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Title:RembrandtACollectionOfFifteenPicturesandaPortraitofthePainterwithIntroductionandInterpretation

Author:EstelleM.Hurll

ReleaseDate:October22,2006[EBook#19602]

Language:English

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Transcriber'sNote.

TheimagesinthiseBookofthepaintingsarefromtheoriginalbook.Howevermanyofthesepaintingshaveundergone extensive restoration. The restoredpaintings arepresented asmodern color imageswithlinks.Modernimagesoftheetchingsarealsogivenaslinks.

REMBRANDTVANRYN(BYHIMSELF)NationalGallery,London

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MasterpiecesofArt

REMBRANDT

ACOLLECTIONOFFIFTEENPICTURES

ANDAPORTRAITOFTHEPAINTER

WITHINTRODUCTIONAND

INTERPRETATION

BY

ESTELLEM.HURLL

BOSTONANDNEWYORK

HOUGHTONMIFFLINCOMPANY

TheRiversidePressCambridge

1899

COPYRIGHT,1899,BYHOUGHTON,MIFFLIN&CO.

PREFACE

The choice of pictures for this collection has been made with the object offamiliarizing thestudentwithworks fairly representativeofRembrandt'sart inportraitureandBiblical illustration, landscapeandgenre study, inpaintingandetching.AdmirersoftheDutchmastermaymisssomewell-knownpictures.ForobviousreasonstheLectureinAnatomyisdeemedunsuitableforthisplace,andthe Hundred Guilder Print contains too many figures to be reproduced hereclearly.TheSyndics of theClothGuild and the print ofChrist Preachingwillcompensate for these omissions, and show Rembrandt at his best, both withbrushandburin.

There are perhaps no paintings in the world more difficult to reproducesatisfactorilyinblackandwhitethanthoseofRembrandt.Hismarvelouseffectsof chiaroscuro leave in darkness portions of the composition,which appear inthephotographasunintelligibleblurs.Withthesedifficultiestomeet,greatpainshavebeentakentoselectforthereproductionsofthisbookthebestphotographsmade direct from the original paintings.A comparative study of the availablematerial has resulted inmaking use of an almost equal number fromMessrs.Hanfstaengl&Co.andMessrs.Braun&Cie.

In reproducing the etchings the publishers have beenmost fortunate in beingabletouseforthepurposeoriginalprintsintheHarveyD.ParkerCollectionoftheBostonMuseumofFineArts.

ESTELLE M.HURLL.

NEWBEDFORD,MASS.

November,1899.

CONTENTSANDLISTOFPICTURES

PORTRAITOFREMBRANDT.PAINTEDBYHIMSELF. Frontispiece.FROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE.

PAGE

INTRODUCTIONI. ONREMBRANDT'SCHARACTERASANARTIST viiII. ONBOOKSOFREFERENCE xiIII. HISTORICALDIRECTORYOFTHEPICTURESOFTHISCOLLECTION xiiiIV. OUTLINETABLEOFTHEPRINCIPALEVENTSINREMBRANDT'SLIFE xivV. SOMEOFREMBRANDT'SFAMOUSCONTEMPORARIESINHOLLAND xvVI. FOREIGNCONTEMPORARYPAINTERS xvii

I. JACOBWRESTLINGWITHTHEANGEL 1

PICTUREFROMPHOTOGRAPHBYFRANZHANFSTAENGL 3II. ISRAELBLESSINGTHESONSOFJOSEPH 7

PICTUREFROMPHOTOGRAPHBYFRANZHANFSTAENGL 11III.

THEANGELRAPHAELLEAVINGTHEFAMILYOFTOBIT 13

PICTUREFROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE 15IV. THERATKILLER 19

PICTUREFROMORIGINALETCHINGIN

THEMUSEUMOFFINEARTS,BOSTON 20

V. THEPHILOSOPHERINMEDITATION 25

PICTUREFROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE 29VI. THEGOODSAMARITAN 31

PICTUREFROMORIGINALETCHINGINTHEMUSEUMOFFINEARTS,BOSTON 33

VII. THEPRESENTATIONINTHETEMPLE 37

PICTUREFROMPHOTOGRAPHBYFRANZHANFSTAENGL 38VIII. CHRISTPREACHING 43


IX. CHRISTATEMMAUS 49

PICTUREFROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE 53X. PORTRAITOFSASKIA 55

PICTUREFROMPHOTOGRAPHBYFRANZHANFSTAENGL 59XI. THESORTIEOFTHECIVICGUARD 61

PICTUREFROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE 62XII. PORTRAITOFJANSIX 67


XIII. PORTRAITOFANOLDWOMAN 73

PICTUREFROMPHOTOGRAPHBYMAISONAD.BRAUN&CIE 77

XIV. THESYNDICSOFTHECLOTHGUILD 79

PICTUREFROMPHOTOGRAPHBYFRANZHANFSTAENGL 83

XV. THETHREETREES 85


XVI. THEPORTRAITOFREMBRANDT(SeeFrontispiece) 91PRONOUNCINGVOCABULARYOFPROPERNAMESANDFOREIGNWORDS 95

INTRODUCTION

I.ONREMBRANDT'SCHARACTERASANARTIST

Ageneralimpressionprevailswiththelargepicture-lovingpublicthataspecialtrainingisnecessarytoanyproperappreciationofRembrandt.Heistheidolofthe connoisseur because of his superb mastery of technique, his miracles ofchiaroscuro,hisblendingofcolors.Thosewhodonotunderstandthesemattersmust, it is supposed, stand quite without the pale of his admirers. Too manypeople,acceptingthisasadictum,takenopainstomaketheacquaintanceofthegreatDutchmaster.ItmaybethattheyarerepelledattheoutsetbyRembrandt'sindifference to beauty. His pictures lack altogether those superficial qualitieswhich to some are the first requisites of a picture. Weary of the familiarcommonplaces of daily life, the popular imagination looks to art for happierscenesandfairerforms.Thistaste,socompletelygratifiedbyRaphael,isatfirststrangelydisappointedbyRembrandt.WhileRaphaelpeopleshiscanvaseswithbeautiful creatures of another realm, Rembrandt draws his material from thecommonworldaboutus.InplaceofthefairwomenandcharmingchildrenwithwhomRaphaeldelightsus,hechooseshismodels fromwrinkledoldmenandbeggars.Rembrandtisneverthelessapoetandavisionaryinhisownway."Forphysicalbeautyhesubstitutesmoralexpression,"saysFromentin.Ifinthefirstglance at his picture we see only a transcript of common life, a second lookdiscoverssomething in thiscommonlife thatwehaveneverbeforeseen there.We lookagain,andweseebehind thecommonplaceexterior thepoetryof theinner life. A vision of the ideal hovers just beyond the real. Thus we gainrefreshment, not by being lifted out of the world, but by a revelation of thebeautywhichisintheworld.Rembrandtbecomestoushenceforthaninterpreterofthesecretsofhumanity.AsRaphaelhasbeensurnamed"thedivine,"forthegodlike beauty of his creations, so Rembrandt is "the human," for hissympatheticinsightintothelivesofhisfellowmen.

EvenforthosewhoareslowtocatchthehighermeaningofRembrandt'swork,thereisstillmuchtoentertainandinterestinhisrarestory-tellingpower—agiftwhichshouldinsomemeasurecompensateforhislackofsuperficialbeauty.HisstorythemesarealmostexclusivelyBiblical,andhisstyleisnotlesssimpleanddirect than the narrative itself. Every detail counts for something in the

developmentof thedramaticaction.Probablynootherartisthasunderstoodsowell thepictorialqualitiesofpatriarchalhistory.That singularunionofpoetryandprose,ofmysticismandpracticalcommonsense,sostrikingintheHebrewcharacter, appealed powerfully to Rembrandt's imagination. It was peculiarlywell represented in the scenes of angelic visitation. Jacob wrestling with theAngelaffordsafinecontrastbetweenthestrenuousrealitiesoflifeandthepurewhite ideal risingmajestically beyond. The homely group of Tobit's family isglorifiedbythelightoftheradiantangelsoaringintoheavenfromthemidstofthem.

Rembrandt'sNewTestament scenesare equallywell adapted toemphasize theeternal immanence of the supernatural in the natural. The Presentation in theTemple is investedwith solemn significance; the simpleSupper atEmmaus israised into a sacrament by the transfigured countenance of the Christ. For allthesecontrastsbetweentheactualandtheideal,Rembrandthadaperfectvehicleofartisticexpressioninchiaroscuro.Inthemasteryoftheartoflightandshadeheissupreme.Hisentireartisticcareerwasdevotedto thisgreatproblem,andwecantracehissuccess throughall thegreatpicturesfromthePresentationtotheSyndics.

Rembrandtapparentlycaredverylittleforthenude,forthedelicatecurvesofthebody and the exquisite colors of flesh. Yet to overbalance this disregard ofbeautifulformwashisstrongpredilectionforfinery.Noneeverlovedbettertheplayoflightuponjewelsandsatinandarmor,thericheffectivenessofOrientalstuffs and ecclesiastical vestments.Unable to gratify this taste in the portraitswhichhepaintedtoorder,he tookeveryopportunity topaintbothhimselfandhiswife,Saskia,incostume.Whereverthesubjectadmitted,heintroducedwhathe could of rich detail. In the picture of Israel Blessing the Sons of Joseph,Asenath,asthewifeofanEgyptianofficial,isappropriatelyadornedwithjewelsandfinery.IntheSortieoftheCivicGuard,CaptainCocqisresplendentinhismilitaryregalia.

Withall this fondness forpretty things,Rembrandtneverallowedhis fancy tocarryhimbeyond the limitsof fitness in sacred art.TheVenetianmastershadrepresented the most solemn scenes of the New Testament with a pomp andmagnificence entirely at variance with their meaning. Rembrandt understoodbetter the real significance of Christianity, and made no such mistake. HisSupperatEmmausisthesimpleeveningmealofthreepeasantpilgrimspreciselyas it is represented in the Gospel. His Christ Preaching includes a motleycompanyofhumblefolk,suchasthegreatTeacherlovedtogatherabouthim.

Itwasperhapstheobversesideofhisfondnessforfinery,thatRembrandthadastrong leaning towards the picturesqueness of rags.Avery interesting class ofhisetchings isdevoted togenre studiesandbeggars.Herehisdisregardof thebeautifulinthepassionforexpressionreachedanextreme.Hissubjectsareoftengrotesque—sometimesrepulsive—butalwaysintenselyhuman.Readinghumancharacterwithraresympathy,hewasprofoundlytouchedbythepoetryandthepathosof thesemiserable lives.Throughall thesestudiesrunsaquaintveinofhumor,relievingthepathosofthesituations.ThepicturesquecostumeoftheoldRat Killer tickles the sense of humor, and conveys somehow a delightfulsuggestion of his humbuggery which offsets the touching squalor of thegrotesque little apprentice. And none but a humorist could have created theswaggeringhostler'sboyholdingtheGoodSamaritan'shorse.

As a revealer of character, Rembrandt reaches the climax of his power in hisportraits.FromthisclassofhispicturesaloneonecanrepeopleHollandwiththespiritsof theseventeenthcentury.Allclassesandconditionsandallagescamewithintherangeofhismagicbrushandburin.ThefreshgirlhoodofSaskia,thesturdy manhood of the Syndics, and the storied old age of his favorite oldwomanmodelshowthescopeofhispower,and inIsraelBlessing theSonsofJosephheshowsthewholerangeinasinglecomposition.Heismanifestlyathisbestwhen his sitter has pronounced features andwrinkled skin, a face full ofcharacter,whichheunderstoodsowellhowtodepict.Obstaclesstimulatedhimtohishighestendeavor.GiventheprosaicandhackneyedmotifoftheSyndics'composition, he rose to the highest point of artistic expression in a portraitgroup, inwhichagrandsimplicityof technical style isunitedwithaprofoundandintimateknowledgeofhumannature.

II.ONBOOKSOFREFERENCE

ThehistoryofmodernRembrandtbibliographyproperlybeginswiththefamouswork by C. Vosmaer, "Rembrandt Harmens van Rijn, sa Vie et sesŒuvres."Vosmaer profited by the researches ofKolloff andBurger to bringout a bookwhichopenedaneweraintheappreciationofthegreatDutchmaster.Itwasfirstissued in1868,andwasrepublished in1877 inanenlargededition.ThisbookwaspracticallyaloneinthefielduntiltherecentworkofEmileMichelappeared.IntheEnglishtranslation(byFlorenceSimmonds)editedbyWalterArmstrong,Michel's "Rembrandt" is at the presentmoment our standard authority on thesubject. It is in two large illustratedvolumes fullofhistorical informationandcriticism and containing a complete classified list of Rembrandt's works—

paintings,drawings,andetchings.

The"CompleteWorkofRembrandt,"byWilhelmBode,isnowissuingfromthepress (1899),andwill consistofeightvolumescontaining reproductionsofallthemaster'spictures,withhistoricalanddescriptive text. It is tobehoped thatthismammothandcostlyworkwillbeput intomany large reference libraries,wherestudentsmayconsultittoseeRembrandt'sworkinitsentirety.

The series of small German monographs edited by H. Knackfuss and nowtranslatedintoEnglishhasonenumberdevotedtoRembrandt,containingnearlyone hundred and sixty reproductions from his works, with descriptive text.Kugler's"HandbookoftheGerman,Flemish,andDutchSchools,"revisedbyJ.A.Crowe,includesabriefaccountofRembrandt'slifeandwork,whichmaybetaken as valuable and trustworthy. For a critical estimate of the character ofRembrandt'sart,itsstrengthandweaknesses,anditspeculiarities,nothingcanbemore interesting than what Eugene Fromentin, French painter and critic, haswritteninhis"OldMastersofBelgiumandHolland."

Rembrandt'setchingshavebeentheexclusivesubjectofmanybooks.TherearevoluminousdescriptivecataloguesbyBartsch("LePeintreGraveur")Claussin,Wilson, Charles Blanc, Middleton, and Dutuit. A short monograph on "TheEtchings ofRembrandt," byPhilipGilbertHamerton (London, 1896), reviewsthemostfamousprintsinaverypleasantway.

TherearevaluableprintsfromtheoriginalplatesofRembrandtintheHarveyD.ParkercollectionoftheBostonMuseumofFineArtsandintheGraycollectionoftheFoggMuseumatCambridge,Massachusetts.Thosewhoarenotfortunateenoughtohaveaccess tooriginalprintswillderivemuchsatisfactionfromthecompletesetofreproductionspublishedinSt.Petersburg(1890)withcataloguebyRovinski,andfromtheexcellentreproductionsofAmandDurand,Paris.

TocomeintouchwiththespiritofthetimesandofthecountryofRembrandt,thereader isreferredtoMotley's"Riseof theDutchRepublic,"condensedandcontinuedbyW.E.Griffis.

III.HISTORICALDIRECTORYOFTHEPICTURESOFTHISCOLLECTION

PortraitFrontispiece.NationalGallery,London.Signedanddated1640.

1. Jacob Wrestling with the Angel. Berlin Gallery. Signed and dated 1659.Figureslifesize.Size:4ft.5-1/16in.by3ft.9-5/8in.

2. Israel Blessing the Sons of Joseph. CasselGallery. Signed and dated 1656.Figureslifesize.Size:5ft.8-9/16in.by6ft.6-3/4in.

3.TheAngelRaphael Leaving theFamily of Tobit. Louvre, Paris. Signed anddated1637.Size:2ft.2-13/16in.by1ft.8-1/2in.

4.TheRatKiller.Etching.Signedanddated1632.Size:5-1/2in.by4-9/16in.

5.ThePhilosopher inMeditation.Louvre,Paris.Signedanddated1633.Size:11-7/16in.by13in.

6.TheGoodSamaritan.Etching.Signedanddated1633.Size:10-1/5in.by8-3/5in.

7.ThePresentationintheTemple.AttheHague.Signedanddated1631.Size:2ft.4-11/16in.by1ft.6-7/8in.

8.ChristPreaching.Etching.DateassignedbyMichel,about1652.Size:6-1/5in.by8-1/5in.

9.ChristatEmmaus.Louvre,Paris.Signedanddated1648.Size:2ft.2-13/16in.by2ft.1-5/8in.

10.PortraitofSaskia.CasselGallery.Paintedabout1632-1634.Lifesize.Size:3ft.2-11/16in.by2ft.1-3/5in.

11.SortieoftheCivicGuard.RyksMuseum(Trippenhuis),Amsterdam.Signedanddated1642.Lifesizefigures.Size:11ft.9-3/8in.by14ft.3-5/16in.

12.PortraitofJanSix.Etching.Signedanddated1647.Size:about9-3/8in.by7-3/8in.

13.Portrait of anOldWoman. HermitageGallery, St. Petersburg. Signed anddated1654.Size:3ft.6-7/8in.by2ft.9in.

14.TheSyndics of theClothGuild.RyksMuseum (Trippenhuis), Amsterdam.Signedanddated1661.Lifesizefigures.Size:6ft.7/8in.by8ft.11-15/16in.

15.TheThreeTrees.Etching,1643.Size:8-2/5in.by11in.

IV.OUTLINETABLEOFTHEPRINCIPALEVENTSINREMBRANDT'SLIFE

1606.[1]RembrandtborninLeyden.

1621.Rembrandtapprenticedtothepainter,JacobvanSwanenburch.

1624.RembrandtstudiedsixmonthswithPieterLastmaninAmsterdam.

1627.Rembrandt'searliestknownworks,St.PaulinPrison,(StuttgartMuseum);TheMoneyChangers(BerlinGallery).

1631.RembrandtremovedtoAmsterdam.

1631.ThePresentationpainted.

1632.TheAnatomyLecturepainted.

1633.TheportraitoftheShipbuilderandhisWifepainted.

1634.RembrandtmarriedSaskiavanUylenborch,June22,inBildt.

1635.Rembrandt'ssonRombertusbaptizedDecember15.(Diedininfancy.)

1637.AngelRaphaelLeavingFamilyofTobitpainted.

1638.Rembrandt'sdaughterCorneliaborn.(Diedinearlychildhood.)

1639.RembrandtboughtahouseintheJodenBreestraat.

1640.Rembrandt'sseconddaughterbornanddied.

1640.Rembrandt'smotherdied.

1640.TheCarpenter'sHouseholdpainted.

1641.Manoah'sPrayerpainted.

1641.Rembrandt'ssonTitusbaptized.

1642.Sortieof theCivicGuard (TheNightWatch)painted for thehall of theAmsterdamMusketeers.

AuthoritiesarenotentirelyunanimousastothedateofRembrandt'sbirth.

1642.Rembrandt'swife,Saskia,died.

1648.ChristatEmmauspainted.

1649.TheHundredGuilderprintetched.

1651.ChristAppearingtoMagdalenpainted.

1652.ChristPreachingetched.

1656.Rembrandt'sbankruptcy.

1656.IsraelBlessingtheSonsofJosephpainted.

1661.PortraitoftheSyndicspaintedfortheGuildofDrapers,Amsterdam.

1668.Rembrandt'ssonTitusdied.

1669.Rembrandtdied.

V.SOMEOFREMBRANDT'SFAMOUSCONTEMPORARIESINHOLLAND

FrederickHenryofOrange,stadtholder,1625.PrincessAmaliaofSolms,wifeofFrederickHenry,built theHuis tenBosch(House in theWoods)at theHague,1647.

William II of Orange, stadtholder, 1647. In 1650 the stadt-holderate wassuppressed,andJohndeWittbecamein1653chiefexecutiveoftherepublicfortwentyyears.Murderedin1672.

JohnofBarneveld,GrandPensioner,"thegreateststatesmaninallthehistoryoftheNetherlands"(Griffis).ExecutedMay24,1619.

MichaeldeRuyter,"theDutchNelson,"died1676.

MartenHarpertzoonvonTromp, admiral.Born1597;died1691. (HedefeatedtheEnglishfleetunderBlake.)

CorneliusEvertsen,admiral.

Floriszoon,admiral.

WittedeWith,admiral.

Hendrik Hudson, navigator and discoverer; first voyage, 1607, last voyage,

1610.

CaptainZeachen,discoverer.

HugoGrotius,fatherofinternationallaw,1583-1645.

JanSix,burgomaster,bibliophile,artconnoisseur,anddramatist,1618-1700.

Spinoza,philosopher,1622-1677.

JoostvandenVondel,poetanddramatist,1587-1679.

JacobCats,GrandPensionaryandpoet,1577-1660.

ConstantineHuyghens,poet.

GysbartVoet(Latin,Voetius)1588-1678,professoroftheologyatUtrecht.

CornelisJansen,born1585.ProfessorofscriptureinterpretationatLouvain.

JohannesKoch (Latin,Coccejus), 1603-1669, professorof theology atLeydenand,"afterErasmus,thefatherofmodernBiblicalcriticism."

J. van Kampen, architect, built the Het Palais (Royal Palace) in Amsterdam,1648.

JanszVinckenbrink,sculptor.

HendrikdeKeyser,sculptor.

Crabethbrothers,designersofstainedglass.

Painters:—

FranzHals,1584-1666.

GerardHonthorst,1590-1656.

AlbertCuyp,1605-1691.

JanvanGoyen,1596-1656.

JacobRuysdael,1625-1682.

PaulPotter,1625-1654.

JanLievens,born1607;diedafter1672.

SalomonKoning,1609-1668.

GerardTerburg,1608-1681.

NicolasBerghem,1620-1683.

JanSteen,1626-1679.

AdrianvanOstade,1610-1685.

Rembrandt'spupils:—

FerdinandBol,1616-1680.

GovertFlinck,1615-1660.

VandenEeckhont,1620-1674.

GerardDon,1613-1680.

NicolasMaes,1632-1693.

JuriaenOvens,1623.

HendrickHeerschop,born1620,enteredRembrandt'sstudio,1644.

CarlFabritius,1624-1654.

SamuelvanHoogstraaten,born1627,withRembrandt,1640-1650.

AertdeGelder,1645-1727.

Less important names: Jan van Glabbeck, Jacobus Levecq, Heyman Dullaert,JohanHendricksen,AdriaenVerdael,CornelisDrost.

VI.FOREIGNCONTEMPORARYPAINTERS

Flemish:—

PeterPaulRubens,1577-1640.

AnthonyVanDyck,1599-1641.

JacobJordaens,1594-1678.

FranzSnyders,1574-1657.

GasparddeCraeyer,1582-1669.

DavidTeniers,1610-1690.

Spanish:—

Velasquez,1599-1660.

Pacheco,1571-1654.

Cano,1601-1676.

Herrera,1576-1656.

Zurbaran,1598-1662.

Murillo,1618-1682.

French:—

SimonVouet,1582-1641.

CharlesLeBrun,1619-1690.

EustacheLeSueur,1617-1655.

Italian:—

CarloDolci,1616-1686.

GuidoReni,1575-1642.

Domenichino,1581-1641.

FrancescoAlbani,1578-1660.

Guercino,1591-1666.

Sassoferrato,1605-1685.

I

JACOBWRESTLINGWITHTHEANGEL

ThehistoryoftheOldTestamentpatriarchJacobreadslikearomance.Hewasthe younger of the two sons of Isaac, andwas at a great disadvantage on thisaccount.Among his people the eldest son always became the family heir andalsoreceivedthechoicestblessingfromthefather,aprivilegecovetedasmuchas wealth. In this case therefore the privileged son was Jacob's brother Esau.Jacobresentedkeenlytheinequalityofhislot;andhismothersympathizedwithhim,ashewasherfavorite.Afeelingofenmitygrewupbetweenthebrothers,andintheendJacobdidEsauagreatwrong.

One day Esau came in from hunting, nearly starved, and finding his youngerbrothercookingsomelentils,beggedaportionofitforhimself.Jacobseizedthechancetomakeasharpbargain.Heofferedhisbrotherthefood—whichiscalledinthequaintBiblelanguagea"messofpottage"—makinghimpromiseinreturnthathewouldlettheirfathergivehisblessingtotheyoungerinsteadoftheolderson.Esauwasacarelessfellow,toohungrytothinkwhathewassaying,andsoreadilyyielded.

But thoughEsaumight sell his birthright in this fashion, the fatherwouldnothavebeenwillingtogivetheblessingtotheyoungerson,haditnotbeenforatrickplannedbythemother.Theoldmanwasnearlyblind,andknewhissonsapart by the touch of their skin, as Esau had a rough, hairy skin and Jacob asmoothone.ThemotherputskinsofkidsuponJacob'shandsandneckandbadehimgotohisfatherpretendingtobeEsau,andseekhisblessing.Thetrickwassuccessful,andwhena little laterEsauhimselfcametohisfatheron thesameerrand,hefoundthathehadbeensuperseded.Naturallyhewasveryangry,andvowed vengeance on his brother. Jacob, fearing for his life, fled into a placecalledPadanaram.

In this place he became a prosperous cattle farmer and grew very rich. Hemarried there also and had a large family of children.After fourteen years hebethoughthimselfofhisbrotherEsauandthegreatwronghehaddonehim.Heresolved to remove his family to his old home, and to be reconciledwith hisbrother.Hardlydaringtoexpect tobefavorablyreceived,hesent inadvancea

[2]

largenumberof cattle in threedroves as agift toEsau.Thenheawaitedovernightsomenewsormessagefromhisbrother.In thenightastrangeadventurebefellhim.ThisisthewaythestoryistoldinthebookofGenesis.[2]

Genesis,chapterxxxii.verses24-31.

JACOBWRESTLINGWITHTHEANGELBerlinGallery



"Therewrestledamanwithhimuntilthebreakingoftheday.Andwhenhesawthat heprevailed not against him, he touched the hollowof his thigh; and thehollowofJacob'sthighwasoutofjoint,ashewrestledwithhim.Andhesaid,'Letmego,forthedaybreaketh.'Andhesaid,'Iwillnotlettheego,exceptthoublessme,'Andhesaiduntohim,'Whatisthyname?'Andhesaid,'Jacob,'Andhesaid,'ThynameshallbecallednomoreJacob,butIsrael;forasaprincehast

thoupowerwithGodandwithmen,andhastprevailed.'...Andheblessedhimthere.

"AndJacobcalledthenameoftheplacePeniel:forIhaveseenGodfacetoface,andmylifeispreserved.AndashepassedoverPenuel,thesunroseuponhimandhehalteduponhisthigh;"thatis,hewalkedhalt,orlame.

ThecrisisinJacob'slifewaspassed,forhardlyhadhesetforthonthismorningwhenhe sawhis brotherwhomhe hadwronged advancingwith four hundredmentomeethim."AndEsaurantomeethim,andembracedhim,andfellonhisneckandkissedhim:andtheywept."

Sowerethebrothersreconciled.

Thepicture representsJacobwrestlingwithhismysteriousadversary.Wehaveseenfromhishistoryhowdeterminedhewastohavehisownway,andhowhewrested worldly prosperity even from misfortunes. Now he is equallydetermined in thishigherandmorespiritualconflict. It isavery real struggle,andJacobhasprevailedonlybyputtingforthhisutmostenergy.Itisthemomentwhenthegrandangel,pressingonekneeintothehollowofJacob'sleftthighandlaying his hand on his right side, looks into his face and grants the blessingdemandedasaconditionforrelease.Strongandtenderishisgaze,andthegifthe bestows is a newname, in token of the new character of brotherly love ofwhichthisvictoryisthebeginning.

ThestoryofSt.MichaelandtheDragon,whichRaphaelhaspainted,standsforthe everlasting conflict between good and evil in the world. There is a likemeaningin thestoryofJacob'swrestlingwith theangel.Thestruggle is in thehumanheartbetweenselfishimpulsesandhigherideals.Thedaywhenonecanholdontothegoodangellongenoughtowinablessing,isthedaywhichbeginsanewchapterinaman'slife.

II

ISRAELBLESSINGTHESONSOFJOSEPH

WhenJacobwrestledwiththeangelhereceivedanewname,Israel,oraprince,achampionofGod.

IsraelbecamethefounderofthegreatIsraelitenation,andfromhistwelvesonsgrew up the twelve tribes of Israel, amongwhomwas distributed the countrynow calledPalestine.Among these sons the father's favoritewas Joseph,whowasnexttotheyoungest.Thisfavoritismarousedtheangerandjealousyoftheolderbrothers,andtheyplottedtogetridofhim.Onedaywhentheywerealloutwithsomeflocksinafieldquitedistantfromtheirhome,theythoughttheywereridforeverof thehatedJosephbysellinghimtoacompanyofmenwhowerejourneyingtoEgypt.Thentheydippedthelad'scoatingoat'sbloodandcarriedit to Israel, who, supposing his son to have been devoured by a wild beast,mournedhimasdead.

WhenJosephhadgrowntomanhoodinEgypt,asingularchainofcircumstancesbroughtthebrotherstogetheragain.Therewasasorefamine,andEgyptwastheheadquarters for the sale of corn. Joseph had shown himself so able andtrustworthy that he was given charge of selling and distributing the stores offood.Sowhen Israel's older sons came from their home toEgypt to buy corntheyhadtoapplytoJoseph,whomtheylittlesuspectedofbeingthebrothertheyhadsocruellywronged.Thereisaprettystory,toolongtorepeathere,ofhowJoseph disclosed himself to his astonished brethren, and forgave them theircruelty,howhesentforhisfathertocometoEgypttolivenearhim,howtherewasajoyfulreunion,andhow"theyalllivedhappilyeverafter."

WhenthetimedrewnearforIsraeltodie,hedesiredtobestowhislastblessingonhis sons.And first of all his beloved son Josephbrought himhis own twoboys,EphraimandManasseh.

Now according to the traditions of the patriarchs, it was the eldest son whoshouldreceivethechoicestblessingfromhisfather.Israel,however,hadfoundamonghisownsonsthatitwasayoungerone,Joseph,whohadprovedhimselfthemostworthyoflove.Thismayhaveshakenhisfaithinthewisdomoftheold

custom. Perhaps, too, he remembered how his own boyhood had been madeunhappybecausehewastheyoungerson,andhowhehadonthataccountbeentemptedtodeceit.

Whatever the reason, he surprised Joseph at the last moment by showing apreference for the younger of the two grandsons, Ephraim, expressing thispreferencebylayingtherighthand,insteadoftheleft,onhishead.Theblessingwasspokeninthesesolemnwords:"God,beforewhommyfathersAbrahamandIsaacdidwalk,theGodwhichfedmeallmylifelonguntothisday,theAngelwhichredeemedmefromallevil,blessthelads."

ISRAELBLESSINGTHESONSOFJOSEPHCasselGallery



Thenarrativerelates[3]that"WhenJosephsawthathisfatherlaidhisrighthandupontheheadofEphraim,itdispleasedhim;andhehelduphisfather'shand,toremoveitfromEphraim'sheaduntoManasseh'shead.AndJosephsaiduntohisfather, 'Notso,myfather: for this is thefirst-born;put thyrighthanduponhishead.'Andhis father refused, and said, 'I know it,my son, I know it: he alsoshallbecomeapeople,andhealsoshallbegreat;buttrulyhisyoungerbrothershallbegreaterthanhe,andhisseedshallbecomeamultitudeofnations.'And

heblessed them thatday, saying, 'In thee shall Israelbless, saying,GodmaketheeasEphraim,andasManasseh;'andhesetEphraimbeforeManasseh."

Genesis,chapterxlviii.verses17-20.

Aswecompare thepicturewith thestory, it iseasyto identify thefigures.WearenaturallyinterestedinJosephastheheroofsomanyromanticadventures.Asa high Egyptian official, he makes a dignified appearance and wears a richturban.Hisfaceisgentleandamiable,asweshouldexpectofalovingsonandforgivingbrother.

IntheoldmanweseethesameJacobwhowrestledbynightwiththeAngelandwasredeemedfromhislifeofselfishness.Thesamestrongfaceishere,softenedbysorrowandmadetenderbylove.Theyearshavecutdeeplinesofcharacterintheforehead,andtheflowingbeardhasbecomesnowywhite.

Thedyingpatriarchhas"strengthenedhimself,"tosituponthebedforhislastduty, and his son Joseph supports him. The children kneel together by thebedside, the little Ephraim bending his fair head humbly to receive hisgrandfather's righthand,Manasseh lookingupalertly,almost resentfully,asheseesthathandpassingoverhisownheadtohisbrother's.Joseph'swifeAsenath,the children'smother, stands beyond, looking onmusingly.We see that it is amomentofverysolemninteresttoallconcerned.Thoughthepatriarch'seyesaredim and his hand trembles, his old determined spirit makes itself manifest.Josephisinperplexitybetweenhisfilialrespectandhissolicitudeforhisfirst-born.Heputshisfingersgentlyunderhisfather'swrist,tryingtoliftthehandtotheotherhead.Themotherseemstosmileasifwellcontent.Perhapsshesharesthegrandfather'spreferenceforlittleEphraim.

The picture is a study in the three ages ofman, childhood,manhood, and oldage, brought together by themost tender and sacred ties of human life, in thecircleofthefamily.

III

THEANGELRAPHAELLEAVINGTHEFAMILYOFTOBIT

ThestoryofTobitisfoundinwhatiscalledtheApocrypha,thatis,acollectionofbookswrittenverymuchinthemannerof theBible,andformerlyboundinBiblesbetweentheOldandtheNewTestament.

ThestorygoesthatwhenEnemessar,KingofAssyria,conqueredthepeopleofIsrael,heledawaymanyofthemcaptiveintoAssyria,amongthemthefamilyofTobit,hiswifeAnna,andtheirsonTobias.TheysettledinNineveh,andTobit,beinganhonestman,wasmadepurveyortotheking.Thatis,itwashisbusinesstoprovidefoodfortheking'shousehold.

Inthisofficehewasabletolayupagooddealofmoney,whichheplacedforsafekeeping in thehandsofGabael,anIsraelitewholivedatRages inMedia.Tobitwas a generousman, and he didmany kind deeds for his less fortunatefellowexiles;hedelightedinfeedingthehungryandclothingthenaked.

WhenSennacheribwaskingofAssyria,manyJewswereslainandleftlyinginthe street, andTobit, finding their neglectedbodies, buried them secretly.Onenight, after some such deed ofmercy, a sad affliction befell him.White filmscame over his eyes, causing total blindness. In his distress he prayed that hemightdie,andbegantomakepreparationsfordeath.HecalledhissonTobiastohimandgavehimmuchgoodadviceastohismanneroflife,andthendesiredhimtogotoRagestoobtainthemoneylefttherewithGabael.ButTobiasmustfirstseekaguideforthejourney."Therefore,"saysthestory,"whenhewenttoseekaman,hefoundRaphaelthatwasanangel.Butheknewnot;andhesaiduntohim,'CanstthougowithmetoRages?andknowestthouthoseplaceswell?'Towhomtheangelsaid,'Iwillgowiththee,andIknowthewaywell:forIhavelodgedwithourbrotherGabael,'"TheangelgavehimselfthenameAzarias."Sotheywentforthboth,andtheyoungman'sdogwiththem."

"Astheywentontheirjourney,theycameintheeveningtotheriverTigris,andtheylodgedthere.Andwhentheyoungmanwentdowntowashhimself,afishleapedoutoftheriver,andwouldhavedevouredhim.Thentheangelsaiduntohim,'Takethefish,'Andtheyoungmanlaidholdofthefish,anddrewittoland.

Towhomtheangelsaid,'Openthefishandtakethegall,andputitupsafely.'Sotheyoungmandidastheangelcommandedhim,andwhentheyhadroastedthefish, they did eat it: then they bothwent on their way, till they drew near toEcbatane.Thentheyoungmansaidtotheangel,'BrotherAzarias,towhatuseisthegallofthefish?'Andhesaiduntohim,'Itisgoodtoanointamanthathathwhitenessinhiseyes,andheshallbehealed.'"

THEANGELRAPHAELLEAVINGTHEFAMILYOFTOBITTheLouvre,Paris



After this curious incident there were no further adventures till they came toEcbatane.HeretheylodgedwithRaguel,akinsmanofTobit,andwhenTobias

sawSara, thedaughter,he lovedheranddetermined tomakeherhiswife.HethereforetarriedfourteendaysatEcbatane,sendingAzariasontoRagesforthemoney.This delay lengthened the time allotted for the journey, but at last thecompany drew near to Nineveh,—Azarias or Raphael, and Tobias, with thebride,thetreasure,andthepreciousfishgall.RaphaelthengaveTobiasdirectionsto use the gall for his father's eyes. Their arrival was the cause of greatexcitement."Annaranforth,andfellupontheneckofherson.Tobitalsowentforthtowardthedoor,andstumbled:buthissonranuntohim,andtookholdofhisfather:andhestrakeofthegallonhisfather'seyes,saying,'Beofgoodhope,my father.' And when his eyes began to smart, he rubbed them; and thewhitenesspilledawayfromthecornersofhiseyes:andwhenhesawhisson,hefelluponhisneck."

NowTobitandTobiaswerefullofgratitudetoAzariasforallthathehaddoneforthem,and,consultingtogetherastohowtheycouldrewardhim,decidedtogivehimhalfthetreasure.Sotheoldmancalledtheangel,andsaid,"Takehalfofallthatyehavebrought,andgoawayinsafety."ThenRaphaeltookthembothapart,andsaiduntothem,"BlessGod,praisehim,andmagnifyhim,andpraisehimforthethingswhichhehathdoneuntoyouinthesightofallthatlive."

With this solemn introduction the angelgoeson to tellTobit thathehadbeenwithhimwhenhehadburiedhisdeadcountrymen,andthathisgooddeedswerenot hid from him, and that his prayers were remembered. He concludes byshowingwhohereallyis.

"I amRaphael,oneof the sevenholyangels,whichpresent theprayersof thesaints,andwhichgoinandoutbeforethegloryoftheHolyOne."

"Then theywereboth troubled,and fellupon their faces: for they fearedGod.But he said unto them, 'Fear not, for it shall go well with you; praise Godtherefore. For not of any favor of mine, but by the will of our God I came;whereforepraisehim for ever.All thesedays Ididappearuntoyou;but Ididneithereatnordrink,butyedidseeavision.NowthereforegiveGodthanks:forIgouptohimthatsentme.'""Andwhentheyarose,theysawhimnomore."

Thepictureshowsusthemomentwhentheangelsuddenlyrisesfromthemidstof the little companyand strikesoutonhis flight through theair likea strongswimmer.TobitandTobiasfallontheirkneeswithout,whileAnnaandthebrideSarastandintheopendoorwiththefrightenedlittledogcoweringbesidethem.Theolderpeopleareovercomewithwonderandawe,butTobiasandSara,more

bold,followtheradiantvisionwithrapturousgaze.

IV

THERATKILLER

The pictures we have examined thus far in this collection have beenreproductionsfromRembrandt'spaintings.YouwillseeatoncethatthepictureoftheRatKillerisofanotherkind.Thefiguresandobjectsareindicatedbylinesinstead of bymasses of color.Youwould call it a drawing, and it is in fact adrawingofonekind,butproperlyspeaking,anetching.Anetchingisadrawingmadeoncopperbymeansofaneedle.Theetcherfirstcoversthesurfaceofthemetalwitha layerof somewaxysubstanceanddrawshispicture through thiscoating,or"etchingground,"asitiscalled.Nextheimmersesthecopperplateinanacidbathwhich"bites,"orgrooves, themetalalong the lineshehasdrawnwithoutaffectingthepartsprotectedbytheetchingground.

Theplatethushasapicturecutintoitssurface,andimpressionsofthispicturemaybetakenbyfillingthelineswithinkandpressingwetpapertothesurfaceoftheplate.Youwillnoticethatthedifferencebetweentheworkofanengraverandthatofanetcheristhattheformercutsthelinesinhisplatewithengravingtools,while the latteronlydrawshispictureon theplateand theacidcuts thelines.Thewordetching isderived from theDutchetzen, and themost famousetchersintheworldhavebeenamongDutchandGermanartists.

THERATKILLERMuseumofFineArts,Boston


Pleaseclickhereforamodernimage

Rembrandtiseasilyfirstofthese,andweshouldhavebutalimitedideaofhisworkifwedidnotexaminesomeofhispicturesofthiskind.Impressionsmadedirectlyfromtheoriginalplates,overtwocenturiesago,are,ofcourse,veryrareandvaluable,andarecarefullypreservedinthegreatlibrariesandmuseumsoftheworld.ThereisacollectionintheMuseumofFineArts,Boston,wherethisetchingoftheRatKillermaybeseen.

TheRatKiller isoneofmanysubjects fromthescenesofcommon lifewhichsurrounded theartist. Insmaller townsandvillages, thenaswellasnow, therewerenolargeshopswheregoodsweretobebought.Instead,allsortsofpeddlersand traveling mechanics went from house to house—the knife grinder, theragman, the fiddler,andmanyothers.Thispictureof theRatKiller suggestsa

veryoddoccupation.Thepestofratsis,ofcourse,muchgreaterinoldthaninnewcountries. InEurope,andperhapsparticularly in thenortherncountriesofHollandandGermany,theoldtownsandvillageshavelongbeeninfestedwiththesetroublesomecreatures.

Thereare somecurious legendsabout them.One relateshowacertainBishopHatto,asajudgmentforhissins,wasattackedbyanarmyofratswhichswamacross theRhine and invaded him in his island tower,where theymade shortworkof theirvictim.[4]Another tells howa town calledHamelinwas overrunwithratsuntilamagicpiperappearedwhosocharmedthemwithhisenchantedmusicthattheygatheredabouthimandfollowedhisleadingtilltheycametotheriverandweredrowned.[5]

SeeSouthey'spoem,BishopHatto.

SeeBrowning'spoem,ThePiedPiperofHamelin.

TheoldRatKillerinthepicturelookssuspiciouslylikeamagician.Itseemsasifhemusthavebewitchedtheratswhichcrawlfriskilyabouthim,oneperchingon his shoulders. He reminds one of some ogre out of a fairy tale, with hisstrangetallcap,hiskiltedcoat,andbaggytrousers,themoneypouchathisbelt,thefurmantleflungoveroneshoulder,andthefierce-lookingsworddanglingathisside.Butthereisnomagicinhiswayofkillingrats.Hehassomeratpoisontosellwhichhisapprentice,amiserablelittlecreature,carriesinalargebox.

ThepicturegivesusanideaofanoldDutchvillagestreet.Thecottagesarebuiltverylow,withsteepoverhangingroofs.Thewallsareofthickmasonry,fortheseweredayswheninsmallvillagesandoutlyingdistricts"everyman'shousewashis castle," that is, everyman's housewas intended, first of all, as a place ofdefenseagainstoutlawry.

The entrance doorsweremade in two sections, an upper and a lower part, orwing, each swinging on its own hinges. Whenever a knock came, thehouseholder could open the upper wing and address the caller as through awindow,firstlearningwhohewasandwhathiserrand,beforeopeningthelowerparttoadmithim.Thusanunwelcomeintrudercouldnotpresshiswayintothehousebythedoor'sbeingopenedathisknock,andthefamilyneednotbetakenunawares.Inmanyofourmodernhousesweseedoorsmadeafterthesameplan,andknownas"Dutchdoors."

Thecautiousoldmaninthepicturehasnointentionofbeingimposeduponbywandering fakirs. He has opened only the upper door and leans on the lower

wing,asonagate,whilehelistenstotheRatKiller'sstory.Thelattermusthaveamarvelloustaletotelloftheeffectsofthepoison,fromthecollectionofdeadratswhichhe carries as trophies in thebasket fastened to the longpole inhishand.Butthehouseholderimpatientlypusheshishandback,andturnsawayasif with disgust. The apprentice, grotesque little rat himself, looks up ratherawestruckatthisgrand,turbanedfigureabovehim.

V

THEPHILOSOPHERINMEDITATION

Eversincethebeginningofhumanhistorytherehavebeenpeoplewhopuzzledtheirbrainsaboutthereasonsofthings.Whythingsareastheyare,whencewecame,andwhitherwearegoingaresomeoftheperplexingquestionstheyhavetried to answer. Some men have given all their lives to the study of theseproblemsasasingleoccupationorprofession.AmongtheancientGreeks,whowereaveryintellectualnation,suchmenwerequitenumerousandwereheldingreat esteem as teachers. They were called philosophers, that is, lovers ofwisdom, and this word has been passed down to our own times in variousmodernlanguages.

Inthepassingofthecenturiesmenfoundmoreandmoresubjectstothinkabout.Somestudied themovementsof thestarsand tried todiscover if theyhadanyinfluence in human affairs. Thesemenwere called astrologers, and they drewplans, known as horoscopes, mapping out the future destiny of persons asrevealed by the position of the constellations. There were other men whoexamined thevarioussubstancesofwhich theearth iscomposed,putting themtogether tomake new things. Thesewere alchemists, and their great ambitionwastofindsomepreparationwhichwouldchangebasermetalsintogold.Thishoped-forpreparationwasspokenofasthe"philosopher'sstone."

Nowmodernlearninghaschangedthesevagueexperimentsintoexactscience;astronomyhasreplacedastrology,andchemistryhastakentheplaceofalchemy.Nevertheless thesechangeswerebroughtaboutonlyverygradually,andin the17th century,whenRembrandt lived and painted this picture, a great stirwasmade by the new ideas of astronomy taught byGalileo in Italy, and the newdiscoveriesinchemistrymadebyVanHelmontinBelgium.Manyphilosophersstillheldtotheoldbeliefsofastrologyandalchemy.

ItisnotlikelythatRembrandthadanyonephilosopherinmindasthesubjectofhispicture.Thathisphilosopher is somethingof a scholar,we judge from thetableatwhichhesits, litteredwithwritingmaterials.Yetheseemstocarelessfor reading than for thinking, as he sitswith hands clasped in his lap and hisheadsunkuponhisbreast.Hewearsa loose, flowinggarment likeadressing-

gown,andhisbaldheadisprotectedbyasmallskullcap.Hisisanidealplacefor a philosopher's musings. The walls are so thick that they shut out all theconfusingnoiseof theworld.Asinglewindow lets in lightenough to readbythrough its many tiny panes. It is a bare little room, to be sure, with itsungarnishedwalls and stone-paved floor, but if aphilosopherhas theordinaryneedsoflifesuppliedhewantsnoluxuries.Heasksfornothingmorethanquietanduninterruptedleisureinwhichtopursuehismeditations.

THEPHILOSOPHERINMEDITATIONTheLouvre,Paris



Ourphilosopheriswelltakencareof;forwhilehisthoughtsareonhigherthingsandeternaltruths,anoldwomanisbusyatthefireinthecorner.Evidentlyshelooksafterthematerialandtemporalthingsoflife.Shekneelsonthehearthandhangs a kettle over the cheerful blaze. The firelight glows on her face andgleamshereandthereonthebrasseshanginginthechimney-pieceabove.Hereispromiseofsomethinggoodtocome,andwhenthephilosopherisrousedfromhismusingstherewillbeahotsupperreadyforhim.

There are two mysteries in the room which arouse our curiosity. In the wallbehind the philosopher's chair is a low, arched door heavily built with largehinges. Does this lead to some subterranean cavern, and what secret does it

contain? Is it a laboratory where, with alembic and crucible, the philosophersearches the secrets of alchemy and tries to find the "philosopher's stone?" Issomehidtreasurestoredupthere,aspreciousandashardtoreachasthehiddentruthsthephilosophertriestodiscover?

Attherightsideoftheroomabroad,windingstaircaserisesinlargespiralsanddisappears in thegloomabove.Wefollowitwithwonderingeyeswhichtry topiercethedarknessandseewhitheritleads.Perhapsthereisanupperchamberwithwindows open to the skywhence the philosopher studies the stars. Thisplace with its winding staircase would be just such an observatory as anastrologerwould like. Indeed it suggestsatonce the toweron thehillsidenearFlorencewhereGalileopassedhisdecliningyears.

Ourphilosopher,too,isanoldman;hishairhasbeenwhitenedbymanywinters,hisfacetracedoverwithmanylinesofthought.Evenifhisproblemshavenotall been solved he has found rich satisfaction in his thinking; the end of hismeditations is peace. The day is drawing to a close. The waning light fallsthroughthewindowandilluminesthephilosopher'svenerableface.Itthrowstheupper spiral of the stairway into bold relief, and brings out all the beautifulcurves in its structure.Thebare little room is transfigured.This is indeeda fitdwelling-placeforaphilosopherwhosethoughts,penetratingdarkmysteries,areatlastlightedbysomegleamsoftheideal.

VI

THEGOODSAMARITAN

Thestoryof theGoodSamaritanwasrelatedbyJesus toacertain lawyerasaparable,thatis,astorytoteachamorallesson.Theobjectwastoshowwhatwastrueneighborlyconduct;andthiswasthestory:—[6]

"Acertainmanwentdown fromJerusalem to Jericho, and fell among thieves,whichstrippedhimofhisraiment,andwoundedhim,anddeparted,leavinghimhalfdead.Andbychancetherecamedownacertainpriestthatway;andwhenhesawhim,hepassedbyontheotherside.AndlikewiseaLevite,whenhewasattheplace,cameandlookedonhim,andpassedbyontheotherside.

"ButacertainSamaritan,ashejourneyed,camewherehewas:andwhenhesawhim, he had compassion onhim, andwent to him, andboundup hiswounds,pouringinoilandwine,andsethimonhisownbeast,andbroughthimtoaninn,and tookcareofhim.Andon themorrowwhenhedeparted, he tookout twopence, and gave them to the host, and said unto him, 'Take care of him; andwhatsoeverthouspendestmore,whenIcomeagainIwillrepaythee.'"

St.Luke,chapterx.verses30-37.

Thepointofthestoryisveryplain,andwhenJesusaskedthelawyerwhichoneof the threepassers-bywas aneighbor to thewoundedman,hewas forced toreply, "He that shewed mercy." Then said Jesus simply, "Go, and do thoulikewise."

ThoughthesceneofthestoryislaidinPalestine,itisthesortofincidentwhichone can imagine taking place in any country or period of time. So it seemsperfectlyproperthatRembrandt,inrepresentingthesubject,shouldshowusanoldDutchscene.TheetchingillustratesthatmomentwhentheGoodSamaritanarrivesattheinn,followedbythewoundedtravelermountedonhishorse.

Thebuilding is aquaintpieceofarchitecturewitharcheddoorsandwindows.That itwasbuiltwithaneye topossibleattacks from thievesandoutlaws,wemayseefromthesmallwindowsandthickwallsofmasonry,whichmakeitlooklikeaminiaturefortress.Thisisalonelyspot,andinnsarefewandfarbetween.

[6]

The plaster is cracking and crumbling from the surface, and the wholeappearanceoftheplacedoesnotbetokengreatthriftonthepartoftheowners.On the present occasion, during the working hours of the day, doors andwindowsareopenafterthehospitablemannerofaninn.

Thehoststandsinthedoorway,greetingthestrangers,andtheGoodSamaritanisexplainingthesituationtohim.Inthemeantimetheinnservantshavecomeforward:thehostler'sboyholdsthehorsebythebridle,whileamanliftsoffthewoundedtraveler.

THEGOODSAMARITANMuseumofFineArts,Boston



Aboutthedooryardaretheusualsignsoflife.Intherearawomandrawswater

fromawell,loweringthebucketfromtheendofalongwell-sweep,heedlessofthestiraboutthedoor.Fowlscratchaboutinsearchoffood,andthereisadogatone side.Someonewithin lookswith idle curiosity from thewindow into theyard. It is little touches like these which give the scene such vividness andreality.

Thereisalsoaremarkableexpressivenessinthefigureswhichtellsthestoryataglance.YoucanseejustwhattheGoodSamaritanissaying,ashegestureswithhis lefthand,andyoucanguess the inn-keeper's reply.Alreadyhehasput theprofferedmoney into thewallethecarriesathisbelt,and listensattentively totheordersgivenhim.Hemayprivatelywonderathisguest'ssingularkindnesstoa stranger, butwith himbusiness is business, andhis place is to carry out hisguest'swishes.

Youseehowthehostler'sboymagnifieshisoffice, swaggeringwith legswideapart.Even the feather inhiscapbristleswith importance.Thisbitofcomedycontrasts with the almost tragic expression of the wounded man. The stolidfellowwholiftshimseemstohurthimverymuch,andheclaspshishandsinanagonyofpain.Heseemstobetellingthegentlemanatthewindowofhisrecentmisfortune.

To study the picture more critically, it will be interesting to notice how theimportantfiguresaremassedtogetherinthecentre,andhowthecompositionisbuiltintoapyramid.Drawalinefromtheinn-keeper'sheaddownthestairwayat the left,andfollowtheoutlineof theGoodSamaritan'srightshoulderalongthebodyofthewoundedtraveler,andyouhavethefigure.Thispyramidalformis emphasized again by thewainscot of the stairway at the left, and thewell-sweepattheright.

Toappreciatefullythecharacteroftheetching,onemustexamineattentivelyallthe different kinds of lines which produce the varying effects of light andshadow.BelowthepictureRembrandtwrotehisnameand thedate1633,withtwoLatinwordsmeaning that he designed and etched the plate himself. Thiswouldseemtoshowthathewaswellpleasedwithhiswork,anditisinterestingto learn that the great German poet, Goethe, admired the compositionextravagantly.

VII

THEPRESENTATIONINTHETEMPLE

The story which the picture of the Presentation illustrates is a story of theinfancyofJesusChrist.AccordingtothecustomoftheJewsatthattime,everymalechildwas"presented,"ordedicated,totheLordwhenaboutamonthold.JesuswasborninBethlehemofJudæa,asmalltownaboutfourmilesfromthecityofJerusalem,theJewishcapital,wherethetemplewas.Whenhewasaboutamonthold,hismotherMaryandherhusbandJoseph,whoweredevoutJews,broughthimtothegreatcityfortheceremonyofthepresentationinthetemple.Nowthetemplewasagreatplaceofworshipwheremanyreligiousceremoniesweretakingplaceallthetime.

Ordinarily, a party comingup from the country for some religious observancewouldnotattractanyspecialattentionamong theworshippers.Buton thedaywhentheinfantJesuswaspresentedinthetemple,averystrangethingoccurred.TheevangelistSt.Luke[7]relatesthecircumstances.

St.Luke,chapterii.verses25-35.

"Andbehold, therewasaman inJerusalemwhosenamewasSimeon;and thesamemanwas just and devout, waiting for the consolation of Israel: and theHolyGhostwasuponhim.AnditwasrevealeduntohimbytheHolyGhostthatheshouldnotseedeath,beforehehadseentheLord'sChrist.AndhecamebytheSpiritintothetemple:andwhentheparentsbroughtinthechildJesus,todoforhimafterthecustomofthelaw,thentookhehimupinhisarms,andblessedGod,andsaid,Lord,nowlettest thouthyservantdepart inpeace,accordingtothyword:formineeyeshaveseenthysalvationwhichthouhastpreparedbeforethefaceofallpeople,alighttolightentheGentilesandthegloryofthypeopleIsrael.

[7]

THEPRESENTATIONINTHETEMPLETheHagueGallery



"AndJosephandhismothermarveledatthosethingswhichwerespokenofhim.AndSimeonblessedthem,andsaiduntoMaryhismother,BeholdthischildissetforthefallandrisingagainofmanyinIsrael;andforasignwhichshallbespokenagainst;thatthethoughtofmanyheartsmayberevealed."

In the picture we find ourselves, as it were, among the worshippers in thetemple,lookingatthegrouponthepavementinfrontofus—MaryandJoseph

andSimeon,kneelingbeforeapriest,withtwoorthreeonlookers.ItisaGothiccathedral, inwhosedim recessesmanypeoplemovehither and thither.At theright isa long flightof steps leading toa throne,which isovershadowedbyahuge canopy.At the topof the stepswe see the highpriest seatedwith handsoutstretched, receiving the peoplewho throng up the stairway. Itwas towardsthis stairway that Mary and Joseph were making their way, when the agedSimeonfirstsawthem,andrecognizedinthechildtheycarriedtheonehehadlongexpected.Takingthebabefromhismother'sarms,hekneelsonthemarble-tiledpavementand raiseshis face toheaven in thanksgiving.Hisembroideredcymar,orrobe,fallsabouthiminrichfoldsasheclaspshisarmsaboutthetinyswaddledfigure.

Maryhasdroppedonherkneesbesidehim, listening tohiswordswithhappywonder.Joseph,justbeyond,looksonwithanexpressionofinquiry.Hecarriestwoturtledovesasthethankofferingrequiredofthemotherbythereligiouslaw.HisunkemptappearanceandbarefeetcontrastwiththeneatdressofMary.Thetallprieststandingbeforethemextendshishandstowardsthegroupinagestureofbenediction.Abroadrayof lightgleamsonhisstrangeheaddress, lightsuphisoutstretchedhand,andfallswithdazzlingbrilliancyuponthesoftroundfaceof thebabe, thesmilingmother,and thevenerableSimeonwith flowingwhitehairandbeard.

Therearebutfewpeopletopayanyheedtothestrangeincident.Twoorthreeofthosewhoclimbthestairwayturnaboutandstarecuriouslyatthegroupbelow.Thereare threeothers stillmore interested.Onemanbehindputshis turbanedheadoverSimeon's shoulders,peering inquisitivelyat thechild,as if trying tosee what the old man finds so remarkable in him. Beyond, two old beggarsapproachwithasortofgood-naturedinterest.Theyarequaintlydressed,oneofthemwearingaverytallcap.Suchhumblefolkasthesealoneseemtohavetimetonoticeothers'affairs.

Itmustnotbesupposedthatthissceneverycloselyrepresentstheactualeventitillustrates.ThepainterRembrandtknewnothingaboutthearchitectureoftheoldJewish temple destroyed many centuries before. A Gothic cathedral was thefinesthouseofworshipknowntohim,sohethoughtoutthesceneasitwouldlook insuchsurroundings.Thepeoplecomingandgoingweresuchashesawabout him daily; the beggars looking at the Christ-child were the beggars ofAmsterdam,and themenseated in thewoodensettleat therightwere like therespectableDutchburghersofhisacquaintance.ItwasliketranslatingthestoryfromAramaictoDutch,butintheprocessnothingislostofitsoriginaltouching

beauty.

Instudyingthepicture,youmustnoticehowcarefullyallthefiguresarepainted,eventheverysmallonesinthedarkestpartsof thecomposition.Thebeautifulcontrast, between the light on the central group and the soft dimness of theremoterpartsof thecathedral, illustratesa styleofwork forwhichRembrandtwasveryfamous,andwhichweshalloftenseeinhispictures.

VIII

CHRISTPREACHING

We read in the evangelists' record of the life of Jesus that hewent about thecountry preaching the gospel (or the good news) of the kingdom of Heaven.SometimeshepreachedinthesynagogueontheSabbathday;butmoreoftenhetalkedtothepeopleintheopenair,sometimesonthemountain-side,sometimesontheshoreofthelakeGennesaret,oragaininthestreetsoftheirtowns.

ThescribesandPhariseeswerejealousofhispopularity,andangrybecauseheexposedtheirhypocrisy.Theproudandrichfoundmanyofhissayingstoohardtoaccept.Soitwasthepoorandunhappywhoweremosteagertohearhim,andtheyoftenformedalargepartofhisaudience.Jesushimselfrejoicedinthisclassoffollowers,andwhenJohntheBaptist'smessengerscametohimtoinquireintohismission,he sentback themessage, "Thepoorhave thegospelpreached tothem."

In thispictureofChristPreaching,wesee thathishearersareof just thekindthat thepreacher'smessageis intendedfor,—thewearyandheavy-ladenwhomhe called to himself. There are a few dignitaries in the gathering, it is true,standingpompouslybyinthehopeoffindingsomethingtocriticise.ButJesuspaysnoattention to themashe looksdowninto thefacesof the listenerswhomostneedhiswords.Hispulpitisasquarecoping-stoneinacourtyard,andthepeoplegatherabouthiminacircleinthepositionsmostconvenienttothem.

CHRISTPREACHINGMuseumofFineArts,Boston



There is no formality here, no ceremony; each one may come and go as hepleases.Here isamothersittingonthegrounddirectly infrontof thespeaker,holdingababeinherarms,whilealittlefellowsprawlsoutonthegroundbesideher, drawing on the sandwith his finger. Thoughwe cannot see her face,weknowthatsheisanabsorbedlistener,andJesusseemstospeakdirectlytoher.

A pathetic-looking man beyond her is trying to take in the message in awonderingway,andalong-beardedmanbehindhimissoarousedthatheleanseagerlyforwardtocatcheveryword.Thereareothers,asisalwaysthecase,wholistenverystolidlyasifquiteindifferent.

Againtherearetwowhoponderthesubjectthoughtfully.Oneoftheseisintherear,—a young man, perhaps one of Jesus' disciples; the other sits in front,crossinghislegs,andsupportinghischinwithhishand.InthegroupattherightofJesuswecaneasilypickoutthescoffersandcritics,listeningintently,someofthemmoreinterested,perhaps,thantheyhadexpectedtobe.

Aswe look at Jesus himself, so gentle and tender, raising both hands as if tobless thecompany,we feel sure thathe is speakingsomemessageofcomfort.

OnedaywhenhewasreadingtheScripturesinthesynagogueatCapernaum,heselectedapassagewhichdescribedhisownwork,andwhichperfectlyappliestothis picture.We can imagine that he is saying: "The spirit of theLordGod isuponme; because theLord hath anointedme to preach good tidings unto themeek;hehathsentmetobindup thebrokenhearted, toproclaimliberty to thecaptives,andtheopeningoftheprisontothemthatarebound;toproclaimtheacceptableyearoftheLord,andthedayofvengeanceofourGod;tocomfortallthatmourn;toappointuntothemthatmourninZion,togiveuntothembeautyfor ashes, the oil of joy formourning, the garment of praise for the spirit ofheaviness."

ItisanoticeablefactthatthefiguresinthispictureofChristpreachingareDutchtypes.IfyouthinkthatthisisastrangewaytoillustratesceneswhichtookplaceinPalestinemanycenturiesago,youmustrememberthatthepicturewasdrawnbyaDutchmanwhoknewnothingofPalestine,andindeedlittleofanycountryoutside his ownHolland.Hewished tomake the life ofChrist seem real andvividtohisowncountrymen;andtheonlywayhecoulddothiswastorepresentthescenes in thesurroundingsmostfamiliar tohimselfand to them.TheartistwassimplytryingtoimaginewhatJesuswoulddoifhehadcometoAmsterdamintheseventeenthcentury,insteadoftoJerusaleminthefirstcentury;somewhatas certainmodernwriters have tried to thinkwhatwould take place "If JesuscametoChicago,"or"IfJesuscametoBoston,"inthenineteenthcentury.ThesweetgentlenessinthefaceofChristandtheeagerattentionofthepeopleshowhowwellRembrandtunderstoodtherealmeaningoftheNewTestament.

ThispictureisworthyofveryspecialstudybecauseitisreckonedbycriticsoneofthebestofRembrandt'setchings.Oneenthusiasticwriter[8]saysthat"thefullmaturityofhisgeniusisexpressedineveryfeature."Onemustknowagreatdealaboutthetechnicalprocessesofetchingtoappreciatefullyalltheseexcellencies;butevenaninexperiencedeyecanseehowfewandsimplearethelineswhichproducesuchstrikingeffectsof lightandshadow:ascratchor twohere,afewparallel linesdrawndiagonally there; somecoarsecross-hatching inoneplace,closerhatchinginanother;nowandthenaspotoftheblackinkitself,—andthewholesceneismadealive,withJesusstandinginthemidst,thelightgleamingfulluponhisfigure.

Michel.

IX

CHRISTATEMMAUS

ThepictureofChristatEmmausillustratesaneventinthenarrativeofChrist'slifewhichtookplaceontheeveningofthefirstEasterSunday.ItwasnowthreedayssincetheCrucifixionofChristjustoutsideJerusalem,andtheterriblescenewasstillveryfreshinthemindsofhisdisciples.IthappenedthatlateinthedaytwoofthemweregoingtoavillagecalledEmmaus,notveryfarfromJerusalem.

Theymadethejourneyonfoot,andastheywalkedalongtheway,"theytalkedtogether,"saystheevangelist[9]whotellsthestory,"ofallthosethingswhichhadhappened. And it came to pass, that, while they communed together andreasoned, Jesus himself drew near, and went with them. But their eyes wereholdenthattheyshouldnotknowhim.Andhesaiduntothem,'Whatmannerofcommunicationsarethesethatyehaveonetoanother,asyewalk,andaresad?'Andtheoneof them,whosenamewasCleopas,answeringsaiduntohim, 'ArtthouonlyastrangerinJerusalem,andhastnotknownthethingswhicharecometopassthereinthesedays?'Andhesaiduntothem,'Whatthings?'Andtheysaidunto him, 'Concerning Jesus of Nazareth.'" Then followed a conversation inwhichtheytoldthestrangersomethingofJesus,andheinturnexplainedtothemmany things about the life and character of Jesus which they had neverunderstood.

St.Luke,chapterxxiv.verses13-32.

"Andtheydrewnighuntothevillage,whithertheywent:andhemadeasthoughhewouldhavegone further.But theyconstrainedhim, saying, 'Abidewithus:forit istowardevening,andthedayisfarspent.'Andhewentintotarrywiththem.

"Anditcametopass,ashesatatmeatwiththem,hetookbread,andblessedit,andbrake,andgave to them.And theireyeswereopenedand theyknewhim;andhevanishedout of their sight.And they said one to another, 'Didnot ourheartsburnwithinus,whilehetalkedwithusbytheway?'"

ThepicturesuggestsvividlytousthatwonderfulmomentatEmmauswhentheeyes of the disciples were opened, and they recognized their guest as Jesus,

[9]

whomtheyhadsorecentlyseencrucified.Thetableislaidinagreatbareroomwith the commonest furnishings, and the disciples appear to be laboringmen,accustomedto"plainlivingandhighthinking."Theyarecoarselydressed,andtheirfeetarebare,asarealsothefeetofJesus.Oneseemstohavegraspedthesituationmorequicklythantheother,forhefoldshishandstogether,reverentlygazingdirectlyintothefaceofJesus.Hiscompanion,anolderman,attheotherend of the table, looks up astonished andmystified. The boywho is bringingfoodtothetableisbusywithhistask,anddoesnotnoticeanychangeinJesus.

CHRISTATEMMAUSTheLouvre,Paris



InthemidstisChrist,"pale,emaciated,sittingfacingus,breakingthebreadasontheeveningoftheLastSupper,inhispilgrimrobe,withhisblackenedlips,onwhichthetorturehasleftitstraces,hisgreatbrowneyessoft,widelyopened,and raised towards heaven, with his cold nimbus, a sort of phosphorescence

around himwhich envelops him in an indefinable glory, and that inexplicablelookofabreathinghumanbeingwhocertainlyhaspassedthroughdeath."

This description is by a celebrated French critic,[10] himself a painter, whoknowswhereofhespeaks.Hesaysthatthispicturealoneisenoughtoestablishthereputationofaman.

Fromentin,inOldMastersofBelgiumandHolland.

There is one artistic quality in the picture to which we must pay carefulattention, as it is particularly characteristic of Rembrandt. This is the way inwhich the light and shadow are arranged, or what a critic would call thechiaroscuro of the picture. The heart of the composition glowswith a goldenlightwhichcomesfromsomeunseensource.Itfallsonthewhitetableclothwithadazzlingbrilliancyasiffromsomebrightlamp.Itgleamsonthefacesofthecompany, bringing out their expressions clearly. The arched recess behind thetable is thrownintoheavyshadow,againstwhichthecentrally lightedgroupissharplycontrasted.

This singular manner of bringing light and darkness into striking oppositionmakes the objects in a picture stand out very vividly. Some one has definedchiaroscuro as the "art of rendering the atmosphere visible and of painting anobject enveloped in air."Theartwascarried toperfectionbyRembrandt.Youwillnotice itmoreor less ineverypictureof thiscollection,butnowhere is itmore appropriate than here, where the appearance of Christ, as the source oflight,emphasizes themysteryof theeventandmakessomethingsacredof thiscommonscene.

AswecomparethispicturewiththeetchingofChristPreaching,wegetabetterideaofRembrandt'saiminrepresentingChrist.Hedidnottrytomakehisfacebeautiful with regular classical features, after the manner of the old Italianpainters. He did not even think it necessary to make his figure grand andimposing.Something still betterRembrandt sought toput intohispicture, andthiswasagentleexpressionoflove.

X

PORTRAITOFSASKIA

We should have but a very imperfect idea ofRembrandt'swork ifwe did notlearnsomethingabouttheportraitshepainted.Itwasforthesethathewasmostesteemedinhisownday,beingthefashionableportraitpainterofAmsterdamata time when every person of means wished to have his likeness painted. AcollectionofhisworksofthiskindwouldalmostbringbackagainthecitizensofAmsterdamintheseventeenthcentury,solife-likearethesewonderfulcanvases.Amongthemweshouldfindthevariousmembersofhisfamily,hisfatherandmother, his sister, his servant, his son, andmost interestingof all, hisbelovedwife,Saskia.

SaskiawasborninFriesland,oneofninechildrenofawealthypatricianfamily.Herfather,RombertusvanUylenborch,wasadistinguishedlawyer,whohadhadseveralimportantpoliticalmissionsintrustedtohim.AtonetimehewassentasamessengertoWilliamofOrange,andwassittingattablewiththatprincejustbeforehisassassination.Hediedin1624,leavingSaskiaanorphan,asshehadlosthermotherfiveyearsbefore.Thelittlegirloftwelvenowbegantoliveinturnwithhermarried sisters.At the ageof twenty she came toAmsterdam tolive for awhilewith her cousin, thewife of aminister, JanCornelis Sylvius,whosefaceweknowfromoneofRembrandt'setchings.SaskiahadalsoanothercousinlivinginAmsterdam,HendrickvanUylenborch,amanofartistictastes,whohadnotsucceededasapainter,andhadbecomeadealerinbric-à-bracandengravings. Hewas an old friend of Rembrandt; andwhen the young paintercametoseekhisfortuneinthegreatcityin1631,hehadmadehishomeforawhilewiththeartdealer.

Itwas doubtlessHendrickwho introducedRembrandt to Saskia. Probably thebeginning of their acquaintance was through Rembrandt's painting Saskia'sportraitin1632.Therelationbetweenthemsoongrewquitefriendly,forinthesame year the young girl sat two or three times again to the painter. Thefriendshippresentlyendedincourtship,andwhenRembrandtpressedhissuitthemarriage seemed a very proper one. Saskia was of a fine family and had asufficientdowry.

Rembrandt, though the son of a miller, was already a famous painter, muchsought after for portraits, and with a promising career before him. Theengagement was therefore approved by her guardians, but marriage beingdeferredtillshecameofage,thecourtshiplastedtwohappyyears.Duringthistime Rembrandt painted his lady love over and over again. It was one of hisartisticmethods to paint the same personmany times.Hewas not oneof thesuperficialpainterswhoturnconstantlyfromonemodeltoanotherinsearchofnew effects. He liked to make an exhaustive study of a single face in manymoods,withmanyexpressionsandvariedbydifferentcostumes.

PORTRAITOFSASKIACasselGallery



Saskiahadsmalleyesandaroundnose,andwasnotatallbeautifulaccordingtoclassical standards. Rembrandt, however, cared less for beauty than forexpression, and Saskia's face was very expressive, at timesmerry and almostroguish, and again quite serious. She had also a brilliant complexion and anabundanceofsilkyhair,wavingfromherforehead.Thepainterhadcollectedinhis studiomanyprettyand fantastic things touse inhispictures,—velvetsandgold embroidered cloaks, Oriental stuffs, laces, necklaces, and jewels. Withthesehe loved todeckSaskia,heighteninghergirlishcharmswith theplayoflightupontheseadornments.

OneofthemostfamousofthemanyportraitsofSaskiaatthistimeisthepicturewe have here. Because it is not signed and dated, after Rembrandt's usualcustom,itisthoughtthatitwasintendedasagiftforSaskiaherself,andthusithasaromanticinterestforus.Alsoitispaintedwithextremecare,astheworkofaloverofferingthechoicestfruitofhisart.

Theartisthasarrangedapicturesquecostumeforhissitter,—abroad-brimmedhat of red velvet with a sweeping white feather, an elaborate dress withembroidered yoke and full sleeves, a rich mantle draped over one shoulder,necklace,earrings,andbraceletsofpearls.Herexpressionismoreseriousherethanusual, thoughveryhappy, as if shewas thinkingof her lover; and inherhand she carries a sprig of rosemary, which in Holland is the symbol ofbetrothal,holdingitnearherheart.

Themarriagefinally tookplace inJune,1634, in the townofBildt.ThebridalpairthenreturnedtoAmsterdamtoahappyhomelife.Rembrandthadnogreaterpleasure thanin thequietfamilycircle,andSaskiahadasimple lovingnature,entirelydevotedtoherhusband'shappiness.AfewyearslaterRembrandtmovedinto a fine house in the Breestraat, which he furnished richly with choicepaintingsandworksofart.

Asuccessionofportraitsshowsthatthepaintercontinuedtopainthiswifewithlovingpride.HerepresentedherasaJewishbride,asFlora,asanOdalisque,aJudith, aSusanna, and aBathsheba.There is one paintingof the husband andwifetogether,SaskiaperchedlikeachildonRembrandt'sknee,asheflourishesawine-glassintheair.Inanotherpicture(anetching)theysittogetheratatableabout the evening lamp, the wife with her needle-work, the artist with hisengraving.The lovebetweenthemis thebrightestspot inRembrandt'shistory,clouded as it was with many disappointments and troubles. As a celebratedwriter has expressed it, Saskia was "a ray of sunshine in the perpetual

chiaroscuroofhislife."

XI

THESORTIEOFTHECIVICGUARD,ORTHENIGHTWATCH

The patriotism of theDutch is seen through the entire history of "brave littleHolland."Early in thesixteenthcenturyevery townofconsiderable sizehadamilitarycompanycomposedof themostprominentcitizens.Eachcompany,orguild, had a place of assembly, or doelen, and a drilling-ground. The officerswere chosen for a year, and the highest appointments were those of captain,lieutenant, and ensign. Upon these civic guards rested the responsibility ofmaintaining the order and safety of the town. Sterner duties than these weretheirswheninthelatesixteenthcentury(1573),atthecallofWilliamofOrange,the various guilds formed themselves into volunteer companies to resist theSpanish.Howwell theyacquitted themselves is amatterofhistory, andSpainrecognized the republic in the treaty of 1609. After the war, many of thecorporationswere reorganized and continued to be of great importance in theseventeenthcentury.

Thepicturewehavehererepresents theCivicGuardofAmsterdamduringthecaptaincy of Frans Banning Cocq in 1642. Cocq was a man of wealth andinfluencewhohadpurchasedtheestateofPurmerlandin1618andhadalsobeengrantedapatentofnobility.SoitwasnaturalthatLordPurmerland,oneofthemostdistinguishedcitizensof the town,shouldbecalledtoa termofofficeascaptainoftheCivicGuard.Hismagnificentstatureandmanlybearingshowhimwellfittedforthehonor.

SORTIEOFTHECIVICGUARDRyksMuseum,Amsterdam



The picture represents an occasion when the guard issues from the assemblyhall, or doelen, in a sudden call to action. Captain Cocq leads the way withLieutenantWillem vanRuytenberg, ofVlaerdingen, and as he advances givesorders to his fellow officer. The drum beats, the ensign unfurls the standard,every man carries a weapon of some sort. One is priming a musket, anotherloadinghisgun,anotherfiring.Amassoflance-bearerspressonfromtherear.Intheconfusionadogscampersintothemidstandbarksfuriouslyatthedrum.A little girl slips into the crowd on the other side, oddly out of place in suchcompany,butquite fearless. Ithasbeen suggested that shemayhavebeen thebearerof the tidingswhichcalls theguardforth.Thequaint figure isclad inalong dress of some shimmering stuff, and she has the air of a small princess.Fromherbelthangsacock,andsheturnsherfaceadmiringlytowardsthegreatcaptain.

Wedonot knowof anyhistorical incidentwhich precisely corresponds to theactioninthepicture.Indeed,itisnotstrictlyspeakinganhistoricalpictureatall,but rather a portrait groupof theCivicGuard, in attitudes appropriate to their

characterasamilitarybody.Theymaybegoingoutfortargetpracticeorforashootingmatchsuchaswasheldannuallyasatrialofskill;itmaybeaparade,oritmaybe,assomehavefancied,acalltoarmsagainstasuddenattackfromthe enemy. In any case the noticeable thing is the readiness with which allrespondtothecall—thespiritofpatriotismwhichanimatesthebody.TheDutchare not naturally warlike, but rather a peace-loving people; lacking the quickimpulsiveness of a more nervous race, they are of a somewhat heavy anddeliberatetemper;yettheyhavethesolidworthwhichcanbecountedoninanemergency,andinloveofcountrytheyareunitedtoaman.BenjaminFranklinoncesaidofHolland,"Inloveofliberty,andbraveryinthedefenseofit,shehasbeenourgreatexample."

Thepicturecannotbe fullyunderstoodwithoutsomeknowledgeof itshistory.PaintedforthehalloftheAmsterdamMusketeers,itwastotakeitsplaceamongothersbycontemporarypainters,asaportraitgroupinhonorof theofficersoftheyear,andasalastingmemorialoftheirservices.Theotherpictureshadbeenstiff groups about a table, and the novelty of Rembrandt's compositiondispleased someof themembers of the guild.Each personwho figures in thescenehadsubscribedacertainsumtowards thecostof thepictureforhisownportrait, andwas anxious to get hismoney's worth. Consequently, there weremany who did not at all relish their insignificance in the background, quiteovershadowed by the glory of the captain and lieutenant. They thought theywouldhaveshowntomuchbetteradvantagearrangedinrows.

ItwasRembrandt'swaywhenpaintingaportrait togive lifeand reality to thefigure, by showing the leading element in the character or occupation of theperson.Thushisshipbuilderisdesigningaship,thewritingmaster,Coppenol,ismendingapen,thearchitecthashisdrawingutensils,andthepreacherhisBible.SointheCivicGuardeachmancarriesaweapon,andthefiguresareunitedinspiritedaction.Allthisartisticmotivewaslostuponthoseforwhomthepicturewaspainted,becauseoftheirpettyvanity.Sothegreatpainting,nowsohighlyesteemed,wasnotasuccessatthetime.

In thefollowingcentury itwasremoved to the townhall;and inorder to fit itintoaparticularplaceonthewall,astripwascutoffeachsidethecanvas.Itisthelossof thesemarginswhichgivesthecompositionthecrowdedappearancewhichsolongseemedastrangefaultinagreatartistlikeRembrandt.

Theoriginalcolorsofthepaintinggrewsodarkwiththeaccumulationofsmokein the hall that the critics supposed the scene occurred at night, hence the

incorrect name of the Night Watch was given to it. Since the picture wascleaned,in1889,itisapparentthattheincidentoccurredinthedaytime,andifyoulookcarefullyyoucanplainlyseetheshadowofCaptainCocq'shandonthelieutenant'stunic.

XII

PORTRAITOFJANSIX

WhenthepainterRembrandtcametoAmsterdamin1631,ayoungmanseekinghis fortune in the great city, a lad of twelve years was living in his father'scountry seat, near by,whowas later to becomeoneof hiswarm friends.Thiswas Jan Six, the subject of the portrait etching reproduced here. Therewas agreat contrast in the circumstances of life in which the two friends grew up.Rembrandtwasthesonofamiller,andhadhisownwaytomakeintheworld.JanSixwassurroundedfromhisearliestyearswitheverythingwhichtendedtothegratificationofhisnaturaltasteforculture.Rembrandt'sraretalent,however,overbalancedanylackofearlyadvantages,andmadehimafriendworthhaving.

SixhadcomeofHuguenotancestry.HisgrandfatherhadfledtoHollandduringtheHuguenotpersecutioninFrance,andhadbecomearesidentinAmsterdamin1585.Jan'sfather,anotherJan,hadmarriedaDutchladyofgoodfamily,whosemaidennamewasAnnaWijmer.ItwasintheserviceofthisgoodladythatwefirsthearofRembrandt'sconnectionwiththeSixfamily.Hewascalledtopaintherportraitin1641,andmusthavethen,ifnotbefore,madetheacquaintanceofheryoungson, Jan. Janunited toagreat loveof learninga loveofeverythingbeautiful, and was an ardent collector of objects of art. Paintings of the oldItalianandearlyDutchschools,rareprintsandcuriosofvariouskinds,werehisdelight.HefoundinRembrandtamanafterhisownheart.Alreadythepainterhadgonefarbeyondhismeansinfillinghisownhousewithcostlyworksofart.So the twomen,havingahobby incommon, foundastrongbondofunion intheir congenial tastes.Wemay be sure that theywere often together, to showtheirnewpurchasesanddiscusstheirbeauty.

PORTRAITOFJANSIXMuseumofFineArts,Boston



Rembrandt, as anolder andmore experienced collector,woulddoubtless havegoodadvicetoofferhisyoungerfriend,and,anartisthimself,wouldknowhowtojudgecorrectlyaworkofart.Onerecordoftheirfriendshipintheseyearsisalittleetched landscapewhichRembrandtmade in1641,showingabridgenearthecountryestateoftheSixfamily,aplacecalledElsbroek,nearthevillageofHillegom.

Itwasin1647thatRembrandtmadethisportraitofhisfriend,thentwenty-nineyears of age. Six had nowbegun tomake a name for himself in theworld of

lettersasascholarandpoet.HehadalreadypublishedapoemonMuiderberg(avillagenearAmsterdam),andby this time,doubtless,hadunderwayhisgreatliterarywork, the tragedy ofMedæa.Manywere the timeswhen Rembrandt,coming to his house to talk over some new treasure-trove, found him in hislibrarywithhisheadburiedinabook,andhisthoughtsfaraway.Itwasinsuchamomentthathemusthavehadtheideaofthisbeautifulportrait.Hecatcheshisfriendonedayinthecornerofhislibrary,standingwithhisbacktothewindowtoget the lighton thebookhe is reading.He transfers thepicture toacopperplateandhandsitdowntofuturegenerations.

The slender figure of the young man is clad in the picturesque dress of agentlemanofhistime,withknee-breechesandlowshoes,withwidewhitecollarandcuffs.Hisabundantwavyblondhairfallstohisshoulders;hehastheairofatrue poet. In his eagerness to read, he has flung his cavalier's cloak on thewindow seat behind him, a part of it dropping upon a chair beyond. Itsvoluminous folds make a cushion for him, as he leans gracefully against thewindow ledge. His sword and belt lie on the chair with the cloak. For themoment thepen ismightier than thesword.Thefurnishingsof theroomshowthe owner's tastes; a pile of folio volumes fill a low chair, an antique picturehangsonthewall.

Theyoungman'sfaceisseenbythelightreflectedfromthepagesofhisopenbook.Itisarefined,sensitiveface,ofhighintellectualcast,amiablewithal,andfull of imagination.He is completely absorbed in his reading, a smile playingabouthismouth.Howlittleofafopandhowmuchofapoetheis,weseefromhis disordered collar. Breathing quickly as he bends over his book, in hisexcitementhecannotendure therestraintofaclosecollar.Hehasunloosed it,as,quiteobliviousofanyuntidinessinhisappearance,hehurrieson,ruthlesslycrushingthepagesofthefolioback,ashegraspsitinhishand.

ThefriendshipbetweenSixandRembrandtseemedtogrowapace;forwhenthetragedy ofMedæawas published, in 1648, itwas illustrated by amagnificentetchingbyRembrandt,representingtheMarriageofJasonandCreusa.

The literaryworkof JanSix led theway tovariouspublichonors. In1656hebecame commissioner ofmarriages; in 1667, amember of theCouncil of theStates General of Holland, and in 1691, burgomaster of Amsterdam. Hiscontinued friendship forRembrandtwas shown inhispurchasinganumberofthe latter'spaintings.Rembrandtat lengthpaintedamagnificentportraitofhisfriendinhisoldage,which,withtheportraitofhismotherandtheoriginalplate

for thisetching,still remains in theSixfamily inAmsterdam.Referring to theportraitofJanSix,thefamousDutchpoet,Vondel,contemporaryofRembrandtandSix,paidafittingtributetothegreatburgomaster,asa"loverofscience,art,andvirtue."

XIII

PORTRAITOFANOLDWOMAN

Thestoryistoldofalittlechildwho,uponbeingintroducedtoakind-facedlady,looked up brightly into her eyeswith the question, "Whosemother are you?"When we look into the wrinkled old face of this picture, the same sort of aquestion springs to mind, and we involuntarily ask, "Whose grandmother areyou?" We are sure that children and grandchildren have leaned upon thatcapacious lap. The name of the subject is not known, though the same faceappearsmany times in Rembrandt's works. But there aremany peoplewhosenameswecanquote,ofwhomweknowmuchlessthanofthisoldwoman.

The story of her life iswritten in the picture. Those clasped hands, large andknotted,havedonemuchhardwork.Theyhaveministeredtotheneedsoftwogenerations.Theyhavedandled thebabyonher knee, and supported the littletoddler taking his first steps. They have tended the child andwrought for theyouth.Theyhavebuiltthefireonthehearthandsweptoutthehouse;theyhavekneaded thebreadand filled thekettle; theyhavespunandwoven,andsewedandmended.Theyhavenotevenshrunkfromthecoarserlaborsofdooryardandfield, the care of the cattle, the planting and harvesting. But labor has donenothingtocoarsentheinnaterefinementofthesoulwhichlooksoutofthefineoldface.

Sheisrestingnow.Thechildrenandgrandchildrenhavegrownuptotakecareofthemselvesandtheirgrandmotheralso.Shehastimetositdowninthetwilightoflife,justassheusedtositdownatthecloseofeachday'swork,tothinkoverwhathashappened.Shehasalargecomfortablechair,andsheisneatlydressed,as befits an old woman whose life work is done. A white kerchief is foldedacrossherbosom,a shawl iswrappedabouther shoulders, andahooddroopsover her forehead. Her thoughts are far away from her present surroundings;something sad occupies them.She dreams of the past and perhaps also of thefuture.Sorrowaswellasworkhashadalargeshareinherlife,butshehasborneitallwithpatientresignation.Sheisnotonetocomplain,anddoesnotmeantotroubleotherswithher sadness.But left all alonewithhermusings, a lookofyearning comes intoher eyes as for somethingbeautiful andmuch loved, lost

longago.

Some painters have been at great pains to fashion a countenance sorrowfulenoughandpatientenoughtorepresent thesubjectof theMaterDolorosa, thatis,theSorrowingMotherofChrist.Perhapstheywouldhavesucceededbetteriftheyhadturnedawayfromtheirownimaginationstosomemotherinreal life,whohaslovedandworkedandsufferedlikethisone.Thefaceanswersinpartour first question. A woman like this is capable of mothering great sons.Industrious, patient, self-sacrificing, she would spare herself nothing to trainthemfaithfully.Andthelifeofwhichherfacespeaks—alifeofself-denyingtoil,ennobledbyhighidealsofduty—isthestuffofwhichheroesaremade.Someofthegreatmenofhistoryhadsuchmothers.

PORTRAITOFANOLDWOMAN

HermitageGallery,St.Petersburg



Thepictureillustratesthefactthatafacemaybeinterestingandevenartistic,ifnot beautiful. This idea may surprise many, for when one calls a person "asprettyasapicture,"itseemstobeunderstoodthatit isonlyprettypeoplewhomake suitablemodels for pictures. Rembrandt, however,was of quite anothermind.Hewasastudentofcharacteraswellasapainter,andhecaredtopaintfacesmorefortheirexpressionthanforbeautyoffeature.

Nowtheexpressionofafaceistoagreatextenttheindexofcharacter.Wesaythatthechildhas"nocharacterinhisface,"meaningthathisskinisstillfairandsmooth,beforehisthoughtsandfeelingshavemadeanyrecordthere.Graduallythecharacterimpressesitselfonhisface.Experienceactsalmostlikeasculptor'schisel,carvinglinesofcareandgroovingfurrowsofsorrow,shapingthemouthandthesettingoftheeyes.

Thelongerthisprocesscontinues,themoreexpressivethefacebecomes,sothatit is the old whose faces tell the most interesting stories of life. Rembrandtunderstoodthisperfectly,andnoneeversucceededbetterthanheinrevealingthepoetryandbeautyofoldage.

Hiswayofshowingthecharacterinthefaceofthisoldwomanisverycommonwith him. The high light of the picture is concentrated on the face and iscontinueddownuponthesnowykerchief.Thisformsadiamondoflightshadingbygradationsintodarkertints.Itwastheskillfuluseoflightandshadowinthepicture,whichmadeapoeticandartisticworkofasubjectwhichanotherpaintermighthavemadeverycommonplace.

XIV

THESYNDICSOFTHECLOTHGUILD

Thewordsyndicisanameappliedtoanofficerofacorporation,andthisisitsmeaninginthetitleofthepicture,TheSyndicsoftheClothGuild.InHolland,asin England and France and elsewhere in Europe, guilds were associations oftradesmenorartisansunitedforpurposesofmutualhelpandfortheinterestsoftheirrespectiveindustries.Insomepointstheyweretheforerunnersofmoderntradesunions,except that thememberswereproprietarymerchantsandmastercraftsmen instead of employees, and their purpose was the advancement ofcommercial interests in municipal affairs, instead of the protection of laboragainst capital. There were guilds of mercers, wine merchants, goldsmiths,paintersandmanyothers.

Now the wool industry was one of themost important in Holland, hence theGuildofDrapersorClothWorkerswasadignifiedassociationinseveralcities.There was one in Leyden, where Rembrandt was born, and another inAmsterdam,wherehepassed themostofhis life.Amsterdamwasat that timethe foremost commercial city ofEurope. Its guilds had fine halls, ornamentedwith works of art painted by the best contemporary artists. It was for thispurpose that Rembrandt received from the Amsterdam Cloth Guild thecommission to paint a portrait groupof their five officers, and he accordinglydelivered to them in 1661 the great picture of which we have this littlereproductiontoexamine.

Just as in the picture of theCivicGuard he had given life to the portraits, byshowingthemembers insomeactionappropriate to theirmilitarycharacter,soherehe represents theofficers of theguild in surroundings suggestiveof theirduties. They are gathered about a table covered with a rich scarlet cloth, onwhich rests thegreat ledgerof thecorporation.Theyareengaged inbalancingtheir accounts and preparing a report for the year, and a servant awaits theirorderintherearoftheapartment.Theirtaskseemsapleasantone,forwhateverdifficultieshavearisenduringtheiradministration,itisevidentthattheoutcomeissuccessful.Theytakeaquietsatisfactionintheyear'srecord.

Itisasifinthemidstoftheirconsultations,astheyturntheleavesoftheledger,

wesuddenlyopenthedoorintotheroom.Theyaresurprisedbutnotdisturbedbytheintrusion,andlookgeniallytowardsthenewcomers.Theyoungermanattheendwelcomesuswithasmile.Nexttohimisonewhohasbeenleaningoverthe book. He raises his head and meets our eyes frankly and cordially. Hiscompanioncontinueshisdiscourse,gesturingwiththerighthand.Theoldermenatonesidegivemoreattentiontothearrival.Oneseatedinthearmchairsmilesgoodnaturedly; theother,risingandleaningonthetable,peersforwardwithalookofkeeninquiry.

THESYNDICSOFTHECLOTHGUILDRyksMuseum,Amsterdam



Asweexaminethefacesonebyone,wecouldalmostwriteacharacterstudyofeach man, so wonderfully does the portrait reveal the inner life—the placidamiability of one, the quiet humor of another, the keen, incisive insight of athird.That theyareallmenofsound judgmentwemaywellbelieve,and theyareplainlymentobetrusted.Themottooftheguildisakeytotheircharacter:"Conform to your vows in all matters clearly within their jurisdiction; livehonestly; be not influenced in your judgments by favor, hatred, or personalinterest."TheseprinciplesareatthefoundationofthecommercialprosperityforwhichHollandisnoted.

The picturemay be taken to illustrate a page inAmerican history. It was the

Dutch,asweall remember,who founded theStateofNewYork,and the fiftyyearsoftheiroccupation(1614-1664)fellwithinthelifetimeofRembrandt.Thefifteen thousandsettlers,whocameduring this timefromHolland toAmerica,broughtwiththemthemannersandcustomsoftheirhomecountry.Thecitizensof New Amsterdam were the counterparts of their contemporaries in the oldAmsterdam. We may see, then, in this picture of the Cloth Merchants ofAmsterdamjustsuchmenaswere tobeseenamongourowncolonists. In thebroad-brimmedhatand thewidewhitecollarwefind thesamepeculiaritiesofdress,andin theirhonestfaceswereadthesamenational traits. Itwas tomenlikethesethatweoweadebtofgratitudeforsomeof thebestelements inournational life. In the words of a historian,[11] "The republican Dutchmen gaveNew York its tolerant and cosmopolitan character, insured its commercialsupremacy,introducedthecommonschools,foundedtheoldestdayschoolandthefirstProtestantchurchintheUnitedStates,andwerepioneersinmostoftheideasandinstitutionsweboastofasdistinctlyAmerican."

W.E.Griffis,inBraveLittleHolland,pp.212-213.

Ifyoufancythatitwasquiteaccidentalthatthesixfiguresofthispicturearesowellarranged,andwonderwhytheartofRembrandtshouldbesopraisedhere,youmay try an experimentwith your camera upon a group of six figures. Inposingsixpersons inanyorderwhich isnotstiff,andgetting themall to lookwithoneaccordandquitenaturallytowardsasinglepoint,youwillunderstandsomeofthemanydifficultieswhichRembrandtovercamesosimply.

XV

THETHREETREES

Holland, as iswell known, is a country built uponmarshes,which have beendrainedandfilledinbythepatientindustryofmanygenerationsofworkers.Theland is consequently very low, almost perfectly level, and is covered by anetwork of canals. It lacks many of the features which make up the naturalsceneryofothercountries,—mountainsandravines,rocksandrivers,—butitis,nevertheless,averypicturesquecountry.Artistsloveitforthequietbeautyofitslandscape.Thoughthisisnotgrandandawe-inspiring,itisrestfulandattractive.

Wemaywellbelieve that theartisticnatureofRembrandtwassensitive to theinfluencesofhisnativeDutchscenery.Thoughhisgreatforteinartlayinotherdirections,hepausedfromtimetotimetopaintoretchalandscape.

Even in this unaccustomed work he proved himself a master. He treated thesubjectmuchashedidaportrait,—tryingtobringoutthecharacterofthescenejustashebroughtoutthecharacterinaface.HowmuchofastoryhecouldtellinasinglepictureweseeinthisfamousetchingcalledTheThreeTrees.

OnecantellataglancethatthisisHolland.Welookacrossawidelevelstretchofland,andtheeyetravelsonandonintoanalmostendlessdistance.Farawaywe see the windmills of a Dutch town outlined against the sky,—a sign ofindustryasimportantinHollandasarefactorychimneysinsomeotherpartsoftheworld.Beyondthis,anotherendlesslevelstretchmeetstheskyatthehorizonline. It ishard todistinguish the landandwater,whichseemto lie inalternatestrips.Thepasturesaresurroundedbycanalsasbyfences.

THETHREETREESMuseumofFineArts,Boston



Hereandtherearecowsgrazing,andweareremindedofthefinedairyfarmsforwhich Holland is noted, the rich butter and cheese, which are the product ofthesevastflatlands,apparentlysouselessandunproductive.Directlyinfrontofus,attheleft,isastillpool,andonthefartherbankstandsafishermanholdingarod over the water. A woman seated on the bank watches the process withintense interest. There are two other figures near by which can hardly bediscerned.

Thewide outlook of f

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