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+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-8859-1
+
+
+***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 Rhÿn 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 Rhÿn, the subject of this memoir, was born in the year
+1606, between Leydendorp and Koukerk, in the neighbourhood of Leyden, on
+the Rhÿn, 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 Rhÿn when his
+    son Rembrandt was born; it is situated at Koukerk, on the old Rhÿn,
+    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 ætatis), 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.º 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 Lª 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 _Müller_.
+
+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 aërial 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 aërial
+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. aërial 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 miniméque 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 aërial 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
+Raisonné 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 toupée 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 château 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 22690-8.txt or 22690-8.zip *******
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+<h1>The Project Gutenberg eBook, Rembrandt and His Works, by John Burnet</h1>
+<pre>
+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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Rembrandt and His Works</p>
+<p>       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.</p>
+<p>Author: John Burnet</p>
+<p>Release Date: September 20, 2007  [eBook #22690]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS WORKS***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Carl Hudkins, Chrome, David Garcia,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="pg" />
+
+<a name="image-0001"><!--IMG--></a>
+<div class="figure">
+<a href="images/f00.jpg"><img src="images/f00-t.jpg" width="368" height="480"
+alt="HEAD OF REMBRANDT" /></a>
+<br />
+HEAD OF REMBRANDT
+</div>
+
+<p><span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span></p>
+
+<a name="h2H_4_0001" id="h2H_4_0001"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+REMBRANDT<br />
+<small>AND HIS WORKS:</small>
+</h1>
+<p class="center">
+COMPRISING
+</p>
+<h2><small>
+A SHORT ACCOUNT OF HIS LIFE;
+<br />
+WITH A CRITICAL EXAMINATION INTO
+HIS PRINCIPLES AND PRACTICE OF DESIGN, LIGHT, SHADE, AND COLOUR.
+</small></h2>
+
+<p class="center">
+ILLUSTRATED BY
+<br />
+<b>Examples from the Etchings of Rembrandt.</b>
+</p>
+
+<h3>
+<small>BY</small>
+<br />
+JOHN BURNET, F.R.S.
+</h3>
+
+<p class="center">
+AUTHOR OF "PRACTICAL HINTS ON PAINTING."
+</p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p class="center">
+<small>
+LONDON:<br />
+DAVID BOGUE, 86, FLEET STREET.<br />
+MDCCCXLIX.
+</small>
+</p>
+
+
+<p><span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p><span class="pagenum"><a id="pageiii" name="pageiii"></a>[iii]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<small>TO</small> <br />
+THE EARL OF ELLESMERE, <br />
+<small>THE ENLIGHTENED PATRON OF ART AND LITERATURE,</small> <br />
+THIS WORK <br />
+<small>IS MOST RESPECTFULLY INSCRIBED,</small>
+</p>
+
+<p class="right">
+<small>BY HIS OBLIGED, HUMBLE SERVANT,</small>
+<br />
+JOHN BURNET.
+</p>
+
+<p><span class="pagenum"><a id="pageiv" name="pageiv"></a>[iv]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p><span class="pagenum"><a id="pagev" name="pagev"></a>[v]</span></p>
+
+<a name="h2H_PREF" id="h2H_PREF"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    PREFACE.
+</h2>
+<p>
+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&mdash;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&mdash;
+</p>
+<div class="poem">
+<div class="stanza">
+<p class="i2">  "He who colours well must colour bright;</p>
+<p class="i3">   Think not that praise to gain by sickly white."</p>
+</div>
+</div>
+<p>
+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
+
+<span class="pagenum"><a id="pagevi" name="pagevi"></a>[vi]</span>
+
+       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&mdash;"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, &amp;c., I considered
+as the best kind of wealth."
+</p>
+<p>
+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."
+</p>
+<p>
+<span class="sc">Brompton</span>, November 4th, 1848.
+</p>
+
+<p><span class="pagenum"><a id="pagevii" name="pagevii"></a>[vii]</span></p>
+
+<a name="h2H_ILL" id="h2H_ILL"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    ILLUSTRATIONS.
+</h2>
+
+<table border="0" align="center" width="100%" summary="List of Illustrations">
+<tr><td align="right">1.</td><td>HEAD OF REMBRANDT</td><td class="rb" width="25%"><i>Facing <a href="#image-0001">Title-page</a>.</i></td></tr>
+<tr><td align="right">2.</td><td>INTERIOR OF THE MILL OF REMBRANDT'S FATHER</td><td class="rb"><i>page</i> <a href="#image-0002">2</a></td></tr>
+<tr><td align="right">3.</td><td>EXTERIOR OF THE SAME</td><td class="rb"><a href="#image-0002">2</a></td></tr>
+<tr><td align="right">4.</td><td>REMBRANDT'S HOUSE AT AMSTERDAM</td><td class="rb"><a href="#image-0004">6</a></td></tr>
+<tr><td align="right">5.</td><td>FAC-SIMILE OF A LETTER OF REMBRANDT'S</td><td class="rb"><a href="#image-0005">14</a></td></tr>
+<tr><td align="right">6.</td><td>CHRIST AND HIS DISCIPLES AT EMMAUS</td><td class="rb"><a href="#image-0006">24</a></td></tr>
+<tr><td align="right">7.</td><td>THE ENTOMBMENT</td><td class="rb"><a href="#image-0007">26</a></td></tr>
+<tr><td align="right">8.</td><td>THE RETURN FROM JERUSALEM</td><td class="rb"><a href="#image-0007">26</a></td></tr>
+<tr><td align="right">9.</td><td>THE NATIVITY</td><td class="rb"><a href="#image-0009">32</a></td></tr>
+<tr><td align="right">10.</td><td>DOCTOR FAUSTUS</td><td class="rb"><a href="#image-0010">38</a></td></tr>
+<tr><td align="right">11.</td><td>BURGOMASTER SIX</td><td class="rb"><a href="#image-0011">40</a></td></tr>
+<tr><td align="right">12.</td><td>PORTRAIT OF VAN TOLLING</td><td class="rb"><a href="#image-0012">44</a></td></tr>
+<tr><td align="right">13.</td><td>SIX'S BRIDGE</td><td class="rb"><a href="#image-0013">46</a></td></tr>
+<tr><td align="right">14.</td><td>REMBRANDT'S MILL</td><td class="rb"><a href="#image-0014">48</a></td></tr>
+<tr><td align="right">15.</td><td>FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM</td><td class="rb"><a href="#image-0015">72</a></td></tr>
+<tr><td align="right">16.</td><td>PORTRAIT OF REMBRANDT'S MOTHER</td><td class="rb"><a href="#image-0016">74</a></td></tr>
+<tr><td align="right">17.</td><td>PORTRAITS OF REMBRANDT AND HIS WIFE</td><td class="rb"><a href="#image-0016">74</a></td></tr>
+<tr><td align="right">18.</td><td>VIEW OF AMSTERDAM</td><td class="rb"><a href="#image-0018">80</a></td></tr>
+<tr><td align="right">19.</td><td>COTTAGE WITH WHITE PALINGS</td><td class="rb"><a href="#image-0018">80</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a id="pageviii" name="pageviii"></a>[viii]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p><span class="pagenum"><a id="page1" name="page1"></a>[1]</span></p>
+
+<a name="h2H_4_0003" id="h2H_4_0003"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    REMBRANDT.
+</h2>
+<p>
+In commencing an account of the life of Rembrandt Van Rhÿn 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
+
+<span class="pagenum"><a id="page2" name="page2"></a>[2]</span>
+
+ 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.
+</p>
+<p>
+Rembrandt Van Rhÿn, the subject of this memoir, was born in the year
+1606, between Leydendorp and Koukerk, in the neighbourhood of Leyden, on
+the Rhÿn, 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&mdash;
+</p>
+
+<p class="quote">
+"<span class="sc">My dear Sir</span>,
+</p>
+<p class="quote">
+"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 Rhÿn when his son Rembrandt was
+born; it is situated at Koukerk, on the old Rhÿn, near Leyden. I hope
+you will correct the vulgar error that Rembrandt was born <span class="sc">in</span> a mill.
+There are often
+
+<span class="pagenum"><a id="page3" name="page3"></a>[3]</span>
+
+                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 <i>draining mills</i>, such as we
+have in Lincolnshire, Norfolk, &amp;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 <i>Rembrandt</i>. 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.
+</p>
+<p class="quote" style="text-align: right;">
+"Yours, &amp;c.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+<br />
+"<span class="sc">E. W. Cooke</span>."
+</p>
+
+<a name="image-0002"><!--IMG--></a>
+<div class="figure">
+<a href="images/f02.jpg"><img src="images/f02-t.jpg" width="368" height="480"
+alt="INTERIOR OF THE MILL OF REMBRANDT'S FATHER -- EXTERIOR OF THE SAME" /></a>
+<br />
+INTERIOR OF THE MILL OF REMBRANDT'S FATHER
+<br />
+EXTERIOR OF THE SAME
+</div>
+
+<p>
+The mill now known as the one possessed by Rembrandt's father is built
+of stone, with an inscription, and "<i>Rembrandt</i>," 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.
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page4" name="page4"></a>[4]</span>
+
+                           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.
+</p>
+<p>
+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,<a href="#note-1" name="noteref-1"><small>1</small></a> and is dated 1632. Reynolds, in his Tour
+through Flanders, speaking of this picture, says:&mdash;"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&mdash;"Above
+
+<span class="pagenum"><a id="page5" name="page5"></a>[5]</span>
+
+ 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,&mdash;the colouring much like Titian."
+</p>
+<p>
+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.
+</p>
+<p>
+The late Sir David Wilkie, in a letter to his sister, says:&mdash;"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
+
+<span class="pagenum"><a id="page6" name="page6"></a>[6]</span>
+
+                        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."
+</p>
+<p>
+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&mdash;"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."
+</p>
+<p>
+Mr. Woodburn, in a Catalogue of his Drawings, says:&mdash;"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.
+</p>
+
+<a name="image-0004"><!--IMG--></a>
+<div class="figure">
+<a href="images/f06.jpg"><img src="images/f06-t.jpg" width="480" height="368"
+alt="REMBRANDT'S HOUSE AT AMSTERDAM" /></a>
+<br />
+REMBRANDT'S HOUSE AT AMSTERDAM
+</div>
+
+<p><span class="pagenum"><a id="page7" name="page7"></a>[7]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p class="side">
+<i>Extract from the Book of Sureties of Real Estates remaining
+at the Secretary's Office of the City of Amsterdam, fol. 89, &amp;c.</i>
+</p>
+<p class="center">
+<span class="sc">Legal Receipt and Discharge, given by Titus Van Ryn, for the
+Balance of the Estate of his Father, Rembrandt Van Ryn</span>.
+</p>
+<p class="quote">
+  Good for G<sup>ls.</sup> 6952&ndash;9.<br />
+  the 29.7<sup>bre</sup>&mdash;Willem Muilm.
+</p>
+<p class="quote">
+  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.
+</p>
+<p>
+Received the contents, <span class="sc">Titus Van Ryn</span>. }
+</p>
+
+<p class="quote">
+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 ætatis), as
+principal,&mdash;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.º 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.&mdash;Actum, the 9th September, 1665.
+</p>
+
+<p class="quote" style="text-align: right;">
+<span class="sc">A. J. J. Hinlopen and Arnout Hooft.</span>
+<br />
+<span class="sc">H. V. Bronchorst.</span>
+</p>
+
+<table summary="stamp">
+<tr><td>2207 : a</td><td>3</td><td>:</td><td>3</td><td>6952</td><td>:</td><td>1</td></tr>
+<tr><td>(Stamp)</td><td></td><td></td><td></td><td></td><td></td><td>8</td></tr>
+<tr><td></td><td></td><td></td><td></td><td colspan="3">_______</td></tr>
+<tr><td></td><td></td><td></td><td></td><td>6952</td><td></td><td>9</td></tr>
+</table>
+
+<p><span class="pagenum"><a id="page8" name="page8"></a>[8]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p style="margin-left: 3em; text-indent: -3em;">
+<i>The following Catalogue is extracted from the Register Lª R. fol. 29 to
+39 inclusive, of the Inventory of the Effects of</i> <span class="sc">Rembrandt Van Rhyn</span>,
+<i>deposited in the Office of the Administration of Insolvent Estates at
+Amsterdam, Anno 1656.</i>
+</p>
+
+<h2>
+PICTURES, &amp;c.
+</h2>
+
+<p class="center">
+IN THE ENTRANCE HALL.
+</p>
+
+<table summary="Inventory of Effects, listed by location in the residence">
+<tr><td>A Picture, representing The Gingerbread Baker</td><td width="33%">By <i>Brauwer</i>.</td></tr>
+<tr><td>A ditto, The Gamblers</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A ditto, A Woman and Child</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A ditto, The Interior of an Artist's Painting Room</td><td><i>Brauwer</i>.</td></tr>
+<tr><td>A ditto, The Interior of a Kitchen</td><td><i>Ditto</i>.</td></tr>
+<tr><td colspan="2">A Statue of a Woman, in plaster.</td></tr>
+<tr><td colspan="2">Two Children, in plaster.</td></tr>
+<tr><td colspan="2">A Sleeping Child, in plaster.</td></tr>
+<tr><td>A Landscape</td><td>By <i>Rembrandt</i>.</td></tr>
+<tr><td>A ditto</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Woman represented standing</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Christmas Night Piece</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>St. Jerome</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>Dead Hares, a small picture</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A small picture of a Pig</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A small Landscape</td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>A Landscape</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A ditto</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A ditto</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Combat of Lions</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Landscape, by moonlight</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A Head</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A ditto</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A picture of Still Life, objects retouched</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Soldier, clad in armour</td><td>By <i>Rembrandt</i>.</td></tr>
+<tr><td>A Skull, and other objects, styled a Vanitas, retouched</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A ditto, ditto, retouched</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Sea Piece</td><td><i>Hendrick Antonisz</i>.</td></tr>
+<tr><td>Four Spanish Chairs, covered with leather.</td></tr>
+<tr><td>Two ditto, ditto in black.</td></tr>
+<tr><td>A Plank of Wood.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE FRONT PARLOUR.
+</p></td></tr>
+
+<tr><td>A small picture of the Samaritan, retouched</td><td width="33%">By <i>Rembrandt</i>.</td></tr>
+<tr><td>The Rich Man</td><td><i>Palma Vecchio</i>.</td></tr>
+<tr><td colspan="2">(The half of this picture belongs to <i>Peter de la Tombe</i>).</td></tr>
+<tr><td>A View of the Back of a House</td><td>By <i>Rembrandt</i>.</td></tr>
+<tr><td>Two Sporting Dogs, done after nature</td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Descent from the Cross, a large picture, in a gilt frame</td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Raising of Lazarus</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Courtesan Dressing</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Woody Scene</td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>Tobias, &amp;c.</td><td><i>Lastman</i>.</td></tr>
+<tr><td>The Raising of Lazarus</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A Landscape, representing a mountainous country</td><td><i>Rembrandt</i>.</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page9" name="page9"></a>[9]</span>
+        A small Landscape</td><td>By <i>Govert Jansz</i>.</td></tr>
+<tr><td>Two Heads</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Picture, <i>en grisaille</i></td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A ditto, <i>ditto</i></td><td><i>Parcelles</i>.</td></tr>
+<tr><td>A Head</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A ditto</td><td><i>Brauwer</i>.</td></tr>
+<tr><td>A View of the Dutch Coast</td><td><i>Parcelles</i>.</td></tr>
+<tr><td>A ditto of the same, smaller</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Hermit</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>Two Small Heads</td><td><i>Lucas Van Valkenburg</i>.</td></tr>
+<tr><td>A Camp on Fire</td><td><i>The elder Rassan</i>.</td></tr>
+<tr><td>A Quack Doctor</td><td><i>After Brauwer</i>.</td></tr>
+<tr><td>Two Heads</td><td>By <i>Jan Pinas</i>.</td></tr>
+<tr><td>A perspective View</td><td><i>Lucas Van Leyden</i>.</td></tr>
+<tr><td>A Priest</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A Model</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Flock of Sheep</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Drawing</td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Flagellation of our Lord</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Picture, done <i>en grisaille</i></td><td><i>Parcelles</i>.</td></tr>
+<tr><td>A ditto, ditto</td><td><i>Simon de Vlieger</i>.</td></tr>
+<tr><td>A small Landscape</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Head of a Woman, after Nature</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Head</td><td><i>Rafaelle Urbino</i>.</td></tr>
+<tr><td>A View of Buildings, after Nature</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Landscape, after Nature</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A View of Buildings</td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>The Goddess Juno</td><td><i>Jacob Pinas</i>.</td></tr>
+<tr><td>A Looking Glass, in a black ebony frame.</td></tr>
+<tr><td>An ebony Frame.</td></tr>
+<tr><td>A Wine Cooler, in marble.</td></tr>
+<tr><td>A Table of walnut tree, covered with a carpet.</td></tr>
+<tr><td>Seven Spanish Chairs, with green velvet cushion.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+BACK PARLOUR.
+</p></td></tr>
+
+<tr><td>A Picture</td><td>By <i>Pietro Testa</i>.</td></tr>
+<tr><td>A Woman with a Child</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>Christ on the Cross, a model</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Naked Woman</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Copy, after a picture</td><td><i>Annibal Caracci</i>.</td></tr>
+<tr><td>Two Half Figures</td><td><i>Brauwer</i>.</td></tr>
+<tr><td>A Copy, after a picture</td><td><i>Annibal Caracci</i>.</td></tr>
+<tr><td>A Sea View</td><td><i>Parcelles</i>.</td></tr>
+<tr><td>The Head of an Old Woman</td><td><i>Van Dyck</i>.</td></tr>
+<tr><td>A Portrait of a deceased Person</td><td><i>Abraham Vink</i>.</td></tr>
+<tr><td>The Resurrection</td><td><i>A. Van Leyden</i>.</td></tr>
+<tr><td>A Sketch</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>Two Heads, after Nature</td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Consecration of Solomon's Temple, done <i>en grisaille</i></td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Circumcision, a copy</td><td>After <i>Ditto</i>.</td></tr>
+<tr><td>Two small Landscapes</td><td>By <i>Hercules Segers</i>.</td></tr>
+<tr><td colspan="2">A gilt Frame.</td></tr>
+<tr><td colspan="2">A small Oak Table.</td></tr>
+<tr><td colspan="2">Four Shades for engraving.</td></tr>
+<tr><td colspan="2">A Clothes Press.</td></tr>
+<tr><td colspan="2">Four old Chairs.</td></tr>
+<tr><td colspan="2">Four green Chair Cushions.</td></tr>
+<tr><td colspan="2">A Copper Kettle.</td></tr>
+<tr><td colspan="2">A Portmanteau.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+THE SALOON.
+</p></td></tr>
+
+<tr><td>A Woody Scene</td><td>By <i>An Unknown Master</i>.</td></tr>
+<tr><td>An Old Man's Head</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A large Landscape</td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>A Portrait of a Woman</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>An Allegory of the Union of the Country</td><td><i>Ditto</i>.</td></tr>
+<tr><td colspan="2">This is probably the picture now in the Collection of Samuel Rogers, Esq.</td></tr>
+<tr><td>
+<span class="pagenum"><a id="page10" name="page10"></a>[10]</span>
+        A View in a Village</td><td>By <i>Govert Jansz</i>.</td></tr>
+<tr><td>A Young Ox, after Nature</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">The Samaritan Woman, a large picture, attributed to <i>Giorgione</i>, the half of which belongs to <i>Peter de la Tombe</i>.</td></tr>
+<tr><td colspan="2">Three antique Statues.</td></tr>
+<tr><td>A Sketch of the Entombment</td><td>By <i>Rembrandt</i>.</td></tr>
+<tr><td>The Incredulity of St. Peter</td><td><i>Aertje Van Leyden</i>.</td></tr>
+<tr><td>The Resurrection of our Lord</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>The Virgin Mary</td><td><i>Rafaelle Urbino</i>.</td></tr>
+<tr><td>A Head of Christ</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Winter Scene</td><td><i>Grimaer</i>.</td></tr>
+<tr><td>The Crucifixion. Probably intended for <i>Novellari</i></td><td><i>Lely of Novellaene</i>.</td></tr>
+<tr><td>A Head of Christ</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A young Bull or Ox</td><td><i>Lastman</i>.</td></tr>
+<tr><td>A Vanitas, retouched</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>An Ecce Homo, <i>en grisaille</i></td><td><i>Ditto</i>.</td></tr>
+<tr><td>Abraham Offering up his Son</td><td><i>Jean Lievensz</i>.</td></tr>
+<tr><td>A Vanitas, retouched</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Landscape, <i>en grisaille</i></td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>An Evening Scene</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A large Looking Glass.</td></tr>
+<tr><td colspan="2">Six Chairs, with blue cushions.</td></tr>
+<tr><td colspan="2">An oak Table.</td></tr>
+<tr><td colspan="2">A Table Cloth.</td></tr>
+<tr><td colspan="2">A Napkin Press.</td></tr>
+<tr><td colspan="2">A Wardrobe, or Armoir.</td></tr>
+<tr><td colspan="2">A Bed and a Bolster.</td></tr>
+<tr><td colspan="2">Two Pillows.</td></tr>
+<tr><td colspan="2">Two Coverlids.</td></tr>
+<tr><td colspan="2">Blue Hangings of a Bed.</td></tr>
+<tr><td colspan="2">A Chair.</td></tr>
+<tr><td colspan="2">A Stove.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE CABINET OF ARTS.
+</p>
+</td></tr>
+
+<tr><td colspan="2">A pair of Globes.</td></tr>
+<tr><td colspan="2">A Box, containing minerals.</td></tr>
+<tr><td colspan="2">A small Architectural Column.</td></tr>
+<tr><td colspan="2">A Tin Pot.</td></tr>
+<tr><td colspan="2">The Figure of an Infant.</td></tr>
+<tr><td colspan="2">Two pieces of Indian Jadd.</td></tr>
+<tr><td colspan="2">A Japan or Chinese Cup.</td></tr>
+<tr><td colspan="2">A Bust of an Empress.</td></tr>
+<tr><td colspan="2">An Indian Powder Box.</td></tr>
+<tr><td colspan="2">A Bust of the Emperor Augustus.</td></tr>
+<tr><td colspan="2">An Indian Cup.</td></tr>
+<tr><td colspan="2">A Bust of the Emperor Tiberius.</td></tr>
+<tr><td colspan="2">An Indian Work-Box, for a lady.</td></tr>
+<tr><td colspan="2">A Bust of Caius.</td></tr>
+<tr><td colspan="2">A pair of Roman Leggins.</td></tr>
+<tr><td colspan="2">Two Porcelain Figures.</td></tr>
+<tr><td colspan="2">A Bust of Heraclitus.</td></tr>
+<tr><td colspan="2">Two Porcelain Figures.</td></tr>
+<tr><td colspan="2">A Bust of Nero.</td></tr>
+<tr><td colspan="2">Two Iron Helmets.</td></tr>
+<tr><td colspan="2">An Indian Helmet.</td></tr>
+<tr><td colspan="2">An ancient Helmet.</td></tr>
+<tr><td colspan="2">A Bust of a Roman Emperor.</td></tr>
+<tr><td colspan="2">A Negro, cast from Nature.</td></tr>
+<tr><td colspan="2">A Bust of Socrates.</td></tr>
+<tr><td colspan="2">A Bust of Homer.</td></tr>
+<tr><td colspan="2">A ditto of Aristotle.</td></tr>
+<tr><td colspan="2">An antique Head, done in brown.</td></tr>
+<tr><td colspan="2">A Faustina.</td></tr>
+<tr><td colspan="2">A Coat of Armour, and a Helmet.</td></tr>
+<tr><td colspan="2">A Bust of the Emperor Galba.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Otho.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Vitellius.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Vespasian.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Titus Vespasian.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Domitian.</td></tr>
+<tr><td colspan="2">A ditto of Silius Brutus.</td></tr>
+<tr><td colspan="2">Forty-seven specimens of Botany.</td></tr>
+<tr><td colspan="2">Twenty-three ditto of Land and Marine Animals.</td></tr>
+<tr><td colspan="2">A Hammock, and two Calabashes.</td></tr>
+<tr><td colspan="2">Eight various objects, in plaster, done from Nature.</td></tr>
+
+<tr><td colspan="2">
+<span class="pagenum"><a id="page11" name="page11"></a>[11]</span>
+<p class="center">
+ON THE LAST SHELF.
+</p>
+</td></tr>
+
+<tr><td colspan="2">A quantity of Shells, Marine Plants, and sundry curious objects, in plaster, done from Nature.</td></tr>
+<tr><td colspan="2">An antique Statue of Cupid.</td></tr>
+<tr><td colspan="2">A small Fuzil, and a Pistol.</td></tr>
+<tr><td colspan="2">A steel Shield, richly embossed with Figures, by Quintin Matsys, very curious and rare.</td></tr>
+<tr><td colspan="2">An antique Powder-horn.</td></tr>
+<tr><td colspan="2">A ditto; Turkish.</td></tr>
+<tr><td colspan="2">A Box, containing Medals.</td></tr>
+<tr><td colspan="2">A Shield of curious workmanship.</td></tr>
+<tr><td colspan="2">Two Naked Figures.</td></tr>
+<tr><td colspan="2">A Cast from the face of Prince Maurice, taken after his death.</td></tr>
+<tr><td colspan="2">A Lion and a Bull, in plaster, after Nature.</td></tr>
+<tr><td colspan="2">A number of Walking Sticks.</td></tr>
+<tr><td colspan="2">A long Bow.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+BOOKS ON ART.
+</p></td></tr>
+
+<tr><td colspan="2">A Book, containing Sketches by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Prints engraved in wood by <i>Lucas Van Leyden</i>.</td></tr>
+<tr><td colspan="2">A ditto ditto, by <i>Wael and others</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Etchings by <i>Baroccio and Vanni</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Prints after <i>Rafaelle Urbino</i>.</td></tr>
+<tr><td colspan="2">A gilt Model of a French Bed, by <i>Verhulst</i>.</td></tr>
+<tr><td colspan="2">A Book full of Engravings, many of which are double impressions, by <i>Lucas Van Leyden</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing a great number of Drawings by the best masters.</td></tr>
+<tr><td colspan="2">A ditto, containing a number of fine Drawings by <i>Andrea Mantegna</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Drawings by various masters, and some Prints.</td></tr>
+<tr><td colspan="2">A ditto, larger, full of Drawings and Prints.</td></tr>
+<tr><td colspan="2">A ditto, containing a number of Miniatures, Wood-cuts, and Copper-plate Prints, of the various costumes of countries.</td></tr>
+<tr><td colspan="2">A Book, full of Prints by <i>Old Breughel</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Prints after <i>Rafaelle Urbino</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing valuable Prints, after the same.</td></tr>
+<tr><td colspan="2">A ditto, full of Prints by <i>Tempesta</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Wood-cuts and Engravings by <i>Lucas Cranach</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Prints after the <i>Caracci</i> and <i>Guido</i>, and <i>Spagnoletti</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Engravings and Etchings by <i>Tempesta</i>.</td></tr>
+<tr><td colspan="2">A large Folio of ditto ditto, by <i>Ditto</i>.</td></tr>
+<tr><td colspan="2">A ditto ditto, various.</td></tr>
+<tr><td colspan="2">A Book, containing Prints by <i>Goltius</i> and <i>Müller</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Prints after <i>Rafaelle Urbino</i>, very fine impressions.</td></tr>
+<tr><td colspan="2">A Book, containing Drawings by <i>Brauwer</i>.</td></tr>
+<tr><td colspan="2">A Folio, containing a great number of Prints after <i>Titian</i>.</td></tr>
+<tr><td colspan="2">A number of curious Jars and Venetian Glasses.</td></tr>
+<tr><td colspan="2">An old Book, containing a number of Sketches by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto ditto.</td></tr>
+<tr><td colspan="2">A large Folio of Sketches by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">An empty Folio.</td></tr>
+<tr><td colspan="2">A Backgammon Board.</td></tr>
+<tr><td colspan="2">An antique Chair.</td></tr>
+<tr><td colspan="2">A Book, containing Chinese Drawings in miniature.</td></tr>
+<tr><td colspan="2">A large Cluster of White Coral.</td></tr>
+<tr><td colspan="2">A Book full of Prints of Statues.</td></tr>
+<tr><td colspan="2">A ditto full of Prints, a complete work by <i>Heemskirk</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Sketches by <i>Rubens</i>, <i>Van Dyck</i>, and other masters.</td></tr>
+<tr><td colspan="2">A ditto, containing the Works of <i>Michael Angelo Buonarotti</i>.</td></tr>
+<tr><td colspan="2">Two small Baskets.</td></tr>
+
+<tr><td colspan="2">
+<span class="pagenum"><a id="page12" name="page12"></a>[12]</span>
+                    A Book, containing Prints of free Subjects, after <i>Rafaelle</i>, <i>Roest</i>, <i>Annibal Caracci</i>, and <i>Giulio Romano</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Landscapes by the most distinguished masters.</td></tr>
+<tr><td colspan="2">A Book, containing Views of Buildings in Turkey, by <i>Melchoir Lowick</i>, <i>Hendrick Van Helst</i>, and others; and also the Costumes of that Country.</td></tr>
+<tr><td colspan="2">An Indian Basket, containing various Engravings by <i>Rembrandt</i>, <i>Hollar</i>, <i>Cocq</i>, and others.</td></tr>
+<tr><td colspan="2">A Book, bound in black leather, containing a selection of Etchings by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A paper Box, full of Prints by <i>Hupe Martin</i>, <i>Holbein</i>, <i>Hans Broemer</i>, and <i>Israel Mentz</i>.</td></tr>
+<tr><td colspan="2">A Book, containing a complete set of Etchings by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Folio, containing Academical Drawings of Men and Women, by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Book, containing Drawings of celebrated Buildings in Rome, and other Views, by the best masters.</td></tr>
+<tr><td colspan="2">A Chinese Basket, full of various Ornaments.</td></tr>
+<tr><td colspan="2">A Folio.</td></tr>
+<tr><td colspan="2">A ditto.</td></tr>
+<tr><td colspan="2">A ditto, containing Landscapes after Nature by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Book, containing a selection of Proof Prints after <i>Rubens</i> and <i>Jacques Jordaens</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Drawings by <i>Miervelt</i>, <i>Titian</i>, and others.</td></tr>
+<tr><td colspan="2">A Chinese Basket.</td></tr>
+<tr><td colspan="2">A ditto ditto, containing Prints of Architectural Subjects.</td></tr>
+<tr><td colspan="2">A ditto, containing Drawings of various Animals from Nature by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Prints after <i>Frans Floris</i>, <i>Bruitwael</i>, <i>Goltius</i>, and <i>Abraham Bloemart</i>.</td></tr>
+<tr><td colspan="2">A quantity of Drawings from the Antique, by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">Five Books, in quarto, containing Drawings by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Book full of Prints of Architectural Views.</td></tr>
+<tr><td colspan="2">The Medea, a Tragedy, by <i>Jan Six</i>.</td></tr>
+<tr><td colspan="2">A quantity of Prints, by <i>Jacques Callot</i>.</td></tr>
+<tr><td colspan="2">A Book, bound in parchment, containing Drawings of Landscapes, after Nature, by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Sketches of Figures by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, various.</td></tr>
+<tr><td colspan="2">A small Box, with wood divisions.</td></tr>
+<tr><td colspan="2">A Book, containing Views drawn by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing fine Sketches.</td></tr>
+<tr><td colspan="2">A ditto, containing Statues after Nature by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, various.</td></tr>
+<tr><td colspan="2">A ditto, containing pen Sketches by <i>Peter Lastman</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Drawings in red chalk by <i>Ditto</i>.</td></tr>
+<tr><td colspan="2">A ditto, containing Sketches drawn with the pen by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A ditto, various.</td></tr>
+<tr><td colspan="2">A ditto, ditto.</td></tr>
+<tr><td colspan="2">A Book, various.</td></tr>
+<tr><td colspan="2">A ditto, ditto.</td></tr>
+<tr><td colspan="2">A ditto, ditto.</td></tr>
+<tr><td colspan="2">A Folio of large Drawings of Views in the Tyrol, by <i>Roeland Savery</i>.</td></tr>
+<tr><td colspan="2">A ditto, full of Drawings by celebrated masters.</td></tr>
+<tr><td colspan="2">A Book, in quarto, containing Sketches by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Book of Wood-cuts of the proportions of the Human Figure, by <i>Albert Durer</i>.</td></tr>
+<tr><td colspan="2">A Book, containing Engravings by <i>Jean Lievensz</i> and <i>Ferdinand Bol</i>.</td></tr>
+<tr><td colspan="2">Several parcels of Sketches by <i>Rembrandt</i> and others.</td></tr>
+
+<tr><td colspan="2">
+<span class="pagenum"><a id="page13" name="page13"></a>[13]</span>
+                    A quantity of Paper, of a large size.</td></tr>
+<tr><td colspan="2">A Box, containing Prints by <i>Van Vliet</i>, after Pictures by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Screen, covered with cloth.</td></tr>
+<tr><td colspan="2">A steel Gorget.</td></tr>
+<tr><td colspan="2">A Drawer, containing a Bird of Paradise, and six Forms of divers patterns.</td></tr>
+<tr><td colspan="2">A German Book, containing Prints of Warriors.</td></tr>
+<tr><td colspan="2">A ditto, with Wood-cuts.</td></tr>
+<tr><td colspan="2">Flavius Josephus, in German, illustrated with Engravings by <i>Tobias Kinderman</i>.</td></tr>
+<tr><td colspan="2">An ancient Bible.</td></tr>
+<tr><td colspan="2">A marble Inkstand.</td></tr>
+<tr><td colspan="2">A Cast, in Plaster, of Prince Maurice.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN AN ANTI-CHAMBER OF THE ROOM OF ARTS.
+</p></td></tr>
+
+<tr><td>St. Joseph</td><td>By <i>Aertje Van Leyden</i>.</td></tr>
+<tr><td colspan="2">Three Prints, in frames.</td></tr>
+<tr><td colspan="2">The Salutation.</td></tr>
+<tr><td>A Landscape after Nature</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Landscape</td><td><i>Hercules Segers</i>.</td></tr>
+<tr><td>The Descent from the Cross</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Head after Nature.</td></tr>
+<tr><td>A Skull</td><td>Retouched by <i>Rembrandt</i>.</td></tr>
+<tr><td>A Model, in plaster, of the Bath of Diana</td><td>By <i>Adam Van Vianen</i>.</td></tr>
+<tr><td>A Model from Nature</td><td><i>Rembrandt</i>.</td></tr>
+<tr><td>A Picture of Three Puppies, after Nature</td><td><i>Titus Van Ryn</i>.</td></tr>
+<tr><td>A ditto of a Book</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Head of the Virgin</td><td><i>Ditto</i>.</td></tr>
+<tr><td>The Flagellation</td><td>A Copy after <i>Rembrandt</i>.</td></tr>
+<tr><td>A Landscape by Moonlight</td><td>Retouched by <i>Ditto</i>.</td></tr>
+<tr><td>A Naked Woman, a Model from Nature</td><td>By <i>Ditto</i>.</td></tr>
+<tr><td>An unfinished Landscape from Nature</td><td><i>Ditto</i>.</td></tr>
+<tr><td>A Horse painted from Nature</td><td>By <i>Rembrandt</i>.</td></tr>
+<tr><td>A small Picture</td><td><i>Young Hals</i>.</td></tr>
+<tr><td colspan="2">A Fish, after Nature.</td></tr>
+<tr><td colspan="2">A Model, in plaster, of a Bason, adorned with Figures, by <i>Adam Van Vianen</i>.</td></tr>
+<tr><td colspan="2">An old Chest.</td></tr>
+<tr><td colspan="2">Four Chairs, with black leather seats.</td></tr>
+<tr><td colspan="2">A Table.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE SMALL PAINTING ROOM.
+</p></td></tr>
+
+<tr><td colspan="2">Thirty-three pieces of Armour and Musical Instruments.</td></tr>
+<tr><td colspan="2">Sixty pieces of Indian Armour, and several Bows, Arrows, and Darts.</td></tr>
+<tr><td colspan="2">Thirteen bamboo Pipes, and several Flutes.</td></tr>
+<tr><td colspan="2">Thirteen objects, consisting of Bows, Arrows, Shields, &amp;c.</td></tr>
+<tr><td colspan="2">A number of Heads and Hands, moulded from Nature, together with a Harp, and a Turkish Bow.</td></tr>
+<tr><td colspan="2">Seventeen Hands and Arms, moulded from Nature.</td></tr>
+<tr><td colspan="2">Some Stag Horns.</td></tr>
+<tr><td colspan="2">Five ancient Casques.</td></tr>
+<tr><td colspan="2">Four long Bows, and cross Bows.</td></tr>
+<tr><td colspan="2">Nine Gourds and Bottles.</td></tr>
+<tr><td colspan="2">Two modelled Busts of Bartholt Been and his Wife.</td></tr>
+<tr><td colspan="2">A plaster Cast from a Grecian Antique.</td></tr>
+<tr><td colspan="2">A Bust of the Emperor Agrippa.</td></tr>
+<tr><td colspan="2">A ditto of the Emperor Aurelius.</td></tr>
+<tr><td colspan="2">A Head of Christ, of the size of Life.</td></tr>
+<tr><td colspan="2">A Head of a Satyr.</td></tr>
+<tr><td colspan="2">A Sibil&mdash;Antique.</td></tr>
+<tr><td colspan="2">The Laocoon&mdash;Ditto.</td></tr>
+<tr><td colspan="2">A large Marine Vegetable.</td></tr>
+<tr><td colspan="2">A Vitellius.</td></tr>
+<tr><td colspan="2">A Seneca.</td></tr>
+<tr><td colspan="2">Three or four antique Heads of Women.</td></tr>
+<tr><td colspan="2">A metal Cannon.</td></tr>
+<tr><td colspan="2">A quantity of Fragments of antique Dresses, of divers colours.</td></tr>
+<tr><td colspan="2">
+<span class="pagenum"><a id="page14" name="page14"></a>[14]</span>
+                    Seven Musical stringed Instruments.</td></tr>
+<tr><td colspan="2">Two small Pictures by <i>Rembrandt</i>.</td></tr>
+
+<tr><td colspan="2">
+
+<a name="image-0005"><!--IMG--></a>
+<div class="figure">
+<a href="images/f14.jpg"><img src="images/f14-t.jpg" width="368" height="480"
+alt="FAC-SIMILE OF A LETTER OF REMBRANDT'S" /></a>
+<br />
+FAC-SIMILE OF A LETTER OF REMBRANDT'S
+</div>
+</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE LARGE PAINTING ROOM.
+</p></td></tr>
+
+<tr><td colspan="2">Twenty Objects, consisting of Halberds and Swords of various kinds.</td></tr>
+<tr><td colspan="2">Dresses of an Indian Man and Woman.</td></tr>
+<tr><td colspan="2">Five Cuirasses.</td></tr>
+<tr><td colspan="2">A wooden Trumpet.</td></tr>
+<tr><td colspan="2">A Picture of Two Negroes by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Child by <i>Michael Angelo Buonarotti</i>.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE SHED.
+</p></td></tr>
+
+<tr><td colspan="2">The Skins of a Lion and a Lioness, and two Birds.</td></tr>
+<tr><td colspan="2">A large Piece, representing Diana.</td></tr>
+<tr><td colspan="2">A Bittern, done from Nature, by <i>Rembrandt</i>.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN A SMALL ROOM.
+</p></td></tr>
+
+<tr><td colspan="2">Ten Paintings, of various sizes, by <i>Rembrandt</i>.</td></tr>
+<tr><td colspan="2">A Bed.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE KITCHEN.
+</p></td></tr>
+
+<tr><td colspan="2">A pewter Pot.</td></tr>
+<tr><td colspan="2">Several Pots and Pans.</td></tr>
+<tr><td colspan="2">A small Table.</td></tr>
+<tr><td colspan="2">A Cupboard.</td></tr>
+<tr><td colspan="2">Several old Chairs.</td></tr>
+<tr><td colspan="2">Two Chair Cushions.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+IN THE PASSAGE.
+</p></td></tr>
+
+<tr><td colspan="2">Nine Plates.</td></tr>
+<tr><td colspan="2">Two earthen Dishes.</td></tr>
+
+<tr><td colspan="2">
+<p class="center">
+THE LINEN (THEN AT THE WASHER-WOMAN'S).
+</p></td></tr>
+
+<tr><td>Three Shirts.</td></tr>
+<tr><td colspan="2">Six Pocket Handkerchiefs.</td></tr>
+<tr><td colspan="2">Twelve Napkins.</td></tr>
+<tr><td colspan="2">Three Table Cloths.</td></tr>
+<tr><td colspan="2">Some Collars and Wristbands.</td></tr>
+</table>
+
+<p class="center">
+The preceding Inventory was made on the 25th and 26th of July, 1656.
+</p>
+
+<hr />
+
+<p class="center">
+<i>Free Translation of the Autograph Letter on the opposite page.</i>
+</p>
+
+<p class="quote">
+<span class="sc">Sir</span>,
+</p>
+<p class="quote">
+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,&mdash;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,
+</p>
+<div class="poem">
+<div class="stanza">
+<p class="i2">   I remain, </p>
+<p class="i4">     Your Honour's </p>
+<p class="i6">       Obedient and devoted Servant, </p>
+</div>
+</div>
+
+<p class="quote" style="text-align: right;">
+REMBRANDT.
+</p>
+<p class="quote">
+I am living on the Binnen Aemstel, at the Confectioner's.
+<br />
+10th Oct.
+</p>
+<p class="quote" style="text-align: right;">
+<span class="sc">Van Suylyken</span>, Esq.
+<br />
+Counsellor and Secretary to his Highness in the Hague.
+</p>
+<p class="quote">
+<i>Per post.</i>
+</p>
+
+<p><span class="pagenum"><a id="page15" name="page15"></a>[15]</span></p>
+
+<p>
+We cannot reflect upon the foregoing Catalogue without regretting that
+Rembrandt, in his old age, should have, like our own Milton,
+</p>
+<div class="poem">
+<div class="stanza">
+<p class="i12">                      "Fall'n on evil days,</p>
+<p class="i2">  On evil days though fall'n and evil tongues."</p>
+</div>
+</div>
+
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<hr />
+
+<a name="note-1"><!--Note--></a>
+<p class="foot">
+<u>1</u> (<a href="#noteref-1">return</a>)<br />
+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&ndash;&frac12; inches, width 83&ndash;&frac12; inches.
+</p>
+
+<p><span class="pagenum"><a id="page16" name="page16"></a>[16]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p><span class="pagenum"><a id="page17" name="page17"></a>[17]</span></p>
+
+<a name="h2H_4_0004" id="h2H_4_0004"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    REMBRANDT AND HIS WORKS.
+</h2>
+<p>
+The early pictures, in all ages, either merely indicate the character
+of bas-reliefs or single statues,&mdash;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&mdash;thus keeping them in their several situations, according to the
+laws of aërial perspective&mdash;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
+
+<span class="pagenum"><a id="page18" name="page18"></a>[18]</span>
+
+                          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.
+</p>
+
+<hr />
+
+<h2>
+COMPOSITION.
+</h2>
+
+<p>
+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 aërial
+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
+
+<span class="pagenum"><a id="page19" name="page19"></a>[19]</span>
+
+ 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,&mdash;viz. aërial 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.
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page20" name="page20"></a>[20]</span>
+
+"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.
+</p>
+<p>
+Fuseli says,&mdash;"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 <i>chiaro-scuro</i>, 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,&mdash;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
+
+<span class="pagenum"><a id="page21" name="page21"></a>[21]</span>
+
+            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."
+</p>
+<p>
+And in another lecture, speaking of the advantage of a low horizon, he
+says:&mdash;"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."
+</p>
+<p>
+Reynolds, in his Eighth Discourse, speaking of the annoyance the mind
+feels at the display of too much variety and contrast, proceeds to
+say:&mdash;"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&mdash;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
+
+<span class="pagenum"><a id="page22" name="page22"></a>[22]</span>
+
+                                                 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."
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page23" name="page23"></a>[23]</span>
+
+ 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&mdash;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
+
+<span class="pagenum"><a id="page24" name="page24"></a>[24]</span>
+
+ 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 <i>bodily</i> presence was
+<i>mean</i>. 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
+
+<span class="pagenum"><a id="page25" name="page25"></a>[25]</span>
+
+ 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,"
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">  "Nec quod inane, nihil facit ad rem sive videtur</p>
+<p class="i3">   Improprium miniméque urgens potiora tenebit</p>
+<p class="i3">   Ornamenta operis."</p>
+</div>
+</div>
+<div class="poem">
+<div class="stanza">
+<p class="i2">  "Nor paint conspicuous on the foremost plain,</p>
+<p class="i3">   Whate'er is false, impertinent, or vain."</p>
+<p class="right"><span class="sc">Mason.</span></p>
+</div>
+</div>
+
+<a name="image-0006"><!--IMG--></a>
+<div class="figure">
+<a href="images/f24.jpg"><img src="images/f24-t.jpg" width="368" height="480"
+alt="CHRIST AND HIS DISCIPLES AT EMMAUS" /></a>
+<br />
+CHRIST AND HIS DISCIPLES AT EMMAUS
+</div>
+
+<p>
+On this rule, Reynolds remarks&mdash;"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&mdash;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&mdash;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."
+</p>
+<p>
+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,
+
+<span class="pagenum"><a id="page26" name="page26"></a>[26]</span>
+
+           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.
+</p>
+<p>
+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.
+</p>
+
+<a name="image-0007"><!--IMG--></a>
+<div class="figure">
+<a href="images/f26.jpg"><img src="images/f26-t.jpg" width="368" height="623"
+alt="THE ENTOMBMENT -- THE RETURN FROM JERUSALEM" /></a>
+<br />
+THE ENTOMBMENT
+<br />
+THE RETURN FROM JERUSALEM
+</div>
+
+<p>
+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
+
+<span class="pagenum"><a id="page27" name="page27"></a>[27]</span>
+
+                             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&mdash;"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
+
+<span class="pagenum"><a id="page28" name="page28"></a>[28]</span>
+
+                                                      that from its
+nature many things must be confined to narrative, to description, to
+precept&mdash;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&mdash;so
+well known and so graphically described from the first to the last of
+the inspired writers."
+</p>
+<p>
+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&mdash;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&mdash;viz., his "Christ Healing the Sick," "Haman
+and Mordecai," the "Ecce Homo," "Christ Preaching," and the "Death of
+the Virgin."
+</p>
+
+<p><span class="pagenum"><a id="page29" name="page29"></a>[29]</span></p>
+
+<a name="h2H_4_0005" id="h2H_4_0005"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    CHIARO-SCURO.
+</h2>
+<p>
+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
+
+<span class="pagenum"><a id="page30" name="page30"></a>[30]</span>
+
+                                                          a peculiarity
+entirely his own&mdash;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 aërial 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&mdash;and
+to Rembrandt we owe the perfection of this fascinating quality.
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page31" name="page31"></a>[31]</span>
+
+                        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&mdash;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,'&mdash;a cloud is passing, which has overshadowed them."
+</p>
+
+<p><span class="pagenum"><a id="page32" name="page32"></a>[32]</span></p>
+
+<p>
+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&mdash;"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
+<i>Notte</i>, 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," &amp;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
+
+<span class="pagenum"><a id="page33" name="page33"></a>[33]</span>
+
+                                        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 <i>burr</i>, and
+renders the etchings of Rembrandt different from all others. Now this
+<i>burr</i> 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.
+</p>
+
+<a name="image-0009"><!--IMG--></a>
+<div class="figure">
+<a href="images/f32.jpg"><img src="images/f32-t.jpg" width="480" height="368"
+alt="THE NATIVITY" /></a>
+<br />
+THE NATIVITY
+</div>
+
+<p>
+This is the foundation of what is called mezzotint engraving, which I
+
+<span class="pagenum"><a id="page34" name="page34"></a>[34]</span>
+
+ 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&mdash;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.
+</p>
+<p>
+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:&mdash;"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
+
+<span class="pagenum"><a id="page35" name="page35"></a>[35]</span>
+
+ 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&mdash;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&mdash;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&mdash;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.
+
+<span class="pagenum"><a id="page36" name="page36"></a>[36]</span>
+
+                                              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 <i>under</i>
+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&mdash;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 <i>when it is in
+black and white only</i>. 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,
+
+<span class="pagenum"><a id="page37" name="page37"></a>[37]</span>
+
+           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&mdash;a circumstance which may merit the attention of
+engravers."
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page38" name="page38"></a>[38]</span>
+
+                   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.
+</p>
+<p>
+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.
+</p>
+
+<a name="image-0010"><!--IMG--></a>
+<div class="figure">
+<a href="images/f38.jpg"><img src="images/f38-t.jpg" width="368" height="480"
+alt="DOCTOR FAUSTUS" /></a>
+<br />
+DOCTOR FAUSTUS
+</div>
+
+<p>
+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
+
+<span class="pagenum"><a id="page39" name="page39"></a>[39]</span>
+
+                    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&mdash;the first state is dark with excess of burr; the last is
+merely the burr worn off.
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page40" name="page40"></a>[40]</span>
+
+                   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&mdash;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.
+</p>
+<p>
+These observations may appear iterations of what has been mentioned
+before&mdash;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&mdash;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.
+</p>
+
+<a name="image-0011"><!--IMG--></a>
+<div class="figure">
+<a href="images/f40.jpg"><img src="images/f40-t.jpg" width="368" height="480"
+alt="BURGOMASTER SIX" /></a>
+<br />
+BURGOMASTER SIX
+</div>
+
+<p><span class="pagenum"><a id="page41" name="page41"></a>[41]</span></p>
+
+<a name="h2H_4_0006" id="h2H_4_0006"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    PORTRAIT OF THE BURGOMASTER SIX.
+</h2>
+<p>
+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&mdash;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&mdash;viz.,
+the "Marriage of Jason and Creusa;" the rare states of this print are
+before the quotation of the Dutch verses underneath&mdash;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
+
+<span class="pagenum"><a id="page42" name="page42"></a>[42]</span>
+
+ 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.
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page43" name="page43"></a>[43]</span>
+
+                       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&mdash;now in the British
+Museum&mdash;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&mdash;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
+
+<span class="pagenum"><a id="page44" name="page44"></a>[44]</span>
+
+                       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 <i>ad captandum vulgus</i> 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&mdash;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
+
+<span class="pagenum"><a id="page45" name="page45"></a>[45]</span>
+
+                       times produced large prices. There are two states
+of this print&mdash;the first with an irregular beard, the second with the
+beard cut square, also some additional work on the drapery, &amp;c.; but,
+what is worthy of remark is, in both states it is exceedingly scarce;
+in fact, there are but seven impressions known&mdash;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.
+</p>
+
+<a name="image-0012"><!--IMG--></a>
+<div class="figure">
+<a href="images/f44.jpg"><img src="images/f44-t.jpg" width="368" height="480"
+alt="PORTRAIT OF VAN TOLLING" /></a>
+<br />
+PORTRAIT OF VAN TOLLING
+</div>
+
+<hr />
+
+<p>
+I shall now enter upon an investigation of the <span class="sc">Landscapes of Rembrandt</span>,
+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,
+
+<span class="pagenum"><a id="page46" name="page46"></a>[46]</span>
+
+ 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&mdash;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&mdash;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, &amp;c., gradually shade down the
+distant parts of the landscape, while the foreshortened lines assume
+the appearance of so many
+
+<span class="pagenum"><a id="page47" name="page47"></a>[47]</span>
+
+                          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, &amp;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 <i>austons</i> (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
+
+<span class="pagenum"><a id="page48" name="page48"></a>[48]</span>
+
+                              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&mdash;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.
+</p>
+
+<a name="image-0013"><!--IMG--></a>
+<div class="figure">
+<a href="images/f46.jpg"><img src="images/f46-t.jpg" width="480" height="282"
+alt="SIX'S BRIDGE" /></a>
+<br />
+SIX'S BRIDGE
+</div>
+
+<a name="image-0014"><!--IMG--></a>
+<div class="figure">
+<a href="images/f48.jpg"><img src="images/f48-t.jpg" width="480" height="342"
+alt="REMBRANDT'S MILL" /></a>
+<br />
+REMBRANDT'S MILL
+</div>
+
+<p><span class="pagenum"><a id="page49" name="page49"></a>[49]</span></p>
+
+<a name="h2H_4_0007" id="h2H_4_0007"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    COLOUR.
+</h2>
+<p>
+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&mdash;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&mdash;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&mdash;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&mdash;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
+
+<span class="pagenum"><a id="page50" name="page50"></a>[50]</span>
+
+                                        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&mdash;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&mdash;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.
+</p>
+<p>
+Barry, in his sixth lecture, speaking of colours, says&mdash;"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
+
+<span class="pagenum"><a id="page51" name="page51"></a>[51]</span>
+
+            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."
+</p>
+<p>
+The late Sir David Wilkie, in one of his letters, speaking of the death
+of Sir Thomas Lawrence, says&mdash;"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.
+</p>
+<p>
+Reynolds, in his lectures, speaking of Gainsborough, observes&mdash;"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&mdash;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
+
+<span class="pagenum"><a id="page52" name="page52"></a>[52]</span>
+
+                                                        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."
+</p>
+<p>
+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&mdash;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
+
+<span class="pagenum"><a id="page53" name="page53"></a>[53]</span>
+
+                     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&mdash;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.
+</p>
+<p>
+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&mdash;"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;
+
+<span class="pagenum"><a id="page54" name="page54"></a>[54]</span>
+
+ 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&mdash;'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."
+</p>
+<p>
+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&mdash;"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&mdash;'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
+
+<span class="pagenum"><a id="page55" name="page55"></a>[55]</span>
+
+ 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&mdash;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&mdash;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."
+</p>
+<p>
+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&mdash;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
+
+<span class="pagenum"><a id="page56" name="page56"></a>[56]</span>
+
+            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&mdash;the rest is gloom."
+</p>
+<p>
+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&mdash;"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&mdash;"There are likewise in this room eight
+Rembrandts, the chief merit of which consists in his peculiarity of
+manner&mdash;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&mdash;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."
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page57" name="page57"></a>[57]</span>
+
+                              find harsh and bright colours predominate
+in a very strong scale&mdash;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&mdash;"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&mdash;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&mdash;viz., <i>breadth</i>. 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
+
+<span class="pagenum"><a id="page58" name="page58"></a>[58]</span>
+
+ 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&mdash;subdued, except in the smallest portions
+of each hue, and these shine out like sparkling of jewels in a dark
+recess.
+</p>
+<p>
+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&mdash;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&mdash;Elizabeth being clothed in
+red and yellow, the Virgin in blue,
+
+<span class="pagenum"><a id="page59" name="page59"></a>[59]</span>
+
+                                    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.
+</p>
+<p>
+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&mdash;"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,
+
+<span class="pagenum"><a id="page60" name="page60"></a>[60]</span>
+
+ 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&mdash;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.
+</p>
+<p>
+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&mdash;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&mdash;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
+
+<span class="pagenum"><a id="page61" name="page61"></a>[61]</span>
+
+                                                  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.
+</p>
+<p>
+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&mdash;fat burgomasters, florid in complexion and
+
+<span class="pagenum"><a id="page62" name="page62"></a>[62]</span>
+
+ 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&mdash;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&mdash;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&mdash;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.
+</p>
+<p>
+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&mdash;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
+
+<span class="pagenum"><a id="page63" name="page63"></a>[63]</span>
+
+                                             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&mdash;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 <i>con amore</i>, 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&mdash;"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&mdash;but it will be nature stupid, and without
+action. The portraits of Holbein are of
+
+<span class="pagenum"><a id="page64" name="page64"></a>[64]</span>
+
+                                        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."
+</p>
+<p>
+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."
+</p>
+<p>
+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&mdash;"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&mdash;only a bust&mdash;there is great animation
+and spirit, happily adapted to the indications of the
+
+<span class="pagenum"><a id="page65" name="page65"></a>[65]</span>
+
+                                                      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&mdash;"Nothing can exceed the
+brilliancy of light&mdash;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."
+</p>
+<p>
+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
+
+<span class="pagenum"><a id="page66" name="page66"></a>[66]</span>
+
+                                           also more broken, both in
+colour and execution, which prevents heaviness. His handling&mdash;which
+conveys from its dexterity and touch so lifelike an appearance&mdash;is not
+unlike that of Frank Hals, of whom Reynolds speaks so highly:&mdash;"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&mdash;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&mdash;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
+
+<span class="pagenum"><a id="page67" name="page67"></a>[67]</span>
+
+                  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 <i>sine qua non</i>
+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&mdash;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
+
+<span class="pagenum"><a id="page68" name="page68"></a>[68]</span>
+
+                               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.
+</p>
+<p>
+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&mdash;witness
+the portrait sold the other day at the Duke of Buckingham's, at
+Stowe;&mdash;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
+
+<span class="pagenum"><a id="page69" name="page69"></a>[69]</span>
+
+      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
+
+<span class="pagenum"><a id="page70" name="page70"></a>[70]</span>
+
+ pictorial and splendid specimens of strong individual character in
+familiar life.
+</p>
+<p>
+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&mdash;especially the officer in the light
+dress&mdash;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&mdash;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.
+</p>
+
+<p><span class="pagenum"><a id="page71" name="page71"></a>[71]</span></p>
+
+<a name="h2H_4_0008" id="h2H_4_0008"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    LANDSCAPES.
+</h2>
+<p>
+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&mdash;"To portrait
+painting thus circumstanced, we subjoin, as the last branch of
+uninteresting subjects, that kind of landscape which is entirely
+
+<span class="pagenum"><a id="page72" name="page72"></a>[72]</span>
+
+ occupied with the tame delineation of a given spot&mdash;an enumeration of
+hill and dale, clumps of trees, shrubs, water, meadows, cottages, and
+houses&mdash;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&mdash;in twilight,
+night, and dawn."
+</p>
+
+<a name="image-0015"><!--IMG--></a>
+<div class="figure">
+<a href="images/f72.jpg"><img src="images/f72-t.jpg" width="480" height="288"
+alt="FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM" /></a>
+<br />
+FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM
+</div>
+
+<p><span class="pagenum"><a id="page73" name="page73"></a>[73]</span></p>
+
+<a name="h2H_4_0009" id="h2H_4_0009"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    DRAWINGS BY REMBRANDT.
+</h2>
+<p>
+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&mdash;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&mdash;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
+
+<span class="pagenum"><a id="page74" name="page74"></a>[74]</span>
+
+                        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.
+</p>
+<a name="h2H_4_0010" id="h2H_4_0010"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE ETCHINGS OF REMBRANDT.
+</h2>
+<p>
+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
+Raisonné 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.
+</p>
+
+<a name="image-0016"><!--IMG--></a>
+<div class="figure">
+<a href="images/f74.jpg"><img src="images/f74-t.jpg" width="368" height="716"
+alt="PORTRAIT OF REMBRANDT'S MOTHER -- PORTRAITS OF REMBRANDT AND HIS WIFE " /></a>
+<br />
+PORTRAIT OF REMBRANDT'S MOTHER
+<br />
+PORTRAITS OF REMBRANDT AND HIS WIFE
+</div>
+
+<p><span class="pagenum"><a id="page75" name="page75"></a>[75]</span></p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<div class="listblock">
+
+<p class="center">
+<b>Portraits of the Artist.</b>
+</p>
+
+<p>
+1. Portrait of Rembrandt when a young man, having frizzly hair.
+</p>
+<p>
+2. Portrait of Rembrandt with moustaches, and wearing a bonnet put
+sideways on his head.
+</p>
+<p>
+3. Portrait of Rembrandt, represented with a falcon on his right hand.
+</p>
+<p>
+4. Portrait of Rembrandt, with frizzly hair, and the head uncovered;
+remarkable for thick lips and a large nose. Very rare.
+</p>
+<p>
+5. Portrait of Rembrandt, seen in nearly a front view, with frizzled
+hair, and the head uncovered.
+</p>
+<p>
+6. Portrait of Rembrandt when a young man, wearing a fur cap and a black
+habit.
+</p>
+<p>
+7. Portrait of Rembrandt when young, seen in a front view, wearing a
+slouched hat, and a mantle lined with fur. Dated 1631.
+</p>
+<p>
+8. Portrait resembling Rembrandt, seen in nearly a front view, with
+moustaches, short curling beard, and frizzled hair.
+</p>
+<p>
+9. Portrait of Rembrandt when young, seen in a three-quarter view, with
+the head uncovered and the hair frizzled.
+</p>
+<p>
+10. Portrait of Rembrandt, seen in a front view, having an expression of
+grimace.
+</p>
+<p>
+11. Portrait of Rembrandt, seen in nearly a front view, with a flat
+bonnet on the head.
+</p>
+<p>
+12. Portrait of Rembrandt when young, seen in a three-quarter view, with
+head uncovered, and the hair frizzled. (Oval.)
+</p>
+<p>
+13. Portrait of Rembrandt when young, with the mouth a little open, the
+head uncovered, and the hair frizzled. Dated 1630.
+</p>
+<p>
+14. Portrait of Rembrandt, seen in a front view, having a fur cap, and a
+mantle bordered with fur. Dated 1631.
+</p>
+<p>
+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.
+</p>
+<p>
+16. Portrait of Rembrandt, seen in a front view, wearing a fur cap of a
+round form, and a mantle. Dated 1631.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+19. Portraits of Rembrandt and his Wife, on one plate. Dated 1636.
+</p>
+<p>
+20. Portrait of Rembrandt. He has on a mezetin cap, decked with a
+feather, and a rich mantle. Dated 1638.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+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.)
+</p>
+<p>
+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.
+</p>
+<p>
+<span class="pagenum"><a id="page76" name="page76"></a>[76]</span>
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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 toupée is on the left side; the eyes and forehead are
+in shadow.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+
+<p class="center">
+<b>Subjects from the Old Testament.</b>
+</p>
+
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>35. Abraham entertaining the three angels at the door of his house.
+Dated 1656.
+</p>
+<p>
+36. Abraham offering up his Son. Dated 1655.
+</p>
+<p>
+37. Abraham sending away Hagar and Ishmael. Dated 1637.
+</p>
+<p>
+38. Abraham caressing his son Isaac.
+</p>
+<p>
+39. Abraham with his son Isaac. The subject represents the moment when
+the son asks his father, "Where is the sacrifice?" Dated 1645.
+</p>
+<p>
+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:&mdash;
+</p>
+<p>
+Jacob's Dream on the plain of Padan Aran. Four angels are ascending and
+descending the ladder. Dated 1655.
+</p>
+<p>
+David preparing his Sling to attack Goliath. Dated 1655.
+</p>
+<p>
+The Image seen by Nebuchadnezzar in his Dream. Dated 1655.
+</p>
+<p>
+The vision of Ezekiel. Dated 1655.
+</p>
+<p>
+41. Joseph relating his Dream to his
+
+<span class="pagenum"><a id="page77" name="page77"></a>[77]</span>
+
+                                      Parents, in the presence of his
+Brethren. Dated 1638.
+</p>
+<p>
+42. Jacob lamenting the supposed Death of his Son Joseph.
+</p>
+<p>
+43. Joseph and Potiphar's Wife. Dated 1634.
+</p>
+<p>
+<sup>*</sup>44. The Triumph of Mordecai.
+</p>
+<p>
+45. David on his knees in prayer. Dated 1652.
+</p>
+<p>
+46. Blind Tobit leaning on a Staff, followed by his Dog. Dated 1651.
+</p>
+<p>
+47. The Angel departing from Tobit and his Family. Dated 1641.
+</p>
+
+<p class="center">
+<b>New Testament Subjects.</b>
+</p>
+
+<p>
+<sup>*</sup>48. The Angel appearing to the Shepherds, and announcing the Birth of
+the Saviour. Dated 1634.
+</p>
+<p>
+49. The Nativity of the Saviour.
+</p>
+<p>
+<sup>*</sup>50. The Adoration of the Shepherds.
+</p>
+<p>
+51. The Circumcision. Dated 1654.
+</p>
+<p>
+52. The Circumcision, differently composed.
+</p>
+<p>
+53. The Presentation in the Temple.
+</p>
+<p>
+54. The Presentation in the Temple, differently composed.
+</p>
+<p>
+55. The Presentation in the Temple, differing from the preceding. Dated
+1630.
+</p>
+<p>
+56. The Flight into Egypt. Dated 1633.
+</p>
+<p>
+57. The Flight into Egypt, differently composed. No date.
+</p>
+<p>
+58. The Flight into Egypt, differing from the preceding.
+</p>
+<p>
+59. The Flight into Egypt, differing from the preceding. Dated 1651.
+</p>
+<p>
+60. The Flight into Egypt, differing from the preceding.
+</p>
+<p>
+61. A <i>Reposo</i> of the Holy Family by night.
+</p>
+<p>
+62. A <i>Reposo</i> of the Holy Family. Dated 1645.
+</p>
+<p>
+63. A <i>Reposo</i> of the Holy Family, supposed to be unique.
+</p>
+<p>
+<sup>*</sup>64. The Return from Jerusalem of the Holy Family. Dated 1654.
+</p>
+<p>
+65. The Virgin, with the Infant Jesus in the Clouds. Dated 1641.
+</p>
+<p>
+66. The Holy Family.
+</p>
+<p>
+67. The Holy Family, differently composed. Dated 1654.
+</p>
+<p>
+68. Jesus amidst the Doctors. Dated 1654.
+</p>
+<p>
+69. Jesus disputing with the Doctors. Dated 1652.
+</p>
+<p>
+70. Jesus amidst the Doctors, differently composed. Dated 1636.
+</p>
+<p>
+<sup>*</sup>71. Christ preaching to the People.
+</p>
+<p>
+72. The Tribute Money.
+</p>
+<p>
+73. Christ driving the Money Changers out of the Temple. Dated 1635.
+</p>
+<p>
+74. Christ with the Woman of Samaria. The third proof is dated 1658.
+</p>
+<p>
+75. Christ with the Woman of Samaria, differently composed. Dated 1634.
+</p>
+<p>
+<sup>*</sup>76. The Resurrection of Lazarus; styled the Little. Dated 1642.
+</p>
+<p>
+77. The Resurrection of Lazarus; styled the Great. No date.
+</p>
+<p>
+<sup>*</sup>78. Christ Healing the Sick. This beautiful print is known under the
+appellation of "The Hundred Guilder Print." No date.
+</p>
+<p>
+<sup>*</sup>79. Christ in the Garden of Olives. Dated 165. The last figure is
+wanting.
+</p>
+<p>
+80. Christ before the People. Dated 1655.
+</p>
+<p>
+81. Christ on the Cross between the two Thieves, styled "The Three
+Crosses." Dated 1653.
+</p>
+<p>
+<sup>*</sup>82. The <i>Ecce Homo</i>. Dated 1636.
+</p>
+<p>
+<span class="pagenum"><a id="page78" name="page78"></a>[78]</span>
+</p>
+<p>
+<sup>*</sup>83. The Descent from the Cross. Dated 1633.
+</p>
+<p>
+84. Christ on the Cross between the two Thieves.
+</p>
+<p>
+85. Christ on the Cross.
+</p>
+<p>
+86. The Descent from the Cross. Dated 1642.
+</p>
+<p>
+<sup>*</sup>87. The Descent from the Cross; a night piece. Dated 1654.
+</p>
+<p>
+<sup>*</sup>88. The Entombment.
+</p>
+<p>
+89. The Virgin lamenting the Death of the Saviour.
+</p>
+<p>
+90. Christ in the Tomb.
+</p>
+<p>
+<sup>*</sup>91. Christ at the Table with the two Disciples of Emmaus. Dated 1654.
+</p>
+<p>
+92. Christ at the Table with the two Disciples of Emmaus. Dated 1634.
+</p>
+<p>
+93. Christ in the midst of his Disciples, and the incredulity of St.
+Thomas. Dated 1650.
+</p>
+<p>
+94. The Good Samaritan. Dated 1633.
+</p>
+<p>
+95. The Return of the Prodigal Son. Dated 1636.
+</p>
+<p>
+96. The Decollation of St. John. Dated 1640.
+</p>
+<p>
+97. Peter and John at the Beautiful Gate of the Temple. Dated 1659.
+</p>
+<p>
+98. Peter and John at the Gate of the Temple, differently composed.
+</p>
+<p>
+99. St. Peter on his Knees, with a Key in either hand. Dated 1645.
+</p>
+<p>
+100. The Martyrdom of St. Stephen. Dated 1635.
+</p>
+<p>
+101. The Baptism of the Eunuch. Dated 1641.
+</p>
+<p>
+<sup>*</sup>102. The Death of the Virgin. Dated 1639.
+</p>
+
+<p class="center">
+<b>Saints.</b>
+</p>
+
+<p>
+103. St. Jerome seated at the foot of a tree. Dated 1634.
+</p>
+<p>
+104. St. Jerome at his devotions. Dated 1632.
+</p>
+<p>
+105. St. Jerome at his devotions, with a lion behind him. Dated 1634,
+or 1635.
+</p>
+<p>
+106. St. Jerome seated, with spectacles on, writing. Dated 1648.
+</p>
+<p>
+107. St. Jerome seated, reading in a large book held with both hands.
+</p>
+<p>
+108. St. Jerome seated at a table in a room. Dated 1642.
+</p>
+<p>
+109. St. Jerome on his knees, meditating before a skull.
+</p>
+<p>
+110. St. Francis on his knees at his devotions, with a crucifix and a
+book before him. Dated 1657.
+</p>
+
+<p class="center">
+<b>Historical, Allegorical and Fancy Subjects.</b>
+</p>
+
+<p>
+111. A Youth surprised by the Apparition of Death. Dated 1639.
+</p>
+<p>
+112. An Allegorical subject, allusive to the demolition of a statue
+offensive to the Low Countries. Dated 1659.
+</p>
+<p>
+113. Fortune Reversed, an allegorical subject, allusive to some hero
+upon whom Fortune has turned her back. Dated 1633.
+</p>
+<p>
+<sup>*</sup>114. The Marriage of Jason and Creusa. Dated 1648.
+</p>
+<p>
+115. The Star of the Kings, an ancient Dutch custom on the feast of the
+kings.
+</p>
+<p>
+116. A Lion Hunt; several huntsmen on horseback attacking a lion. Dated
+1641.
+</p>
+<p>
+117. A Lion Hunt, differently composed to the preceding.
+</p>
+<p>
+<span class="pagenum"><a id="page79" name="page79"></a>[79]</span>
+</p>
+<p>
+118. A Lion Hunt, also differing from the above.
+</p>
+<p>
+119. A Battle. The subject represents a group of horsemen advancing,
+full speed, with swords, javelins, &amp;c.
+</p>
+<p>
+120. Three Figures in Oriental dresses, accompanied by a dog. Dated
+1641.
+</p>
+<p>
+121. The Blind Bagpiper amusing some cottagers.
+</p>
+<p>
+122. The Spanish Gipsy.
+</p>
+<p>
+123. The Rat Killer. Dated 1632.
+</p>
+<p>
+124. The Rat Killer, differently composed.
+</p>
+<p>
+125. The Goldsmith.
+</p>
+<p>
+126. The Pancake Woman. Dated 1635.
+</p>
+<p>
+127. The Game of Kolf. Dated 1654.
+</p>
+<p>
+128. The Jews' Synagogue. Dated 1648.
+</p>
+<p>
+129. The Schoolmaster. Dated 1641.
+</p>
+<p>
+130. The Mountebank. Dated 1635.
+</p>
+<p>
+131. The Draughtsman.
+</p>
+<p>
+132. A Peasant with his Wife and Child.
+</p>
+<p>
+133. A Jew wearing a high Cap. Dated 1639.
+</p>
+<p>
+134. The Onion Woman. Dated 1631.
+</p>
+<p>
+135. The Peasant with his hands behind him. Dated 1631.
+</p>
+<p>
+136. The Card Players. Dated 1641.
+</p>
+<p>
+137. The Blind Fiddler. Dated 1631.
+</p>
+<p>
+138. A Man on Horseback.
+</p>
+<p>
+139. The Polander, with his hands united.
+</p>
+<p>
+140. The Polander, with his sword and staff.
+</p>
+<p>
+141. The Polander, with a cane in his left hand. Dated 1631.
+</p>
+<p>
+142. An old Man, standing with his back to the spectator.
+</p>
+<p>
+143. A Peasant Man and a Woman walking together.
+</p>
+<p>
+144. A Philosopher seated, with a pen in his hand.
+</p>
+<p>
+145. A Man seated at a table, on which is an open book.
+</p>
+<p>
+146. An old Man seated, resting his arm on a book.
+</p>
+<p>
+147. An old Man without a beard. Dated 1631.
+</p>
+<p>
+148. An old Man with a short beard, leaning on a staff.
+</p>
+<p>
+149. An old Man with a long beard, in the dress of a Persian. Dated
+1631.
+</p>
+<p>
+150. The Blind Jew, standing with his back to the spectator, leaning on
+a staff.
+</p>
+<p>
+151. Two Figures in Venetian Dresses.
+</p>
+<p>
+152. A Doctor feeling the Pulse of a Patient.
+</p>
+<p>
+153. The Skater.
+</p>
+<p>
+<sup>*</sup>154. The Hog with his Legs tied. Dated 1643.
+</p>
+<p>
+155. A little Dog lying asleep.
+</p>
+<p>
+156. A Shell, known under the appellation of "The Damier." Dated 1650.
+</p>
+
+<p class="center">
+<b>Beggars.</b>
+</p>
+
+<p>
+157. A Beggar seated, with his hands united.
+</p>
+<p>
+158. A Beggar and his Wife.
+</p>
+<p>
+159. A Beggar standing, resting both hands on a staff.
+</p>
+<p>
+160. A Beggar standing, holding a stick in his right hand.
+</p>
+<p>
+161. A Beggar Man and a Woman, standing in conversation. Dated 1630.
+</p>
+<p>
+162. A Beggar Man and a Woman by the side of a Bank.
+</p>
+<p>
+163. A Beggar with a Stick in his right Hand. In the manner of Callot.
+</p>
+<p>
+164. A Beggar in a slashed Cloak. Dated 1631.
+</p>
+<p>
+<span class="pagenum"><a id="page80" name="page80"></a>[80]</span>
+</p>
+<p>
+165. A Beggar Woman, with a calebash hanging behind her.
+</p>
+<p>
+166. A Beggar, wearing a fur cap, and resting both hands on a staff.
+</p>
+<p>
+167. An old Beggar Woman asking Charity. Dated 1646.
+</p>
+<p>
+168. Lazarus Klap, or the Dumb Beggar. Dated 1631.
+</p>
+<p>
+169. A Beggar with a wooden Leg, standing with his hands behind him.
+</p>
+<p>
+170. A Beggar sitting at the side of a Wall.
+</p>
+<p>
+171. A Beggar sitting on a Bank. Dated 1630.
+</p>
+<p>
+172. A Beggar sitting, with his Dog by his side. Dated 1651.
+</p>
+<p>
+<sup>*</sup>173. Three Beggars at the Door of a House. Dated 1648.
+</p>
+<p>
+174. A Beggar with one Hand in the Breast of his Jacket, in a cold day.
+Dated 1634.
+</p>
+<p>
+175. A Beggar with his Hands behind him.
+</p>
+<p>
+176. A Beggar with a wooden Leg, and a stick in his hand.
+</p>
+<p>
+177. A Peasant with his Hands behind him, and a basket at his feet.
+</p>
+<p>
+178. A Peasant Woman with a Bottle attached to her Waist.
+</p>
+<p>
+179. A Beggar. This is merely a sketch.
+</p>
+<p>
+180. A Beggar Man and a Woman walking side by side.
+</p>
+<p>
+181. A Beggar wrapped up in his Mantle.
+</p>
+<p>
+182. A Sick Beggar lying on the ground.
+</p>
+
+<p class="center">
+<b>Academical Subjects.</b>
+</p>
+
+<p>
+183. The French Bed. Dated 1646.
+</p>
+<p>
+184. The Friar among the Corn.
+</p>
+<p>
+185. The Flute Player and the Shepherdess. Dated 1642.
+</p>
+<p>
+186. An old Man sleeping, and a couple caressing.
+</p>
+<p>
+187. A pot-bellied Man, with a pack at his back, and a pouch by his
+side. Dated 1630.
+</p>
+<p>
+188. A Woman crouching under a Tree. Dated 1631.
+</p>
+<p>
+189. A Painter drawing after a Model.
+</p>
+<p>
+190. A naked Man, seated. Dated 1646.
+</p>
+<p>
+191. Academical Figures of Men.
+</p>
+<p>
+192. The Bathers. Dated 1631.
+</p>
+<p>
+193. A Man sitting naked for a Model. Dated 1646.
+</p>
+<p>
+194. A Woman sitting before a Dutch Stove.
+</p>
+<p>
+195. A Woman sitting naked on a Bank.
+</p>
+<p>
+196. A Woman at the Bath. Dated 1658.
+</p>
+<p>
+197. A Woman sitting naked with her feet in the water. Dated 1558.
+</p>
+<p>
+198. Venus in the Bath. She is seated at the foot of a tree, with her
+feet in the stream.
+</p>
+<p>
+<sup>*</sup>199. A Naked Woman sitting on a Bed, with an arrow in her hand. Dated
+1661.
+</p>
+<p>
+200. Antiope, Jupiter, and a Satyr. Dated 1659.
+</p>
+<p>
+201. A Woman lying asleep on a Couch. A Satyr in the background.
+</p>
+<p>
+202. A Negress lying on a Couch. Dated 1658.
+</p>
+
+<p class="center">
+<b>Landscapes.</b>
+</p>
+
+<p>
+203. A Landscape, in which is introduced a cow.
+</p>
+<p>
+204. A Landscape, distinguished by a large tree growing by the side of a
+house.
+</p>
+<p>
+205. A Landscape, with a bridge, styled "Six's Bridge." Dated 1645.
+</p>
+<p>
+206. A View of Omval, near Amsterdam. Dated 1645.
+</p>
+<p>
+<sup>*</sup>207. A View of Amsterdam.
+</p>
+<a name="image-0018"><!--IMG--></a>
+<div class="figure">
+<a href="images/f80.jpg"><img src="images/f80-t.jpg" width="368" height="540"
+alt="VIEW OF AMSTERDAM -- COTTAGE WITH WHITE PALINGS" /></a>
+<br />
+VIEW OF AMSTERDAM
+<br />
+COTTAGE WITH WHITE PALINGS
+</div>
+
+<p>
+<span class="pagenum"><a id="page81" name="page81"></a>[81]</span>
+</p>
+<p>
+208. A Landscape, with a huntsman on a road, followed by two dogs.
+</p>
+<p>
+<sup>*</sup>209. A Landscape, known under the appellation of "The Three Trees."
+Dated 1643.
+</p>
+<p>
+<sup>*</sup>210. A Landscape, distinguished by a man carrying a yoke of pails.
+</p>
+<p>
+211. A Landscape, with a canal, on the banks of which are two houses
+embosomed in trees. Washed in bistre, or India ink.
+</p>
+<p>
+212. A Landscape; the scene is remarkable for a coach passing along a
+road in the centre of the view.
+</p>
+<p>
+213. A Landscape, with a terrace, and a road over it in the centre.
+</p>
+<p>
+<sup>*</sup>214. A Landscape, with a village situate near the high road. Dated
+1650.
+</p>
+<p>
+215. A View of the village of Randorp, remarkable for an old tower, of
+a square form. Dated 1650.
+</p>
+<p>
+216. A Landscape, in the foreground of which may be noticed a man
+seated, drawing.
+</p>
+<p>
+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.
+</p>
+<p>
+218. A View in Holland. Some cottages among trees are seen in the
+centre, and a canal flows along the front.
+</p>
+<p>
+219. A Landscape, representing a woody scene, with a vista on the right.
+Dated 1652.
+</p>
+<p>
+220. A Landscape, with an old tower rising above the roofs of some
+houses.
+</p>
+<p>
+<sup>*</sup>221. A Landscape distinguished by a road leading to a village, on which
+is a shepherd with a flock of sheep. Dated 1636.
+</p>
+<p>
+222. A Landscape, with a cottage and barn. Dated 1641.
+</p>
+<p>
+223. A Landscape, with a large tree and a cottage on the left, and
+divided obliquely by a canal. Dated 1641.
+</p>
+<p>
+224. A Landscape, remarkable for an obelisk standing on the left, and a
+village stretching along the distance.
+</p>
+<p>
+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.
+</p>
+<p>
+226. A Landscape, with a cluster of trees at the side of a road; a
+second road divides the scene in the centre.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+229. A Landscape, with a cottage near the middle, on either side of
+which is a tree, and in front an enclosure of paling.
+</p>
+<p>
+<sup>*</sup>230. A View, supposed to be that of the house in which the artist was
+born, and the adjacent windmill. Dated 1641.
+</p>
+<p>
+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.
+</p>
+<p>
+232. A Landscape, distinguished by a canal, on which are two swans.
+Dated 1650.
+</p>
+<p>
+<sup>*</sup>233. A Landscape, with a canal, and a boat lying alongside the shore.
+Dated 1650.
+</p>
+<p>
+234. A Landscape, with a canal in front, at which a cow is drinking.
+</p>
+<p>
+235. A View of a Village, remarkable for an old square tower. Dated
+1653.
+</p>
+<p>
+236. A Landscape, with a river on the left, on which is seen the half of
+a boat.
+</p>
+<p>
+<span class="pagenum"><a id="page82" name="page82"></a>[82]</span>
+</p>
+<p>
+237. A Landscape, in which may be noticed a little man, and in the
+distance two windmills and a steeple.
+</p>
+<p>
+238. A Landscape of an upright form, having a large tree in the middle,
+and a man and a woman in front.
+</p>
+<p>
+239. A Landscape, with a farm-house partly concealed by trees, and
+surrounded by a wood fence.
+</p>
+<p>
+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.
+</p>
+<p>
+241. A Landscape, traversed obliquely by a canal, on the bank of which
+sits a man, angling.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+249. A Landscape. This scene is distinguished by a château with eight
+pointed towers. This is doubted by M. de Claussin.
+</p>
+<p>
+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.
+</p>
+<p>
+251. A Village Scene. The view represents, on the right, two houses with
+pointed roofs; above which rises a round tower.
+</p>
+<p>
+252. This view exhibits a portion of a village, with six thatched
+houses, only one of which is shadowed and finished. Dated 1659.
+</p>
+<p>
+253. A Landscape, with a large canal extending throughout the scene, on
+the banks of which are two men angling.
+</p>
+
+<p class="center">
+<b>Portraits of Men.</b>
+</p>
+
+<p>
+254. Portrait of a Man, seen in nearly a front view, with his left hand
+resting on a table. Dated 1642.
+</p>
+<p>
+255. Portrait of a young Man, seated, with his right hand placed on his
+thigh, and the left on his breast. Dated 1650.
+</p>
+<p>
+256. Portrait of an old Man. He is in the act of raising the right hand
+to his bonnet.
+</p>
+<p>
+257. Portrait of an old Man, seen in nearly a front view. He appears to
+be seated, and his attention is directed downwards.
+</p>
+<p>
+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.
+</p>
+<p>
+259. An old Man with a long beard, having
+
+<span class="pagenum"><a id="page83" name="page83"></a>[83]</span>
+
+                                          on a fur cap, and a large
+mantle, sitting in an arm-chair.
+</p>
+<p>
+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.
+</p>
+<p>
+261. Portrait of Jan Antonides Vander Linden. He wears a handsome robe,
+and is represented in a garden, with a book in his hand.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+264. An old Man with a long beard, seated at a table, with both hands on
+a book.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+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. (<i>Oval.</i>) Dated 1635.
+</p>
+<p>
+<sup>*</sup>277. Portrait of Jean Silvius, a learned man and a minister. This print
+is enclosed in an oval, around which is written, <i>Spes mea Christus</i>, &amp;c.
+</p>
+<p>
+<sup>*</sup>278. Portrait of Utenbogaerd, known under the appellation of the "Gold
+Weigher."
+
+<span class="pagenum"><a id="page84" name="page84"></a>[84]</span>
+
+          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.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+
+<p class="center">
+<b>Fancy Heads of Men.</b>
+</p>
+
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+290. The Bust of an old Man without a beard, having a bald head, and
+seen in a profile view.
+</p>
+<p>
+291. The Bust of an old Man, seen in a profile view, with a bald head,
+inclined a little forward. Dated 1630.
+</p>
+<p>
+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.
+</p>
+<p>
+293. The Bust of an old Man, with a beard and frizzled hair, seen in a
+three-quarter view. Dated 1631.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+<span class="pagenum"><a id="page85" name="page85"></a>[85]</span>
+</p>
+<p>
+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.
+</p>
+<p>
+297. A Head very similar to the preceding, but smaller in size, and
+extremely rare.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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&nbsp;;
+<!--do not remove above, this replicates a hard blank space in the original-->
+the last figure is omitted.
+</p>
+<p>
+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.
+</p>
+<p>
+308. A Bust of an old Man with a large beard, seen in nearly a front
+view, with a fur cap on.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+314. An elderly Man, represented in a three-quarter view, apparently
+seated; he has mustacheos, and a tuft of beard, and wears a large
+
+<span class="pagenum"><a id="page86" name="page86"></a>[86]</span>
+
+ high cap, and a robe bordered with white fur. Dated 1630.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+319. A very small Head, of a grotesque character, seen in a profile
+view, having on a fur cap, surrounded by a band.
+</p>
+<p>
+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.
+</p>
+<p>
+321. A Bust of a young Man, the head only of which is finished. He has
+on a large slouched hat.
+</p>
+<p>
+322. A Bust of a young Man, with a hat on, of the same form as the
+preceding.
+</p>
+<p>
+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.
+</p>
+<p>
+324. A Bust of a Man, with mustacheos, and frizzled hair, which falls on
+the right shoulder.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+328. A Bust of an old Man, with a white beard, having on a turned-up
+cap, and a mantle bordered with fur.
+</p>
+<p>
+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.
+</p>
+
+<p class="center">
+<b>Portraits of Women.</b>
+</p>
+
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+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.
+</p>
+<p>
+<sup>*</sup>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.
+</p>
+<p>
+333. An aged Woman, seated at a table, with her hands placed one on the
+other; a
+
+<span class="pagenum"><a id="page87" name="page87"></a>[87]</span>
+
+         black veil covers her head, and a mantle, bordered with fur,
+envelopes her shoulders.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+350. A Head of an elderly Woman, seen in a three-quarter view, with the
+eyes bent downwards.
+</p>
+<p>
+351. A Woman seated, resting her head on
+
+<span class="pagenum"><a id="page88" name="page88"></a>[88]</span>
+
+                                         her hand, and turning over the
+leaves of a book with the other.
+</p>
+<p>
+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.
+</p>
+
+<p class="center">
+<b>Studies of Heads and Other Objects.</b>
+</p>
+
+<p>
+353. A Head of Rembrandt, together with studies of old Men and Women,
+and other objects, on the same plate.
+</p>
+<p>
+354. A Study of a Horse, two Heads, a part of a House, and other
+objects, on the same plate.
+</p>
+<p>
+355. Rembrandt's Wife, and five other Heads, on the same plate. Dated
+1636.
+</p>
+<p>
+356. Five Heads of Men on one sheet,<a href="#note-2" name="noteref-2"><small>2</small></a> one of which, placed on the
+right, wears a square cap, and another, seen on the opposite side, has
+on a fur cap.
+</p>
+<p>
+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.
+</p>
+<p>
+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.
+</p>
+<p>
+359. Two Women in separate Beds; several Heads, and studies of an old
+Man and Woman, with sticks in their hands; on one sheet.
+</p>
+<p>
+360. A Head of Rembrandt, and other studies, on the same sheet. Dated
+1651.
+</p>
+<p>
+<sup>*</sup>361. A Study of a Dog, the head only of which is finished.
+</p>
+<p>
+362. A Sketch of a Tree, and other objects, on the same sheet.
+</p>
+<p>
+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.
+</p>
+<p>
+364. Three Heads of old Men on one sheet. They are all seen in a profile
+view, and placed in the same direction.
+</p>
+<p>
+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.
+</p>
+
+</div> <!--"listblock"-->
+
+<hr />
+
+<a name="note-2"><!--Note--></a>
+<p class="foot">
+<u>2</u> (<a href="#noteref-2">return</a>)<br />
+This plate was afterwards cut into five, and the several
+heads are arranged in their proper order.
+</p>
+
+
+<hr class="full" />
+
+<p class="center">
+Savill &amp; Edwards, Printers, 4, Chandos Street, Covent Garden.
+</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="pg" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS WORKS***</p>
+<p>******* This file should be named 22690-h.txt or 22690-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/2/6/9/22690">http://www.gutenberg.org/2/2/6/9/22690</a></p>
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+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.
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