though we see always, on a
general principle, light upon light and dark on a dark ground, yet we
perceive inroads made upon each by their several antagonists; hot and
cold colours darting into each other's provinces. This practice is also
conducive to breadth, for tints of different hues may be interspersed
both in the darks and lights, provided they are of equal strength
with those adjoining them. We may observe in Rembrandt--that those
colours introduced into the shadows are more under the influence of
indistinctness, while those in the light are brighter; this is quite
a deviation from the Roman school, where the colours are pronounced
so harshly as to set the influence of chiaro-scuro at defiance.

Barry, in his sixth lecture, speaking of colours, says--"The happy
effects of those sure and infallible principles of light and colour
which Rubens had so successfully disseminated in the Netherlands, were
soon found in every department of art. Landscapes, portraits, drolls,
and even the dullest and most uninteresting objects of still life,
possess irresistible charms and fascination from the magic of those
principles. Rembrandt, who, it is said, was never at Venice, might,
notwithstanding, have seen, without going out of his country, many
pictures of the Venetian school. Besides, he was about thirty years
younger than Rubens, whose works were a general object of study when
Rembrandt was forming himself. But, however it be, there is no doubt,
for the colouring and chiaro-scuro, Rembrandt is one of the most able
artists that ever lived. Nothing can exceed the beauty, freshness, and
vigour of his tints. They have the same truth, high relish, and sapidity
as those of Titian. Indeed, they have the closest resemblance to the
hues of Titian when he had Giorgione most in view. There is identically
the same attention to the relievo and force obtained by his strong
shadows and low deep tones; and his chiaro-scuro, though sometimes
too artificial, is yet often (particularly in contrasted subjects)
productive of the most fascinating effects. In the tones of Rembrandt,
though we recognise the same richness and depth as in Giorgione and
Titian, yet there is a suppleness and lifelike character in his flesh
unlike either, both from his manner of handling, and also his hot and
cold tints being less blended."

The late Sir David Wilkie, in one of his letters, speaking of the death
of Sir Thomas Lawrence, says--"I do not wonder at the imp