REMBRANDT VAN RIJN 1606-1669 Dutch School
BARTOLOMÉ ESTÉBAN MURILLO 1618-1682 Spanish School of Andalusia
AS remarkable as the sudden uprising of a native art in Holland is the fact that it almost immediately reached its maturity, and, in the person of Rembrandt, produced one of the foremost artists of the world. He is one of the few great original men who stand alone. You cannot trace his genius to the influence of his time or to the work of other men who preceded him; nor, although he had followers, could any of them do what he did. He shines out in solitary bigness.
So it is not so much for comparison as for convenience in continuing our method of study, that I couple his name with Murillo's. Yet, having done so, we may find that they have something in common; a common center round which Murillo makes a small circle, Rembrandt an infinitely larger one. Each was a realist as well as an idealist; both painted light, and both translated religious themes into the dialect of the common people.
In his Children of the Shell, Murillo chose for subject the infancy of the Christ and St. John; the latter represented with a staff-like cross in token of his future career as preacher and pilgrim, while the application of