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By John Canaday

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In these years Rembrandt pondered the relation of the human soul to the circumstance of human existence, its relation to God, the reconciliation of the world we experience physically, in all its accidents and imperfections, with the conviction that life is justified by some cosmic good. His images of the world are seldom beautiful in themselves; his models are usually homely and battered, subject to all the chance, misfortune, and indignity of daily life. But by revealing them in pools of light glowing within vibrant dark areas, he invests them with a spiritual majesty corresponding to his belief in the ultimate nobility of the human being, no matter what the ignobleness of daily experience.

He is an utterly charming painter, and it is one of the beauties of his art that he never forces a subject beyond the natural limits of torial narrative his ability to conceive it. He offers us perfection within small boundaries. Pieter Bruegel the Elder, active by 1551 —died 1569, Flemish THE FALL OF ICARUS, ABOUT 79. 1 558 Oil transferred from wood to canvas. Height 29". The Royal of Fine Arts, Brussels FLEMISH PROVERBS, 1559 80. Oil on wood. Height 46 Va". Kaiser-Friedrich 81. Museum Museum, Berlin THE PARABLE OF THE BLIND (a copy, probably by Jan Brueghel, of the one dated 1568 in the National Museum, Naples) Oil on wood.

Pieter Bruegel the Elder, active by 1551 —died 1569, Flemish THE FALL OF ICARUS, ABOUT 79. 1 558 Oil transferred from wood to canvas. Height 29". The Royal of Fine Arts, Brussels FLEMISH PROVERBS, 1559 80. Oil on wood. Height 46 Va". Kaiser-Friedrich 81. Museum Museum, Berlin THE PARABLE OF THE BLIND (a copy, probably by Jan Brueghel, of the one dated 1568 in the National Museum, Naples) Oil on wood. Height 46V8". The Louvre Museum, Paris Bruegel combines a love for the fantastic, grotesque, and humorous with a faith in the ebullient force of human life.

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