The number of attributions to Rembrandt is so large, and the practice of ascribing all Rembrandt esque pictures to the great master himself was so frequent about a century ago, that it is pleasant to be able to publish a newly discovered painting which, so far as can be judged from photographs, has every appearance of being a fine example of Rembrandt's early work at about the date 1631. This painting belongs to a diligent student of Rembrandt, Dr. O. Granberg, of the National Museum, Stockholm, through whose courtesy we are able to reproduce it here, in particular reference to an article by Dr. Granberg himself in our Swedish contemporary, "Konst" (March, p.31). The subject which it represents, The Adoration of the Magi, was one dear to Rembrandt and his school, as a scene which gives scope for luminous and decorative effect. The models for the principal figures are, as in other early paintings by Rembrandt, members of his own family circle, and can be easily recognized. The special interest in this newly discovered picture is the fuller light thrown on the relations between Rembrandt and his early friends and contemporaries, Livens, Salomon Koninck and Joris van Vliet. We know already from Constantyn Huyghens that at the outset of their careers Livens was thought the greater artist than Rembrandt. The best work of Salomon Koninck approaches very near to Rembrandt's, and at first glance there is good reason for considering whether Dr. Granberg's picture might not be an exceptionally fine work by Koninck. Closer examination, however, reveals a magisterial treatment of composition, chiaroscuro and other details, in addition to the types of models, all of which point unmistakeably to the master mind of Rembrandt. It is just this sense of loftiness of conception as well as of execution which is wanting in the work of Salomon Koninck. Koninck, having attained a high degree of accomplishment, seems to have been content with this, and progressed no further, whereas Rembrandt's genius never ceased growing, until it has now influenced the whole world of art.

The authenticity of Dr. Granberg's picture, so far again as photographs have enabled Dr. Bredius to judge, is strongly supported by him, and no other critic has done so much to relieve Rembrandt from the burden of paintings which, however fine in themselves, have no sound claim to be his authentic work. Dr. Bode, on the other hand, is understood not to accept the attribution favoured by Dr. Bredius. The discovery of a new early painting by Rembrandt's of great importance in tracing the development of his art, a subject to which we hope to return on a future occasion.