can ftand in competition with thofe of Rembrandt. The mellow brilliancy of his lights, the breadth and harmony of his middle tints, and the rich depth of his fhadows, give to his pictures an effect which feems to be the work of enchantment. This however is not to be confidered as merely the refult of light and fhadow, but must be attributed to a deeper knowledge of the principles of his art. In the compofition of his pictures he has feldom been equalled, never excelled. Like a fimple narrative, which illuftrates fome one important truth, his works have, in general, no diftracting epifodes, no useless appendages; all appears to converge to one point, and to bring forth the intention of the artift in the cleareft view. His drawing of the human figure, though remote from elegance, is often marked with the character of nature; of fuch nature at least as was familiar to his eye; and on that account feldom fails to intereft the fpectator. His expreffion of the paffions is always energetic; but the fubftratum, or countenance on which they are expreffed, frequently gives them a grotefque and extravagant effect, which is apt, even in the moft ferious fubjects, to move the rifibility of the fpectator. To thefe qualifications he added a practical knowledge of his art, which enabled him to unite the moft accurate touch with the utmost rapidity of execution. His tints are placed with fuch harmony and juftnefs, that he was never obliged to mix them fo as to lofe their flower and freshness, but he artfully paffed over them again to unite the lights and fhades, and foften thofe colours which might be too crude or brilliant. All is warm and mellow in his works. Like many other eminent painters, he adopted at different periods of life, a different ftile. His first was more highly finished, and is beautifully exemplified in the productions of his difciple, Gerard Douw. He delighted in great oppofition of light and shadow, and carried his knowledge of the chiaro-fcuro to the utmost extent. It is faid that the room in which he ufually painted, painted, was fo difpofed as to admit only a ftrong light, and that he caufed this vivid ray to ftrike upon that part only which he was defirous of bringing out with the greateft effect; that, on the contrary, when he would have his grounds light, he spread behind his model a cloth of the colour of the ground which he chofe, and which partook of the fame ray that enlightened the head; but he had refources in his genius beyond the limited effect of a light admitted into a dark chamber, and beyond any idea which fuch a light could fuggest to him. His principles are not to be explained by any particular rule of practice; but are the result of general obfervations, made in taking nature for his guide, whom he regarded with a different eye than the generality of artifts. Such is the eafe and freedom apparent in his works, that he may be faid to have realized that excellence which Lodovico Carracci profeffed to have been aiming at during his whole life; the art of producing, with very little trouble, that which should have a striking effect. The talent of painting, as poffeffed by Rembrandt, was like a fharp weapon in the hands of a warrior, but between the power of excelling, and the proper application of that power, there seems to be no neceffary connexion. On the contrary, the distinction between tafte and genius is perhaps more fubftantial than has generally been imagined, and a great part of the productions in what are called the fine arts, are standing examples, that fertility of invention, and force of expreffion, have not always been accompanied by a just and accurate tafte. Those painters who, like Salvator Rofa, Spagnoletto, Caftiglione, and Rembrandt, have been, in a great degree felf-taught, are all of them, what, in the language of the art, are denominated mannerifts. What they have undertaken to reprefent, they reprefent well, according to the preconceived ideas which they have formed of it, and which the candour of the observer concedes to them, in confideration of their other excel lencies. lencies. The efforts of a vigorous fancy, embodied to the eye in the most striking manner, and under the guidance of a refined tafte, would go near to form a perfect artist; but the annals of painting fuggeft not the name of a fingle profeffor who can justly boaft of having united in himself thefe excellencies. Imperfec. tion is the lot of humanity, and the palm of excellence is due, not to kim who poffeffing great powers, mifapplies them to inferior or unworthy purposes, nor to him who, directing himself by juft principles, has not ftrength to attain the object which he has judgment to distinguish, but to the man who unites, in the greatest degree, the power of action with the rectitude of purpole. The genius of Rembrandt, as an historical painter, will be more accurately determined by comparing it with that of a great Italian master, whom he refembled in many ftriking particulars. The fame grandeur of compofition, the fame powerful effect of light and fhadow, the fame freshness of tints, which diftinguish the works of Titian, and which the hand of time rather improves than impairs, characterize alfo the productions of Rembrandt. Minute criticifm might perhaps point out fome diftinctions between them. The pencil of Rembrandt had more fpirit, that of Titian more foftness. The works of the former require to be seen at a certain diftance, thofe of the latter please from whatever point they are viewed; yet, upon the whole, the Dutchman need not fhrink from a comparison with the Venetian. But when the productions of thefe artists are estimated by the ftandard of just criticism, what an aftonishing difparity is perceived between them! The human form, under the plaftic hands of Titian, bears the character of a fuperior race. mufcular strength of manly age, the juft proportions and delicious glow of female beauty, and the interefting attitudes and rofy plumpness of infancy, excite appro The bation bation which will be as unchangeable as the principles on which it is founded. But furely fome malicious fprite broke in upon the dreams of Rembrandt, and prefented to his imagination, as the model of beauty, the perverfe caricature of humanity, which, differently modified, appears in all his works. On this, the favourite object of his idolatry, he lavifhed all the graces of his exquifite pencil, and, infatuated by her allurements, fuffered himfelf to be feduced from that fimplicity of unadulterated nature, which is reflected to fo much advantage in the mirror of art. IT FITZALAN. T was after fun-fet, one evening in the decline of autumn, when, in confequence of a letter which he had juft received, fummoning him to attend the deathbed of a much-loved friend, the protector of his infancy, Fitzalan, after having most affectionately embraced and bade adieu to his beloved wife Edith, and his infant Edwin, mounted his fteed and departed from his dwelling he had many miles to travel; and a great part of the road he was to purfue, lay over a bleak and dreary heath of immenfe extent. He quitted his home, though only for a fhort time, with extreme reluctance; and, notwithstanding his hafte, while it remained in fight, often stopped and looked back to catch another glimpfe of the place which contained all that he held dear. Edith, and her little boy, followed him to the gate; waved their hands to him while he remained vifible, and when the distance, and the advance of night hid him from them, returned to the house in a melancholy mood. Edith trembled for her husband, though fhe knew not why: the tears ftole fast down her cheeks, and little Edwin, feeing his mother weep, clafped his arms round her neck-hid his head in her bofom, and mingled his tears with hers. Fitzalan Fitzalan having at length loft fight of the dear objects that retarded his progrefs, purfued his journey with all poffible celerity in a few minutes he entered upon the heath, across which lay the road he was neceffitated to take :-not a fingle houfe was to be feen before him-not a fingle traveller appeared, whose presence and converfation might have beguiled the tedious way he had to go. It was now night, and the moon had not yet rifen. The chilling wind, that howling mournfully through the trees, scattered their fhrivelled yellow foliage upon the ground; the gloomy, fpectre-like appearance of every furrounding object; the late parting from his wife and child, and the painful nature of the duty he was then haftening to perform, all contributed to fill the bofom of Fitzalan with the most melancholy reflections. "It is now fixteen years ago," faid he, to himself, with a sfigh, "fince my brave and tender father difappeared on this heath; flain, most probably, by the fword of fome vile affaffin! Would to God that I could avenge his death! but, alas, I know not his murderer! The venerable fir Edmund too, the friend, the guardian of my youth; he whofe liberality preserved my independence, when the rapacious Fitzurban wrested from me my paternal domains, he will, perhaps, ere I can arrive at his castle, be no more! I fhall not have the fad fatisfaction of clofing thofe eyes that were ever turned upon me with the tendereft affection. I fhall not receive the bleffing of him who delighted to contribute to my happinefs: but yet, all is not loft.-My faithful, my lovely Edith, my little Edwin, ftill remain; and, while I poffefs them, I cannot be miferable." In this manner Fitzalan gave vent to his meditations. He had now travelled over above one-third of the heath, when he imagined that he heard, at a great diftance, as the gale wafted the found, the trampling of horfes feet he stopped for a moment, in hopes that fome one might be journeying the fame way with him felf: |