Rembrandt, his life, his work and his time . ng of the present , every old woman painted by Rembrandt and his pupils wasdubbed Rembrandts Mother, while other portraits received the noless apocryphal names of Rembrandts Gilder, Rembrandts Cook, masters portrait of himself in the Pitti Palace is christenedCount de Horn on an engraved reproduction by Golgano Cipriani ;the portrait of Rembrandts father was engraved by R. Savery underthe startling title of Mahomet, and on an old English print of theStandard-Bearer is inscribed the even more curious legend WilliamTell. The vigoro
Rembrandt, his life, his work and his time . ng of the present , every old woman painted by Rembrandt and his pupils wasdubbed Rembrandts Mother, while other portraits received the noless apocryphal names of Rembrandts Gilder, Rembrandts Cook, masters portrait of himself in the Pitti Palace is christenedCount de Horn on an engraved reproduction by Golgano Cipriani ;the portrait of Rembrandts father was engraved by R. Savery underthe startling title of Mahomet, and on an old English print of theStandard-Bearer is inscribed the even more curious legend WilliamTell. The vigorous but rather vulgar type of the so-called Sobieskiis not unlike that of the Standard-Bearer. He has the same massivehead and neck, the same blunt nose, the same fulness of flesh, thesame expression in the eyes, the same high colour. He holds agold-headed stick in his hand, and the main difference is in the attitudeand costume. But the fantastic high cap, the fur tippet, the red robe, Supposed Portrait of Sobieski (16^71 H ? ? ; \,.:. I. Printed by Chardon-Wittmann Paris (France) STUDIES OF OLD MEN 217 and the curiously wrought pendant that hangs from the gold chain onhis breast suggest a masquerade, and we have an instinctive feelingthat the wearer of this suspicious disguise is a sham Pole. A closerexamination convinces us that we have seen Rembrandt himselfwearing the heavy gold chain, the pearl earrings, and the ornamentin the cap, and finally, we are led to conclude with M. Mantz thatRembrandt himself wasthe original of this fancy Muscovite. Ad-mitting a certain pueril-ity in the disguise, wemay justly call attentionto the breadth of treat-ment in this powerfulportrait, and to thevigour of chiaroscuroand richness of colourso admirably suggest-ive of the character andexpression depicted. In addition to por-traits more or less inthe nature of studies,such as the above, alarge number of studiesin the stricter sense of the term belong to this period. We may instance the boldly
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
