John Burnet

“ John, and Mary the wife of Cleophas, are standing by, with great expression of grief and resignation; whilst the Magdalen, who is at the feet of Christ, and may be supposed to have been kissing his feet, looks at the horseman with the spear with a countenance of great horror. As the expression carries with it no grimace or contortion of the features, the beauty is not destroyed. This is by far the most beautiful profile I ever saw of Rubens, or, I think, of any other painter. The excellence of its colouring is beyond expression. ”

“ Thou shalt arrest the violence of the weariless winds that arise to sweep the earth and waste the fields; and again, when thou so desirest, thou shalt bring back their blasts in return. 5Thou shalt cause for men a seasonable drought after the dark rains, and again thou shalt change the summer drought for streams that feed the trees as they pour down from the sky. Thou shalt bring back from Hades the life of a dead man. ”

“ In the landscapes of Rembrandt we meet with the same breadth, and hues of a deep tone, without being black or heavy; they are also painted with a full pencil, and rich juicy vehicle. Rembrandt, like Titian, Rubens, and others who were historical painters, seizes upon the great characteristics of nature without entering into the painful fidelity of topographical littleness; the same generalizing principles pervade every variety of subject. ”

“ The moon was a wheel 19 times the size of the earth, like a chariot-wheel with its felloe hollow and full of fire like that of the sun, lying oblique also like it, with one breathing-hole like the nozzle of a pair of bellows. ”

“ For the mighty Air drives him into the Sea, and the Sea spews him forth on the dry Earth; Earth tosses him into the beams of the blazing Sun, and he 10 flings him back to the eddies of Air. One takes him from the other, and all reject him. One of these I now am, an exile and a wanderer from the gods, for that I put my trust in insensate strife. ”

“ In a remark respecting the pictures of a rival, John Stephen Liotard, whose only merit was a strong likeness, with great neatness of finish, Reynolds says—"The high-finished manner of painting would be chosen if it were possible with it to have that spirit and expression which infallibly fly off when the artist labours; but there are transient beauties which last less than a moment, and must be painted in as little time; besides, in poring long the imagination is fatigued, and loses its vigour. You will find nature in the first manner—but it will be nature stupid, and without action. ”

“ The theory of Parmenides is the inevitable outcome of a corporeal monism, and his bold declaration of it ought to have destroyed that theory for ever. If he had lacked courage to work out the prevailing views of his time to their logical conclusion, and to accept that conclusion, however paradoxical it might seem to be, men might have gone on in the endless circle of opposition, rarefaction and condensation, one and many, for ever. It was the thorough-going dialectic of Parmenides that made progress possible. Philosophy must now cease to be monistic or cease to be corporealist. ”

“ If breadth constitutes grandeur, Rembrandt's works are exemplifications of mysterious sublimity to the fullest extent. This "darkness visible," as Milton expresses it, belongs to the great founder of the school of Holland, and to him alone. Flinck, Dietricy, De Guelder, and others his pupils, give no idea of it; their works are warm, but they are without redeeming cool tints; they are yellow without pearly tones; and in place of leading the eye of the spectator into the depths of aërial perspective, the whole work appears on the surface of the panel. ”

“ This was the cause of Rembrandt's captivating excellence; neither a combination of Coreggio and Titian, nor of Murillo and Velasquez, but as if all the great principles of chiaro-scuro and colour were steeped and harmonized in the softening shades of twilight; and this we perceive in nature, producing the most soothing and bewitching results. These digressions may, however, come more properly into notice when Rembrandt's principles of colour come under review. ”

“ It is always the problem of change and decay that first excites the wonder which, as Plato says, is the starting-point of all philosophy. Besides this, there was in the Ionic nature a vein of melancholy which led it to brood upon the instability of things. Even before the time of Thales, Mimnermos of Kolophon sings the sadness of change; and, at a later date, the lament of Simonides, that the generations of men fall like the leaves of the forest, touches a chord already struck by the earliest singer of Ionia. ”

“ Rembrandt, who, it is said, was never at Venice, might, notwithstanding, have seen, without going out of his country, many pictures of the Venetian school. Besides, he was about thirty years younger than Rubens, whose works were a general object of study when Rembrandt was forming himself. But, however it be, there is no doubt, for the colouring and chiaro-scuro, Rembrandt is one of the most able artists that ever lived. Nothing can exceed the beauty, freshness, and vigour of his tints. They have the same truth, high relish, and sapidity as those of Titian. ”

“ For what thought or wisdom have they? They follow the poets and take the crowd as their teacher, knowing not that there are many bad and few good. For even the best of them choose one thing above all others, immortal glory among mortals, while most of them are glutted like beasts. ”

“ An instance occurs to me of two painters (Rembrandt and Poussin) of characters totally opposite to each other in every respect, but in nothing more than in their mode of composition and management of light and shadow. Rembrandt's manner is absolute unity; he often has but one group, and exhibits little more than one spot of light in the midst of a large quantity of shadow: if he has a second mass that second bears no proportion to the principal. ”

“ That is how the heavenly bodies came sometimes to be explained as ignited clouds, an idea which seems astonishing to us. But we must bear in mind that science inevitably and rightly began with the most obvious hypothesis, and that it was only the thorough working out of this that could show its inadequacy. It is just because the Greeks were the first people to take the geocentric hypothesis seriously that they were able to go beyond it. Of course the pioneers of Greek thought had no clear idea of the nature of scientific hypothesis, and supposed themselves to be dealing with ultimate reality. ”

“ There are none of those shadows "hanging in mid air," which constitute so captivating a charm in the great magician of chiaro-scuro; not only are objects of solidity surrounded by softening obscurity, but the contiguous atmosphere gives indications of the influence of the light and shade. To these principles the art is indebted for breadth and fulness of effect, which constitute the distinct characteristics between the early state and its maturity—and to Rembrandt we owe the perfection of this fascinating quality. ”

“ It must, however, be remembered that the world was already very old when science and philosophy began. In particular, the Aegean Sea had been the seat of a high civilisation from the Neolithic age onwards, a civilisation as ancient as that of Egypt or of Babylon, and superior to either in most things that matter. It is becoming clearer every day that the Greek civilisation of later days was mainly the revival and continuation of this, though it no doubt received certain new and important elements from the less civilised northern peoples who for a time arrested its development. ”

“ No painter has gained so much celebrity by his etchings as Rembrandt, both on account of their number and excellence. Claude, Parmegiano, Berghem, Paul Potter, Adrian Ostade, and others, have all been dextrous in using the etching point. Rembrandt's performances have all the interest and beauty of finished works; his making use of the dry point, which was unknown before his application of it, gives his etchings that richness and softness peculiar to himself, for the process in the hands of others has never since been attended with the same triumphant success. ”

“ Behold the sun, everywhere bright and warm, and all the immortal things that are bathed in heat and bright radiance. [549] Behold the rain, everywhere dark 5 and cold; and from the earth issue forth things close-pressed and solid. When they are in strife all these are different in form and separated; but they come together in love, and are desired by one another.
For out of these have sprung all things that were and are and shall be—trees and men and women, beasts and birds 10 and the fishes that dwell in the waters, yea, and the gods that live long lives and are exalted in honour. ”

“ I am, indeed, much inclined to believe that it is a practice very advantageous and improving to an artist, for by this means he will acquire a new and higher perception of what is great and beautiful in nature. By candlelight, not only objects appear more beautiful, but from their being in a greater breadth of light and shadow, as well as having a greater breadth and uniformity of colour, nature appears in a higher style, and even the flesh seems to take a higher and richer tone of colour. ”

“ The general theory of these lives is clear, and it is impossible to doubt that in substance it belongs to the very beginning of the school. It is to this effect. We are strangers in this world, and the body is the tomb of the soul, and yet we must not seek to escape by self-murder; for we are the chattels of God who is our herdsman, and without his command we have no right to make our escape. ”

“ And speaking of the large historical work he painted for the Empress of Russia, he adds—"Nothing can exceed the brilliancy of light—the force and vigorous effect of his picture of 'The Infant Hercules strangling the Serpent;' it possesses all that we look for and are accustomed to admire in the works of Rembrandt, united to beautiful forms and an elevation of mind to which Rembrandt had no pretensions. The prophetical agitation of Tiresias and Juno, enveloped in clouds, hanging over the scene like a black pestilence, can never be too much admired, and are, indeed, truly sublime." ”

“ Empedokles went on to show how the four elements, mingled in different proportions, gave rise to perishable things, such as bones, flesh, and the like. These, of course, are the work of Love; but this in no way contradicts the view taken above as to the period of evolution to which this world belongs. Love is by no means banished from the world yet, though one day it will be. At present, it is still able to form combinations of elements; but, just because Strife is ever increasing, they are all perishable. ”

“ All we can safely say is that, the more primitive any Pythagorean doctrine appears, the more likely it is to be that of Pythagoras himself, and all the more so if it can be shown to have points of contact with views which we know to have been held in his own time or shortly before it. In particular, when we find the later Pythagoreans teaching things that were already something of an anachronism in their own day, we may be pretty sure we are dealing with survivals which only the authority of the master's name could have preserved. ”

“ Lawrence is like a rush of water to counteract his sufferings, and give him a confidence in his future reward, which the spectator fully enters into. These are the triumphs that appropriate chiaro-scuro and colour achieve for their introduction into historical works.
That we may more clearly perceive the rank which Rembrandt holds as a colourist, I shall endeavour to investigate the peculiar qualities that characterise the several manners of Titian, Rembrandt, and Reynolds—the one living before, the other after our artist, and of course confining the investigation to portraiture alone. ”