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]
* * * * *