Identifier: rembrandthislife00mich (find matches)
Title: Rembrandt : his life, his work, and his time
Year: 1903 (1900s)
Authors: Michel, Emile, 1828-1909 Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London : Heinemann New York : Scribner
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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actual phenomenon engrossed his w^hole attention, and,faithful to his principles, his first thought was to reproduce the incidentas it might have taken place. Nature has evidently been consultedboth for the conception and details of the Dresden picture, which issigned, and dated 1635. The shape, the tawny plumage, and theflight of the bird were studied from a real eagle, either alive or stuffed,and a fat little Dutch boy of a vulgar type he happened to pickup, and who figures in several drawings, was his model for the ^ From the dimensions of this canvas, an old copy of which is in the Cassel Museum(No. 230 in the Catalogue), it seems probable that it was the Samson offered to Huygensin Rembrandts letters of January 12th and 27th, 1639, as an acknowledgment of thesecretarys services in connection with the two last pictures painted for the StatJiouder. ^ Siudien, p. 429. ^ Leochares (fecit) agidlam sentaitiein quid rapiat Gatiyiiiede et cui ferat, parcejitcmqiieunguibus, velper vesUin.
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^ ~ z -N MYTHOLOGICAL SUBJECTS 171 favourite of Jupiter.^ The child, who has been surprised on topof a tree, lets fall the cherries he was gathering, and his face, byno means beautiful at its best, is distorted by pain as the eagles clawsenter his flesh. We need not dwell on the plump contours revealed bythe disordered shirt, nor on the unspeakable fashion in which his terroris indicated. Noting these vulgarities of treatment, we might believethe work to be merely the broad jest of some northern Lucianmaking merry over Olympus, or a questionable anticipation of thecaricatures in modern opera bouffe. But nothing was farther fromRembrandts thoughts. Vosmaer, who expresses a somewhat ex-aggerated admiration for the modelling of the childs body, protestsagainst the idea of a parody, and Rembrandt himself sets asidethe notion by his preliminary drawing in the Dresden collection, inwhich he endeavours to characterise his subject, though with no ver)striking success. His incapacity for the t

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