they form a school for the +study of light and shade when deprived of colour. In the etchings of +Rembrandt, therefore, we ought to bear in mind that splendour of effect +was what he aimed at, and the means adopted by Rubens and Vandyke were +carried still further by the fearless master of chiaro-scuro. Now +that the eye has been accustomed to engravings where the local colour +is rendered, when we look over a folio of the works of Bolswert, +Soutman, Pontius, and others of the Flemish engravers, they appear, +notwithstanding their overpowering depth and brilliancy, unfinished, +from the lights of the several coloured draperies and the flesh tones +being left white. They also occasionally look spotty in effect, from the +extreme strength of the shadows and black draperies. In Rembrandt's +works these defects are avoided, by finishing his darks with the +greatest care and softness, while the figures in the light masses are +often left in mere outline: the lights are also reduced in size as they +enter the shade; while the darks in the light portions of his prints are +circumscribed to a mere point, for the purpose of giving a balance and +solidity. The shadows of the several objects likewise assume a greater +delicacy as they enter into the masses of light. In these respects, the +Hundred Guilder print is a striking example. + +As we are now considering light and shade when unaccompanied by colour, +I may notice that those portions where the dark and light masses come in +contact are the places where both the rounding of the objects by making +out the forms, and also the patching down the half-tint with visible +lines, may be followed out with the greatest success, as it prevents the +work being heavy in effect, and also assists the passage of the light +into the shadow. The quality of the lights and darks is flatness. The +Flemish engravers seem to have been very particular in the method of +producing their shadow, both with regard to the direction of the lines, +and also their repetition; their object seems to have been intenseness +of dark with transparency of execution. In a conversation with Sir +Thomas Lawrence upon the subject of shadows, his ideas were that they +ought to be as still as possible, and that all the little sparkling +produced by the crossing of the lines ought to be extinguished, or +softened down. In painting, his notions were that they ought to be kept +cool. Without presuming to differ with so excellent an artist, it is but +proper to mention that all the best engravers, from the time of Bolswert +to our own, are of a contrary opinion; and our best colourists, from +Coreggio to Rembrandt, and from Rembrandt to Wilkie, were diametrically +opposite in their practice. As far as engraving is concerned, it is but +fair to notice that Lawrence had Rembrandt on his side, of whose works +he was a great admirer. + +[Illustration: DOCTOR FAUSTUS] + +I may appear to have dwelt too long upon this subject of engraving, +but as the etchings of Rembrandt form so large a portion of his +popularity, we cannot enter too minutely into the various sources of +their excellence. I shall now proceed to describe the etching of "Doctor +Faustus," a copy of which I have given. Some think that it represents +Fust, the partner of Guttenburg, who, by his publication of Bibles in +Paris, was looked upon by the people as a dealer in the black art. The +papers hung up by the side of the window look like the sheets of his +letter-press, and the diagram that attracts his attention, and rouses +him from his desk, indicates by words and symbols a connexion with Holy +Writ. But the general opinion is, that it is Dr. John Faustus, a German +physician, in his study. This Dr. Faustus was supposed to have dealings +with familiar spirits, one of which has raised this cabalistic vision, +that enters the window with overwhelming splendour, like the bursting +of a shell, communicating its radiance to the head and breast of the +figure, and, descending by his variegated garment, is extended in a +spread of light over the whole lower part of the composition. The light +of the window being surrounded by a mass of dark, receives intense +importance, and is carried as far as the art can go. It is also, I may +observe, rendered less harsh and cutting by its shining through the +papers at the side, and by the interruption of the rays of the diagram. +The light passing behind the figure, and partially thrown upon a skull, +gives an awe-striking appearance to the whole; while the flat breadth of +light below is left intentionally with the objects in mere outline. This +etching seems never to have been touched on from the first impressions +to the last--the first state is dark with excess of burr; the last is +merely the burr worn off. + +Before quitting this subject, I wish to make a few remarks. It has been +said by some of Rembrandt's biographers, that he made alterations in his +prints for the sake of enhancing their value; but we know by experience +that every alteration he made, however it might be for the better, +struck off a certain portion of its money value. I believe his desire +to better the effect was the only incitement. Many were improved by his +working upon them after the first proofs, and many were deteriorated in +effect; but every additional line at the least struck off a guilder. +I have mentioned that in this etching the brilliancy of the light in the +window is enhanced by its being surrounded by a mass of dark; but the +same advantage would have accrued from its extension by a mass of half +light, as it would then have had a greater breadth of soft light. This +subject was a great favourite with the late Sir David Wilkie, and he +introduced this window in his picture of "The School;" but this being +a light composition, he treated it in the way I have mentioned above. +It was a common practice with Wilkie to adopt some part of a celebrated +work as a point to work from, and carry out his design upon this +suggestion. The spectator, by this means, was drawn into a +predisposition of its excellence, without knowing whence it had arisen. +Thus, in his "John Knox Preaching," there are many points of similarity +with the "St. Paul Preaching," by Raffaelle. I may also mention here +what we often perceive in the works of Rembrandt--in place of having the +light hemmed in by a dark boundary, it is spread out into a mass of +half-light; and the same treatment is adopted with regard to his extreme +darks, they communicate their properties to the surrounding ground. +These qualities are the foundation of breadth and softness of effect. + +These observations may appear iterations of what has been mentioned +before--but truths get strengthened by being placed in new positions. +In dividing a work of this kind into portions, it is difficult to give +a preference to any department, especially with such an artist as +Rembrandt, who was equally celebrated in all--and I have only given +a priority to historical subjects as they hold a higher rank than +portraiture. But his portraits are those productions of his pencil +which are most peculiar to himself. + +[Illustration: BURGOMASTER SIX] + + + + +PORTRAIT OF THE BURGOMASTER SIX. + + +This is the most finished and perfect of all the etchings of Rembrandt; +and as it was done expressly for his friend and patron, we can easily +imagine that the painter exerted himself to the utmost, so as to render +it worthy of the subject. I have been at some trouble to get an account +of the family of Jan Six, but have gleaned little from those books +connected with the history of Holland. During the war with England, in +the reign of Charles the Second, he was Secretary of State to the City +of Amsterdam, and his family was afterwards connected with some of their +most celebrated men. But what has rendered his name more famous than +intermarrying with the families of Van Tromp or De Ruyter, is his +patronage of Rembrandt--in the same way that Lord Southampton's name +is ennobled by his patronage of Shakspere. We know he was devoted to +literature as well as the fine arts, having left a tragedy on the story +of Medea, a copy of which is mentioned in the catalogue of Rembrandt's +effects, and an etching by the artist was prefixed to the work--viz., +the "Marriage of Jason and Creusa;" the rare states of this print are +before the quotation of the Dutch verses underneath--also the statue of +Juno is without the diadem, which was afterwards added. I have mentioned +that this portrait was a private plate; in fact, the copper is still +in the possession of the family. In a sale which took place in 1734, +for a division of the property among the various branches, fourteen +impressions were sold, but brought comparatively small prices, from the +number to be contended for. Two proofs, however, on India paper are +still in the portfolio of his descendants, which in five years will, it +is said, be brought to the hammer, as by that time the parties will be +of age. These proofs will in all probability realize two hundred guineas +each. The ease and natural attitude of the figure in this work are +admirable: the intensity of the light, with the delicacy and truth of +the reflected lights, are rendered with the strong stamp of genius; the +diffusion of the light also, by means of the papers on the chair, and +the few sparkling touches in the shadow, completely take this etching +out of the catalogue of common portraiture. The only work I can at +present think of that can be brought into competition with it, is the +full-length portrait of Charles the First, by Vandyke, in the Queen's +Collection, and which is rendered so familiar by Strange's admirable +engraving. + +In entering into an examination of the execution of this print, it is +evident the whole effect is produced by means of the dry point, which +must have been a work of great labour. The best impressions are on India +paper; and I perceive, by referring to Gersaint's catalogue, that at the +sale of the Burgomaster's property, they only brought about eighteen +florins. The next portrait amongst his etchings that at all approaches +to the Burgomaster, is that of "Old Haring," which has always struck +me as one of the foundations for the style of Sir Joshua Reynolds in +portraiture. A fine impression of this work, on India paper, is more +like Sir Joshua than many prints after his own pictures; and with all +the high veneration I have for Reynolds, I cannot omit noticing how +very ambiguously he frequently speaks of this great genius. We know +his master, Hudson, had an excellent collection of Rembrandt's works, +and therefore he must have been early imbued with their merits and +peculiarities. This, however, we shall have a better opportunity of +noticing when we come to the treatment of colour. The next etching +in excellence I should mention is the "Portrait of John Lutma, the +Goldsmith," with the light background; this was afterwards softened +down by the introduction of a window. And here I must observe, that +though he often had light backgrounds to his prints, yet in his finished +pictures they were generally the reverse. The etching of "Ephraim Bonus, +the Jewish Physician," is also one of his most effective works; the +introduction of the balustrade, on which he leans descending the +staircase, removes it from the ordinary level of mere portraiture. +On the hand that rests upon the balustrade, is a ring, which in the +very rare impressions, from its being done with the dry point, prints +dark from the burr. These are invaluable, as in that state the whole +work has the fulness and richness of a picture. A very large sum was +given for the impression of the print in this state--now in the British +Museum--in fact, one hundred and sixty pounds; though at the Verstolke +sale, where this print was purchased, the commission given amounted to +two hundred and fifty pounds: but when we consider that the collection +in the British Museum is now the finest in existence, no extra price +should be spared to complete the collection, especially as these works +are foundations for the sure improvement of the fine arts in the +country. The crown jewels are exhibited as a necessary appendage to the +rank of the nation--but there the value stops; now the works of art in +this country are not only valuable, but intrinsically beneficial. We +know that Charles the Second pawned the crown pearls to the Dutch for a +few thousands; but our collection of Rembrandts would realize in Holland +at least ten thousand pounds. This, of course, is a digression, and is +merely mentioned here to show how absurd the hue and cry is, that the +country is wasting money in purchasing a few specimens of fine art. +The "Portrait of Utenbogardus" is also excellent; and I may here notice +the large book, which Rembrandt was so fond of introducing, as a means +of a breadth of light and employment for his portraits. Now, to these +circumstances we are indebted for some of the finest works of both +Reynolds and Lawrence: amongst many, I might mention the large ledger in +Lawrence's "Portraits of the Baring Family," and Sir Joshua's picture of +the "Dilettante Society," and others. No doubt we find these means of +making up a picture both in Raffaelle and Titian; but it is rendered +more applicable to our own purposes when it is brought nearer to our own +times, especially when translated by so great a genius as Rembrandt. +The next fine work amongst his etchings is the "Portrait of Cornelius +Silvius," the head of which, being delicately finished with the dry +needle, is seldom seen very fine. This also has a book, and the hand +extended beyond the frame of the oval opening, upon which it casts its +shadow. This practice of representing objects nearer the eye than the +frame is certainly to be observed in some of the prints after Rubens and +others, and has descended to several common prints in our own time, but +ought not to be adopted, as bordering too much upon that art which may +be designated as a sort of _ad captandum vulgus_ display. As we shall +speak more particularly of Rembrandt's portraits when colour is +investigated, these works are merely mentioned as excellent specimens of +composition and chiaro-scuro. I must not omit, however, to notice here +the great Coppenol, the writing-master to the city of Amsterdam: he +holds a pen and a sheet of paper in his hand, and is looking at the +spectator with a look of intelligent observation. The head and figure of +this work were perfected, in the first instance, before the background +was put in, and in this state is exceedingly rare--the one in the +British Museum is valued at five hundred guineas, and was left, amongst +other rare works in his collection, by the Rev. Mr. Cracherode, to the +public. And here we ought to bear in mind, when individuals contribute +so largely by their bequests to the country, it is our bounden duty +to carry out their views by perfecting the various collections as +opportunities offer in the course of time, which to them was impossible. +In one of the impressions in the Museum, in a finished state, is +written, in a large ornamental hand, a commendation by Coppenol himself, +wherein he says he does so to unite his name with that of the great +artist, Rembrandt Van Ryn, as by that means he knows he shall secure +immortality to himself. The portrait, however, that is the most +powerful, as well as the most rare, is Van Tolling the Advocate. The +effect, both from the reflected light on the face, and the fearless +masses of burr, is more like a picture than a print, and renders every +other etching comparatively tame. From the chemical bottles at the side, +and from the character of the gown in which he is dressed, I am of +opinion that he was a physician. The excellence of this work, added to +its rarity, has at all times produced large prices. There are two states +of this print--the first with an irregular beard, the second with the +beard cut square, also some additional work on the drapery, &c.; but, +what is worthy of remark is, in both states it is exceedingly scarce; +in fact, there are but seven impressions known--viz., two in the +British Museum, one in Mr. Holford's collection, one in Mr. Hawkins', +in Amsterdam one, in Paris one, and one in the collection of Mr. Rudge. +I ought here to notice that the Van Tolling is one of the prints +bequeathed to the nation by the Rev. Mr. Cracherode, and that at the +sale of the Hon. Pole Carew's prints, in 1835, this valuable etching +was purchased for the late Baron Verstolke, for two hundred and twenty +pounds. + +[Illustration: PORTRAIT OF VAN TOLLING] + + * * * * * + +I shall now enter upon an investigation of the LANDSCAPES OF REMBRANDT, +which, equally with his portraits, are quite peculiar to himself, but +differing from all others not from any eccentricity of manner, but from +their giving the real essence and character of the scene, when denuded +of any trifling and extraneous matters. Whatever Rembrandt touched was +impressed with the peculiar characteristics of his genius; hence it is +that the smallest stroke in his etchings is pregnant with truth. Though +painting belongs exclusively to no country, but represents the natural +appearance of each, still it is reserved for genius alone to be able to +perceive and place on canvas the essence, as it were, or great leading +features of the subject. I am now more particularly speaking of +landscape scenery. In all countries and climates there are peculiarities +of effect, which, however interesting to the traveller, or a source of +investigation to the philosopher or man of science, yet are necessarily +excluded from the recording pencil of the artist; his appeal is to +mankind at large, not to the isolated few who observe but one side of +the subject. The true artist looks upon nature as the chameleon, capable +of giving out any variety, and yet all equally true; hence it is that +the skies, for example, of Claude, Salvator Rosa, and Gaspar Poussin are +universally subordinate to the general effect of the picture. These men, +living in Italy, were quite aware of the various prismatic effects +observable in sunset, but were also convinced of the necessity of making +the sky subservient, at least conducive to, the breadth and harmony of +the picture. It may be said that Titian and Tintoret embodied the deep +and intense blues of the Venetian atmosphere, but we may remark that +their skies are always held in check by the deep reds and browns of the +draperies of their figures. Let us now, however, turn our remarks more +immediately to Rembrandt, and the scenery and effects observable in +Holland. Any one conversant with the pictures of the Dutch school must +have observed peculiar features in the skies of Backhuysen, Cuyp, and +Rembrandt, arising entirely from the localities of the scenes of their +several pictures. My young friend, E. W. Cooke, long a resident in +Holland, and a keen and observing artist, remarked that the skies in the +pictures of Backhuysen, though dark and inky, were precisely what we see +now--the deep Zuyder Sea swallowing up any refraction of light which +would otherwise have illuminated the clouds; while the skies of Cuyp, +receiving the coruscations arising from the meeting of the two rivers, +the Meuse and the Waal, the scenes of most of his pictures, exhibit +that luminous reflection and unsteady appearance peculiar to his works. +I mention these matters, not to prove that these great observers of +nature followed implicitly what was presented to their observation, +but to show that when even copying the peculiar character of natural +phenomena, it was done with a strict reference to the harmony of their +works, and made subservient to one great broad principle. In a flat +country like Holland, especially where a low horizontal line is chosen, +we perceive a peculiar feature takes precedence of everything else--that +is, the quick diminution of those lines which run to the point of sight, +whilst the lines running parallel with the base line of the picture +retain their length in a greater degree; hence the accumulation of these +lines, such as the division of fields, &c., gradually shade down the +distant parts of the landscape, while the foreshortened lines assume +the appearance of so many spots, or dark touches. In Rembrandt we +perceive this character faithfully rendered, and also, assisted by his +judicious management, the lines, such as the banks of canals or roads, +as they reach the foreground, are strongly pronounced, by either +bringing them in contact with strong light, or giving them breadth and +force by enriching them with broken ground, reeds, or dark herbage. The +objects that stand up, such as trees, &c., are enlarged and darkened +as they approach the eye; thus not only enabling them to keep their +situation, but also to assist the perspective effect in the highest +degree. His small landscape etchings illustrate these remarks, and are +full of the touches of truth and nature; and where objects are wanting +to give variety and interest, he introduces masses of shadow, or dark +clumps of trees, leaving other parts in mere outline. The love of his +art caused him to be always provided with the materials for drawing and +etching, so that we have these transcripts of nature fresh from the +fountain head. We know this from an anecdote mentioned by Daulby. In +describing the etching of "Six's Bridge," in his catalogue, he says, +"This plate was produced by an incident which deserves to be related. +Rembrandt lived in great intimacy with the Burgomaster Six, and was +frequently at his country seat. One day, when they were there together, +the servant came to acquaint them that dinner was ready, but as they +were sitting down to table, they perceived that mustard was wanting. +The Burgomaster immediately ordered his servant to go into the village +to buy some. Rembrandt, who knew the sluggishness of the Dutch servants, +and when they answer _austons_ (a-coming) they are half an hour before +they appear, offered the Burgomaster a wager that he would etch a plate +before his man returned with the mustard. Six accepted the wager, and +Rembrandt, who had always plates at hand ready varnished, immediately +took one up, and etched upon it the landscape which appeared from the +window of the parlour in which they were sitting. The plate was finished +before the servant returned, and Rembrandt won his wager. The etching is +slight, but it is a wonderful performance, considering the circumstance +that produced it." It is not wonderful on account of the rapidity with +which it was done, but the genius and science that pervade every touch, +not only in the general arrangement, but in the judicious management of +the smallest darks; they are all in the most effective situations. When +the plate was bit in, the name was left out; it was afterwards added +with the dry point; also a little shading was given to the hat of one +of the figures on the bridge, which in the rare state is white. I may +notice here that it was also Rembrandt's practice to sketch with the dry +point alone, as several of his landscapes show; this has a very rich +and full effect. His most finished and striking landscape is perhaps the +etching of the "Three Trees." What I have said respecting his giving +force to those parts nearest the eye, may be seen in the strong dark +under the platform of the mill--which etching I have given, as it has +always been considered the mill in which he was born; but I believe it +is merely a mill of a picturesque character, which he consequently +etched. In the rare impressions, the sky is much stained on the plate +towards the house and mill, and I believe intentionally so, as it +enables the subject to melt more softly into the background, by the +outline being less harsh; at least, I found in my copy, when the person +employed to clean the margin of the plate cleaned the stains in the sky +also, that I had to restore them. As it will be necessary to go over the +ground again with regard to Rembrandt's landscapes, when we enter upon +an investigation of his principles of colour, I shall now commence upon +that department, fully conscious how high he stands as an artist in that +difficult branch of the art, at the same time aware how feeble words +must be to express adequately the deep-toned richness of Rembrandt's +colouring. + +[Illustration: SIX'S BRIDGE] + +[Illustration: REMBRANDT'S MILL] + + + + +COLOUR. + + +Perhaps, if we can comprehend a species of coloured chiaro-scuro, or +the addition of colour to the broad and soft principles of light and +shade, we shall be able to form a clear perception of the effects of +Rembrandt's colouring. Indistinctness of tint, such as colours assume +under the influence of twilight, is a strong characteristic of his +manner--the shadows never so dark that a black or blue cannot tell +firmly in the midst of them; with the total absence of all harshness, +from the outlines of objects melting into their adjacent grounds, +or assuming an importance after emerging from a mass of indefinite +corresponding hues. As he has a mass of shadow with a mass of light, so +he has an accumulation of warm colours in opposition to a congregation +of cold--every combination introduced conducing to the great principles +of breadth. When such is the plan upon which a work is laid down, we can +easily perceive how powerfully the smallest touch of positive colour +will tell--as in the midst of stillness a pin falling to the ground +will be heard. Cuyp has this quality in a high degree, only on another +scale--a uniformity of unbroken tone, and in masses of half-tint +only, like a few sparkles of light touches, dealt out with the most +parsimonious pencil, producing a glitter like so many diamonds. This +it is that prevents a work from being heavy, for by their fewness they +require not the aid of black grounds to give them consequence, and by +their being touched upon colours of the same quality, they avoid the +appearance of harshness; in fact, the principles of these two great +artists were the same; only from the general tone of Cuyp's pictures +being light, his strong darks tell with great power, and Rembrandt's +half tints being of a low tone, his high lights become more forcible. +I may here mention not only the breadth of Rembrandt's shadows, +but their peculiar transparency and clearness, loose in the handling, +and filled with air and space, whereas his lights are solid and +firm--possessing not only the characteristics of nature in +distinctiveness, but also in variety; and though we see always, on a +general principle, light upon light and dark on a dark ground, yet we +perceive inroads made upon each by their several antagonists; hot and +cold colours darting into each other's provinces. This practice is also +conducive to breadth, for tints of different hues may be interspersed +both in the darks and lights, provided they are of equal strength +with those adjoining them. We may observe in Rembrandt--that those +colours introduced into the shadows are more under the influence of +indistinctness, while those in the light are brighter; this is quite +a deviation from the Roman school, where the colours are pronounced +so harshly as to set the influence of chiaro-scuro at defiance. + +Barry, in his sixth lecture, speaking of colours, says--"The happy +effects of those sure and infallible principles of light and colour +which Rubens had so successfully disseminated in the Netherlands, were +soon found in every department of art. Landscapes, portraits, drolls, +and even the dullest and most uninteresting objects of still life, +possess irresistible charms and fascination from the magic of those +principles. Rembrandt, who, it is said, was never at Venice, might, +notwithstanding, have seen, without going out of his country, many +pictures of the Venetian school. Besides, he was about thirty years +younger than Rubens, whose works were a general object of study when +Rembrandt was forming himself. But, however it be, there is no doubt, +for the colouring and chiaro-scuro, Rembrandt is one of the most able +artists that ever lived. Nothing can exceed the beauty, freshness, and +vigour of his tints. They have the same truth, high relish, and sapidity +as those of Titian. Indeed, they have the closest resemblance to the +hues of Titian when he had Giorgione most in view. There is identically +the same attention to the relievo and force obtained by his strong +shadows and low deep tones; and his chiaro-scuro, though sometimes +too artificial, is yet often (particularly in contrasted subjects) +productive of the most fascinating effects. In the tones of Rembrandt, +though we recognise the same richness and depth as in Giorgione and +Titian, yet there is a suppleness and lifelike character in his flesh +unlike either, both from his manner of handling, and also his hot and +cold tints being less blended." + +The late Sir David Wilkie, in one of his letters, speaking of the death +of Sir Thomas Lawrence, says--"I do not wonder at the impression made +among you in Rome by the death of Sir Thomas Lawrence; here, it +engrossed for a time every other pursuit. One of the last remarks he +made to me indicated his extreme admiration of Sir Joshua Reynolds, who, +he thought, had, with Rembrandt, carried the imitation of nature, in +regard to colours, further than any of the old masters." In many of the +higher qualities of colour and chiaro-scuro, Reynolds comes nearer to +Rembrandt than any other artist who has succeeded him. + +Reynolds, in his lectures, speaking of Gainsborough, observes--"We +must not forget, whilst we are on this subject, to make some remarks +on his custom of painting by night, which confirms what I have already +mentioned--his great affection to his art, since he could not amuse +himself in the evening by any other means so agreeable to himself. I am, +indeed, much inclined to believe that it is a practice very advantageous +and improving to an artist, for by this means he will acquire a new +and higher perception of what is great and beautiful in nature. By +candlelight, not only objects appear more beautiful, but from their +being in a greater breadth of light and shadow, as well as having a +greater breadth and uniformity of colour, nature appears in a higher +style, and even the flesh seems to take a higher and richer tone of +colour. Judgment is to direct us in the use to be made of this method of +study; but the method itself is, I am very sure, advantageous. I have +often imagined that the two great colourists, Titian and Coreggio, +though I do not know that they painted by night, formed their high +ideas of colouring from the effects of objects by this artificial light. +But I am more assured that whoever attentively studies the first and +best manner of Guercino will be convinced that he either painted by this +light, or formed his manner on this conception." + +How far Coreggio may have formed his principles upon the effects of +lamplight it is impossible to decide, seeing that, though his shadows +have great breadth, yet his lights have more of a phosphorescent +character, tinged, as it were, with the coolness of moonlight; but +Titian has all the glow of this property, or, as Reynolds remarks, "as +if he painted with the sun shining into the room." The Italian pictures +of Vandyke have much of this phosphorescent character--whereas many of +those he painted in England have more of a daylight appearance. With +regard to Rembrandt, he seems to have regulated the entire scheme both +of his chiaro-scuro and colour, on this foundation: his many paintings, +drawings, and etchings of candlelight subjects, show how much his taste +led to this class of art; and his daylight pictures, from the warmth of +colour and breadth of shadow, proclaim the source from which he derived +the cause of their brilliancy and force. From the light being tinged +with yellow, the half-tone partakes of the same warmth, which gives a +greenish tint even to his grey tones. This conduct conveys an emanation +of the principal light passing over the more delicate shadows. In his +daylight subjects it is not so; the light being often comparatively +cool, is allowed to extend its influence to the secondary lights, and +then, as it subsides into the shadow, is led in by the dark being +lighted up by touches of red and brown; thus the light touches in the +dark are warm, though the high light and secondary are cool. In Coreggio +we often find the shadows more hot than even in Rembrandt, from his +principal light and secondary being more cool. Rembrandt never allows +his lights, even though comparatively cool, to pass into the shadow +without a few touches of warm colour; this was the practice of Rubens, +to enrich, as it were, "the debateable land." When this principle of +painting candlelight subjects fell into the hands of his pupils, the +harmony and colouring of the whole were lost or changed. For example, +Hoogstraten, his pupil, instructed Schalcken, as did also Gerard Dow; +but the candlelight pieces of Schalcken are hot and foxy, without any +redeeming grey tones. When he painted by candlelight, he placed his +sitter in a dark room, with a light, while he painted in another +apartment, having a hole cut through the door to communicate with his +sitter; the consequence was, the effect gave exactly what we see in +such cases--a red, dull treatment of colour. We know these facts by an +anecdote told of William the Third. When Schalcken was over in England, +the King wished to sit to him for his portrait, and hearing of his +celebrity in candlelight pieces, wished it painted under that effect. +The painter placed a light in his Majesty's hand, and retired into the +outer room; the candle guttering, kept dropping on the King's hand, +but being unwilling to disturb the artist, the King held on, while the +painter, intent on his work, proceeded without noticing it. Many of our +English artists paint by gaslight; but the tones of the flesh are not +benefited, gas shedding a white cool light compared with lamplight. + +The practice of painting by candlelight originated neither with +Rembrandt nor Gainsborough; in fact, we find that all academies, from +the time of Bacio Bandinelli to our own, were always opened at night, +both for the purposes of drawing and painting. But these effects +generally remain where they originated, and are seldom taken advantage +of without the walls, the figure alone being considered, without +reference to the background. Tintoret was one of the first to apply the +principles to his practice. Fuseli, speaking of chiaro-scuro, says--"The +nocturnal studies of Tintoret, from models and artificial groups, have +been celebrated; those prepared in wax or clay he arranged, raised, +suspended, to produce masses, foreshortening, and effect. It was thence +he acquired that decision of chiaro-scuro, unknown to more expanded +daylight, by which he divided his bodies, and those wings of obscurity +and light by which he separated the groups of his composition; +though the mellowness of his eye nearly always instructed him to +connect the two extremes by something that partook of both, as the +extremes themselves by the reflexes with the background or the +scenery. The general rapidity of his process, by which he baffled his +competitors, and often overwhelmed himself, did not, indeed, always +permit him to attend deliberately to this principle, and often hurried +him into an abuse of practice which in the lights turned breadth into +mannered or insipid flatness; and in the shadows into a total extinction +of parts. Of all this he has in the schools of San Rollo and Marco given +the most unquestionable instances--'The Resurrection of Christ,' and +'The Massacre of the Innocents,' comprehend every charm by which +chiaro-scuro fascinates its votaries. In the vision, dewy dawn melts +into deep but pellucid shade, itself sent or reflected by celestial +splendour and angelic hues; whilst in the infant massacre of Bethlehem, +alternate sheets of stormy light and agitated gloom dash horror on the +astonished eye." + +Rembrandt, like Tintoret, never destroyed the effective character +of his chiaro-scuro by the addition of his colour, but made it a +main contributor to the general character of the subject; hence that +undisturbed and engulphing breadth which pervades his works. Fuseli, +in the same lecture, defends the Venetian school from being considered +as the "ornamental school." After selecting several of the pictures of +Titian, as proofs of his grand and solemn specimens of colour, he thus +proceeds--"But perhaps it is not to Titian, but to Tintoret and Paul +Cagliari, that the debaucheries of colour, and blind submission to +fascinating tints, the rage of scattering flowers to no purpose, +are ascribed. Let us select from Tintoret's most extensive work +in the Scuola of San Rocco, the most extensive composition, and his +acknowledged masterpiece--'The Crucifixion,' and compare its tone with +that of Rubens and Rembrandt of the same subject. What impression feels +he who for the first time casts a glance over the immense scenery of +that work? a whole whose numberless parts are connected by a lowering, +mournful, minacious tone. A general fearful silence hushes all around +the central figure of the Saviour suspended on the cross, his fainting +mother, and a group of male and female mourners at its foot--a group of +colours that less imitate than rival nature, and tinged by grief itself; +a scale of tones for which even Titian offers me no parallel--yet all +equally overcast by the lurid tone that stains the whole, and like a +meteor hangs in the sickly air. Whatever inequality or dereliction of +feeling, whatever improprieties of commonplace, of local and antique +costume, the master's rapidity admitted to fill his space, and they +are great, all vanish in the power which compresses them into a single +point, and we do not detect them till we recover from our terror." + +The picture of Rubens which we oppose to Tintoret was painted for the +Church of St. Walburgha, at Antwerp, after his return from Italy, and +has been minutely described and as exquisitely criticised by Reynolds: +"Christ," he says, "is nailed to the cross, with a number of figures +exerting themselves to raise it. The invention of throwing the cross +obliquely from one corner of the picture to the other, is finely +conceived, something in the manner of Tintoret." So far Reynolds. "In +Tintoret," says Fuseli, "it is the cross of one of the criminals they +attempt to raise, who casts his eye on Christ, already raised. The body +of Christ is the grandest, in my opinion, that Rubens ever painted; +it seems to be imitated from the Torso of Apollonius, and that of the +Laocoon. How far it be characteristic of Christ, or correspondent with +the situation, I shall not here inquire; my object is the ruling tone of +the whole--and of this the criticism quoted says not a word, though much +of local colour, and grey and ochry balance. Would so great a master of +tone as Reynolds have forgot this master-key if he had found it in the +picture? The fact is, the picture has no other than the painter's usual +tone. Rubens came to his work with gay, technic exultation, and by the +magic of his pencil changed the horrors of Golgotha to an enchanted +garden and clusters of flowers. Rembrandt, though on a smaller scale +of size and composition, concentrated the tremendous moment in one flash +of pallid light. It breaks on the body of Christ, shivers down his +limbs, and vanishes on the armour of a crucifix--the rest is gloom." + +This is given with all the eloquence Fuseli was so well able to utter; +but it displays, also, a severe castigation on those who would class +Tintoret and Paul Veronese in the catalogue of ornamental painters. +The observations which seem to have kindled his wrath are to be found +in Sir Joshua's fourth lecture, in which he says--"Tintoret, Paul +Veronese, and others of the Venetian school, seem to have painted with +no other purpose than to be admired for their skill and experience in +the mechanism of painting, and to make a parade of that art which, as I +before observed, the higher style requires its followers to conceal." +But, to understand the matter, the whole lecture must be read. With +regard to the two pictures Fuseli brings into comparison with the +Venetian, both are described in Reynolds' Tour to Flanders and Holland. +Sir Joshua certainly criticizes the Rubens correctly with regard to +colouring; but sentiment it has none. The Rembrandt is now in the Munich +Gallery, and though one of his early pictures, it is very grand and +striking. Of it Reynolds remarks--"There are likewise in this room eight +Rembrandts, the chief merit of which consists in his peculiarity of +manner--of admitting but little light, and giving to that little a +wonderful brilliancy. The colouring of Christ in the elevation of the +cross cannot be exceeded--it is exactly the tint of Vandyke's 'Susanna,' +in the other room; but whether the ground of this picture has been +repainted, or the white horse, which was certainly intended to make the +mass of light broader, has lost its brightness, at present the Christ +makes a disagreeable mass of light." + +In bringing the opinions of these two great artists in contact, the +truth is elicited, that the tone of colour has much to do in conveying +the sentiment and pathos of the picture, and Rembrandt possessed this +quality in a very high degree. In the infancy of the arts, when +practised by rude nations, we find harsh and bright colours predominate +in a very strong scale--in fact, the brighter the more effective on the +uneducated eye; and it is only when the arts advance towards perfection +that a subdued tone of colour is demanded as most compatible with +refinement. Colour, both as an imitative quality, and also as an adjunct +towards assisting the character of his subject, seems always to have +been uppermost in Rembrandt's mind. His drawing, it is true, is open to +censure, but his colour will stand the most searching investigation, and +will always appear more transcendent the more it is examined. Reynolds, +in his Journey through Holland, mentions a picture by Rembrandt, in +the collection of the Prince of Orange--"a study of a Susanna, for the +picture by Rembrandt which is in my possession: it is nearly the same +action, except that she is here sitting. This is the third study I +have seen for this figure--I have one myself, and the third was in the +possession of the late Mr. Blackwood. In the drawing which he made for +this picture, which I have, she is likewise sitting; in the picture, +she is on her legs, but leaning forward. It appears extraordinary that +Rembrandt should have taken so much pains, and have made at last so +very ugly and ill-favoured a figure; but his attention was principally +directed to the colouring and effect, in which it must be acknowledged +he has attained the highest degree of excellence." The small picture +in the National Gallery is a study of the same figure. Colour was the +ruling principle with Rembrandt, the Alpha and Omega, in the same way +that Richard Wilson designated the three qualifications for landscape +painting, as contained in one--viz., _breadth_. The tones of colour with +which Rembrandt clothed his subjects are always in the highest degree +appropriate and conducive to the sentiment, whether within the "solemn +temples," or the personification of some great supernatural event. As +most of his historical subjects are from Sacred Writ, he never loses +sight of those qualities which take them out of the page of every-day +occurrences. I shall mention two, though one is sufficient for a +master-key to them all. In the picture of "The Adoration of the Magi +and Kings," in the Queen's Collection, the solemnity is carried to the +utmost extent, like the mysterious leaf of a sybil's book; the only +light shed over the scene seems to descend from the lurid rays of the +star that stood over the place of the nativity, and guided them to the +spot. To acquire the greatest breadth, he has placed the Virgin and +child in the corner of the picture, and low down at the base, with the +same feeling that impelled Shakspere, in his Constance, to utter, "Here +is my throne, bid kings come bow to it." The presentation of incense +and precious perfumes, of diadems and jewels, by crowned heads and +venerable magi, not only removes the attendants to the background, but +even Joseph is represented as wrapt in thought, and viewing from the +shade the solemnity of the scene. The whole colouring of this work is in +accordance with this feeling--subdued, except in the smallest portions +of each hue, and these shine out like sparkling of jewels in a dark +recess. + +The other work I would particularize is, "The Salutation of the Virgin," +in the collection of the Marquis of Westminster. This picture, though +of small dimensions, yet exemplifies the peculiarity of Rembrandt's mode +of treatment. Being less decided in the chiaro-scuro and tone of colour +than the Wise Men's Offering, it is more difficult to describe; this +also arises from the exquisite weaving in of the hot and cold colours. +Having had it under my eye for a couple of months, I can easily recall +it on the least effort of the memory; but to bring it before the +spectator who has not seen it, and by no other art than the medium of +words, is as difficult as it would be to bring an harmonious arrangement +of music by a different means--one must be seen and the other heard to +render an explanation evident, which even then can only be understood +by connoisseurs in painting and music. I must therefore avail myself of +technicalities, which may seem out of place, where we are investigating +the general hue of the picture. It is divided into hot and cold colours, +which are brought in contact in the centre--Elizabeth being clothed in +red and yellow, the Virgin in blue, white, and cool grey. The hot colour +is carried across by the red sleeve of Elizabeth, and part of her +yellow shawl, and descends to the petticoat of a Negress who is removing +the grey mantle from the Virgin, and is further extended by a few +warm-coloured stones and touches in the pavement. The cool colour is +carried past the warm tone of Zacharias and the porch above him by means +of a grey green pillar, a peacock, and a few touches of cool colour on a +bush at one corner of the warm side of the picture. The general tone of +the work is of a low, deep hue, so that even the cool tints are not cold +or raw, but a deep-toned brightness pervades the whole. Through the dark +grey sky, that seems to descend to overshadow the group, a gleam of +light darts upon the scene, as a connecting link between heaven and +earth, and giving force and truth to the expression of Elizabeth, when +she pronounces the words, "Blessed art thou among women, and blessed is +the fruit of thy womb." The light that shoots through the gloom has +roused a pea-hen and chicks, who shake off their sleep as if it was the +dawn of day. + +This is a very imperfect description, but will, nevertheless, serve +to show the fine feeling and deep intent of the genius of Rembrandt. +To extend this investigation further would be perhaps superfluous, +did we not know that, even in our own time, doubts are entertained of +the proper introduction of pictorial arrangements of chiaro-scuro and +colour; but the grand style, like all other modes of portraying a work, +must be made subservient to affecting the feelings of the spectator. I +shall only bring two pictures in contrast to elucidate this principle +still further--"The Burning of the Books at Ephesus," by Sebastian +Bourdon; and "The Martyrdom of St. Lawrence," by Titian. As Bourdon has +been considered the French Raffaelle, it is but fair that he should be +taken as a follower of that school, devoted to composition and correct +drawing, to the absence of all inferior qualities; the consequence is, +he has represented the scene in mid-day, where the flames are red +without extending their influence to surrounding objects; consequently, +they are not luminous, nor conveying the idea of destruction. Titian, +on the contrary, has chosen the darkness of night to represent the +horrors of the martyrdom--the red burning light of the living coal +conveys a tenfold force to the torments of the saint, and the very +reality of the colour gives a corresponding truth to the scene, which +takes it completely out of the regions of apocrypha, and stamps it with +the character of Holy Writ. The descent of the cool light from heaven +upon the scorching body of St. Lawrence is like a rush of water to +counteract his sufferings, and give him a confidence in his future +reward, which the spectator fully enters into. These are the triumphs +that appropriate chiaro-scuro and colour achieve for their introduction +into historical works. + +That we may more clearly perceive the rank which Rembrandt holds as a +colourist, I shall endeavour to investigate the peculiar qualities that +characterise the several manners of Titian, Rembrandt, and Reynolds--the +one living before, the other after our artist, and of course confining +the investigation to portraiture alone. I have selected Titian in +preference to Vandyke, not that I consider him, in this branch, +superior; on the contrary, I agree with Sir Joshua, in mentioning +Vandyke as the greatest portrait painter that ever existed, all things +considered--but I wish to confine myself exclusively to colour, and +in this branch it is evident that these three great artists are more +similar in their works than any other painters; but Titian, by the +concurrent testimony of his contemporaries and all succeeding judges +upon the subject, is the highest authority on the great leading +principles of colour. Besides, his works are in many instances uninjured +by the rough usage of uneducated men. With regard to the works of +Rembrandt, which are in comparison as of yesterday, many of them remain +in the same frames and on the same walls on which they were first hung. +The works of Reynolds, though of a more recent date, have suffered more, +not from the ruthless hand of the picture-cleaner, but from his making +use of more perishable materials. Still, from the variety of his +vehicles, changed from an anxiety to get a nearer approach to the look +and appearance of nature, many of his pictures are sufficiently perfect +to build an investigation upon. Previous to the appearance of Giorgione +and Titian, this branch of the art differed but little from the +treatment the several heads received in historical pictures generally; +only with this exception, that when introduced as the component parts +of a work where a story had to be told, they were imbued with action +and expression; but when treated as simple portraiture, the higher +qualities were left out, and a quiet map of the face, to use a familiar +expression, was all that was desired to be transferred to the canvas. +Neither did the head receive that superiority over every other +subordinate part of the work which science and a long line of celebrated +examples seem now so imperatively to demand. + +In drawing a comparison between the three great portrait painters, it +is necessary, in the first instance, to refer to the several characters +of their models, or sitters. The nobility of Venice were, at the time +of Titian, men of long descent, dignified, and holding high rank in +a city at that time the emporium of the merchandize of the East, and +distributors of rich manufactures to the whole of civilized Europe; +hence that "senatorial dignity" which characterises his works, and +the style and richness of costume so necessary to grandeur, and the +historical air in his portraits. His sitters also possessed countenance +and figure well calculated to engender and support the noblest character +of painting. The sitters of Reynolds, notwithstanding the pomatumed +pyramids of the female hair, or the stiff, formal curls of the male, +which set every attempt to beautify the features at defiance, either +by extension of the forms or harmonizing the several parts of the +countenance, (serious obstacles to pictorial beauty,) were still in +possession of that bland and fascinating look which distinguishes people +of high breeding. In contrast with these we have to array the models of +Rembrandt's painting-room--fat burgomasters, florid in complexion and +common in feature; Jews and attornies; shipbuilders, and hard +harsh-featured master mechanics. Independent of the models themselves, +there is a congenial feeling created in the artist who associates with +and has to represent them; we imperceptibly imbibe the manners of those +we are in contact with, either advantageously or injuriously. From these +few remarks we may perceive that the dignified attitude, the broad +general tone of the countenance, though deep, yet rendered bright +and luminous by the jetty blackness of the hair and beard, were all +conducive to the creation of the style of Titian--a style that swallows +up the varieties of minute tints in a general breadth. So in Reynolds, +the absence of everything strong in expression or harsh in colour gave +a refinement to the heads of his men, and a beauty to the faces of his +females; and to this treatment all his sitters were subjected--so that +even those heads, however deficient in the originals, came off his +easel ladies and gentlemen. A subdued delicacy of expression and +colour removes them from the common look of familiar life. Now, on +the contrary, the very character and colour of Rembrandt's heads +are pronounced with the strong stamp of flesh and blood--an exact +representation of nature in an unsophisticated state. His handling, his +manner of leaving the various tints, and the marking of minute parts, +all conspire to give his works that appearance of truth unfettered +with the attempt to elevate the general character at the expense of +individuality. + +The peculiarity of Titian's portraits, independent of the high character +and simple and dignified attitude of the figure, is a careful and +distinct modelling of the features, with the half-shadows, though +not dark, yet never slurred over--which in other hands would produce +heaviness; but Titian counteracts this by the intense darkness of his +dresses and backgrounds, so that the features, often modelled with +the firmness of sculpture, are rendered comparatively gentle by the +treatment of the other parts of the picture. The portraits of Sir Joshua +have this peculiarity, that however loaded and enriched in every part of +the work, the head is kept smooth, and often thinly painted. The +whole-length of "The Marquis of Granby," and "The Portrait of Mrs. +Siddons," two of his finest pictures, are examples of this mode of +treating the head. This has given rise to an anecdote, that Mrs. +Siddons, looking at the picture when unfinished, begged Sir Joshua not +to touch the head any more--and having promised her, he refrained, +notwithstanding the richness and depth of the fearless glazings would +seem to demand a corresponding force in the head. The truth is, that +Reynolds seems always to have depended upon the small dark shadows +to give solidity to his heads, without clogging them with colour or +dark half-tints. The importance of thus refining upon the head may be +perceived in the portrait of himself, painted _con amore_, and presented +to the Dilettante Society, of which he was a member. The features, and, +indeed, the whole head, depend upon the extreme darks; the judicious +arrangement of these shadows not only gives a pictorial dignity to the +work, from the stamp of science, but also, where the features in nature +are either blunt or mean in themselves, draws off the attention of the +spectator to higher qualities. Shadows are never mean, but are the +stamps of truth rendered beautiful by taste and feeling. Independent +of the advantage of dark touches giving delicacy to the features that +produce them, there is a motion and life given by the vivacity and +freedom of the handling, which cannot with safety be taken with the +features themselves. This quality seems very early to have been Sir +Joshua's greatest anxiety to acquire. In a remark respecting the +pictures of a rival, John Stephen Liotard, whose only merit was a +strong likeness, with great neatness of finish, Reynolds says--"The +high-finished manner of painting would be chosen if it were possible +with it to have that spirit and expression which infallibly fly off when +the artist labours; but there are transient beauties which last less +than a moment, and must be painted in as little time; besides, in poring +long the imagination is fatigued, and loses its vigour. You will find +nature in the first manner--but it will be nature stupid, and without +action. The portraits of Holbein are of this high-finished manner; and +for colouring and similitude what was ever beyond them? But then you see +fixed countenances, and all the features seem to remain immoveable." + +Northcote observes, "Of mere likeness in portraiture Reynolds thought +very little, and used to say that he could instruct any boy that chance +might throw in his way to paint a likeness in a portrait in half a +year's time; but to give an impressive and a just expression and +character to a picture, or paint it like Velasquez, was another thing. +What we are all," he said, "attempting to do with great labour, he does +at once." + +Barry, speaking of Reynolds as a portrait painter, mentions the wretched +state the art was in before his time, and how elevated it became from +the manner Sir Joshua treated it. In continuation, he says--"In many of +Titian's portraits the head and hands are mere staring, lightish spots, +unconnected with either the drapery or background, which are sometimes +too dark, and mere obscure nothings; and in Lely, and even in Vandyke, +we sometimes meet with the other extreme of too little solidity, too +much flickering and washiness. Sir Joshua's object appears to have been +to obtain the vigour and solidity of the one, with the bustle and spirit +of the other, without the excess of either; and in by far the greatest +number of his portraits he has admirably succeeded. His portrait of +Mrs. Siddons is, both for the ideal and the executive, the finest +portrait of the kind perhaps in the world; indeed, it is something more +than a portrait, and may serve to give an excellent idea of what an +enthusiastic mind is apt to conceive of those pictures of confined +history for which Apelles was so celebrated by the ancient writers. +But this picture of 'Mrs. Siddons, or the Tragic Muse,' was painted not +long since, when much of his attention had been turned to history; and +it is highly probable that the picture of Lord Heathfield, the glorious +defender of Gibraltar, would have been of equal importance, had it been +a whole length; but even as it is--only a bust--there is great animation +and spirit, happily adapted to the indications of the tremendous scene +around him; and to the admirable circumstance of the key of the +fortress, firmly grasped in his hand, than which imagination cannot +conceive anything more ingenious and heroically characteristic. It +is, perhaps, owing to the Academy, and to his situation in it, to +the discourses which he biennially made to the pupils upon the great +principles of historical art, and the generous ardour of his own mind +to realize what he advised, that we are indebted for a few expansive +efforts of colouring and chiaro-scuro which would do honour to the first +names in the records of art." And speaking of the large historical work +he painted for the Empress of Russia, he adds--"Nothing can exceed the +brilliancy of light--the force and vigorous effect of his picture of +'The Infant Hercules strangling the Serpent;' it possesses all that we +look for and are accustomed to admire in the works of Rembrandt, united +to beautiful forms and an elevation of mind to which Rembrandt had no +pretensions. The prophetical agitation of Tiresias and Juno, enveloped +in clouds, hanging over the scene like a black pestilence, can never be +too much admired, and are, indeed, truly sublime." + +After such commendations, and from so high an authority, we might feel +a diffidence in bringing forward the great founder of the Dutch school +in competition with such artists as Titian and Reynolds, did we not +know that the qualities of the chiaro-scuro and colour of Reynolds are +founded on the deep tones of Rembrandt, who, as a colourist, takes his +proper place between the two heads of the Venetian and English schools. +How far Rembrandt was indebted for his principles of colour to the works +of Titian, it is impossible to say; but many of his pictures bear a +greater affinity to the last style of this great colourist than to any +other painter. We perceive by the catalogue of his effects, that folios +containing drawings by Titian, also prints after him, were in his +possession. The luminous, rich tones of his flesh are more like Titian +than Rubens or Vandyke, whose works he must have been familiar with; +and while his backgrounds are less black and inky than those in the +portraits of Titian and Tintoret, they are also more broken, both in +colour and execution, which prevents heaviness. His handling--which +conveys from its dexterity and touch so lifelike an appearance--is not +unlike that of Frank Hals, of whom Reynolds speaks so highly:--"In the +works of Frank Hals, the portrait painter may observe the composition of +a face, the features well put together, as the painters express it, from +whence proceeds that strong, marked character of individual nature, +which is so remarkable in his portraits, and is not found in an equal +degree in any other painter. If he had joined to this most difficult +part of the art a patience in finishing what he so correctly planned, +he might justly have claimed the place which Vandyke, all things +considered, so justly holds, as the first of portrait painters." There +is, however, this difference in their works--independent of the flesh +of Rembrandt's being much richer in tone, it is produced by glazing and +fresh touches of transparent colour, whereas the tints of Hals seem +to have been mixed in the first instance on his palette; hence that +undisturbed dexterity of handling which gives so much the appearance +of life in his best works. The distinctive characteristics between a +portrait painter and a historical painter, is "that the one paints man +in general, the other a particular man;" hence, to ennoble the work, it +is necessary to make it conform, as much as can be done with safety to +the likeness, to the great principles that guide the highest branches +of the art--that is, by softening down those features that overstep the +boundary of general nature, and assisting those parts that fall short, +or are defective. Therefore, when Lawrence painted Mrs. Siddons, the +Duke of Wellington, or Lord Brougham, he chose a front view of the face, +that their peculiarities might not be too apparent. Now Sir Joshua +carried these generalizing principles to so great an extent at times +that his sitters did not recognise the striking likeness that some +people look for as paramount to all other considerations, which made his +pupil, Northcote, remark that there was a class of sitters who would not +be content "unless the house-dog barked at it as a sign of recognition." +Rembrandt, on the contrary, did not generalize enough; therefore, many +portraits were left on his hands, as it is said they were left on +Reynolds's. But see the result, those very pictures from the easel +of both painters bring higher prices than the more favoured of their +likenesses, from being intrinsically fine works of art. The number +of portraits Rembrandt painted of himself is a proof of the little +encouragement he received in painting the portraits of others. From Sir +Joshua's hand we have but two or three, while from Rembrandt's we have +nearly fifty. Yet, with all the deficiencies in the art of making up +a beautiful face, Rembrandt frequently produced portraits of great +feminine beauty: witness "The Lady with the Fan," in the collection of +the Marquis of Westminster, and "The Lady," in the Royal Collection. Had +he got the same models of female beauty that Titian and Reynolds had, he +would, in all probability, have transferred them to the canvas with the +same truth and intenseness of feeling that guided his pencil in other +matters. Rembrandt's style was that which would have suited Oliver +Cromwell, who, when he sat for his portrait, made it a _sine qua non_ +that the painter should leave out neither warts nor wrinkles. The same +truth and verisimilitude that regulated his forms, guided his eye with +respect to colour. In his earlier pictures, such as "The Ship Builder," +in the Royal Collection, there is a greater degree of hardness and +solidity of pigment than in his later works, which possess more the +suppleness of flesh. This is also to be observed in the later works of +Titian, Velasquez, and Reynolds, and in the later works of our Scottish +Velasquez--Raeburn. The portraits of Gainsborough possess this in a +high degree. What has been said with regard to Rembrandt laying on his +colours with the palette-knife, is very much exaggerated. Many of his +heads are as smooth as Reynolds's, and finished with great delicacy and +precision; in fact, the versatility of his genius, and the wonderful +command over his materials, from indefatigable practice, have given both +his pictures and prints that character of having been done in the best +style suited to accomplish his object. I have mentioned that Titian +keeps his backgrounds often dark, for the purpose of giving a delicacy +to his strong shadows in the face; both Vandyke and Rembrandt do this +by making the colour of the background amalgamate with the colour of +the hair, or dark shades of the head. Rubens, Reynolds, and Lawrence +often used a red curtain in contact with their flesh, to produce the +same result. The luminous character of the head is certainly better +preserved by its giving out rays or similarity of tone to the +surrounding background. It has been remarked that the luminous and +transparent character of the flesh is enhanced, as in several of +Vandyke's portraits, by bringing it in contact with an earthy, dull +tint. Vandyke, indeed, when his ground would not permit him, introduced +over the shoulders of his females a scarf of this colour. Rembrandt +often plunges from the dark shadows of his head into his ground, and +thus gives both a breadth and unity. This practice, where the shadows of +the face are produced by the same colour as the contiguous background, +is certainly the foundation of simplicity. + +I think the money value of Rembrandt's portraits may be taken as a +criterion of their intrinsic worth as works of art; other masters' +decline in producing high prices, Rembrandt's increase--witness +the portrait sold the other day at the Duke of Buckingham's, at +Stowe;--though the half-length of a burgomaster whom few people ever +heard of, it realized seven hundred guineas and upwards. No nameless +portrait by Reynolds, under the same disadvantages, would produce an +equivalent sum. Sir Joshua's portraits are either branches of our +aristocracy, or celebrated public characters. As a knowledge of art +advances, works fall naturally into their proper stations. When +Reynolds's sister asked Sir Joshua the reason that we never see any of +the portraits by Jervas now, he replied, "Because, my dear, they are all +up in the garret." Yet this man drove his chariot and four, and received +the praises of Pope in verse. Sir Godfrey Kneller would sometimes +receive a sum of money and a couple of portraits by Vandyke as payment; +but now, a single portrait of the great founder of the Dutch school +would outweigh in true value a large number of Kneller's collected +talent: yet Rembrandt died insolvent, and Sir Godfrey accumulated +a large fortune. And such will be the fate of those who paint for +posterity, "and look beyond the ignorant present." The true statement +of this change, which of necessity takes place, is, that the man of +genius paints according to the high impulse that has been given him, as +paramount to every other consideration; the other panders to the caprice +and ignorance of those who employ him. This it was that made Reynolds's +master, Hudson, exclaim, after Sir Joshua's return from Italy, "Why, +Joshua, you don't paint so well as you did before you went abroad!" When +men of genius and high talent fall upon favourable times, the result +is the reverse, and the fine arts are esteemed, and their professors +rewarded according to their excellence. The age in which Titian lived +was famous for literary men, who had made the republic of Venice known +and honoured through the whole of Italy. The praises of Michael Angelo +bestowed on the works of the great Venetian, had adorned the name of +Titian with a halo of supernatural brightness; so much so, that whilst +painting the portrait of the Emperor Charles the Fifth, happening to +drop one of his pencils, Charles stooped and picked it up, observing, +"that a genius like Titian deserved to be waited on by emperors." Of +Reynolds we know that all the beauty and talent of the land flocked to +his painting-room, conscious of being handed down to posterity with +all the advantages that pictorial science could achieve. The grace +of Coreggio was grafted by this great master on the strong stem of +Rembrandt's colouring. In opposition to those advantages, we have to +remark that the people with whom Rembrandt came in contact were not +only of an inferior character, when measured by the standard of grace +and dignity, but the troubles of the times militated in a high degree +against that encouragement so necessary to the perfection of the art. +In spite of these inauspicious circumstances, the genius of Rembrandt +has produced works fraught with the highest principles of colour and +pictorial effect, and to his want of encouragement in the department +of mere common portraiture, we are indebted for many of the most +pictorial and splendid specimens of strong individual character in +familiar life. + +Of all the works by Rembrandt, perhaps no picture has attracted so much +attention and observation as his "Night Watch," now in the Museum of +Amsterdam. As its dimensions are thirteen feet by fourteen, it secures +attention by its size; its effect, also, is striking in a high degree, +though Reynolds, in his "Tour to Holland and Flanders," says it +disappointed him, having heard so much respecting it. He remarks that +it had more of the appearance of Ferdinand Bol, from a prevalence of a +yellow, sickly colour. On the other hand, Wilkie says, "Had it been a +subject such as 'The Christ before Pilate,' which he has etched, it +would have been his finest and grandest work." Though painted in 1642, +it possesses all the force and high principles of colour to be found in +his later works. Nothing can exceed the firmness and truth of the two +figures advancing to the spectator--especially the officer in the light +dress--it is modelled with all the force of nature, and the background +figures being steeped in the deepest hues of subdued colour, give a +strength and richness which nothing can surpass. Of course, there is +a want of interest in the story, which is merely an assemblage of the +Militia of Amsterdam, on occasion of the expected visit of the Prince of +Orange and the daughter of Charles the First, whom he had espoused. The +principal pictures by other great masters receive a greater notoriety +from the interest of the subject--such as "The Transfiguration," by +Raffaelle; "The Peter Martyr," by Titian; "The Miracle of St. Mark," by +Tintoret; "The Martyrdom of St. George," by Paul Veronese; and "The St. +Jerome," by Coreggio. Nevertheless, "The Night Watch," by Rembrandt, may +safely be classed with the choicest productions of the great painters of +Italy and Venice. When we consider that his pictures extend to upwards +of six hundred and fifty, the reader will appreciate the difficulty +I have felt in describing the peculiar merit which has so indelibly +stamped most of them with the passport to posterity. + + + + +LANDSCAPES. + + +The landscapes by Rembrandt, unhappily few in number, possess the +strong mark of truth for which his works are so strikingly fascinating. +They are chiefly small, the largest not exceeding three feet. One of his +best is in the collection of the Marquis of Lansdowne, representing a +mill seen under the influence of an uncertain twilight; the warm light +of the western sky sheds its lustre on the sails of the mill, which +stands on high ground; but the other portions of the picture are of +dark half-tint, except a reflection of the light on the water towards +the foreground. It was exhibited in the British Gallery, in 1815, and +attracted great attention. Another picture peculiar to the genius of +Rembrandt is in the collection of Sir Richard Colt Hoare, Bart.; it +represents a night scene on the skirts of a wood, with a group of +figures seated round a fire, the red gleam of which is reflected in a +stream that flows along the foreground. A few cattle are partially seen +in the obscure portions of the picture, with a peasant passing with a +lantern. Other smaller works are in the collections of Sir Robert Peel, +Samuel Rogers, Esq., Sir Abraham Hume, and the Marquis of Hertford. His +largest picture of this class was formerly in the Louvre, and is now in +the public gallery at Hesse-Cassel. In the landscapes of Rembrandt we +meet with the same breadth, and hues of a deep tone, without being black +or heavy; they are also painted with a full pencil, and rich juicy +vehicle. Rembrandt, like Titian, Rubens, and others who were historical +painters, seizes upon the great characteristics of nature without +entering into the painful fidelity of topographical littleness; the +same generalizing principles pervade every variety of subject. Fuseli, +speaking of portrait painting as mere likenesses, adds--"To portrait +painting thus circumstanced, we subjoin, as the last branch of +uninteresting subjects, that kind of landscape which is entirely +occupied with the tame delineation of a given spot--an enumeration of +hill and dale, clumps of trees, shrubs, water, meadows, cottages, and +houses--what is commonly called views. These, if not assisted by nature, +dictated by taste, or chosen for character, may delight the owner of the +acres they enclose, the inhabitants of the spot, perhaps the antiquary +or the traveller, but to any other eye, they are little more than +topography. The landscape of Titian, of Mola, of Salvator, of the +Poussins, Claude, Rubens, Elsheimer, Rembrandt, and Wilson, spurns all +relation with this kind of map-work. To them nature disclosed her bosom +in the varied light of rising, meridian, and setting suns--in twilight, +night, and dawn." + +[Illustration: FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM] + + + + +DRAWINGS BY REMBRANDT. + + +In looking over the numerous portfolios of drawings in public and +private libraries, we are struck with the accumulated mass of mediocre +talent. Many of them are often well composed, and even well drawn, but +they are completely destitute of what constitutes true merit--they +possess no distinguishing mark whereby we can discern one master from +another; they are struck off with wonderful dexterity, as far as the eye +or hand is concerned, but the mind is totally wanting; neither do they +possess the peculiar features of natural truth, whose lines are filled +with variety, sometimes sharp, sometimes round--in parts faint and +delicate, and in other places strong and cutting. On the other hand, +when the drawings of great painters are examined, the master mind shines +forth in every touch, and we recognise the works of Michael Angelo, +Raffaelle, Coreggio, and others, at a glance. The drawings of Rembrandt +possess this quality in a superlative degree, and the slightest +indication seems sufficient to mark the character and leading features +of the object represented. His drawings are generally in pen outline, +with a wash of bistre, or other warm colour; sometimes he makes use of +black and red chalk; they are seldom finished with colours, but have +often portions rendered lighter and broader by means of a wash of white. +From his great practice in using the point in etching, he not only +gives the greatest precision and certainty, but his outline assumes the +gentlest delicacy or overpowering boldness. Everything from his hand +seems to possess a largeness of form, and the greatest breadth of light +and shade that can be given; this it is that gives them the stamp of +truth, so that it is difficult to distinguish between those drawn +immediately from nature, and such as are emanations from his +imagination. On looking into the catalogue of his effects, we perceive +large folios of his drawings, which, though at the sale they produced +but small sums, are now marked with their true value. I may notice here +a small drawing of "The Death of the Virgin," that brought, at the sale +of the late Baron Verstolk, one hundred and sixty guineas. One cannot +but regret that the excellent collection of the drawings by Rembrandt +and other masters, selected by the late Sir Thomas Lawrence, with great +taste and at large sums, should have been lost to the country, though +offered in his will at comparatively a small price. Nevertheless, we +possess several fine specimens in the British Museum Print-room. + + + + +THE ETCHINGS OF REMBRANDT. + + +No painter has gained so much celebrity by his etchings as Rembrandt, +both on account of their number and excellence. Claude, Parmegiano, +Berghem, Paul Potter, Adrian Ostade, and others, have all been dextrous +in using the etching point. Rembrandt's performances have all the +interest and beauty of finished works; his making use of the dry point, +which was unknown before his application of it, gives his etchings that +richness and softness peculiar to himself, for the process in the +hands of others has never since been attended with the same triumphant +success. The etchings consist of three hundred and sixty-five plates, +accompanied by two hundred and thirty-seven variations. I can only here +give their titles and dates: the amateur is referred to the descriptive +catalogues of Gersaint, Daulby, Bartsch, Claussin, and Wilson. The +catalogue by the latter gentleman is the one adopted by the British +Museum; I have, however, numbered them according to the Catalogue +Raisonne of Rembrandt's Works by Smith, who made use of the arrangement +of the Chevalier Claussin. I have also marked those that are of the +greatest excellence with a star before the number. + +[Illustration: PORTRAIT OF REMBRANDT'S MOTHER] + +[Illustration: PORTRAITS OF REMBRANDT AND HIS WIFE] + + +Portraits of the Artist. + +1. Portrait of Rembrandt when a young man, having frizzly hair. + +2. Portrait of Rembrandt with moustaches, and wearing a bonnet put +sideways on his head. + +3. Portrait of Rembrandt, represented with a falcon on his right hand. + +4. Portrait of Rembrandt, with frizzly hair, and the head uncovered; +remarkable for thick lips and a large nose. Very rare. + +5. Portrait of Rembrandt, seen in nearly a front view, with frizzled +hair, and the head uncovered. + +6. Portrait of Rembrandt when a young man, wearing a fur cap and a black +habit. + +7. Portrait of Rembrandt when young, seen in a front view, wearing a +slouched hat, and a mantle lined with fur. Dated 1631. + +8. Portrait resembling Rembrandt, seen in nearly a front view, with +moustaches, short curling beard, and frizzled hair. + +9. Portrait of Rembrandt when young, seen in a three-quarter view, with +the head uncovered and the hair frizzled. + +10. Portrait of Rembrandt, seen in a front view, having an expression of +grimace. + +11. Portrait of Rembrandt, seen in nearly a front view, with a flat +bonnet on the head. + +12. Portrait of Rembrandt when young, seen in a three-quarter view, with +head uncovered, and the hair frizzled. (Oval.) + +13. Portrait of Rembrandt when young, with the mouth a little open, the +head uncovered, and the hair frizzled. Dated 1630. + +14. Portrait of Rembrandt, seen in a front view, having a fur cap, and a +mantle bordered with fur. Dated 1631. + +15. Portrait of Rembrandt, seen in a three-quarter view, with the head +uncovered, and the hair frizzled; he has on a mantle buttoned in front. +Dated 1631. + +16. Portrait of Rembrandt, seen in a front view, wearing a fur cap of a +round form, and a mantle. Dated 1631. + +17. Portrait of Rembrandt, seen in nearly a front view, having on a +bonnet of the usual shape, placed sideways on his head, and a kind of +scarf round his neck. Dated 1633. + +18. Portrait of Rembrandt, seen in a front view, having on a +richly-ornamented cap or turban, and an embroidered robe. He holds a +drawn sabre in his hand. Dated 1634. + +19. Portraits of Rembrandt and his Wife, on one plate. Dated 1636. + +20. Portrait of Rembrandt. He has on a mezetin cap, decked with a +feather, and a rich mantle. Dated 1638. + +*21. Portrait of Rembrandt, seen in a three-quarter view; he has long +curling hair and moustaches; a cap of the usual shape covers the head, +and a rich mantle the body. The left arm leans on some stone work. Dated +1639. + +*22. Portrait of Rembrandt, seen in a front view, wearing a +narrow-brimmed hat, and a plain habit open in front; he is seated at a +table, holding a crayon in his hand. Dated 1648. + +23. Portrait of Rembrandt, seen in a three-quarter view, with long +curling hair; he has on a cap with a small feather in front of it, +attached by a ribbon; his mantle is fastened in front by a clasp. Dated +1634. (Oval) (This is the cut plate of the celebrated sabre print.) + +24. Portrait of Rembrandt, seen in nearly a front view, having on a fur +cap, which covers his forehead to the eyebrows; his curling hair falls +on his shoulders, and his robe is bordered with fur. Dated 1630. + +25. Portrait of Rembrandt, with the left side of the face strongly +shadowed; his frizzled hair falls on the shoulders, and his habit is +a little open in front, and lined with fur. Dated 1631. + +26. Portrait strongly resembling Rembrandt, seen in a front view, having +short frizzled hair, and the mouth a little compressed; he has on a cap, +and wears a mantle attached by a little ribbon. + +27. Portrait of Rembrandt, closely resembling No. 1. The face is seen +in a front view, and the body in a three-quarter position; the hair is +frizzled, and a toupee is on the left side; the eyes and forehead are +in shadow. + +28. Portrait of Rembrandt, seen in a three-quarter view, with a small +beard and mustacheos; a cap of the usual shape covers his frizzled hair, +and the dress is composed of a mantle bordered with fur. This is placed +by Bartsch and Gersaint among the fancy portraits. + +29. Portrait resembling Rembrandt when young, seen in a front view, with +round face, large nose, the mouth a little open, short frizzled hair, +and a cap on the head; his mantle is attached by four buttons in front. +Dated 1630. + +30. Portrait of Rembrandt (styled by some writers, "Titus, the Son of +the Artist.") It represents a young man, with ragged frizzled hair +falling on the shoulders. He is dressed in a habit with a collar. Dated +1639. + +31. Portrait of Rembrandt, or very like him, when a young man; he has +frizzled hair, and wears a fur cap. (Octagon.) This is inserted by other +writers among the fancy heads. + +32. Portrait closely resembling Rembrandt, seen in a front view, with a +cap on; the attitude is that of a person drawing. Engraved very lightly, +and almost without shadow, on a narrow plate. + +33. Portrait closely resembling Rembrandt, seen in a front view, having +on a cap of the usual shape, the top of which is cut off by the edge of +the plate. Dated 1630. These figures are ill formed. + + +Subjects from the Old Testament. + + +34. Adam and Eve in Paradise; the latter has the forbidden fruit in her +hand, which she has received from the tempter, who is seen in the form +of a serpent in a tree, with an apple in his mouth. Dated 1638. + +*35. Abraham entertaining the three angels at the door of his house. +Dated 1656. + +36. Abraham offering up his Son. Dated 1655. + +37. Abraham sending away Hagar and Ishmael. Dated 1637. + +38. Abraham caressing his son Isaac. + +39. Abraham with his son Isaac. The subject represents the moment when +the son asks his father, "Where is the sacrifice?" Dated 1645. + +40. Four Subjects to illustrate a Spanish Book. These were originally +engraved on one plate, which was afterwards cut into four. They +represent as follows:-- + +Jacob's Dream on the plain of Padan Aran. Four angels are ascending and +descending the ladder. Dated 1655. + +David preparing his Sling to attack Goliath. Dated 1655. + +The Image seen by Nebuchadnezzar in his Dream. Dated 1655. + +The vision of Ezekiel. Dated 1655. + +41. Joseph relating his Dream to his Parents, in the presence of his +Brethren. Dated 1638. + +42. Jacob lamenting the supposed Death of his Son Joseph. + +43. Joseph and Potiphar's Wife. Dated 1634. + +*44. The Triumph of Mordecai. + +45. David on his knees in prayer. Dated 1652. + +46. Blind Tobit leaning on a Staff, followed by his Dog. Dated 1651. + +47. The Angel departing from Tobit and his Family. Dated 1641. + + +New Testament Subjects. + +*48. The Angel appearing to the Shepherds, and announcing the Birth of +the Saviour. Dated 1634. + +49. The Nativity of the Saviour. + +*50. The Adoration of the Shepherds. + +51. The Circumcision. Dated 1654. + +52. The Circumcision, differently composed. + +53. The Presentation in the Temple. + +54. The Presentation in the Temple, differently composed. + +55. The Presentation in the Temple, differing from the preceding. Dated +1630. + +56. The Flight into Egypt. Dated 1633. + +57. The Flight into Egypt, differently composed. No date. + +58. The Flight into Egypt, differing from the preceding. + +59. The Flight into Egypt, differing from the preceding. Dated 1651. + +60. The Flight into Egypt, differing from the preceding. + +61. A _Reposo_ of the Holy Family by night. + +62. A _Reposo_ of the Holy Family. Dated 1645. + +63. A _Reposo_ of the Holy Family, supposed to be unique. + +*64. The Return from Jerusalem of the Holy Family. Dated 1654. + +65. The Virgin, with the Infant Jesus in the Clouds. Dated 1641. + +66. The Holy Family. + +67. The Holy Family, differently composed. Dated 1654. + +68. Jesus amidst the Doctors. Dated 1654. + +69. Jesus disputing with the Doctors. Dated 1652. + +70. Jesus amidst the Doctors, differently composed. Dated 1636. + +*71. Christ preaching to the People. + +72. The Tribute Money. + +73. Christ driving the Money Changers out of the Temple. Dated 1635. + +74. Christ with the Woman of Samaria. The third proof is dated 1658. + +75. Christ with the Woman of Samaria, differently composed. Dated 1634. + +*76. The Resurrection of Lazarus; styled the Little. Dated 1642. + +77. The Resurrection of Lazarus; styled the Great. No date. + +*78. Christ Healing the Sick. This beautiful print is known under the +appellation of "The Hundred Guilder Print." No date. + +*79. Christ in the Garden of Olives. Dated 165. The last figure is +wanting. + +80. Christ before the People. Dated 1655. + +81. Christ on the Cross between the two Thieves, styled "The Three +Crosses." Dated 1653. + +*82. The _Ecce Homo_. Dated 1636. + +*83. The Descent from the Cross. Dated 1633. + +84. Christ on the Cross between the two Thieves. + +85. Christ on the Cross. + +86. The Descent from the Cross. Dated 1642. + +*87. The Descent from the Cross; a night piece. Dated 1654. + +*88. The Entombment. + +89. The Virgin lamenting the Death of the Saviour. + +90. Christ in the Tomb. + +*91. Christ at the Table with the two Disciples of Emmaus. Dated 1654. + +92. Christ at the Table with the two Disciples of Emmaus. Dated 1634. + +93. Christ in the midst of his Disciples, and the incredulity of St. +Thomas. Dated 1650. + +94. The Good Samaritan. Dated 1633. + +95. The Return of the Prodigal Son. Dated 1636. + +96. The Decollation of St. John. Dated 1640. + +97. Peter and John at the Beautiful Gate of the Temple. Dated 1659. + +98. Peter and John at the Gate of the Temple, differently composed. + +99. St. Peter on his Knees, with a Key in either hand. Dated 1645. + +100. The Martyrdom of St. Stephen. Dated 1635. + +101. The Baptism of the Eunuch. Dated 1641. + +*102. The Death of the Virgin. Dated 1639. + + +Saints. + +103. St. Jerome seated at the foot of a tree. Dated 1634. + +104. St. Jerome at his devotions. Dated 1632. + +105. St. Jerome at his devotions, with a lion behind him. Dated 1634, +or 1635. + +106. St. Jerome seated, with spectacles on, writing. Dated 1648. + +107. St. Jerome seated, reading in a large book held with both hands. + +108. St. Jerome seated at a table in a room. Dated 1642. + +109. St. Jerome on his knees, meditating before a skull. + +110. St. Francis on his knees at his devotions, with a crucifix and a +book before him. Dated 1657. + + +Historical, Allegorical and Fancy Subjects. + +111. A Youth surprised by the Apparition of Death. Dated 1639. + +112. An Allegorical subject, allusive to the demolition of a statue +offensive to the Low Countries. Dated 1659. + +113. Fortune Reversed, an allegorical subject, allusive to some hero +upon whom Fortune has turned her back. Dated 1633. + +*114. The Marriage of Jason and Creusa. Dated 1648. + +115. The Star of the Kings, an ancient Dutch custom on the feast of the +kings. + +116. A Lion Hunt; several huntsmen on horseback attacking a lion. Dated +1641. + +117. A Lion Hunt, differently composed to the preceding. + +118. A Lion Hunt, also differing from the above. + +119. A Battle. The subject represents a group of horsemen advancing, +full speed, with swords, javelins, &c. + +120. Three Figures in Oriental dresses, accompanied by a dog. Dated +1641. + +121. The Blind Bagpiper amusing some cottagers. + +122. The Spanish Gipsy. + +123. The Rat Killer. Dated 1632. + +124. The Rat Killer, differently composed. + +125. The Goldsmith. + +126. The Pancake Woman. Dated 1635. + +127. The Game of Kolf. Dated 1654. + +128. The Jews' Synagogue. Dated 1648. + +129. The Schoolmaster. Dated 1641. + +130. The Mountebank. Dated 1635. + +131. The Draughtsman. + +132. A Peasant with his Wife and Child. + +133. A Jew wearing a high Cap. Dated 1639. + +134. The Onion Woman. Dated 1631. + +135. The Peasant with his hands behind him. Dated 1631. + +136. The Card Players. Dated 1641. + +137. The Blind Fiddler. Dated 1631. + +138. A Man on Horseback. + +139. The Polander, with his hands united. + +140. The Polander, with his sword and staff. + +141. The Polander, with a cane in his left hand. Dated 1631. + +142. An old Man, standing with his back to the spectator. + +143. A Peasant Man and a Woman walking together. + +144. A Philosopher seated, with a pen in his hand. + +145. A Man seated at a table, on which is an open book. + +146. An old Man seated, resting his arm on a book. + +147. An old Man without a beard. Dated 1631. + +148. An old Man with a short beard, leaning on a staff. + +149. An old Man with a long beard, in the dress of a Persian. Dated +1631. + +150. The Blind Jew, standing with his back to the spectator, leaning on +a staff. + +151. Two Figures in Venetian Dresses. + +152. A Doctor feeling the Pulse of a Patient. + +153. The Skater. + +*154. The Hog with his Legs tied. Dated 1643. + +155. A little Dog lying asleep. + +156. A Shell, known under the appellation of "The Damier." Dated 1650. + + +Beggars. + +157. A Beggar seated, with his hands united. + +158. A Beggar and his Wife. + +159. A Beggar standing, resting both hands on a staff. + +160. A Beggar standing, holding a stick in his right hand. + +161. A Beggar Man and a Woman, standing in conversation. Dated 1630. + +162. A Beggar Man and a Woman by the side of a Bank. + +163. A Beggar with a Stick in his right Hand. In the manner of Callot. + +164. A Beggar in a slashed Cloak. Dated 1631. + +165. A Beggar Woman, with a calebash hanging behind her. + +166. A Beggar, wearing a fur cap, and resting both hands on a staff. + +167. An old Beggar Woman asking Charity. Dated 1646. + +168. Lazarus Klap, or the Dumb Beggar. Dated 1631. + +169. A Beggar with a wooden Leg, standing with his hands behind him. + +170. A Beggar sitting at the side of a Wall. + +171. A Beggar sitting on a Bank. Dated 1630. + +172. A Beggar sitting, with his Dog by his side. Dated 1651. + +*173. Three Beggars at the Door of a House. Dated 1648. + +174. A Beggar with one Hand in the Breast of his Jacket, in a cold day. +Dated 1634. + +175. A Beggar with his Hands behind him. + +176. A Beggar with a wooden Leg, and a stick in his hand. + +177. A Peasant with his Hands behind him, and a basket at his feet. + +178. A Peasant Woman with a Bottle attached to her Waist. + +179. A Beggar. This is merely a sketch. + +180. A Beggar Man and a Woman walking side by side. + +181. A Beggar wrapped up in his Mantle. + +182. A Sick Beggar lying on the ground. + + +Academical Subjects. + +183. The French Bed. Dated 1646. + +184. The Friar among the Corn. + +185. The Flute Player and the Shepherdess. Dated 1642. + +186. An old Man sleeping, and a couple caressing. + +187. A pot-bellied Man, with a pack at his back, and a pouch by his +side. Dated 1630. + +188. A Woman crouching under a Tree. Dated 1631. + +189. A Painter drawing after a Model. + +190. A naked Man, seated. Dated 1646. + +191. Academical Figures of Men. + +192. The Bathers. Dated 1631. + +193. A Man sitting naked for a Model. Dated 1646. + +194. A Woman sitting before a Dutch Stove. + +195. A Woman sitting naked on a Bank. + +196. A Woman at the Bath. Dated 1658. + +197. A Woman sitting naked with her feet in the water. Dated 1558. + +198. Venus in the Bath. She is seated at the foot of a tree, with her +feet in the stream. + +*199. A Naked Woman sitting on a Bed, with an arrow in her hand. Dated +1661. + +200. Antiope, Jupiter, and a Satyr. Dated 1659. + +201. A Woman lying asleep on a Couch. A Satyr in the background. + +202. A Negress lying on a Couch. Dated 1658. + + +Landscapes. + +203. A Landscape, in which is introduced a cow. + +204. A Landscape, distinguished by a large tree growing by the side of a +house. + +205. A Landscape, with a bridge, styled "Six's Bridge." Dated 1645. + +206. A View of Omval, near Amsterdam. Dated 1645. + +*207. A View of Amsterdam. + +[Illustration: VIEW OF AMSTERDAM] + +[Illustration: COTTAGE WITH WHITE PALINGS] + +208. A Landscape, with a huntsman on a road, followed by two dogs. + +*209. A Landscape, known under the appellation of "The Three Trees." +Dated 1643. + +*210. A Landscape, distinguished by a man carrying a yoke of pails. + +211. A Landscape, with a canal, on the banks of which are two houses +embosomed in trees. Washed in bistre, or India ink. + +212. A Landscape; the scene is remarkable for a coach passing along a +road in the centre of the view. + +213. A Landscape, with a terrace, and a road over it in the centre. + +*214. A Landscape, with a village situate near the high road. Dated +1650. + +215. A View of the village of Randorp, remarkable for an old tower, of +a square form. Dated 1650. + +216. A Landscape, in the foreground of which may be noticed a man +seated, drawing. + +217. A Landscape, with a pond, on the bank of which sits a woman with a +child in her lap; a shepherd stands behind her. Dated 1644. + +218. A View in Holland. Some cottages among trees are seen in the +centre, and a canal flows along the front. + +219. A Landscape, representing a woody scene, with a vista on the right. +Dated 1652. + +220. A Landscape, with an old tower rising above the roofs of some +houses. + +*221. A Landscape distinguished by a road leading to a village, on which +is a shepherd with a flock of sheep. Dated 1636. + +222. A Landscape, with a cottage and barn. Dated 1641. + +223. A Landscape, with a large tree and a cottage on the left, and +divided obliquely by a canal. Dated 1641. + +224. A Landscape, remarkable for an obelisk standing on the left, and a +village stretching along the distance. + +225. A Landscape, with three houses on the left, backed by trees, and +near these is a woman followed by a dog; on the opposite side is a +canal, with a sailing vessel on it. + +226. A Landscape, with a cluster of trees at the side of a road; a +second road divides the scene in the centre. + +227. A Landscape, with a cottage on the left, and in the centre an alley +of trees; close to the front is a man with a stick on his shoulder. + +228. A Landscape, with a large piece of water. The name and date are +inscribed at the foot of the trunk of a tree on the right. Dated 1645. + +229. A Landscape, with a cottage near the middle, on either side of +which is a tree, and in front an enclosure of paling. + +*230. A View, supposed to be that of the house in which the artist was +born, and the adjacent windmill. Dated 1641. + +231. The Gold-weigher's Field. The scene is remarkable for a mansion +placed near the centre, and a wood stretching along the left of it; on +the right is seen the steeple of a church rising above some trees. Dated +1651. + +232. A Landscape, distinguished by a canal, on which are two swans. +Dated 1650. + +*233. A Landscape, with a canal, and a boat lying alongside the shore. +Dated 1650. + +234. A Landscape, with a canal in front, at which a cow is drinking. + +235. A View of a Village, remarkable for an old square tower. Dated +1653. + +236. A Landscape, with a river on the left, on which is seen the half of +a boat. + +237. A Landscape, in which may be noticed a little man, and in the +distance two windmills and a steeple. + +238. A Landscape of an upright form, having a large tree in the middle, +and a man and a woman in front. + +239. A Landscape, with a farm-house partly concealed by trees, and +surrounded by a wood fence. + +240. A Landscape, with a river, on which are two sailing boats, and on +the left of the print is seen a man seated on a barge, angling. + +241. A Landscape, traversed obliquely by a canal, on the bank of which +sits a man, angling. + +242. A Landscape, distinguished by a low house built on the bank of a +canal, and above the roof of which rises the gable of a second house; +near these are some trees and a boarded fence. + +243. A Landscape, in which may be noticed a house of two stories high, +a windmill, and a river with a sailing boat on it. + +244. A Landscape, divided by a canal; in the centre rises a large tree, +near which is a cottage partly concealed by trees. Dated 1659. + +245. A Landscape, with a barn filled with hay, adjacent to which is a +cottage with a fence in front of it, and a clump of trees. + +246. A Landscape, with a canal in front, and a boat on it; the scene is +further distinguished by a large cottage, with the upper part of the +door open. + +247. A Landscape, with a large house on the right, constructed of wood, +and having three chimneys; beyond this object are two hovels surrounded +by trees, at the foot of which flows a river. + +248. A Landscape, on the left of which may be noticed a peasant drawing +water from a well, behind which grows a lofty tree. A dray-cart is also +introduced. + +249. A Landscape. This scene is distinguished by a chateau with eight +pointed towers. This is doubted by M. de Claussin. + +250. A Landscape, with several trees in the distance, in addition to +which may be noticed a large trunk of a tree, and in front of it is a +bull attached by a cord. + +251. A Village Scene. The view represents, on the right, two houses with +pointed roofs; above which rises a round tower. + +252. This view exhibits a portion of a village, with six thatched +houses, only one of which is shadowed and finished. Dated 1659. + +253. A Landscape, with a large canal extending throughout the scene, on +the banks of which are two men angling. + + +Portraits of Men. + +254. Portrait of a Man, seen in nearly a front view, with his left hand +resting on a table. Dated 1642. + +255. Portrait of a young Man, seated, with his right hand placed on his +thigh, and the left on his breast. Dated 1650. + +256. Portrait of an old Man. He is in the act of raising the right hand +to his bonnet. + +257. Portrait of an old Man, seen in nearly a front view. He appears to +be seated, and his attention is directed downwards. + +258. Portrait of a Man, with long straight hair covered with a cap; a +chain is suspended round his neck, to which is attached a cross. Dated +1641. + +259. An old Man with a long beard, having on a fur cap, and a large +mantle, sitting in an arm-chair. + +260. A man with a short beard, represented in a front view, with a fur +cap on his head, and dressed in an embroidered mantle. Dated 1631. + +261. Portrait of Jan Antonides Vander Linden. He wears a handsome robe, +and is represented in a garden, with a book in his hand. + +262. An old Man, with a square-shaped beard, a fur cap on his head, and +the right hand placed on his belt. Dated 1640. + +*263. Portrait of Janus Silvius. He is represented in nearly a front +view, dressed in a robe bordered with fur, a ruff, and a cap, and seated +at a table, with one hand placed on the other. Dated 1633. + +264. An old Man with a long beard, seated at a table, with both hands on +a book. + +265. A young Man seated at a table, on which are some books. He has on a +cap, and wears a robe lined with fur. Dated 1637. + +266. Portrait of Manasseh Ben Israel. He is distinguished by a pointed +beard, and is seen in a front view, having on a broad-brimmed hat, and +a large collar. Dated 1636. + +*267. Portrait of Dr. Faustus. This person is represented in a profile +view, having on a white cap and a robe, standing, with one hand on a +table, and the other on his chair. + +268. Portrait of Renier Hanslo. He is seen in a front view, seated at a +table, on which is placed a large open book. Dated 1641. + +269. Portrait of Clement de Jonge, a print dealer. He is seated in +nearly a front view, wearing a slouched hat, a mantle, and a small +collar; he wears gloves, and the right hand is placed in front. Dated +1642. + +270. Portrait of Abraham France, an amateur of prints. He is seated in +an arm-chair examining a print which he holds in his right hand. + +*271. Portrait of the elder Haaring. He is represented in a front view, +seated, resting both arms on the elbows of his chair, and the fingers of +his right appear to hold a pinch of snuff. + +*272. Portrait of young Haaring, son of the preceding Burgomaster. He is +seen in a front view, apparently seated, with his right hand resting on +the elbow of his chair. Dated 1655. + +*273. Portrait of young Lutma, a celebrated goldsmith. He is seated, +holding in his right hand a metal figure. Upon a table near him are a +silver tazza, and other objects relative to his occupation. Dated 1656. + +274. Portrait of Jean Asselyn, surnamed Crabatje. He is represented +standing in a front view, having on a slouched hat; his body is +enveloped in a mantle, and his right hand rests on a table, on which are +a palette and several books. + +*275. Portrait of Ephraim Bonus, a Jew doctor. He appears to be in the +act of descending some stairs, and his right hand is placed on the +baluster. His dress consists of a high-crowned hat, and a pendent frill. +Dated 1647. + +276. Portrait of Utenbogardus, a Dutch minister. He is seen in a front +view, seated, holding with his right hand a book, which lies open on a +table. (_Oval._) Dated 1635. + +*277. Portrait of Jean Silvius, a learned man and a minister. This print +is enclosed in an oval, around which is written, _Spes mea Christus_, &c. + +*278. Portrait of Utenbogaerd, known under the appellation of the "Gold +Weigher." He is seated, holding a pen in his right hand, which rests on +a large book lying open on a table. His attention is directed to a youth, +to whom he is giving a bag of money. Dated 1639. + +279. Portrait of Coppenol, a celebrated writing master, styled "The +Little Coppenol." He is seated at a table, holding a pen in his right +hand, which he rests on some paper, and the left is also placed on the +same sheet; a boy stands behind him, with his hat in his hand. + +*280. Portrait of Coppenol, called "The Great," to distinguish it from +the preceding. He is also seated near a table, holding with both hands a +sheet of paper, and between the fingers of the right is a pen. + +*281. Portrait of Tolling, a Lawyer. He is seen in a front view, seated +at a table, on which is a large book, resting both arms on the elbows of +his chair, and holding his spectacles in his hand; he has on a slouched +hat. + +*282. Portrait of the Burgomaster, Jan Six, when twenty-nine years old. +He is represented full-length, standing near an open window, engaged in +reading a book, which he holds with both hands. This precious work of +Rembrandt is dated 1647. + + +Fancy Heads of Men. + +283. A Head of an Asiatic, seen in a front view, having on a calotte. +The dress consists of a furred robe, adorned with a gold chain and a +medal. Signed, Rembrandt, Venitiis fecit. Dated 1635. + +284. A Head of a similar person, seen in a profile view, having on a +turban, and a robe bordered with fur. Signed, Rembrandt, Venitiis fecit. + +285. A third Head, Asiatic; he has a large beard, and is seen in a +profile view, having on a turban, decked in front with a feather. +Signed, Rembrandt, Venitiis fecit, 1635. + +286. The Bust of a Man, with long hair, and a short frizzled beard, seen +in nearly a profile view, having on the usual shaped cap peculiar to the +master. + +287. The Bust of an old Man, with a long beard, seen in nearly a front +view. He has on a fur cap, and wears a mantle, attached in front by +clasps. + +288. The Bust of an old Man, with a long beard, and a bald head in +front; he is seen in a front view, bending a little forward, in such a +manner as to throw a shadow over the face. + +289. An old Man, seen in a profile view, having a short beard and a bald +head. His dress consists of a robe bordered with fur. Dated 1630. + +290. The Bust of an old Man without a beard, having a bald head, and +seen in a profile view. + +291. The Bust of an old Man, seen in a profile view, with a bald head, +inclined a little forward. Dated 1630. + +292. A small Bust of an old Man, with a bald head, which is bent +considerably forward; the face is seen in a three-quarter view. + +293. The Bust of an old Man, with a beard and frizzled hair, seen in a +three-quarter view. Dated 1631. + +294. The Bust of an old Man, with a bald head, which inclines forward, +and is turned a little to the right; the mouth is considerably open. +Dated 1631. + +295. A small Bust of an aged Man without a beard; the face is turned +towards the right, and a large fur cap covers the head. + +296. The Bust of an elderly Man, with a short frizzled beard. He is seen +in a three-quarter view, having on a turned-up cap; the mouth is open, +and he appears to be calling to some one. + +297. A Head very similar to the preceding, but smaller in size, and +extremely rare. + +298. A small Bust, the head of which partakes of the character of a +Turkish slave. He has on a large high cap, turned up. The body is +slightly sketched out. + +299. A very small Bust of a Man, similar in character to the preceding; +seen in a profile view, having mustacheos. He has on a cap, the upper +part of which hangs over, and a frill surrounds the neck. + +300. The Bust of a Man, seen in a front view, having on a cap in the +shape of a calotte, and a mantle bordered with carmine. + +301. The Bust of a Man, with the head uncovered and seen in a front +view; his hair is frizzled, and his mouth a little on one side. + +302. The Head of an old Man, with a short beard and a bald crown; his +neck is enveloped in fur. The shoulders are only slightly indicated. + +303. The Bust of a Man, represented in a three-quarter view, with the +head bending forward. He has on a fur cap, and a robe bordered with fur, +which is open in front, and shows a vest under it. Dated 1631. + +304. The Bust of a Man, seen in nearly a profile view, having a pouting +mouth, resembling a negro, and a short frizzled beard. He has on a +calotte, and a robe bordered with fur, attached in front with a single +button. + +305. A Bust of an old Man, with a grey beard and bald in front, +represented in a three-quarter view, with the head inclining. He has on +a hairy coat with a collar. Dated 1630. + +306. A Half-figure of a young Man, represented in a profile view, having +short frizzled hair. He wears a large cravat enriched with lace, and a +coat with large sleeves and girt with a belt. Dated 164-**; the last +figure is omitted. + +307. A Bust of a Man, seen in a three-quarter view, having mustacheos. +He has on a large hat with a broad brim, a coat buttoned in front, and a +pendent frill. Dated 1630. + +308. A Bust of an old Man with a large beard, seen in nearly a front +view, with a fur cap on. + +309. A Bust of an old Man, with a large square-shaped beard, seen in a +three-quarter view. He has a cap of the usual shape, and a robe bordered +with fur. Dated 1637. + +310. A Bust of an old Man, with a similar beard to the last. The face is +represented in a three-quarter view, having on a large cap, and a robe +bordered with fur. + +311. A Bust of an old Man with a pointed beard, seen in a three-quarter +view, with a bald front, and the eyes bent downwards; the body is +enveloped in a cloak. + +312. A Bust of an old Man with a straight beard, seen in a profile view. +He has on a small pointed cap. Dated 1631. + +313. A Philosopher, with a large square-shaped beard, seen in a profile +view, having on a large cap decked with fur; an hour-glass and a skull +are faintly introduced. Engraved on wood. This print is doubted by the +Chevalier Claussins. + +314. An elderly Man, represented in a three-quarter view, apparently +seated; he has mustacheos, and a tuft of beard, and wears a large +high cap, and a robe bordered with white fur. Dated 1630. + +315. A small Bust of a Man, seen in a front view, with the usual shaped +cap on his head, and the body enveloped in a mantle. Dated 1631. + +316. A Bust of a Man, seen in a profile view, having on a cap with +pendent ear straps; the shoulders are covered with a mantle, relieved +by a small frill. + +317. A Bust of a Man with a bald head, seen in a three-quarter view; +the shoulders are covered with a mantle bordered with fur. Dated 1631. + +318. A Bust of an old Man, with a very large square-shaped beard, seen +in nearly a front view. The head inclines forward, and the eyes are +directed downwards. Dated 1630. + +319. A very small Head, of a grotesque character, seen in a profile +view, having on a fur cap, surrounded by a band. + +320. Another small Head, having the appearance of being that of a +beggar; the mouth is open, as if he were calling to some one; he has +on a pointed cap, and a coat attached by a single button. + +321. A Bust of a young Man, the head only of which is finished. He has +on a large slouched hat. + +322. A Bust of a young Man, with a hat on, of the same form as the +preceding. + +323. A Bust of a young Man, with a cap on, decked with feathers, and +represented at a window. M. Claussins thinks this to be of a doubtful +kind. + +324. A Bust of a Man, with mustacheos, and frizzled hair, which falls on +the right shoulder. + +325. A Bust of an old Man, with mustacheos, and a tuft of beard, +represented in a three-quarter view, having on a high fur cap, and +a fur cloak. + +326. A Bust of an old Man, with a long beard, and a bald head in front, +seen in a profile view; a robe, bordered with fur, covers his shoulders. + +327. A Bust of a Man, with a cap on, decked with feathers. He is seen in +a front view, having a beard and mustacheos, and wearing a frill round +the neck. + +328. A Bust of an old Man, with a white beard, having on a turned-up +cap, and a mantle bordered with fur. + +329. A Man, having the appearance of a negro, represented in nearly a +profile view. He has on a turban decked with a feather, and holds a cane +in the right hand. + + +Portraits of Women. + +*330. Portrait of a Woman, styled, "The great Jewish Bride." She is +seated, resting her right hand on the elbow of her chair, and holding +a roll of papers in the left. + +331. A Head, similar to that of the preceding print, and supposed by +some amateurs to have been a study for it, but M. Claussins, in his +catalogue, combats that opinion. + +*332. Portrait of a Woman, styled, "The little Jewish Bride." Her face +is seen in a three-quarter view, and she appears to be standing, with +her hands crossed on her waist. Dated 1633. + +333. An aged Woman, seated at a table, with her hands placed one on the +other; a black veil covers her head, and a mantle, bordered with fur, +envelopes her shoulders. + +334. An aged Woman; she appears to be also seated, and is seen in a +three-quarter view, with a kind of bonnet on her head, and a veil over +it; her dress terminates in a frill. + +335. Portrait of a young Woman, seen in nearly a profile view, seated +near a table, on which is a book; her right hand is concealed by her +robe, and the left placed on the book. Dated 1634. + +336. An aged Woman meditating over a book. She is seated, having her +right hand under her robe, and the left on a book lying on a table. +A half-figure, looking to the left. + +337. Portrait of a Woman, seen in a profile view. Her hair is tastefully +arranged, and decked with pearls; two rows of the same adorn her neck, +and the sleeves of her robe are open. Dated 1634. + +338. Portrait of an elderly Woman, seen in a profile view. She is +seated, with the left hand placed on her breast, and the right on the +elbow of her chair. Dated 1631. + +339. A Bust Portrait of the Mother of Rembrandt, represented in nearly +a front view, with a veil on her head. Her left hand is placed on her +breast. Dated 1631. + +340. An elderly Woman sleeping. She appears to have been fatigued with +reading, and having removed her spectacles from her eyes, has fallen +asleep while resting her head on her hand. + +341. An aged Woman, resembling the Mother of Rembrandt. She is seen in a +three-quarter view, with a linen covering over her head, which falls on +her shoulders. Dated 1633. + +342. A Head of an elderly Woman, having also the resemblance of +Rembrandt's Mother. She is seen in a front view, with the mouth +compressed. She has on a cap of the usual form. Dated 1628. + +343. A Bust of an elderly Woman, having the same character as the +preceding. She is seen in a three-quarter view, with a covering on the +head, turned up over the right ear, and falling on the left. Dated 1628. + +344. A Bust of the Mother of Rembrandt. She is seen in a front view, +with the usual kind of cap on the head, and a robe bordered with fur, +which is only slightly sketched in. + +345. An old Woman in a black veil. This bust represents the face in a +three-quarter view; the veil falls on the shoulders, and her robe is +turned up with fur. Dated 1631. + +346. A young Woman, represented in nearly a profile view, with a basket +on her right arm, and a pouch suspended to the left. She has on a small +flat hat, and a tippet over her shoulders. + +347. A Bust of a Moorish Woman, seen in nearly a profile view, having on +her head a scarf turned up in front, decked with a feather, and falling +behind her head. + +348. A Bust of an aged Woman, lightly etched. She is seen in a +three-quarter view, with a bonnet on, in the form of a turban, and +lappets hanging on either side, and the dress consists of a fur robe. + +349. A Bust of a Woman, seen in a three-quarter view, with the head +enveloped in a kerchief, the ends of which hang on either side. The body +is unfinished. + +350. A Head of an elderly Woman, seen in a three-quarter view, with the +eyes bent downwards. + +351. A Woman seated, resting her head on her hand, and turning over the +leaves of a book with the other. + +352. An elderly Woman, seen in nearly a profile view, with spectacles +on, and holding with both hands a book, which she appears to be reading. + + +Studies of Heads and Other Objects. + +353. A Head of Rembrandt, together with studies of old Men and Women, +and other objects, on the same plate. + +354. A Study of a Horse, two Heads, a part of a House, and other +objects, on the same plate. + +355. Rembrandt's Wife, and five other Heads, on the same plate. Dated +1636. + +356. Five Heads of Men on one sheet,[2] one of which, placed on the +right, wears a square cap, and another, seen on the opposite side, has +on a fur cap. + +357. Three Heads of Women on one sheet, one of them, occupying the +centre and top, is seen in a front view, with one hand raised to her +face. + +358. Three Heads of Women on one sheet. This print is distinguished by +one of the women resting her head on her hand, asleep. Dated 1637. + +359. Two Women in separate Beds; several Heads, and studies of an old +Man and Woman, with sticks in their hands; on one sheet. + +360. A Head of Rembrandt, and other studies, on the same sheet. Dated +1651. + +*361. A Study of a Dog, the head only of which is finished. + +362. A Sketch of a Tree, and other objects, on the same sheet. + +363. Two small Figures, one of which, having on a high crowned cap, is +seen to the knees; the form of the other is but imperfectly traced, and +the other objects are still more indistinct. + +364. Three Heads of old Men on one sheet. They are all seen in a profile +view, and placed in the same direction. + +365. A Study of a Female Head, very lightly etched. She has on her head +a kind of mob cap, and the body is turned to the right. + +[Footnote 2: This plate was afterwards cut into five, and the several +heads are arranged in their proper order.] + + * * * * * + +Savill & Edwards, Printers, 4, Chandos Street, Covent Garden. + + + +***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS WORKS*** + + +******* This file should be named 22690.txt or 22690.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/2/2/6/9/22690 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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