Museum--in fact, one hundred and sixty pounds; though at the Verstolke
sale, where this print was purchased, the commission given amounted to
two hundred and fifty pounds: but when we consider that the collection
in the British Museum is now the finest in existence, no extra price
should be spared to complete the collection, especially as these works
are foundations for the sure improvement of the fine arts in the
country. The crown jewels are exhibited as a necessary appendage to the
rank of the nation--but there the value stops; now the works of art in
this country are not only valuable, but intrinsically beneficial. We
know that Charles the Second pawned the crown pearls to the Dutch for a
few thousands; but our collection of Rembrandts would realize in Holland
at least ten thousand pounds. This, of course, is a digression, and is
merely mentioned here to show how absurd the hue and cry is, that the
country is wasting money in purchasing a few specimens of fine art.
The "Portrait of Utenbogardus" is also excellent; and I may here notice
the large book, which Rembrandt was so fond of introducing, as a means
of a breadth of light and employment for his portraits. Now, to these
circumstances we are indebted for some of the finest works of both
Reynolds and Lawrence: amongst many, I might mention the large ledger in
Lawrence's "Portraits of the Baring Family," and Sir Joshua's picture of
the "Dilettante Society," and others. No doubt we find these means of
making up a picture both in Raffaelle and Titian; but it is rendered
more applicable to our own purposes when it is brought nearer to our own
times, especially when translated by so great a genius as Rembrandt.
The next fine work amongst his etchings is the "Portrait of Cornelius
Silvius," the head of which, being delicately finished with the dry
needle, is seldom seen very fine. This also has a book, and the hand
extended beyond the frame of the oval opening, upon which it casts its
shadow. This practice of representing objects nearer the eye than the
frame is certainly to be observed in some of the prints after Rubens and
others, and has descended to several common prints in our own time, but
ought not to be adopted, as bordering too much upon that art which may
be designated as a sort of _ad captandum vulgus_ display. As we shall
speak more particularly of Rembrandt's portraits when colour is
investigated, these works are merely mentioned as excellent specimens of
co