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)

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THE LIFE OF

corner of the picture. This addition being by no
means agreeable to the persons for whom the work
was designed, they requested that it might be oblite-
rated; this, however, he declined doing, and preferred
rather to keep the picture than expunge the object.
The same sentiment which gives such interest and
value to his portraits, is equally diffused throughout
his historical and other subjects, with the addition of
the most perfect unity of parts and propriety of ordon-
nance, so that every individual present is not only
essential to the composition, but also necessary to the
passing scene; in reference, therefore, to these quali-
ties, it is not too much to assert that, among the whole
catalogue of eminent painters, none embodied in his
subjects greater strength of expression, both in look
and gesture, than Rembrandt; and, however much his
glowing colour and the matchless magic of his chiaro
scuro may tend to excite admiration, it is the presence
of this soul of art (expression) which constitutes the
chief excellence in his works, and must ever claim our
unbounded applause.
His landscapes, which are the rarest of his works,
owe much of their beauty to the skilful adaptation of
this principle. Large portions of his scenes are gene-
rally veiled in broad shadows and strong half tints,
relieved partially but vividly with streams of light
floating over the surface of the middle ground, or
flickering tenderly on some prominent object. These
estimable productions of his pencil may rather be
styled reminiscences of nature in her grandest forms
than exact views of any parts of Holland.