ssary
to apologise for the paucity of examples offered, for in a work of this
kind I have been obliged to confine myself to a certain brevity and
a limited number of illustrations; still I must do my publisher the
justice to say, he has not grudged any expense that would be the means
of doing credit to the great artist, the enlightened patron, or my
own reputation. Another circumstance has been elicited in preparing
this work for publication--the great interest that all have shown in
this humble attempt to make Rembrandt and his works more generally
appreciated. His genius and productions seem to be congenial to the
English taste. As a colourist he will ultimately lay the foundation of
the British School of Painting, and prove the justice of Du Fresnoy's
lines--

"He who colours well must colour bright;
Think not that praise to gain by sickly white."

Had it been possible, I would have given some examples of his colour as
well as of his chiaro-scuro; but I found his great charm consists more
in the tone of his colouring than its arrangement. I have mentioned in
the body of the work that Sir Joshua, certainly the greatest master of
colour we have yet had in England, frequently speaks ambiguously of many
of Rembrandt's pictures. I am therefore bound to quote a remark that he
makes to his praise. In his Memoranda he says--"I considered myself as
playing a great game; and instead of beginning to save money, I laid it
out faster than I got it, in purchasing the best examples of art that
could be procured, for I even borrowed money for this purpose. The
possession of pictures by Titian, Vandyke, Rembrandt, &c., I considered
as the best kind of wealth."

With these remarks I must now launch the result of my labours, having
had constantly in mind that feeling which an advocate has in a good
cause, not to expect, by all his exertions, to increase the reputation
of his client, but an anxiety not to damage it by his weakness. Before
concluding I must again revert to the interest that all my friends
have taken in the success of this publication; and though it may
appear invidious to particularise any, I cannot omit mention of that
enthusiastic admirer of Rembrandt, my young friend Mr. E. W. Cooke;
the Messrs. Smith, of Lisle-street, the connoisseurs and extensive
dealers in his Etchings; Mr. Carpenter, the keeper of the prints in
the British Museum; and, lastly, my young literary friend, Mr. Peter
Cunningham, who has, fr