. Rembrandt and his works: comprising a short account of his life; with a critical examination into his principles and practice of design, light, shade, and colour. Illustrated by examples from the etchings of Rembrandt . , the Meuse and the Waal, thescenes of most of his pictures, exhibit that luminous reflection and unsteadyappearance peculiar to his works. I mention these matters, not to prove thatthese great observers of nature followed implicitly what was presented totheir observation, but to show that when even copying the peculiar characterof natural phenomena, it was done with a strict
. Rembrandt and his works: comprising a short account of his life; with a critical examination into his principles and practice of design, light, shade, and colour. Illustrated by examples from the etchings of Rembrandt . , the Meuse and the Waal, thescenes of most of his pictures, exhibit that luminous reflection and unsteadyappearance peculiar to his works. I mention these matters, not to prove thatthese great observers of nature followed implicitly what was presented totheir observation, but to show that when even copying the peculiar characterof natural phenomena, it was done with a strict reference to the harmony oftheir works, and made subservient to one great broad principle. In a flatcountry like Holland, especially where a low horizontal line is chosen, weperceive a peculiar feature takes precedence of everything else—that is,the quick diminution of those lines which run to the point of sight, whilstthe lines running parallel with the base line of the picture retain theirlength in a greater degree; hence the accumulation of these lines, such asthe division of fields, &c, gradually shade down the distant parts of thelandscape, while the foreshortened lines assume the appearance of so many. CHIARO-SCURO. 47 spots, or dark touches. In Rembrandt we perceive this character faithfullyrendered, and also, assisted by his judicious management, the lines, such asthe banks of canals or roads, as they reach the foreground, are strongly pro-nounced, by either bringing them in contact with strong light, or givingthem breadth and force by enriching them with broken ground, reeds, ordark herbage. The objects that stand up, such as trees, &c, are enlargedand darkened as they approach the eye; thus not only enabling them tokeep their situation, but also to assist the perspective effect in the highestdegree. His small landscape etchings illustrate these remarks, and are fullof the touches of truth and nature; and where objects are wanting to givevariety and interest, he int
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