. Rembrandt : his life, his work, and his time. l-most mechanical ; from the twoextremities of the coppertowards the middle, hehas drawn the shadowscast by various objectsbefore depicting the ob-jects themselves. Another proof, in the second state, belongingto the British Museum, shows corrections made with broad sweep-ing strokes of the brush to enrich the tonality of the print incertain places, and approximate its values and effects more closelyto those of the grisaille. These corrections are indubitably by themasters hand. It is even possible that he may have retouchedthe pla
. Rembrandt : his life, his work, and his time. l-most mechanical ; from the twoextremities of the coppertowards the middle, hehas drawn the shadowscast by various objectsbefore depicting the ob-jects themselves. Another proof, in the second state, belongingto the British Museum, shows corrections made with broad sweep-ing strokes of the brush to enrich the tonality of the print incertain places, and approximate its values and effects more closelyto those of the grisaille. These corrections are indubitably by themasters hand. It is even possible that he may have retouchedthe plate here and there, as, for instance, in several figures of thecentral group and the foreground. But the execution as a wholeis quite unworthy of Rembrandt, as Mr. Seymour Haden and have agreed. It is indeed unworthy even of Lievens,to whom the former critic is disposed to attribute it. We think withMr. Middlcton-Wakc that the coarse drawing, the ugly types, theclumsy, heavy handling, all reveal the touch of Van Vlict, and are. BUST PORTRAIT OF A YOUNG MAN. By Lievens (D. 26). RELATIONS WITH HIS PUPILS 157 instinct with tliat vulgarity which marks his other engravingsof this period. Such a production probably convinced Rembrandtthat it would be well to rely no further on such an interpreter, andwe believe this to have been the last plate on which he employedVan Vliet/ He was about to find disciples, Bol, for instance, whoproved more docile as interpreters, and whose more refined and subdeintellects better fitted them to grasp and to translate his ideas. But even at the period when he was surrounded by a numerousband of efficient scholars,Rembrandt neveradmittedthem to any very extensive [participation in his peculiar quality of hisgenius was not such as togain much by collabora-tion. He had none of thepractical talent which en-abled Rubens to profitopenly by the labours ofa trained body of assist-ants, each prepared for hisspecial task, in conjunction
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