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Those two writers can never be accused of having nothing to say, or of backwardness in saying it. Each has separately long maintained a striking individuality of tongue and pen. Working together, they will produce a canvas of the Rembrandt school Mrs. Stanton painting the high lights and Mr. Pillsbury the deep darks. In fact, the new journal's real editors are Hope and Despair.
At that time guilds and town councils wanted the portraits of their members preserved in some way, and it was the habit of painters like Holbein to form picturesque groups and give to such dramatic groupings the features of townsmen. Rembrandt did this much later than Holbein, when he painted the "Night Watch," or as it is more properly called, "The Sortie."
In the great landscape painter, as in the other renowned Dutch artists of the seventeenth century, the influence of Rembrandt is marked. Meindert Hobbema was born in 1638, married in 1638, and died in poverty at Amsterdam in 1709. His works, which were neglected in his lifetime, now fetch much more than their weight in gold.
However, our prophet is an uncommonly interesting sitter a better model than Rembrandt had for his Rabbi and I never come away from him without a new discovery.
Now, as he examined the canvas, its imprecision diminished, the shadows passed, the obscurity lifted, the penumbra brightened, outlines defined themselves, the colouring appeared, a colouring, after the manner of Rembrandt, composed of darkness in which there is light and which, as such, reveals. Jones stood up, turned around and sat down again as gamblers, disquieted by their luck, will do.
How strange it is to hear that name again. Seven years since then. Here I am called Margaret Henson, and nobody knows. And now you have found out. Do you come here to blackmail and rob me like the rest?" "I come here entirely on your behalf and my own, my lady." "That is what they all say and then they rob me. You stole the Rembrandt." The last words came like a shot from a catapult.
The prisoner was at once brought before the old man, who eagerly scrutinized his features in the flickering light of lanterns and flambeaux, casting shadows which a Rembrandt would have loved to paint.
My only excuse must be that I was very young. I never got another chance till a few weeks ago when I saw what I took, and take, to be an early, but very interesting, work by Rembrandt in the window of a pawnbroker opposite St. Clement Danes Church in the Strand. I very nearly let this slip too.
Among the pupils of Rubens, the great founder of the Dutch school, Jordaens was distinguished for brilliancy and force of execution, Van Dyck, A.D. 1541, for grace and beauty, although principally a portrait painter and incapable of idealizing his subjects, in which Rembrandt, A.D. 1674, who chose more extensive historical subjects, and whose coloring is remarkable for depth and effect, was equally deficient.
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