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Ist Fl., E. Part. AMSTERDAM. 43. Route. 391
the extreme corner, who energetically beats his drum. In an oval frame on
a column in the background are inscribed the names of the members of the
guild. The remar le chiaroscuro that on bright sunny days usually
prevails in imperfect y lighted interiors is here reproduced with so much
poetic fancy that it wzs long supposed that Rembrandt intended to depict
a nocturnal scene. The peculiar light and the spirited action of the picture
elevate this group of portraits into a most effective dramatic scene, which
ever since its creation has been enthusiastically admired by all connois-
seurs of art. — Each guild member rep sented paid 100 fl. for his por-
trait, so that, as there were originally sixteen in the group, the painter
received 1600 fl. for his work.
Room II (243b) contains the following works by Rembrandt:
2024. Woman bya brook; )22. Portrait of a lady (1639); #2020.
The stone bridge, a Dutch landscape with sunlight breaking through
vy clouds (ca. 1637-38); 2025. Portrait of his father as an
(an early copy; the original is in a private collection at
Brighton); *2018. The Anatomical Lecture, painted in 1656 for the
Anatomical Hall in Amsterdam (p. 323) and seriously damaged by
fire in 1723. The only portions preserved of the original are the
strong foreshortened dead body, the arms and hands of Dr. Deyman
in the act of demonstrating ave the head, and the figure ofa
second professor, holding the removed portion of the skull.
Room II (243c). On the main wall, **2017. Rembrandt, Syn-
dics of the Guild of the Clothmakers (‘de Staalmeesters’, literally
‘stamp-masters’) in 1661 (painted in 1662), from the old guild-house
still standing in the Staalstraat (comp. p. Ixiv).
Four of the directors are sitting at a table covered with an Oriental
cloth, while a fifth appears to be rising impatiently from his seat. In the
<ground is a servant of the guild. Notwithstanding the simplicity of the
colours, the prevailing brown hue of the picture, and the absence of strong
light, the master has succeeded in producing what may be termed his usual
poetry of colour, combined with the most lifelike fidelity.
On the other walls: 1898. W. de Poorter, Solomon’s idolatry ;
877. G. van den Eeckhout, Christ with the woman taken in adultery.
@
From the Room of Honour (243; p. 389) we now proceed to visit
the East Hatr or THE First Froor and pass through the Carno-
yinaran Room (No. 236; a reproduction of the Emperor's Hall at the
church of St. poyent at Maastricht, p. 266), to the three rooms
(formerly unite
Gallery of Foreign Masters (No, 235; chiefly Flemish). Room 4
235 c). To the left: 1716. P. Neeffs the Elder, Church-interior by
Canal e-light (1636) ; 853. A. van Dyck, tepentant Magdalen ; #2208,
Fr, Snyders, Fruit and dead game; 856. A. van Dyck, Nicolaas van
der Borcht; *2065. Rubens, Bearing of the Cross, sketch for the
painting at Brussels (p. 110); *857. A. van Dyck, William II. of
Orange and his consort Maria Henrietta Stuart, daughter of Charles J.
(painted in 1644, the year of the artist’s death); 736. @. de Crayer,
Adoration of the Shepherds; 1715. P. Neeff's the Elder, Interior of
theold Dominican Church at Antwerp (1636); 2066. Rubens, Cimon
and Pera; 1346. Jac. Jordaens, Miracle of the Tribute Money (Matt.
xvi, 27); *2209. Pr. Snyders, Dead game; 2679. Jan Wildens, |
