would otherwise have illuminated the clouds; while the skies of Cuyp,
receiving the coruscations arising from the meeting of the two rivers,
the Meuse and the Waal, the scenes of most of his pictures, exhibit
that luminous reflection and unsteady appearance peculiar to his works.
I mention these matters, not to prove that these great observers of
nature followed implicitly what was presented to their observation,
but to show that when even copying the peculiar character of natural
phenomena, it was done with a strict reference to the harmony of their
works, and made subservient to one great broad principle. In a flat
country like Holland, especially where a low horizontal line is chosen,
we perceive a peculiar feature takes precedence of everything else--that
is, the quick diminution of those lines which run to the point of sight,
whilst the lines running parallel with the base line of the picture
retain their length in a greater degree; hence the accumulation of these
lines, such as the division of fields, &c., gradually shade down the
distant parts of the landscape, while the foreshortened lines assume
the appearance of so many spots, or dark touches. In Rembrandt we
perceive this character faithfully rendered, and also, assisted by his
judicious management, the lines, such as the banks of canals or roads,
as they reach the foreground, are strongly pronounced, by either
bringing them in contact with strong light, or giving them breadth and
force by enriching them with broken ground, reeds, or dark herbage. The
objects that stand up, such as trees, &c., are enlarged and darkened
as they approach the eye; thus not only enabling them to keep their
situation, but also to assist the perspective effect in the highest
degree. His small landscape etchings illustrate these remarks, and are
full of the touches of truth and nature; and where objects are wanting
to give variety and interest, he introduces masses of shadow, or dark
clumps of trees, leaving other parts in mere outline. The love of his
art caused him to be always provided with the materials for drawing and
etching, so that we have these transcripts of nature fresh from the
fountain head. We know this from an anecdote mentioned by Daulby. In
describing the etching of "Six's Bridge," in his catalogue, he says,
"This plate was produced by an incident which deserves to be related.
Rembrandt lived in great intimacy with the Burgomaster Six, and was
frequently at his countr