. Rembrandt : his life, his work, and his time. the handling tamer and less characteristic, and there are tracesof that triviality which becomes so marked in later works. The other pupil, Carel Fabritius, had his life been spared tofulfil the promise of his youth, might have won a place in the firstrank of Dutch painters. Born in 1624, he was killed in theflower of his age by the explosion of the powder-magazine atDelft, on October 12, 1654, while engaged on a portrait ofthe sacristan, Simon Decker. His evil fortune pursued him evenbeyond the grave, and his masterpiece, the fine portrait-group
. Rembrandt : his life, his work, and his time. the handling tamer and less characteristic, and there are tracesof that triviality which becomes so marked in later works. The other pupil, Carel Fabritius, had his life been spared tofulfil the promise of his youth, might have won a place in the firstrank of Dutch painters. Born in 1624, he was killed in theflower of his age by the explosion of the powder-magazine atDelft, on October 12, 1654, while engaged on a portrait ofthe sacristan, Simon Decker. His evil fortune pursued him evenbeyond the grave, and his masterpiece, the fine portrait-group ofthe Van der Yin family, perished in the fire at the BoymansMuseum in Rotterdam. The rare examples of his art nowextant show how greatly he had profited by Rembrandts teach-ing. The study of a head in the Rotterdam Museum is a worknot easily forgotten. Its impressiveness is due in some measureto the peculiarity of the type, with its piercing eyes and longblack hair, but still more to the energetic character of the treat-ment. Madame Lacroixs. LANDSCAPE WITH AN GIUI. About 1650 (U. 227). pretty study of a gold-finch chained to a feeding-trough, with its sunlitbackcjround, is a little o^emof light and brilliance, anda work of a very differentorder, the Sentinel in theSchwerin Museum, alsodated 1654 (the year ofthe painters death), atteststhe versatility and origin-ality of his genius. Bern-hard Fabritius, probablyCarels brother, if not actually Rembrandts pupil, was greatly in-fluenced by the master, as is evident from his essays in chiaroscuro,and the harmonious blending of tones in his best works, such, forinstance, as his St. Peter in the House of Coi^nelius, in the BrunswickGallery (dated 1653), and the so-called Baptism of St. John (1666)in the Habich collection at Cassel.^ As a teacher it was Rembrandts constant endeavour to makehis instruction so catholic as to fit his pupils to deal with everyvariety of subject. We know that Ferdinand Bol and GovertFlinck had been train
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