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of light in Claude and Correggio, the deep 

 midnight shadows which Rembrandt has 

 spread over the greater part of his canvas, 

 may be opposed to it with equal justice; 

 and the whole of the comparison between 

 these painters may serve to shew, how 

 much the picturesque delights in extremes, 

 while the beautiful preserves a just medi^ 

 um between them. The general character 

 of Rembrant's pictures is that of extreme 

 force, arising from a small portion of light 

 amidst surrounding darkness; and though 

 it be true that Rubens and Correggio, and 

 even Claude, have produced effects of that 

 kind, yet it was only occasionally, and 

 where the subject, as in night scenes, re- 

 quired them; whereas in Rembrant they 

 result from his prevailing principle : and it 

 hardly need be said, how much more they 

 are suited to objects and circumstances of 

 a picturesque, than a beautiful character. 

 Rembrant's pencilling, where it is most ap- 

 parent (for he well knew where to soften it) 

 is no less different from that of the painters 

 I have mentioned, than the principle on 

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