See also:

• REMBRANDT (1606-1669)

REMBRANDT (1606-1669)  . See also:

• REMBRANDT (1606-1669)

REMBRANDT HARMENS See also:

• VAN

VAN RIJN, Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LEIDEN

Leiden on the 15th of See also:

• JULY

July 1606 . It is only within the past fifty years that we have cometo know anything of his real See also:

• HISTORY

history . A See also:

• TISSUE (Fr. tissu, tissue, participle of tisser, Lat. texere, to weave)

tissue of fables formerly represented him as ignorant, boorish and avaricious . These See also:

• FICTIONS

fictions, resting on the loose assertions of See also:

• HOUBRAKEN, JACOBUS (1698–178o)

Houbraken (De Groote Schouburgh, 1718), have been cleared away by the untiring researches of Scheltema and other Dutchmen, notably by C . See also:

• VOSMAER, CAREL (1826-1888)

Vosmaer, whose elaborate See also:

• WORK

work (Rembrandt, sa See also:

• VIE

vie et ses oeuvres, 1868, and ed., 1877) is the basis of our knowledge of the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man and of the See also:

• CHRONOLOGICAL

chronological development of the artist.' Rembrandt's high position in See also:

• EUROPEAN

European See also:

• ART

art rests on the originality of his mind, the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of his See also:

• IMAGINATION

imagination, his profound sympathy with his subjects, the boldness of his See also:

• SYSTEM

system of See also:

• LIGHT

light and shade, the thoroughness of his modelling, his subtle See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and above all on his intense humanity . He was See also:

• GREAT

great in conception and in See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, a poet as well as a painter, an idealist and also a realist; and this rare See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union is the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of his power . From his dramatic See also:

• ACTION

action and mastery of expression Rembrandt has been well called " the See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare of See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland." In the beginning of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century Holland had entered on her See also:

• GRAND

grand career of See also:

• NATIONAL

national enterprise . See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

Science and literature flourished in her See also:

• UNIVERSITIES

universities, See also:

• POETRY

poetry and the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage were favoured by her citizens, and art found a See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home not only in the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital but .in the provincial towns . It was a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time also of new ideas . Old Conventional forms in See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy and art had fallen away, and See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty was inspiring new conceptions . There were no See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church influences at work to fetter the painter in the choice and treatment of his subject, no See also:

• ACADEMIES

academies to prescribe rules .

See also:

• LEFT

Left to himself, therefore, the artist painted the See also:

• LIFE

life of the See also:

• PEOPLE

people among whom he lived and the subjects which interested them . It was thus a living history that he painted—scenes from the everyday life and amusements of the people, as well as the civic rulers, the " regents " or See also:

• GOVERNORS

governors of the hospitals and the heads of the guilds, and the civic See also:

• GUARDS, AND HOUSEHOLD TROOPS

guards who defended their towns . So also with religious pictures . The dogmas and legends of the Church of See also:

• ROME
• ROME (Roma)

Rome were no longer of See also:

• INTEREST

interest to such a nation; but the See also:

• BIBLE
• BIBLE, ENGLISH

Bible was read and studied with avidity, and from its See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page the artist See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew directly the scenes of the See also:

• SIMPLE

simple narrative . Perhaps the earliest trace of this new aspect of Bible See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story is to be found in the pictures painted in Rome about the beginning of the 17th century by See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam Elsheimer of See also:

• FRANKFORT

Frankfort, who had undoubtedly a great See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the Dutch painters studying in See also:

• ITALY
• ITALY (Italia)

Italy . These in their turn carried back to Holland the simplicity and the picturesque effect which they found in Elsheimer's work . Among these, the precursors of Rembrandt, may be mentioned Moeyaert, Ravesteyn, Lastman, Pinas, See also:

• HONTHORST, GERARD VAN (159o-1656)

Honthorst and Bramer . Influenced doubtless by these painters, Rembrandt determined to work out his own ideas of art on Dutch See also:

• SOIL

soil, resisting apparently every inducement to visit Italy . Though an admirer of the great See also:

• ITALIAN

Italian masters, he yet maintained his own individuality . Rembrandt was born at No . 3 Weddesteg, on the rampart at Leiden overlooking the See also:

• RHINE (Lat. Rhenus, Ger. Rhein, Fr. Rhin, Dutch Rhyn, or Rijn)

Rhine . He was the See also:

• FOURTH

fourth son of Gerrit Harmens van Rijn, a well-to-do See also:

• MILLER, HUGH (1802–1856)
• MILLER, JOAQUIN (CINCINNATUS HEINE) (1841- )
• MILLER, JOE (JosEPH or JosIAS( (1684-1738)
• MILLER, SAMUEL FREEMAN (1816-1890)
• MILLER, WILLIAM (1782-1849)
• MILLER, WILLIAM (1795-1861)
• MILLER, WILLIAM (1796–1882)
• MILLER, WILLIAM HALLOWES (18o1–188o)

miller .

As the older boys had been sent to See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, his parents resolved that he should enter a learned profession . With this view he was sent to the High School at Leiden; but the boy soon manifested his dislike of the prospect, and determined to be a painter . Accordingly he was placed for three years under Swanenburch, a painter of no great merit, who enjoyed some reputation from his having studied in Italy . His next See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was Lastman of See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, a painter of very considerable power . In Lastman's See also:

• WORKS

works we can trace the germs of the colour and sentiment of his greater See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, though his See also:

• DIRECT

direct influence cannot have been great, as it is said by Orlers that Rembrandt remained with him only six months, after which time he returned to Leiden, about 1623 . During the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early years of his life at Leiden Rembrandt seems to have devoted himself entirely to studies, See also:

• PAINTING

painting and See also:

• ETCHING (Dutch, etsen, to eat)

etching the people around him, the beggars and cripples, every picturesque See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face and See also:

• FORM (Lat. forma)

form he could get hold of . Life, See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, Vosmaer's first See also:

• VOLUME

volume, on the precursors and See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship of Rembrandt, was published in 1863 . New light has since been thrown on important points by Dr See also:

• BODE, JOHANN ELERT (1747–1826)

Bode (Hollandische Malerei, 1883), De Roever, De Vries and others . and above all light were the aims of these studies . His See also:

• MOTHER

mother was a frequent See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, and we can trace in her features the strong likeness to her son, especially in the portraits of himself at an advanced See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . In the collection of Rembrandt's works at Amsterdam in 1898 were shown three portraits of his See also:

• FATHER

father, who died about 1632; nine are catalogued altogether . The last portrait of his mother is that of the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna Museum, painted the See also:

• YEAR

year before her See also:

• DEATH

death in 164o .

One of his sisters also frequently sat to him, and Bode suggests that she must have accompanied him to Amsterdam and kept See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house for him till he married . This conjecture rests on the number of portraits of the same See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young woman painted in the early years of his stay in Amsterdam and before he met his See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride . Then, again, in the many portraits of himself painted in his early life we can see with what zeal he set himself to master every form of expression, now See also:

• GRAVE

grave, now See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay—how thoroughly he learned to model the human face not from the outside but from the inner man . Dr Bode gives fifty as the number of the portraits of himself (perhaps sixty is nearer the actual number), most of them painted in youth and in old age, the times when he had leisure for such work . Rembrandt's earliest pictures were painted at Leiden, from 1627 to 1631 . Bode mentions about nine pictures as known to belong to these years, chiefly paintings of single figures, as " St See also:

• PAUL
• PAUL (PAULUS)

Paul in See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

Prison " and " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome "; but now and then compositions of several, as " See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson in Prison " and " Presentation in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple." The prevailing See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of all these pictures is a greenish See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey, the effect being somewhat See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold and heavy . The See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery at See also:

• CASSEL
• CASSEL, or KASSEL

Cassel gives us a typical example of his studies of the heads of old men, See also:

• FIRM

firm and hard in workmanship and full of detail, the effects of light and shade being carefully thought out . His work was now attracting the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of lovers of art in the great See also:

• CITY (through Fr. cite, from Lat. civitas)

city of Amsterdam; and, urged by their calls, he removed about 1631 to live and See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die there . At one See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound he leaped into the position of the first portrait painter of the city, and received numerous commissions . During the early years of his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence there are at least See also:

• FORTY

forty known portraits from his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, firm and solid in manner and staid in expression . It has been remarked that the fantasy in which he indulged through life was reserved only for the portraits of himself and his immediate connexions . The excellent painter See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas de Keyser was then in the height of his power, and his influence is to be traced in some of Rembrandt's smaller portraits .

Pupils also now flocked to his house in the Bloemgracht, among them See also:

• GERARD (c. 1040-1120)
• GERARD (d. I1o8)
• GERARD, ETIENNE MAURICE, COUNT (1773–1852)
• GERARD, FRANCOIS, BARON (1770-1837)
• GERARD, JEAN IGNACE ISIDORE (1803-1847)
• GERARD, JOHN (1545-1612)
• GERARD, or GIRARD, AUDRAN

Gerard See also:

• DOUW (or Dow), GERHARD (1613168o)

Douw, who was nearly of his own age . The first important work executed by Rembrandt in Amsterdam is " See also:

• SIMEON
• SIMEON (or SYMEON) OF DURHAM (d. after 1129)
• SIMEON, JOSEPH JEROME, COMTE (1749–1842)

Simeon in the Temple," of the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague Museum, a See also:

• FINE

fine early example of his treatment of light and shade and of his subtle colour . The concentrated light falls on the See also:

• PRINCIPAL

principal figure, while the background is full of See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery . The See also:

• SURFACE

surface is smooth and See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel-like, and all the details are carefully wrought out, while the action of light on the See also:

• MANTLE

mantle of Simeon shows how soon he had See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the magical effect of the See also:

• PLAY

play of colour . In the life-sized " See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

Lesson in See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

Anatomy " of 1632 we have the first of the great portrait subjects—Tulp the anatomist, the early friend of Rembrandt, discoursing to his seven associates, who are ranged with eager heads See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the foreshortened See also:

• BODY

body . The subject had been treated in former years by the Mierevelts, A . Pietersen and others, for the See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall of the Surgeons . But it was reserved for Rembrandt to make it a great picture by the grouping of the expressive portraits and by the completeness of the conception . The colour is quiet and the handling of the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush timid and precise, while the light and shade are somewhat harsh and abrupt . But it is a marvellous picture for a young man of twenty-five, and it is generally accepted as marking a new departure in the career of the painter . About 700 pictures are known to have come from Rembrandt's own hand . It is impossible to See also:

• NOTICE

notice more than the prominent works .

Besides the Pellicorne See also:

• FAMILY

family portraits of 1632 now in the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection, we have the caligraphist Coppenol of the Cassel Gallery, interesting in the first See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place as an early example of Rembrandt's method of giving permanent interest to a portrait by converting it into a picture . He invests it with a sense of life by a momentary expression as Coppenol raises his See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head towards thespectator while he is mending a See also:

• QUILL

quill . The same See also:

• MOTIVE (from Lat. movere, to move)

motive is to be found in the " Shipbuilder," 1633 (See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace), who looks up from his work with a sense of interruption at the approach of his wife . Coppenol was painted thrice and etched twice by the artist, the last of whose portrait etchings (1661) was the Coppenol of large See also:

• SIZE

size . The two small pictures of " The Philosopher " of the Louvre date f m 1633, delicate in execution and full of mysterious effect . The year 1634 is especially remarkable as that of Rembrandt's See also:

• MARRIAGE

marriage with Saskia van Uylenborch, a beautiful, See also:

• FAIR

fair-haired Frisian See also:

• MAIDEN, or MAID

maiden of See also:

• GOOD, JOHN MASON (1764-1827)

good connexions . Till her death in 1642 she was the centre of his life and art, and lives for us in many a See also:

• CANVAS

canvas as well as in her own portraits . On her the painter lavished his magical power, painting her as the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ARTEMISIA
• ARTEMISIA (159o-1642)

Artemisia or Bathsheba, and as the wife of Samson—always proud of her See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long fair locks, and covering her with pearls and See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold as See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious in their play of colour as those of the Indies . A joyous pair we see them in the See also:

• DRESDEN

Dresden Gallery, Saskia sitting on his See also:

• KNEE (O. E. cneow, a word common to Indo-European languages, cf. Ger. Knie, Fr. genou, Span. hinojo, Lat. genu, Gr. ybvv, Sansk. janu)

knee while he laughs gaily, or promenading together in a fine picture of 1636, or putting the last touches of See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament to her toilette, for thus Bode interprets the so-called " Burgomaster Pancras and his Wife." These were his happy days when he painted himself in his exuberant fantasy, and adorned himself, at least in his portraits, in scarfs and feathers and gold chains . Saskia brought him a marriage portion of forty thousand guilders, a large sum for those times, and she brought him also a large circle of good See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends in Amsterdam . She See also:

• BORE

bore him four See also:

• CHILDREN, LAW RELATING TO

children, Rumbartus and two girls, successively named See also:

• CORNELIA (end cent. Bc.)

Cornelia after his beloved mother, all of whom died in See also:

• INFANCY

infancy, and See also:

• TITUS
• TITUS, FLAVIUS SABINUS VESPASIANUS
• TITUS, THE EPISTLE TO

Titus, named after Titia a See also:

• SISTER

sister of Saskia . We have several See also:

• NOBLE, SIR ANDREW (1832- )

noble portraits of Saskia, a good type of the beauty of Holland, all painted with the utmost love and care, at Cassel (1633), at Dresden (1641), and a See also:

• POSTHUMOUS

posthumous one (1643) at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin .

But the greatest in workmanship and most pathetic in expression seems to us, though it is decried by Bode, that of See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp (1641), in which it is impossible not to trace declining See also:

• HEALTH

health and to find a See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy presage of her death . One of Rembrandt's greatest portraits of 1634 is the superb full-length of See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin Daey, which, with that of Madame Daey, painted according to Vosmaer some years later, formed one of the ornaments of the Van Loon collection at Amsterdam . Both now belong to See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron Gustave de See also:

• ROTHSCHILD

Rothschild . From the firm detailed execution of this portrait one turns with wonder to the broader handling of the " Old Woman " (Francoise van Wasserhoven), aged eighty-three, in the National Gallery, of the same year, remarkable for the effect of reflected light and still more for the sympathetic rendering of character . The life of Samson supplied many subjects in these early days . The so-called " See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count of Gueldres threatening his Father-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law " of the Berlin Gallery has been restored to its proper signification by M . Kolloff, who finds it to be Samson . It is forced and violent in its action . The greatest of this See also:

• SERIES (a Latin word from serere, to join)

series, and one of the prominent pictures of Rembrandt's work, is the " Marriage of Samson," of the Dresden Gallery, painted in 1638 . Here Rembrandt gives the See also:

• REIN

rein to his imagination and makes the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene live before us . Except the bride (Saskia), who sits See also:

• CALM

calm and grand on a See also:

• DAIS (Fr. dais, estrade, Ital. predella)

dais in the centre of the feast, with the full light again playing on her flowing locks and See also:

• WEALTH

wealth of jewels, all is animated and full of bustle . Sam-son, evidently a Rembrandt of fantasy, leans over a See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair See also:

• PRO

pro-pounding his riddle to the See also:

• PHILISTINE

Philistine lords .

In execution it is a great advance on former subject pictures; it is bolder in manner, and we have here signs of his approaching love of warmer tones of red and yellow . The story of Susannah also occupied him in these early years, and he returned to the subject in 1641 and 1653 . " The Bather " of the National Gallery may be another ^nterpretation of the same theme . In all of these pictures the woman is coarse in type and lumpy in form, though the modelling is soft and round, the effect which Rembrandt always strove to gain . Beauty of form was outside his art . But the so-called " See also:

• DANAE

Danae " (1636) at St See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters-See also:

• BURG

burg is a sufficient reply to those who deny his ability ever to appredate the beauty of the nude See also:

• FEMALE

female form . It glows with colour and life, and the See also:

• BLOOD

blood seems to pulsate under the warm skin . In the picturesque story of See also:

• TOBIT, THE BOOK OF

Tobit Rembrandt found much to interest him, as we see in the beautiful small picture of the d'Arenberg Collection at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels: Sight is being restored to the aged Tobias, while with See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite tenderness his wife holds the old man's hand caressingly . The momentary action is See also:

• COMPLETE

complete, and the picture goes straight to the See also:

• HEART
• HEART, LUNG

heart . In the Berlin Gallery he paints the anxiety of the parents as they wait the return of their son . In 1637 he painted the fine picture now in the Louvre of the " See also:

• FLIGHT

Flight of the See also:

• ANGEL

Angel "; and the same subject is grandly treated by him . apparently about 1645, in the picture exhibited in the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter See also:

• EXHIBITION

exhibition at See also:

• BURLINGTON

Burlington House in 1885 .

Reverence and See also:

• AWE, LOCH

awe are shown in every attitude of the Tobit family . A similar lofty treatment is to be found in the " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ as the Gardener," appearing to See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, of 1638 (Buckingham Palace) . We have now arrived at the year 164o, the See also:

• THRESHOLD

threshold of his second manner, which extended to 1654, the See also:

• MIDDLE

middle age of Rembrandt . During the latter See also:

• PART

part of the previous See also:

• DECADE (from Gr. Oka, ten)

decade we find the shadows more transparent and the blending of light and shade more perfect . There is a growing power in every part of his art . The coldness of his first manner had disappeared, and the tones were gradually changing into See also:

• GOLDEN

golden-See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown . He had passed through what Bode calls his " See also:

• STURM
• STURM, JULIUS (1816-1896)

Sturm-and-Drang " See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of exaggerated expression, as in the Berlin Samson, and had attained to a truer, calmer form of dramatic expression, cf which the " Manoah " of Dresden is a good example (1641) . The portraits painted " to See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order " became more rare about this time, and those which we have are chiefly friends of his circle, such as the " Mennonite Preacher " (C . C . Ansloo) and the " See also:

• GILDER, RICHARD WATSON (1844–1909)

Gilder," a fine example of his golden tone, formerly in the See also:

• MORNY, CHARLES AUGUSTE LOUIS JOSEPH

Morny collection and now in See also:

• AMERICA

America . His own splendid portrait (164o) in the National Gallery illustrates the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in his work . It describes the man well—strong and robust, with powerful head, firm and compressed lips and determined See also:

• CHIN

chin, with heavy eyebrows, separated by a deep See also:

• VERTICAL (from Lat. vertex, highest point)

vertical furrow, and with eyes of keen penetrating glance—altogether a self-reliant man that would carry out his own ideas, careless whether his popularity waxed or waned .

The fantastic rendering of himself has disappeared; he seems more conscious of his dignity and position . He has now many friends and pupils, and numerous commissions, even from the See also:

• STADTHOLDER (Du. stadhouder, a delegate or representative)

stadtholder; he has bought a large house in the Breedstraat, in which during the next sixteen years of his life he gathers his large collection of paintings, engravings, See also:

• ARMOUR, PHILIP DANFORTH (1832-1901)

armour and See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume which figure afterwards in his See also:

• INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

inventory . His See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste was wide and his purchases large, for he was See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint owner with picture-dealers of paintings by See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione and See also:

• PALMA, JACOPO (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

Palma Vecchio, while for a high-priced See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio Raimondi See also:

• PRINT

print he gave in See also:

• EXCHANGE

exchange a fine impression of his " Christ Healing the Sick," which has since been known as the " See also:

• HUNDRED

Hundred Guilder Print." The stadtholder was not a prompt payer, and an interesting See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence took place` between Rembrandt and Constantin See also:

• HUYGENS, CHRISTIAAN (1629-1695)
• HUYGENS, SIR CONSTANTIJN (1596-1687)

Huygens, the poet and secretary of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince . The Rembrandt letters which have come down to us are few, and these are therefore of importance . Rembrandt puts a high value on the picture, which he says had been painted " with much care and zeal," but he is willing to take what the prince thinks proper; while to Huygens he sends a large picture as a See also:

• PRESENT

present for his trouble in carrying through the business . There is here no sign of the grasping greed with which he has been charged, while his unselfish conduct is seen in the See also:

• SETTLEMENT
• SETTLEMENT, ACT OF

settlement of the family affairs at the death of his mother in 164o . The year 1642 is remarkable for the great picture formerly known as the " See also:

• NIGHT

Night See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

Watch," but now more correctly as the ' Sortie of the Banning See also:

• COCK, EDWARD (1805-1892)

Cock See also:

• COMPANY

Company," another of the landmarks of Rembrandt's career, in which twenty-nine life-sized civic guards are introduced issuing See also:

• PELL, JOHN (16so-1685)

pell-mell from their See also:

• CLUB (connected with " clump ")

club house . Such See also:

• GILDS, or GUILDS

gilds of arquebusiers had been painted admirably before by Ravesteyn and notably by Frans See also:

• HALS, FRANS (158o?–1666)

Hals, but Rembrandt determined to throw life and animation into the scene, which is full of bustle and See also:

• MOVEMENT

movement . The dominant colour is the citron yellow See also:

• UNIFORM

uniform of the See also:

• LIEUTENANT

lieutenant, wearing a See also:

• BLUE (common in different forms to most European languages)

blue .See also:

• SASH

sash, while a See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian-like red See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of a musketeer, the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black See also:

• VELVET

velvet dress of the See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain, and the varied See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green of the girl and drummer, all produce a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and harmonious effect . The background has become dark and heavy by accid;nt or neglect, and the scutcheon on whi-h the names are painted is scarcely to be seen . It is to be observed that, as proved by the copy by Gerrit Lundens in the National Gallery, it represents not a " night watch," except in name, but a See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day watch . But this year of great achievement was also the year of his great loss, for Saskia died in 1642, leaving Rembrandt her See also:

• SOLE (Solea)

sole trustee for her son Titus, but with full use of the See also:

• MONEY

money till he should marry again or till the marriage of Titus .

The words of the will See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express her love for her See also:

• HUSBAND

husband and her confidence in him . With her death his life was changed . Bode has remarked that there is a pathetic sadness in his pictures of the See also:

• HOLY

Holy Family—a favourite subject at this period of his life . All of these he treats with the naive simplicity of Reformed Holland, giving us the real See also:

• CARPENTER, LANT (1780-1840)
• CARPENTER, MIRY (1807-1877)
• CARPENTER, WILLIAM BENJAMIN (1813-1885)

carpenter'sshop and the mother watching over the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant reverently and lovingly, with a fine union of See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism and See also:

• IDEALISM (from Gr. i5Ea, archetype or model, through been urged of the truth of its point of view is the persistency Fr. idealisme)

idealism . The See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street in which he lived was full of Dutch and Portuguese See also:

• JEWS
• JEWS (Heb. Y8hudi, man of Judah; Gr. 'Iovbaiot; Lat. Judaei)

Jews, and many a Jewish See also:

• RABBI

rabbi sat to him . He accepted or invented their turbans and See also:

• LOCAL

local dress as characteristic of the people . But in his religious pictures it is not the costume we look at; what strikes us is the profound See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception of the sentiment of the story, making them true to all time and See also:

• INDEPENDENT

independent of local circumstance . A notable example of this feeling is to be found in the " Woman Taken in See also:

• ADULTERY (from Lat. adulterium)

Adultery " of the National Gallery, painted in 1644 in the manner of the " Simeon of the Hague . Beyond the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary claims of art, it commands our attention from the grand conception of the painter who here, as in other pictures and etchings, has invested Christ with a majestic dignity which recalls Lionardo and no other . A similar lofty ideal is to be found in his various renderings of the Pilgrims at See also:

• EMMAUS

Emmaus," notably in the Louvre picture of 1648, in which, as Mrs See also:

• JAMESON (or JAMESONE), GEORGE (c. 1587–1644)
• JAMESON, ANNA BROWNELL (1794-1860)
• JAMESON, LEANDER STARR (1853– )
• JAMESON, ROBERT (1774-1854)

Jameson says, " he returns to those first spiritual principles which were always the See also:

• DOWRY (in Anglo-Fr. dowarie, O. Fr. douaire, Med. Lat. dotaria, from Lat. dos; from root of dare, to give; in Fr. dot)

dowry of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient art." From the same year we have the " Good Samaritan " of the Louvre, the story of which is told with intense pathos . The helpless suffering of the wounded man, the curiosity of the boy on tiptoe, the excited faces at the upper window, are all conveyed with masterly skill . In these last two pictures we find a broader See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and freer handling, while the tones pass into a dull yellow and brown with a marked predilection for deep rich red .

Whether it was that this See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of colour found no favour with the Amsterdamers, who, as Hoop straten tells us, could not understand the " Sortie," it seems certain that Rembrandt was not invited to take any leading part in the celebration of the See also:

• CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

congress of See also:

• WESTPHALIA (Ger. Westfalen)
• WESTPHALIA, TREATY OF

Westphalia (1648) . Rembrandt touched no See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of art without setting his See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark on it, whether in still life, as in his dead birds or the " Slaughtered Ox " of the Louvre (with its repetitions at See also:

• GLASGOW

Glasgow and See also:

• BUDAPEST

Budapest), or in his drawings of elephants and lions, all of which are See also:

• INSTINCT

instinct with life . But at this period of his, career we come upon a See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of his art on which he left, both in etching and in painting, the See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of his See also:

• GENIUS (from Lat. genere, gignere)

genius, viz. landscape . Roeland Roghman, but ten years his See also:

• SENIOR, NASSAU WILLIAM (1790-1864)

senior, evidently influenced his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, for the resemblance between their works is so great that, as at Cassel, there has been confusion of authorship . See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules Seghers also was much appreciated by Rembrandt, for at his See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale eight pictures by this master figure in the inventory, and Vosmaer discovered that Rembrandt had worked on a See also:

• PLATE

plate by Seghers and had added figures to an etched " Flight into See also:

• EGYPT

Egypt." The earliest pure landscape known to us from Rembrandt s hand is that at the Ryks Museum (1637-38), followed in the latter year by those at See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick, See also:

• CRACOW (Pol. Krakov; Ger. Krakau)

Cracow and See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston (U.S.A.), and that dated 1638 and belonging to Mr G . See also:

• RATH, GERHARD VOM (183o-1888)

Rath in Budapest . Better known is the " Winter Scene " of Cassel (1646), silvery and delicate . As a See also:

• RULE

rule in his painted landscape he aims at grandeur and poetical effect, as in the " Repose of the Holy Family " of 1647 (formerly called the " See also:

• GIPSIES, or GYPSIES

Gipsies "), a moonlight effect, clear even in the shadows . The " See also:

• CANAL
• CANAL (from Lat. canalis, " channel " and " kennel " being doublets of the word)

Canal " of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• LANSDOWNE
• LANSDOWNE, WILLIAM PETTY FITZMAURICE, 1ST MARQUESS OF (1737-18o5)

Lansdowne, and the " See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

Mountain Landscape with Approaching See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

Storm," the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun shining out behind the heavy clouds, are both conceived and executed in this spirit . A similar poetical vein runs through the " See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle on the See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill " of Cassel, in which the beams of the setting sun strike on the castle while the valley is sunk in the shades of approaching night . More powerful still is the weird effect of Lord Lansdowne's " See also:

• WINDMILL

Windmill," with its glow of light and darkening shadows . In all these pictures light with its magical influences is the theme of the poet-painter .

From the number of landscapes by himself in the inventory of his sale, it would appear that these grand works were not appreciated by his contemporaries . The last of the landscape series See also:

• DATES

dates from 1655 or 1656, the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the middle age or manhood of Rembrandt, a period of splendid power . In the " See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Accused by Potiphar's Wife " of 1654 we have great dramatic vigour and perfect mastery of expression, while the brilliant colour and glowing effect of light and shade attest his strength . To this period also belongs the great portrait of himself in the See also:

• FITZWILLIAM, SIR WILLIAM (1526-1599)
• FITZWILLIAM, WILLIAM WENTWORTH FITZWILLIAM, 2ND EARL (1748-1833)

Fitzwilliam Museum at See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge . But evil days were at hand . The long-continued See also:

• WARS

wars and See also:

• CIVIL

civil troubles had worn out the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, and money was scarce . Rembrandt's and doubtless Saskia's means were tied up in his house and in his large collection of valuable pictures, and we find Rembrandt borrowing considerable sums of money on the See also:

• SECURITY (Lat. securus, free from care, safe)

security of his house to keep things going . Perhaps, as Bode suggests, this was the See also:

• REASON (Lat. ratio, through French raison)

reason of his extraordinary activity at this time., Then, unfortunately, in this year of 1654, we find Rembrandt involved in the See also:

• SCANDAL

scandal of having a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child by his servant Hendrickje Jaghers or Stoffels, as appears by the books of the Reformed Church at Amsterdam . He recognized the child and gave it the name of Cornelia, after his much-loved mother, but there is no See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that he married the mother, and the See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability is against such a marriage, as the provisions of Saskia's will would in that See also:

• CASE
• CASE, JOHN (d. 1600)

case have come into force, and her See also:

• FORTUNE, ROBERT (1813-188o)

fortune would have passed at once to her son Titus . Hendrickje seems to have continued was in full play . The same period gives us the " Master of the Vineyard," and the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " of Buckingham Palace . After the sale of the house in the Breedstraat, Rembrandt retired to the Rosengracht, an obscure See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter at the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west end of the city .

We are now See also:

• DRAWING

drawing to the splendid close of his career in his third brandt and appearing in his work—his mother, his sister and and his' knowledgeis more co eca1me.br ,demays mention thee'solid then Saskia . ! Man with the Grey See also:

• BEARD (A.S. beard, O. H. and Mod. Ger. Bart, Dan. beard, Icel. bar, rim, edge, beak of a ship, &c., O. Slay. barda, Russ. barodd. Cf. Welsh barf, Lat.. barba, though, according to the New English Dictionary, the connexion is for phonetic reasons doubtful)
• BEARD, WILLIAM HOLBROOK (1825-1900)

Beard " of the National Gallery (1657) and the He also suggests that the beautiful portrait of the " See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady " " Bruyningh, the Secretary of the Insolvents' Chamber," of Cassel (1658), both leading up to the great portraits of the " Syndics of the See also:

• CLOTH

Cloth Hall " of 1661 . Nearly See also:

• THIRTY

thirty years See also:

• SEPARATE

separate us from,the " Lesson in Anatomy," years of long-continued observation and labour . The knowledge thus gathered, the problems solved, the mastery attained, are shown here in abundance . Rembrandt returns to the simplest See also:

• GAMUT (from the Greek letter gamma, used as a musical symbol, and ut, the first syllable of the medieval hymn Sanctus Johannes)

gamut of colour, but shows his skill in the use of it, leaving on the spectator an impression of See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute enjoy ment of the result, unconscious of the means . The See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain burghers dealing with the simple concerns of their gild See also:

• ARREST (Fr. arrester, arreeter, to stop or stay)

arrest our attention as if they were the makers of history . They live for ever; and we close our eyes to the'See also:

• STRANGE, SIR ROBERT (1721-1792)

strange See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective of the table . In his old age Rembrandt continued to paint his own portrait as assiduously as in his youthful and happy days . About twenty of these portraits are known; a typical one is to be found in the National Gallery . All show the same self-reliant expression, though broken down indeed by age and the cares of a hard life . About the year 1663 Rembrandt painted the (so-called) " Jewish Bride " of the Ryks Museum in Amsterdam, and the " Family See also:

• GROUP

Group " of Brunswick, the last and perhaps the most brilliant works of his life, bold and rapid in execution and marvellous in the subtle mixture and play of See also:

• COLOURS, MILITARY

colours in which he seems to revel . The woman and children are painted with such love that the impression is conveyed that they represent a See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy family group of the painter in his old age .

This See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea received some See also:

• CONFIRMATION (Lat. confirmatio, from confirmare, to establish, make firm)

confirmation from the supposed See also:

• DISCOVERY

discovery that he left a widow See also:

• CATHERINE
• CATHERINE, SAINT

Catherine Van Wyck and two children, but this theory falls to the ground, for de Roever has shown (Oud Holland, 1883) that Catherine was the widow of a marine painter Theunisz Blanckerhoff, who died about the same time as Rembrandt . The See also:

• MISTAKE (i.e. take amiss)

mistake arose from a miscopying of the See also:

• REGISTER

register . The subject of these pictures is thus more mysterious than ever . to live with him, for we find her claiming a See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest as her See also:

• PROPERTY

property , at his sale in 1658 . Doubtless she is the See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant girl of Rasdorf to whom Houbraken says Rembrandt was married . Sad as the story is, Hendrickje has an interest for us . Bode asserts that in his art there was always a woman in close relationship to Rem- in the See also:

• SALON

Salon See also:

• CANE

Cane of the Louvre and the " See also:

• VENUS

Venus and See also:

• CUPID (Cupido, " desire ")

Cupid " of the same gallery may represent Hendrickje and her child . Both pictures belong to this date, and by their treatment are removed from the See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category of Rembrandt's usual portraits . But if this is conjecture, we get nearer to fact when we look at the picture exhibited at Burlington House in 1883 to which tradition has attached the name of " Rembrandt's See also:

• MISTRESS

Mistress," now in the See also:

• EDINBURGH

Edinburgh National Gallery . At a glance one can see that it is not the See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere head of a model, as she lies in See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed raising herself to put aside a See also:

• CURTAIN

curtain as if she heard a well-known footstep . It is clearly a woman in whom Rembrandt had a See also:

• PERSONAL

personal interest . The date is clearly 165— the fourth figure being illegible; but the brilliant carnations and masterly touch connect it with the " Potiphar's Wife " of 1654 and the Jaghers period .

In 1656 Rembrandt's See also:

• FINANCIAL

financial affairs became more involved, and the Orphans' Chamber transferred the house and ground to Titus, though Rembrandt was still allowed to take See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of Saskia's See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate . Nothing, however, could avert the ruin of the painter, who was declared bankrupt in July 1656, an inventory of all his property being ordered by the Insolvency Chamber . The first sale took place in 1657 in the Keizerskroon hotel; and the second in 1658, when the larger part of the etchings and drawings were disposed of—" collected by Rembrandt himself with much love and care," says the See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue . The sum realized, under 5000 guilders, was but a fraction of their value . The time was unfavourable over the whole of See also:

• EUROPE

Europe for such sales, the renowned collection of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I. of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England having brought but a comparatively small sum in 1653 . Driven thus from his house, stripped of everything he possessed, even to his table See also:

• LINEN

linen, Rembrandt took a modest lodging in the same Keizerskroon hostelry (the amounts of his bills are on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record), apparently without friends and thrown entirely on himself . But this dark year of 1656 stands out prominently as one in which some of his greatest works were produced, as, for example, " See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John the Baptist See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching in the See also:

• WILDERNESS

Wilderness," of the Berlin Gallery, and " See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob blessing the Sons of Joseph," of the Cassel Gallery . It is impossible not to respect the man who, amid the utter ruin of his affairs, could calmly conceive and carry out such noble work . Yet even in his art one can see that the tone of his mind was sombre . Instead of the brilliancy of 1654 we have for two or three years a preference for dull yellows, reds and greys, with a certain uniformity of tone . The handling is broad and rapid, as if to give utterance to the ideas which crowded on his mind . There is less caressing of colour for its own See also:

• SAKE

sake, even less straining after vigorous effect of light and shade .

Still the two pictures just named are among the greatest works of the master . To the same year belongs the " Lesson in Anatomy of Johann Deyman." The subject is similar to the great Tulp of 1632, but his manner and power of colour had advanced so much that See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds, in his visit to Holland in 1781, was reminded by it of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo and Titian.' Vosmaer ascribes to the same year, though Bode places it later, the famous " Portrait of See also:

• JAN

Jan Six," the future burgomaster, consummate in its ease and character, as Six descends the steps of his house drawing on his See also:

• GLOVE (O. Eng. glof, perhaps connected with Gothic lofa, the palm of the hand)

glove . The connexion between Rembrandt and the great family of Six was long and close . In 1641, the mother of Six, See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna Wymer, had been painted with See also:

• CON

con-summate skill by Rembrandt, who also executed in 1647 the beautiful etching of Six See also:

• STANDING

standing by a window See also:

• READING

reading his tragedy of See also:

• MEDEA (Gr. Mi/Seta)

Medea, afterwards illustrated by his iriend . Now he paints his portrait in the See also:

• PRIME, PRIMER AND PRIMING

prime of manhood, and in the same year of gloom paints for him the masterly " John the Baptist." Six, if he could not avert the disaster of Rembrandt's life, at least stood by him in the darkest See also:

• HOUR

hour, when certainly the creative See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of Rembrandt ' This picture has had a strange history . It had suffered by See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and was sold to a Mr See also:

• CHAPLIN, HENRY (1841– )

Chaplin of See also:

• LONDON

London in 1841, was exhibited in Leeis in 1868, and again disappeared, ultimately to be found in the See also:

• STOREROOM

storeroom of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington Museum as a doubtful Rembrandt . The patriotism of some Dutch lovers of art restored it to its native country; and it now hangs, a magnificent fragment, in the museum of Amsterdam . In 1668 Titus, the only son of Rembrandt, died, leaving one child, and on the 8th of See also:

• OCTOBER

October 1669 the great painter himself passed away, leaving two children, and was buried in the Weste Kerk . He had outlived his popularity, for his manner of painting, as we know from contemporaries, was no longer in favour with a people who preferred the smooth trivialities of Van der Werff and the younger See also:

• MIERIS

Mieris, the leaders of an expiring school . We must give but a See also:

• SHORT, FRANCIS JOB (1857– )

short notice of Rembrandt's achievements in etching . Here he stands out by universal See also:

• CONFESSION (Lat. confessio, from confiteor, acknowledge, confess)

confession as first, excel-See also:

• LING, PER HENRIK (1776-1839)

ling by his unrivalled technical skill, his mastery of expression and the lofty conceptions of many of his great pieces, as in the " Death of the Virgin," the " Christ Preaching," the " Christ Healing the Sick" (the " Hundred Guilder Print ), the " Presentation to the People," the " Crucifixion " and others . So great is his skill simply as an etcher that one is See also:

• APT

apt to overlook the nobleness of the etcher s ideas and the See also:

• DEPTH

depth of his nature, and this tendency has been doubt-less confirmed by the enormous difference in money value between " states " of the same plate, rarity giving in many cases a factitious See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth in the eyes of collectors .

A single impression of one of his etchings—" Rembrandt with a Sabre "—realized £2000 at the Holford sale in 1893, when " See also:

• EPHRAIM

Ephraim See also:

• BONUS (a jocular application of the Lat. bonus, for bonum, " a good thing ")

Bonus, with black See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring " fetched £1950, and the " Hundred Guilder Print," £1750 . The points of difference between these states arise from the additions and changes, made by Rembrandt on the plate; and the prints taken off by him have been subjected to the closest inspection by Bartsch, Gersaint, See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson, Daulby, De Claussin, C . See also:

• BLANC, (JEAN JOSEPH CHARLES) LOUIS (1811-1882)
• BLANC, MONT

Blanc, See also:

• WILTSHIRE [WILTS]

Wiltshire, See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

Seymour See also:

• HADEN, SIR FRANCIS SEYMOUR (1818-1910)

Haden, See also:

• MIDDLETON
• MIDDLETON, ARTHUR (1742–1787)
• MIDDLETON, CONYERS (1683–1750)
• MIDDLETON, THOMAS (c. 1570-1627)

Middleton and others, who have described them at great length, and to whom the reader is referred . The See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification of Rembrandt's etchings adopted till lately was according to the subject, as Biblical, portrait, landscape, and so on; until Vosmaer attempted the more scientific and interesting See also:

• LINE

line of See also:

• CHRONOLOGY (Gr. xpovo?oyfa, computation of time, xp6vos)

chronology . This method has been See also:

• DEVELOPED

developed by Sir F . Seymour Haden and Middleton . But even in 1873 C . Blanc, in his fine work L' Euvre complet de Rembrandt, still adheres to the older and less intelligent arrangement, resting his preference on the frequent See also:

• ABSENCE (Lat. absentia)

absence of dates on the etchings and more strangely still on the equality of the work . Sir Seymour Haden's reply is " that the more important etchings which may be taken as types are dated, and that, the style of the etchings at different periods of Rembrandt's career being fully as marked as that of his paintings, no more difficulty attends the classification of one than of the other." In-See also:

• DEED (in O. Eng. dead, from the stem of the verb " to do ")

deed Vosmaer points out in his Life of Rembrandt that there is a marked See also:

• PARALLELISM, PSYCHOPHYSICAL

parallelism between Rembrandt's painted and etched work, his early work in both cases being timid and tentative, while he gradually gains strength and character both with the brush and the graver's tools . In his L'CEuvre complet de Rembrandt (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1885), See also:

• EUGENE

Eugene Dutuit rejects the classification of C . Blanc as dubious and unwarranted, dismisses the chronological arrangement proposed by Vosmaer and adopted by Seymour Haden and Middleton as open to discussion and lacking in possibility of proof, and reverts to the order established by Gersaint, ranging his materials under twelve heads: Portraits (real and supposed), Old Testament and New Testament subjects, histories, landscapes, &c . Sir Seymour Haden originated the theory that many of the etchings ascribed to Rembrandt up to 164o were the work of his pupils, and seems to make out his case, though it may be carried too far .

He argues (in his monograph on the Etched Work of Rembrandt, 1877) that Rembrandt's real work in etching began after Saskia's death, when he assumes that Rembrandt betook himself to Elsbroek, the country house of his " powerful friend " Jan Six . But it must be remembered that the future burgomaster was then but a student of twenty-four, a member of a great family it is true, but unmarried and taking as yet no See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in public life . That Rembrandt was a frequent visitor at Elsbroek, and that the " Three Trees " and other etchings may have been produced there, may be admitted without requiring us to believe that he had left Amsterdam as his place of See also:

• ABODE (from " abide," to dwell, properly " to wait for ," to bide)

abode . The great period of his etching lies between 1639 and 1661, after which the old painter seems to have renounced the See also:

• NEEDLE (O. Eng. ncedl; the word appears in various forms in Teutonic languages, Ger. Nadel, Dutch naal, the root being ne-, to sew, cf. Ger. nahen, and probably Lat. nere, to spin, Gr. vi)ats, spinning)

needle . In these twenty years were produced his greatest works in See also:

• PORTRAITURE

portraiture, landscape and Bible story . They See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the impress of the genius of the man . In addition to the authors named, the reader is referred to W . See also:

• BURGER, GOTTFRIED AUGUST (1748-1794)

Burger, (the nom de plume of T . Thore), Musees de la Hollande (1858-6o), E . See also:

• FROMENTIN, EUGENE (1820-1876)

Fromentin, Ma£tres d'autrefois; H . Havard, L'Ecole Hollandaise; Scheltema, Rembrandt, discours sur sa vie (1866); See also:

• ATH, or AATII

Ath . Cocquerel fils, Rembrandt, son individualisme See also:

• DENS, PETER (1690-1775)

dens fart (Paris, 1869) ; Dr Langbehn, Rembrandt als Erzieher (See also:

• LEIPZIG

Leipzig, 1890) ; Emile See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel, Rembrandt, sa vie, son oeuvre, et son temps (Paris, 1893); P .

G . See also:

• HAMERTON, PHILIP GILBERT (1834-1894)

Hamerton, Rembrandt's Etchings (London, 1894); See also:

• MALCOLM
• MALCOLM, SIR JOHN (1769-1833)

Malcolm See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell, Rembrandt van Rijn and his Work (London, 1899) ; Adolf Rosenberg, Rembrandt, See also:

• DES

des Mcisters Gemalde (See also:

• STUTTGART

Stuttgart and Leipzi, 1906), a useful work, admirably reproducing 565 of the artist s Pictures, and its See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion volume, Hans Wolfgang See also:

• SINGER, SIMEON (1846-1906)

Singer, Rembrandt, des Meisters Radierungen (Stuttgart and Leipzig, 1906), reproducing 402 etchings . The chronological, See also:

• GEOGRAPHICAL

geographical and classifying indexes in both books are of particular utility . (J . F . W.; P . G .