. Rembrandt : his life, his work, and his time. DIANA 1631 (B. 20l). THE GOOD SAMARITAN 81 scholars. The execution of the painting is a further proof of itspriority, and, Hke Dr. Bredius,^ we consider its analogies with that ofthe Pieseiitation in the Temple so strong as to rank it among theworks of 1631 or thereabout. It must, however, be borne in mind that, in Rembrandts case, such. THF GOOD SAMARITAN. 1633 (B. 90). chronological problems are often delicate matters. In his work as a whole we shall find him gaining steadily in breadth and freedom as his talent developed ; yet we
. Rembrandt : his life, his work, and his time. DIANA 1631 (B. 20l). THE GOOD SAMARITAN 81 scholars. The execution of the painting is a further proof of itspriority, and, Hke Dr. Bredius,^ we consider its analogies with that ofthe Pieseiitation in the Temple so strong as to rank it among theworks of 1631 or thereabout. It must, however, be borne in mind that, in Rembrandts case, such. THF GOOD SAMARITAN. 1633 (B. 90). chronological problems are often delicate matters. In his work as a whole we shall find him gaining steadily in breadth and freedom as his talent developed ; yet we shall occasionally meet with examples 1 Nederlandsche Spectator, 1889, No. 19 : Old Masters in Royal Academy, 1SS9. G 82 REMBRANDT bearing dates that seem almost incredible, taken in conjunction withother sio-ned and dated works of the same year. Such anomalies maybe variously explained. Many of his canvases remained for a longtime in his studio, either because he delayed the finishing touches, orbecause purchasers were slow in making up their minds. In eithercase he probably left them unsigned till finally disposed of. Otherswere certainly re-painted, wholly or in part, after considerableintervals, and bear distinct traces of successive re-touching. Othersagain, though carried out more or less continuously, are very unequalin execution, the touch being in some parts minute and careful, in
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