ts
gleaming reflections and the wide white ruffles at neck and sleeve on
which the light blazes full, adds to the dignity and richness of the
effect. It is easy, however, to agree with Dr. Voll in ranking the
splendid portrait of an unknown man, of some five or six years later
date, far above the Krul portrait in artistic quality. Although
excessively warm in tone it has in addition to excellent construction
and a lifelike aspect a nobility of bearing that imposes itself directly
and irresistibly upon the spectator.

The portrait of Coppenol is not easily analyzed and Dr. Bode notes that
the likeness to the authenticated portraits of the famous drawing master
is not altogether convincing. Simpler and homelier in appearance than
the portrait of Krul, this solid and even heavy figure seated
comfortably in an armchair, the well-drawn hands busy with mending a
quill pen, the glance reflective, but hardly thoughtful, the mouth under
the small fair moustache slightly indeterminate, the head covered with
short hair, the smooth fat face three-quarters in light, presents at
first glance a commonplace aspect enough. But returning to it from the
Krul or even from the more masterly later portrait, the spectator is
certain to be deeply impressed by the quiet yet searching execution that
takes account of every significant change in plane or outline in the
large cheek and full chin. From the very commonplace of the pose and
type one gains a special pleasure, since the power of the artist to
irradiate an ordinary subject is the more clearly seen. The serene light
enveloping the good head and falling gently on the background brings no
thought of method or pigment to the mind, and the fleshlike quality of
the face and hands is as near imitation of reality as is possible within
the bounds of synthetic art. It is easy to agree with Dr. Bode's opinion
that the homely simple portraits painted in ordinary costume and under
ordinary conditions of light during Rembrandt's first three years in
Amsterdam are intellectually more worth while than the earlier more
personal works. The theory is that he turned them out in competition
with his contemporaries and eclipsed them on their own ground.

The portrait of "Rembrandt's Father in Indoor Dress," of the preceding
year (1631), is in a quite different manner, and closely resembles the
painting in Boston of an old man with downcast eyes, from the same
model. The bald head and scanty beard, the wrinkl