Identifier: rembrandthislife01mich (find matches)
Title: Rembrandt, his life, his work and his time
Year: 1894 (1890s)
Authors: Michel, Emile, 1828-1909 Simmonds, Florence Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Hermanszoon van Rijn, 1606-1669
Publisher: London : W. Heinemann
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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iking down intos the tomb ; the pallid corpse rising slowly,in amazement at the splendour that has penetrated his cerements ; thegestures of the bystanders, who draw back, dazzled by the blaze ofglory, or press forward in transports of delight as the dead man moves.Never was the divine work of resurrection so majestically rendered ! 2We have mentioned the Descent from the Cross painted for theStathouder in 1633. Rembrandt was evidently pleased with thecomposition, for he reproduced it almost immediately in a largeetching, very elaborately and delicately executed, which he also dated 1 These accessories also appear in De Wets picture in the Hermitage, and in Lievensplate. 2 Alfred Tonnelle, Fragmetits sur lArt et la Philosophie, p. 177. Paris, i860. THE ETCHING OF THE DESCENT FROM THE CROSS 201 1633, signing it with his name, spelt without the d, as we find iton several works of this period. Unhappily, the ground was soimperfectly prepared, that the work suffered greatly in the process
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ECCE HOMO. 1636 (B. 77). of biting, and was even completely destroyed in parts. Only threeimpressions were taken ; the time and trouble bestowed on the platehad proved to be labour in vain, and Rembrandt, who was so fullyoccupied with other undertakings, shrank from a repetition of the 202 REMBRANDT task. But though he himself abandoned the enterprise, it is veryconceivable that he should have commissioned another to carry itout under his direction, hoping to derive some profit from the plate.The originality of the conception, and the authors reputation, ensuredit a favourable market. Saskias cousin, Hendrick van Uylenborch,undertook the publication of this second print, the dimensions ofwhich differed but little from those of the first. It was inscribedwith the publishers name, and with that of Rembrandt, this timecorrectly spelt, and followed by the words : cum privil. in assertionof the rights he had reserved to himself in the undertaking. Themost cursory comparison of this copy wi

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