. Rembrandt : his life, his work, and his time. he heavenly host,singing Glory to God in the highest —all these were elements suggestedby the text. But Rembrandt was the first so to blend them as todraw its full significance from the scene.^ The rich infinity of thechiaroscuro, and the eloquence of the landscape, to which he gives ^ The work was carried through with extraordinary vigour and rapidity, as we may seein the first state of this print. The sketch, a very free one, consisting only of a fewstrokes, merely indicates the places of the animals and figures in the foreground. GovertFlinck,
. Rembrandt : his life, his work, and his time. he heavenly host,singing Glory to God in the highest —all these were elements suggestedby the text. But Rembrandt was the first so to blend them as todraw its full significance from the scene.^ The rich infinity of thechiaroscuro, and the eloquence of the landscape, to which he gives ^ The work was carried through with extraordinary vigour and rapidity, as we may seein the first state of this print. The sketch, a very free one, consisting only of a fewstrokes, merely indicates the places of the animals and figures in the foreground. GovertFlinck, who afterwards treated this subject in a picture now in the Louvre, borrowed thegeneral arrangement of the composition and even many of its details. PAINTINGS INSPIRED BY THE BIBLE 149 greater prominence here than he had hitherto ventured upon, soimpress us that we seem to behold all nature trembling at the pro-clamation of an event that marks a new era in human history. Sideby side with broad dense spaces, vague and shadowy in the darkness. CcuiaCdi mLt/jtiuyTL ? >uc {uytUi^-n V^ritS a^a^is J PORTRAIT OF UVTENBOGAHRD, 1635 (B. 279). of nicjht, vigorous silhouettes, defined by gleams of :ht or intenseshadows, deUich themselves here and there, and mysterious forms arerevealed by dim reflections in the distance. Deep, velvety blacks areopposed to exquisitely delicate half-tones, and in the best impressionsof this plate every detail proclaims the intimate harmony between I^O REMBRANDT handling and conception only to be found in those supreme works inwhich the soul of the poet breathes through the technical perfectionof the artist. Three etchings of this period have still to be noticed. Theyare very unequal in merit, but are among the largest of Rembrandtsplates. All three are signed by him, but their authenticity has beenquestioned, some refusing to see Rembrandts hand in them at all,others supposing them to be in part by him. In considering themit will therefore be nece
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyo, bookyear1903
