354 



and without any of those softenings, dis- 

 guises, or accompaniments of trees, and 

 vegetation, and without any of those 

 changes and additions, which painters usu- 

 ally take the liberty of making. In this, 

 again, the contrast between him and Wo- 

 vermans is very striking. Wovermans had 

 so accustomed his eye to that variety and 

 play of outline, which arise from a mixture 

 of veg^etation with wood-work and ma- 

 sonry of every kind, that whatever parts of 

 buildings he painted, whether common 

 walls, roofs, and sheds, or garden walls with 

 terraces and summer-houses ; whether tur- 

 rets, or mansions with porticos and columns, 

 (for such, though not of a ver}^ pure archi- 

 tecture, he often introduced,) he never fail- 

 ed to adorn them, and to break and diver- 

 sify their outline, by means of trees, shmbs, 

 and chmbing plants. 



The known characteristic of Rembrant's 

 style, is a strongly marked effect of light 

 and shadow : he well knew, indeed, how 

 to delineate their nicer transitions, yet he 

 was less curious with regard to that detail 



