Part 11 (1/2)

[Illustration: FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM]

DRAWINGS BY REMBRANDT

In looking over the nus 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 truemark whereby we can discern one master from another; they are struck off onderful dexterity, as far as the eye or hand is concerned, but the ; 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 nise the works of Michael Angelo, Raffaelle, Coreggio, and others, at a glance The drawings of Reree, and the slightest indication see 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 seldohter and broader by reat practice in using the point in etching, he not only gives the greatest precision and certainty, but his outline assu froreatest breadth of light and shade that can be given; this it is that gives theuish between those drawn immediately froination 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 in,” 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 reat taste and at large suh offered in his will at comparatively a small price Nevertheless, we possess several fine specimens in the British Museum Print-rooained so s as Rembrandt, both on account of their nuhem, 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; hisuse 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 sas 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 aues of Gersaint, Daulby, Bartsch, Claussin, and Wilson The catalogue by the latter gentleman is the one adopted by the British Museuue Raisonne of Reement of the Chevalier Claussin I have also reatest 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 Re frizzly hair

2 Portrait of Re a bonnet put sideways on his head

3 Portrait of Reht hand

4 Portrait of Rembrandt, with frizzly hair, and the head uncovered; ree nose Very rare

5 Portrait of Rembrandt, seen in nearly a front vieith frizzled hair, and the head uncovered

6 Portrait of Re a fur cap and a black habit

7 Portrait of Re a slouched hat, and a mantle lined with fur Dated 1631

8 Portrait rese Rembrandt, seen in nearly a front vieithbeard, and frizzled hair

9 Portrait of Re, seen in a three-quarter vieith the head uncovered and the hair frizzled

10 Portrait of Rerimace

11 Portrait of Rembrandt, seen in nearly a front vieith a flat bonnet on the head

12 Portrait of Re, seen in a three-quarter vieith head uncovered, and the hair frizzled (Oval)

13 Portrait of Re, with the mouth a little open, the head uncovered, and the hair frizzled Dated 1630

14 Portrait of Re a fur cap, and a mantle bordered with fur Dated 1631

15 Portrait of Rembrandt, seen in a three-quarter vieith the head uncovered, and the hair frizzled; he has on a mantle buttoned in front