. Rembrandt : his life, his work, and his time. chsen, as witness to adeed, dated March 28, 1653, empowering one Frans de Coster to collectcertain sums of money due to Rembrandt. Dullaert, we learn fromHoubraken, painted interiors with figures; he was further apoet, a good musician, and an agreeable singer. Adriaen Verdoel,probably a pupil of Leonard Bramer, is said by Houbraken tohave also received instruction from Rembrandt. Like Dullaert,he was a poet, and, indeed, laureate of the Chamber of Rhetoricat Flushing. We may further mention Cornelis Drost, whoseMagdalene at the Feet of Chidst in
. Rembrandt : his life, his work, and his time. chsen, as witness to adeed, dated March 28, 1653, empowering one Frans de Coster to collectcertain sums of money due to Rembrandt. Dullaert, we learn fromHoubraken, painted interiors with figures; he was further apoet, a good musician, and an agreeable singer. Adriaen Verdoel,probably a pupil of Leonard Bramer, is said by Houbraken tohave also received instruction from Rembrandt. Like Dullaert,he was a poet, and, indeed, laureate of the Chamber of Rhetoricat Flushing. We may further mention Cornelis Drost, whoseMagdalene at the Feet of Chidst in the Cassel Museum is veryRembrandtesque in sentiment, and two other pupils or imitatorsof the master at this period, Jacob van Dorst, whose male portrait, ^ Oud-IIoIIa/id, Ktwstkritick der XVII. Eeuw^ by A. Bredius. * Like many of Rembrandts pupils, Levecq was a native of Dordrecht. Mr. G. Vethhas published a series of interesting articles dealing with him and his compatriots inOiid-IIolland. Levecq, as is well known, became Houbrakens <: GO O^ NICOLAS MAES AND CAREL FABRITIUS 291 in the Dresden Gallery, is redeemed from vulgarity by its softgolden tone, and G. Horst, the author of a Continence of Heerschop, born in 1620 or 1621, studied for a whileunder Claesz Heda, and entered Rembrandts studio about engraved, in imitation of the masters manner, a St. Jcronteand a Susanna at the Bath, by no means remarkable for theirdistinction. In the Amsterdam Museum there is Erichthonius byhim, a somewhat vulgar composition, and in the Cassel Gallery aCard-Player, a soldier with an ugly girl, treated in the manner of DirckHals. C. Renesse also received some lessons from Rembrandt about1649, 3^^^ we find that he made use of the masters studies of lionsfor two of his drawings, a St. Jerome dated 1652, in the TeylerMuseum, and a Daniel in the Lions Den in the Boymans inscription by his own hand on the back of the second drawinginforms us that he h
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