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.