In his autobiographical volume, Praeterita (1885-89), Ruskin seemed to record a parabola of enthusiasm for Rembrandt; in 1834, he made studies after Rembrandt in the Louvre ( Works, 35.84-85), while in 1844, in preparing Modern Painters II, he 'abandoned' the artist in favour of the Venetians ( Works, 35.340). Yet he retained the generally positive view of Rembrandt that he expressed in Modern Painters I until, at least, the 1860s. In Modern Painters I, Rembrandt, like Rubens, is treated as an exception to the Dutch School and as 'a northern parallel to the power of the Venetians' ( MP I:82). For if Rembrandt is a lesser painter than Rubens, he is to be greatly valued as a draughtsman and printmaker. And long after Ruskin had begun to depreciate the work of Rubens, he continued to appreciate that of Rembrandt. For Ruskin's most extensive appreciation, see 'Rembrandt, and Strong Waters', in The Cestus of Aglaia (1865-66) ( Works, 19.107-19).