h and cutting by its shining through the
papers at the side, and by the interruption of the rays of the diagram.
The light passing behind the figure, and partially thrown upon a skull,
gives an awe-striking appearance to the whole; while the flat breadth of
light below is left intentionally with the objects in mere outline. This
etching seems never to have been touched on from the first impressions
to the last--the first state is dark with excess of burr; the last is
merely the burr worn off.

Before quitting this subject, I wish to make a few remarks. It has been
said by some of Rembrandt's biographers, that he made alterations in his
prints for the sake of enhancing their value; but we know by experience
that every alteration he made, however it might be for the better,
struck off a certain portion of its money value. I believe his desire
to better the effect was the only incitement. Many were improved by his
working upon them after the first proofs, and many were deteriorated in
effect; but every additional line at the least struck off a guilder.
I have mentioned that in this etching the brilliancy of the light in the
window is enhanced by its being surrounded by a mass of dark; but the
same advantage would have accrued from its extension by a mass of half
light, as it would then have had a greater breadth of soft light. This
subject was a great favourite with the late Sir David Wilkie, and he
introduced this window in his picture of "The School;" but this being
a light composition, he treated it in the way I have mentioned above.
It was a common practice with Wilkie to adopt some part of a celebrated
work as a point to work from, and carry out his design upon this
suggestion. The spectator, by this means, was drawn into a
predisposition of its excellence, without knowing whence it had arisen.
Thus, in his "John Knox Preaching," there are many points of similarity
with the "St. Paul Preaching," by Raffaelle. I may also mention here
what we often perceive in the works of Rembrandt--in place of having the
light hemmed in by a dark boundary, it is spread out into a mass of
half-light; and the same treatment is adopted with regard to his extreme
darks, they communicate their properties to the surrounding ground.
These qualities are the foundation of breadth and softness of effect.

These observations may appear iterations of what has been mentioned
before--but truths get strengthened by being placed in new positions.
In