trong stamp of genius; the
diffusion of the light also, by means of the papers on the chair, and
the few sparkling touches in the shadow, completely take this etching
out of the catalogue of common portraiture. The only work I can at
present think of that can be brought into competition with it, is the
full-length portrait of Charles the First, by Vandyke, in the Queen's
Collection, and which is rendered so familiar by Strange's admirable
engraving.

In entering into an examination of the execution of this print, it is
evident the whole effect is produced by means of the dry point, which
must have been a work of great labour. The best impressions are on India
paper; and I perceive, by referring to Gersaint's catalogue, that at the
sale of the Burgomaster's property, they only brought about eighteen
florins. The next portrait amongst his etchings that at all approaches
to the Burgomaster, is that of "Old Haring," which has always struck
me as one of the foundations for the style of Sir Joshua Reynolds in
portraiture. A fine impression of this work, on India paper, is more
like Sir Joshua than many prints after his own pictures; and with all
the high veneration I have for Reynolds, I cannot omit noticing how
very ambiguously he frequently speaks of this great genius. We know
his master, Hudson, had an excellent collection of Rembrandt's works,
and therefore he must have been early imbued with their merits and
peculiarities. This, however, we shall have a better opportunity of
noticing when we come to the treatment of colour. The next etching
in excellence I should mention is the "Portrait of John Lutma, the
Goldsmith," with the light background; this was afterwards softened
down by the introduction of a window. And here I must observe, that
though he often had light backgrounds to his prints, yet in his finished
pictures they were generally the reverse. The etching of "Ephraim Bonus,
the Jewish Physician," is also one of his most effective works; the
introduction of the balustrade, on which he leans descending the
staircase, removes it from the ordinary level of mere portraiture.
On the hand that rests upon the balustrade, is a ring, which in the
very rare impressions, from its being done with the dry point, prints
dark from the burr. These are invaluable, as in that state the whole
work has the fulness and richness of a picture. A very large sum was
given for the impression of the print in this state--now in the British