14. NATIONAL GALLERY.
hands are in the half-light only. The most conspicuous colours are vivid
brown and red. The features, with the grey beard and moustache,
though heavily painted, are well defined, and look almost as if chiselled
by the brush, while the effect is enhanced by the greenish tint of the
colouring. The face, and the dark eyes in particular, are full of ani¬
mation. The whole work is indeed a marvel of colouring, expression, and
poetry'. — Vosmaer.
273. Sir Godfrey Kneller (portrait painter of Liibeck, who stud¬
ied under Rembrandt, and in Italy, and became court-painter in
London; d. 1723), Portrait of John Smith, the engraver. — *45.
Rembrandt, The Woman taken in adultery, dated 1644.
'The colouring of the 'Woman taken in adultery' is in admirable
keeping. A subdued light, an indescribable kind of glow, illumines the
whole work, and pervades it with a mysterious harmony. The idea of
the work is most effectively enhanced by the magic of chiaroscuro ....
The different lights, the strongest of which is thrown on the yellow robe
of the woman, on the group on the stairs, and on the gilded altar, are
united by means of very skilful shading. The whole of the background
is bathed in dark but warm shades'. — Vosmaer.
732. A. van der Neer, Canal scenes (daylight scenes, and can¬
vases of so large a size as this, were rarely executed by Van der
Neer). W. van de' Velde, 150. Fresh gale; 149. Calm. 199.
Schalcken, Lesbia weighing jewels against her sparrow (Catullus,
Carmen iii); 72. Rembrandt (?), Landscape. — *52. Fan Dyck,
This portrait is generally said to represent Gevartius, the friend of
Rubens; and some authorities miintain, with great probability, that it
was painted by Rubens, and not by Van Dyck.
Rubens, 67. Holy F'amily; *66. Autumnal landscape, with a
view of the Chateau de Stein, near Malines, the painter's residence ;
279. Horrors of War, coloured sketch for a large picture now in the
Pitti Palace at Florence; 38. Rape of the Sabine women. 628.
Ruysdael, Landscape with waterfall; 679. Ferdinand Bol (pupil
of Rembrandt, d. 1681), Portrait, dated 1652; *627. Ruysdael,
Landscape with waterfall; *685. Hobbema, Landscape, showery
weather; 57. Rubens, Conversion of St. Bavon, reduced replica of
the painting in the church of St. Bavon at Ghent. ■—- 194. Rubens,
Judgment of Paris.
Repetitions on a smaller scale exist in the Louvre and at Dresden.
The London picture, though possibly not painted entirely by Rubens'
own hand, was certainly executed under his guidance and supervision.
157. Rubens, Landscape. — *672. Rembrandt, His own por¬
trait, dated 1640.
'If Rembrandt has often chosen to represent himself in more or less
eccentric costumes, he has here preferred to pose as a man of quiet and
dignified simplicity .... The portrait is admirable in design and tone.
A delicate and warm light shines from above on part of the forehead,
cheek, and nose, and imparts a golden hue to the white shirt collar,
while a stray beam brings the fingers into like prominence. The execution
is excellent, the effect of light delicate and vigorous'. — Vosmaer.
157. Van der Neer, F>ening scene, with figures and cattle by
Cuyp, whose name is inscribed on the pail. Teniers the Younger,
158. Boors regaling; 154. Music party. 197. Dow, His own por¬
trait. Rembrandt, 111. Portrait of himself at an advanced age;