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)

REMBRANDT VAN RHYN.

XXXV

In reference to his execution, such is its diversity,
that terms of art are insufficient to define it. In his
early works may be observed a neat and careful man-
ner of handling, accompanied by firmness and preci-
sion of touch. This period is followed by a more free
and dexterous use of the pencil, which, still progressing,
assumes at length a rapidity and expansion of opera-
tion that, with apparently little labour, produces the
most astonishing results breadth and squareness of
execution and brilliancy of effect, are the main charac-
teristics of his style, and in the attainment of these he
scrupled not to use whatever mode or thing might best
serve his purpose: sometimes he would apply the
stick of his brush to penetrate the dark hues while
moist, and develop the ground tint; again the palette
knife was found necessary to lay on masses of solid
colour as a ground for rich and transparent glazings;
and lastly, the palm of the hand appears to have been
sometimes applied in order to blend the tints together.
His colouring combines the richest hues of prismatic
brilliancy, so softened and blended by art as to pro-
duce the most harmonious effect, and as the pictures
by Rubens have with great propriety been compared
to clusters of flowers, so those by Rembrandt may, with
equal justice, be said to resemble a rich display of costly
gems. This perfection could only be attained by pre-
serving the utmost purity and brilliancy in his colours,
and by a skilful arrangement of the various hues, both
primitive and partial, warm and cold, so united by corres-
ponding tints as to present the most agreeable illusion,
always beautifully transparent even in the deepest