Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 7) (London: Smith and Son, 1836)

THE LIFE OF

xiv
refreshment, set off full speed, and arrived safely at the
inn at Leyden, where they had been accustomed to
stop : here the young painter, who had never quitted
his seat from “ the moment he entered, hastily alighted,
“ and without waiting to answer any interrogatories,
“ hurried home to communicate his good fortune to
“ his parents.”
He had now learnt a secret which had, perhaps,
been hitherto kept from his knowledge, and felt, for the
first time, that fortune and fame were within his reach,
and depended only on his own exertions to achieve
them. The neighbourhood of the Rhine was no longer
a proper locality for the successful pursuit of his pro-
fession, and he therefore quitted his natal abode about
the year 1628, and established himself at Amsterdam.
There were then living in the principal cities of
Holland several wealthy amateurs, who were ever
ready to encourage talent, and augment their collec-
tions ; among these, one of the most eminent was the
distinguished Burgomaster Six, who appears to have
been one of the earliest and most substantial patrons
of the artist. Sanctioned by such a protector, and
seconded by others whose names he afterwards immor-
talized by his pencil or burin, he could hardly fail
having an abundant supply of orders, both in por-
traiture and history. From this period Rembrandt
may be said to commence his public appearance, and
the Writer therefore conceives that the life of the
painter will now be best developed and illustrated by a
brief notice of his principal productions, given con-
secutively, according to their dates. This method will