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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nished picture of this epoch, and one of the best preserved. In execution and in the treatment of architecture it has marked analogies with the St. Anastasius, which no doubt preceded it. But the contrasts are franker, the colour less restrained, the light more concentrated. The theme is a familiar one. In the centre of ^^^ a temple with gigantic columns, the Virgin and (SxLs/viJ St. Joseph make their offering, and present the rembrandts new-born Child before the Lord. Devoutly kneeling MONOGRAM. . in 1 11 1 T r on the paved floor, they gaze tenderly at the Infantin the arms of Simeon, also on his knees beside them. Aroundthem are the Prophetess Anna and other persons, and in frontstands the High Priest, robed in a long violet cope, and 1 The panel in its original state was not semi-circular at the top, as at present. Apiece was added to make it match a picture by Gerard Dou, The Young Mother, alsobelonging to the Mauritshuis. » The Presentation in the Temple (/6j/j. (HAGUE MLblilM.)
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THE PRESENTATION IN THE TEMPLE 67 holding up his hands, as if in ecstasy at the scene. In theshadow of the steps that lead up to the sanctuary is a crowd ofworshippers, spectators, and armed men. In the foreground to theright sit the doctors of the law, observant of the group. Theimpression is striking, even at a first glance, and becomes im-measurably stronger on closer examination, for everything combinesto re-inforce the effect—notably the distribution of the light, thebrilliant sunshine falling in strong relief on the main group, focused asit were on the radiant little face of the Infant Jesus—the vastproportions and majestic structure of the temple—the mysteriousgloom, through which an uncertain light gleams here and there on thegilded capitals, on the decorations of the sacred vessels, and on thearmour of the men of war ranged on the steps. Oriental buildings, as depicted by Rembrandts forerunners, werearchitectural monuments of a ponderous or grotesque type. In manyinstan

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