the only
light shed over the scene seems to descend from the lurid rays of the
star that stood over the place of the nativity, and guided them to the
spot. To acquire the greatest breadth, he has placed the Virgin and
child in the corner of the picture, and low down at the base, with the
same feeling that impelled Shakspere, in his Constance, to utter, "Here
is my throne, bid kings come bow to it." The presentation of incense
and precious perfumes, of diadems and jewels, by crowned heads and
venerable magi, not only removes the attendants to the background, but
even Joseph is represented as wrapt in thought, and viewing from the
shade the solemnity of the scene. The whole colouring of this work is in
accordance with this feeling--subdued, except in the smallest portions
of each hue, and these shine out like sparkling of jewels in a dark
recess.

The other work I would particularize is, "The Salutation of the Virgin,"
in the collection of the Marquis of Westminster. This picture, though
of small dimensions, yet exemplifies the peculiarity of Rembrandt's mode
of treatment. Being less decided in the chiaro-scuro and tone of colour
than the Wise Men's Offering, it is more difficult to describe; this
also arises from the exquisite weaving in of the hot and cold colours.
Having had it under my eye for a couple of months, I can easily recall
it on the least effort of the memory; but to bring it before the
spectator who has not seen it, and by no other art than the medium of
words, is as difficult as it would be to bring an harmonious arrangement
of music by a different means--one must be seen and the other heard to
render an explanation evident, which even then can only be understood
by connoisseurs in painting and music. I must therefore avail myself of
technicalities, which may seem out of place, where we are investigating
the general hue of the picture. It is divided into hot and cold colours,
which are brought in contact in the centre--Elizabeth being clothed in
red and yellow, the Virgin in blue, white, and cool grey. The hot colour
is carried across by the red sleeve of Elizabeth, and part of her
yellow shawl, and descends to the petticoat of a Negress who is removing
the grey mantle from the Virgin, and is further extended by a few
warm-coloured stones and touches in the pavement. The cool colour is
carried past the warm tone of Zacharias and the porch above him by means
of a grey green pillar, a peacock, and a few tou