. Rembrandt : sa vie, son travail et son temps. goût. Comme sa femme, le ministre est assis, dans un fauteuil assez lourd, avec un dos en cuir rouge d'studdedwith stlif les ongles. Certains livres sont ouverts devant lui sur une table une coveredwith tissu verdâtre, et il semble avoir fait une pause dans son readingof l'un, probablement une Bible. Alensons robe est une robe noire avec un widehanging gauffered blanc manches, Ruff, et d'une petite calotte noire.sa tête puissante se distingue nettement de l'arrière-plan, et theeyes, qui regarde droit dans le spectateur, sont pleines de feu, de l'intelligence, andauthority. Toute sa personnalité b

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AFKP2J
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• Dimensions: 1611 x 1551 px | 27,3 x 26,3 cm | 10,7 x 10,3 inches | 150dpi

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. Rembrandt : his life, his work, and his time. taste. Like his wife, the minister is seated, in a rather heavy arm-chair, with a back of red leather studdedwith gilt nails. Some books are open before him on a table coveredwith a greenish cloth, and he seems to have paused in his readingof one, probably a Bible. Alensons dress is a black robe with widehanging sleeves, a white gauffered ruff, and a small black skull-cap.His powerful head stands out sharply from the background, and theeyes, which look straight at the spectator, are full of fire, intelligence, andauthority. His whole personality bears the stamp not only of bodily 1 Vosmaer, who calls him Ellison, says he was a minister of the Anglican church atAmsterdam. The portrait was sold by this name and title in i860 at the S. Colby salein London. But Mr. Moes informs us in his Iconographia Batava that there was noAnglican minister of the name of Ellison at Amsterdam in 1634. He discovered, however, that there was a Mennonite minister called Alenson living at Haarlem. Xv 11! ! - u. Man PrcpariuQ; for Bed. Icn iind Scpiii. (STOCKHOLM PRINT ROOM.) PORTRAIT OF AN OLD LADY 115 health but of extraordinary moral energy. His small and somewhatwrinkled left hand is laid upon his breast with a gesture that seemsto attest the strength and sincerity of his convictions. Rembrandtalone could endue a portrait with such depth and intensity ofexpression; but even he had never before achieved such masteryand such eloquence. The picture, though absolutely faithful to nature, passes out of the domain of mere portraiture. It is a historical docu-ment, a living, irrefragable witness, so to speak, to the nature of thosezealous and impassioned religious personalities that figure so pro-minently in Dutch history of the period, and whose influence wasso pronounced in the intellectual and political life of Holland. Savethat similar vagaries are common in the records of auctions, itwould be difficult to explain the strange reception of these

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