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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able, on which the corpse is laid obliquely. Theprofessor holds up one of the tendons of the left arm with a pair offorceps, and seems to be enforcing his demonstration by a gesture ofhis left hand. Seven students,1 all men of mature age, are grouped tothe right round the corpse, at whose feet lies a great open volume.2All are bareheaded, and all, like their master, dressed in black, exceptthe man nearest to Tulp on the right, who wears a dress of neutraltint, inclining to violet. Broad white collars, stiffened or hangingloosely about their necks, enframe their faces. With the exception oftwo who look out towards the spectator, all are intent on the 1 Not students in the ordinary sense. Were they not, like Tulp himself, actualpractitioners, though less learned in anatomy ?—F. W. 2 The name of the criminal whose corpse was the subject of Tulps lecture has beenpreserved. He was one Adriaen Adriaensz, known as het kint (the child). IconographiaBatava, by E. Moes. J. Clausen. 1890. es s
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THE ANATOMY LESSON 133 demonstration. As in De Keysers picture, numbers are placed overtheir heads, and their names are inscribed in the following order on apaper held by one of them : 1. Tulp ; 2. Jacob Blok ; 3. HartmanHartmansz ; 4. Adriaen Slabran ; 5. Jacob de Witt ; 6. MathysKalkoen ; 7. Jacob Koolvelt ; 8. Frans van LOenen. The figures,painted life-size and three quarters length, are illuminated by a softlight from the left, which is concentrated on the corpse, on the headsof the two seated auditors in the foreground, and on the face of Tulp,whose calm attitude, air of authority, and expression of confidentintelligence at once rivet attention. A transparent penumbra,deepening by imperceptible gradations above, envelopes therest. The unmitigated black of the dresses, the depressed whitesof the collars, the tones of the carnations, the pallor of the corpse,and the neutral gray of the wall, make up the sober chord ofcolour. We may admit with Fromentin that the general tone is neit

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