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 (http://www.pgdp.net) HEAD OF REMBRANDT HEAD OF REMBRANDT REMBRANDT AND HIS WORKS: COMPRISING [i] 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." 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 [ii] [iii] [iv] [v] [vi] 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. [vii] [viii] [1] [2] 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." INTERIOR OF THE MILL OF REMBRANDT'S FATHER 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 [3] [4] 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. [5] [6] Extract from the Book of Sureties of Real Estates remaining at the Secretary's Office of the City of Amsterdam, fol. 89, &c. REMBRANDT'S HOUSE AT AMSTERDAM REMBRANDT'S HOUSE AT AMSTERDAM 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. [7] [8] 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. [9] 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. [10] 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. [11] 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. [12] 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. [13] 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. FAC-SIMILE OF A LETTER OF REMBRANDT'S 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. [14] 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." [15] 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. 1 (return) 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 64–½ inches, width 83–½ 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 [16] [17] [18] [19]