Company. In the Cassel
Museum.

NICHOLAS BRUYNINGH

_From a portrait by Rembrandt_]

If we compare it with the badly named "Laughing Cavalier" of Franz Hals
we see clearly enough the difference between drama and realism. Drama as
defined by Robert Louis Stevenson consists not of incident but of
passion that must progressively increase in order that the actor may be
able to "carry the audience from a lower to a higher pitch of interest
and emotion." This also defines Rembrandt's painting at all periods. As
one approaches the human face in his pictures one becomes aware of an
emotional quality that is irresistible, and in a portrait like that of
Bruyningh the emotional quality is almost isolated from incident or
detail. It is the great moment of the third act when the audience holds
its breath.

"The Standard Bearer" is not accepted by Dr. Bode as a fine work or even
as certainly original, the version of the same subject in Baron G. du
Rothschild's collection having made much deeper an impression upon him.
The Cassel version is nevertheless a work of great distinction, the
grave and beautiful face and shining armor looking out of a luminous
atmosphere that has more of the Rembrandtesque quality than many
authenticated works of Rembrandt's riper period. The work is engaging,
personal, striking, and if not entirely great certainly possessed of
many of the qualities of greatness.

While the Cassel collection does not contain any of the superb self
portraits of Rembrandt's later years, the one example in this kind
having authority without great interest, it does include one biblical
picture of unusual importance belonging to the year 1656, the "Jacob
Blessing his Grandchildren," which is, however, unfinished. The square,
direct brush strokes suggest those of Hals, the drapery is thinly
painted with a flowing medium, the black shadows on the face of Jacob
cut sharply into the half tones, there is little discrimination in the
textures and the background comes forward. But the faces of the children
are charming in characterization, recalling the simple tenderness of the
"Girl Leaning Out of the Window" at Dulwich, one of the most enchanting
embodiments of youth ever achieved by Rembrandt, and the woman,
Israelitish in type, with large eyes and features rather abruptly
defined, is an attractive attempt to realize feminine beauty, a task in
which Rembrandt was never dexterous, however.

Of the two landscapes, that with th