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+The Project Gutenberg EBook of Rembrandt, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Rembrandt
+       A Collection Of Fifteen Pictures and a Portrait of the
+       Painter with Introduction and Interpretation
+
+Author: Estelle M. Hurll
+
+Release Date: October 22, 2006 [EBook #19602]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK REMBRANDT ***
+
+
+
+
+Produced by Juliet Sutherland, Sankar Viswanathan, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+            [Illustration: REMBRANDT VAN RYN (BY HIMSELF)
+            _National Gallery, London_]
+
+
+
+                         Masterpieces of Art
+
+
+                              REMBRANDT
+
+
+                   A COLLECTION OF FIFTEEN PICTURES
+
+                    AND A PORTRAIT OF THE PAINTER
+
+                        WITH INTRODUCTION AND
+
+                           INTERPRETATION
+
+
+
+                                  BY
+
+                           ESTELLE M. HURLL
+
+
+
+
+                         BOSTON AND NEW YORK
+
+                       HOUGHTON MIFFLIN COMPANY
+
+                    The Riverside Press Cambridge
+
+                                 1899
+
+
+
+
+             COPYRIGHT, 1899, BY HOUGHTON, MIFFLIN & CO.
+
+       *       *       *       *       *
+
+
+
+
+PREFACE
+
+
+The choice of pictures for this collection has been made with the
+object of familiarizing the student with works fairly representative
+of Rembrandt's art in portraiture and Biblical illustration, landscape
+and genre study, in painting and etching. Admirers of the Dutch master
+may miss some well-known pictures. For obvious reasons the Lecture in
+Anatomy is deemed unsuitable for this place, and the Hundred Guilder
+Print contains too many figures to be reproduced here clearly. The
+Syndics of the Cloth Guild and the print of Christ Preaching will
+compensate for these omissions, and show Rembrandt at his best, both
+with brush and burin.
+
+There are perhaps no paintings in the world more difficult to
+reproduce satisfactorily in black and white than those of Rembrandt.
+His marvelous effects of chiaroscuro leave in darkness portions of the
+composition, which appear in the photograph as unintelligible blurs.
+With these difficulties to meet, great pains have been taken to select
+for the reproductions of this book the best photographs made direct
+from the original paintings. A comparative study of the available
+material has resulted in making use of an almost equal number from
+Messrs. Hanfstaengl & Co. and Messrs. Braun & Cie.
+
+In reproducing the etchings the publishers have been most fortunate in
+being able to use for the purpose original prints in the Harvey D.
+Parker Collection of the Boston Museum of Fine Arts.
+
+ESTELLE M. HURLL.
+
+NEW BEDFORD, MASS.
+
+November, 1899.
+
+       *       *       *       *       *
+
+
+
+
+CONTENTS AND LIST OF PICTURES
+
+
+PORTRAIT OF REMBRANDT. PAINTED BY HIMSELF.       _Frontispiece._
+
+FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE.
+
+INTRODUCTION
+
+    I. ON REMBRANDT'S CHARACTER AS AN ARTIST
+
+   II. ON BOOKS OF REFERENCE
+
+  III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION
+
+   IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN REMBRANDT'S LIFE
+
+    V. SOME OF REMBRANDT'S FAMOUS CONTEMPORARIES IN HOLLAND
+
+   VI. FOREIGN CONTEMPORARY PAINTERS
+
+I.    JACOB WRESTLING WITH THE ANGEL
+
+      PICTURE FROM PHOTOGRAPH BY FRANZ HANFSTAENGL
+
+II.   ISRAEL BLESSING THE SONS OF JOSEPH
+
+      PICTURE FROM PHOTOGRAPH BY FRANZ HANFSTAENGL
+
+III.  THE ANGEL RAPHAEL LEAVING THE FAMILY OF TOBIT
+
+      PICTURE FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE
+
+IV.   THE RAT KILLER
+
+      PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FINE ARTS, BOSTON
+
+V.    THE PHILOSOPHER IN MEDITATION
+
+      PICTURE FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE
+
+VI.   THE GOOD SAMARITAN
+
+      PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FINE ARTS, BOSTON
+
+VII.  THE PRESENTATION IN THE TEMPLE
+
+      PICTURE FROM PHOTOGRAPH BY FRANZ HANFSTAENGL
+
+VIII. CHRIST PREACHING
+
+      PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FINE ARTS, BOSTON
+
+IX.   CHRIST AT EMMAUS
+
+      PICTURE FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE
+
+X.    PORTRAIT OF SASKIA
+
+      PICTURE FROM PHOTOGRAPH BY FRANZ HANFSTAENGL
+
+XI.   THE SORTIE OF THE CIVIC GUARD
+
+      PICTURE FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE
+
+XII.  PORTRAIT OF JAN SIX
+
+      PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FINE ARTS, BOSTON
+
+XIII. PORTRAIT OF AN OLD WOMAN
+
+      PICTURE FROM PHOTOGRAPH BY MAISON AD. BRAUN & CIE
+
+XIV.  THE SYNDICS OF THE CLOTH GUILD
+
+      PICTURE FROM PHOTOGRAPH BY FRANZ HANFSTAENGL
+
+XV.   THE THREE TREES
+
+      PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FINE ARTS, BOSTON
+
+XVI.  THE PORTRAIT OF REMBRANDT (_See Frontispiece_)
+
+PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS
+
+       *       *       *       *       *
+
+
+
+
+INTRODUCTION
+
+I. ON REMBRANDT'S CHARACTER AS AN ARTIST
+
+
+A general impression prevails with the large picture-loving public
+that a special training is necessary to any proper appreciation of
+Rembrandt. He is the idol of the connoisseur because of his superb
+mastery of technique, his miracles of chiaroscuro, his blending of
+colors. Those who do not understand these matters must, it is
+supposed, stand quite without the pale of his admirers. Too many
+people, accepting this as a dictum, take no pains to make the
+acquaintance of the great Dutch master. It may be that they are
+repelled at the outset by Rembrandt's indifference to beauty. His
+pictures lack altogether those superficial qualities which to some are
+the first requisites of a picture. Weary of the familiar commonplaces
+of daily life, the popular imagination looks to art for happier scenes
+and fairer forms. This taste, so completely gratified by Raphael, is
+at first strangely disappointed by Rembrandt. While Raphael peoples
+his canvases with beautiful creatures of another realm, Rembrandt
+draws his material from the common world about us. In place of the
+fair women and charming children with whom Raphael delights us, he
+chooses his models from wrinkled old men and beggars. Rembrandt is
+nevertheless a poet and a visionary in his own way. "For physical
+beauty he substitutes moral expression," says Fromentin. If in the
+first glance at his picture we see only a transcript of common life,
+a second look discovers something in this common life that we have
+never before seen there. We look again, and we see behind the
+commonplace exterior the poetry of the inner life. A vision of the
+ideal hovers just beyond the real. Thus we gain refreshment, not by
+being lifted out of the world, but by a revelation of the beauty which
+is in the world. Rembrandt becomes to us henceforth an interpreter of
+the secrets of humanity. As Raphael has been surnamed "the divine,"
+for the godlike beauty of his creations, so Rembrandt is "the human,"
+for his sympathetic insight into the lives of his fellow men.
+
+Even for those who are slow to catch the higher meaning of Rembrandt's
+work, there is still much to entertain and interest in his rare
+story-telling power--a gift which should in some measure compensate
+for his lack of superficial beauty. His story themes are almost
+exclusively Biblical, and his style is not less simple and direct than
+the narrative itself. Every detail counts for something in the
+development of the dramatic action. Probably no other artist has
+understood so well the pictorial qualities of patriarchal history.
+That singular union of poetry and prose, of mysticism and practical
+common sense, so striking in the Hebrew character, appealed powerfully
+to Rembrandt's imagination. It was peculiarly well represented in the
+scenes of angelic visitation. Jacob wrestling with the Angel affords a
+fine contrast between the strenuous realities of life and the pure
+white ideal rising majestically beyond. The homely group of Tobit's
+family is glorified by the light of the radiant angel soaring into
+heaven from the midst of them.
+
+Rembrandt's New Testament scenes are equally well adapted to emphasize
+the eternal immanence of the supernatural in the natural. The
+Presentation in the Temple is invested with solemn significance; the
+simple Supper at Emmaus is raised into a sacrament by the transfigured
+countenance of the Christ. For all these contrasts between the actual
+and the ideal, Rembrandt had a perfect vehicle of artistic expression
+in chiaroscuro. In the mastery of the art of light and shade he is
+supreme. His entire artistic career was devoted to this great problem,
+and we can trace his success through all the great pictures from the
+Presentation to the Syndics.
+
+Rembrandt apparently cared very little for the nude, for the delicate
+curves of the body and the exquisite colors of flesh. Yet to
+overbalance this disregard of beautiful form was his strong
+predilection for finery. None ever loved better the play of light upon
+jewels and satin and armor, the rich effectiveness of Oriental stuffs
+and ecclesiastical vestments. Unable to gratify this taste in the
+portraits which he painted to order, he took every opportunity to
+paint both himself and his wife, Saskia, in costume. Wherever the
+subject admitted, he introduced what he could of rich detail. In the
+picture of Israel Blessing the Sons of Joseph, Asenath, as the wife of
+an Egyptian official, is appropriately adorned with jewels and finery.
+In the Sortie of the Civic Guard, Captain Cocq is resplendent in his
+military regalia.
+
+With all this fondness for pretty things, Rembrandt never allowed his
+fancy to carry him beyond the limits of fitness in sacred art. The
+Venetian masters had represented the most solemn scenes of the New
+Testament with a pomp and magnificence entirely at variance with their
+meaning. Rembrandt understood better the real significance of
+Christianity, and made no such mistake. His Supper at Emmaus is the
+simple evening meal of three peasant pilgrims precisely as it is
+represented in the Gospel. His Christ Preaching includes a motley
+company of humble folk, such as the great Teacher loved to gather
+about him.
+
+It was perhaps the obverse side of his fondness for finery, that Rembrandt
+had a strong leaning towards the picturesqueness of rags. A very
+interesting class of his etchings is devoted to genre studies and beggars.
+Here his disregard of the beautiful in the passion for expression reached
+an extreme. His subjects are often grotesque--sometimes repulsive--but
+always intensely human. Reading human character with rare sympathy, he was
+profoundly touched by the poetry and the pathos of these miserable lives.
+Through all these studies runs a quaint vein of humor, relieving the
+pathos of the situations. The picturesque costume of the old Rat Killer
+tickles the sense of humor, and conveys somehow a delightful suggestion of
+his humbuggery which offsets the touching squalor of the grotesque little
+apprentice. And none but a humorist could have created the swaggering
+hostler's boy holding the Good Samaritan's horse.
+
+As a revealer of character, Rembrandt reaches the climax of his power
+in his portraits. From this class of his pictures alone one can
+repeople Holland with the spirits of the seventeenth century. All
+classes and conditions and all ages came within the range of his magic
+brush and burin. The fresh girlhood of Saskia, the sturdy manhood of
+the Syndics, and the storied old age of his favorite old woman model
+show the scope of his power, and in Israel Blessing the Sons of Joseph
+he shows the whole range in a single composition. He is manifestly at
+his best when his sitter has pronounced features and wrinkled skin, a
+face full of character, which he understood so well how to depict.
+Obstacles stimulated him to his highest endeavor. Given the prosaic
+and hackneyed motif of the Syndics' composition, he rose to the
+highest point of artistic expression in a portrait group, in which a
+grand simplicity of technical style is united with a profound and
+intimate knowledge of human nature.
+
+
+II. ON BOOKS OF REFERENCE
+
+The history of modern Rembrandt bibliography properly begins with the
+famous work by C. Vosmaer, "Rembrandt Harmens van Rijn, sa Vie et ses
+OEuvres." Vosmaer profited by the researches of Kolloff and Burger
+to bring out a book which opened a new era in the appreciation of the
+great Dutch master. It was first issued in 1868, and was republished
+in 1877 in an enlarged edition. This book was practically alone in the
+field until the recent work of Emile Michel appeared. In the English
+translation (by Florence Simmonds) edited by Walter Armstrong,
+Michel's "Rembrandt" is at the present moment our standard authority
+on the subject. It is in two large illustrated volumes full of
+historical information and criticism and containing a complete
+classified list of Rembrandt's works--paintings, drawings, and
+etchings.
+
+The "Complete Work of Rembrandt," by Wilhelm Bode, is now issuing from
+the press (1899), and will consist of eight volumes containing
+reproductions of all the master's pictures, with historical and
+descriptive text. It is to be hoped that this mammoth and costly work
+will be put into many large reference libraries, where students may
+consult it to see Rembrandt's work in its entirety.
+
+The series of small German monographs edited by H. Knackfuss and now
+translated into English has one number devoted to Rembrandt,
+containing nearly one hundred and sixty reproductions from his works,
+with descriptive text. Kugler's "Handbook of the German, Flemish, and
+Dutch Schools," revised by J. A. Crowe, includes a brief account of
+Rembrandt's life and work, which may be taken as valuable and
+trustworthy. For a critical estimate of the character of Rembrandt's
+art, its strength and weaknesses, and its peculiarities, nothing can
+be more interesting than what Eugene Fromentin, French painter and
+critic, has written in his "Old Masters of Belgium and Holland."
+
+Rembrandt's etchings have been the exclusive subject of many books.
+There are voluminous descriptive catalogues by Bartsch ("Le Peintre
+Graveur") Claussin, Wilson, Charles Blanc, Middleton, and Dutuit. A
+short monograph on "The Etchings of Rembrandt," by Philip Gilbert
+Hamerton (London, 1896), reviews the most famous prints in a very
+pleasant way.
+
+There are valuable prints from the original plates of Rembrandt in the
+Harvey D. Parker collection of the Boston Museum of Fine Arts and in
+the Gray collection of the Fogg Museum at Cambridge, Massachusetts.
+Those who are not fortunate enough to have access to original prints
+will derive much satisfaction from the complete set of reproductions
+published in St. Petersburg (1890) with catalogue by Rovinski, and
+from the excellent reproductions of Amand Durand, Paris.
+
+To come in touch with the spirit of the times and of the country of
+Rembrandt, the reader is referred to Motley's "Rise of the Dutch
+Republic," condensed and continued by W. E. Griffis.
+
+
+III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION
+
+_Portrait Frontispiece_. National Gallery, London. Signed and dated
+1640.
+
+1. _Jacob Wrestling with the Angel_. Berlin Gallery. Signed and dated
+1659. Figures life size. Size: 4 ft. 5-1/16 in. by 3 ft. 9-5/8 in.
+
+2. _Israel Blessing the Sons of Joseph_. Cassel Gallery. Signed and
+dated 1656. Figures life size. Size: 5 ft. 8-9/16 in. by 6 ft. 6-3/4
+in.
+
+3. _The Angel Raphael Leaving the Family of Tobit_. Louvre, Paris.
+Signed and dated 1637. Size: 2 ft. 2-13/16 in. by 1 ft. 8-1/2 in.
+
+4. _The Rat Killer_. Etching. Signed and dated 1632. Size: 5-1/2 in.
+by 4-9/16 in.
+
+5. _The Philosopher in Meditation_. Louvre, Paris. Signed and dated
+1633. Size: 11-7/16 in. by 13 in.
+
+6. _The Good Samaritan_. Etching. Signed and dated 1633. Size: 10-1/5
+in. by 8-3/5 in.
+
+7. _The Presentation in the Temple_. At the Hague. Signed and dated
+1631. Size: 2 ft. 4-11/16 in. by 1 ft. 6-7/8 in.
+
+8. _Christ Preaching_. Etching. Date assigned by Michel, about 1652.
+Size: 6-1/5 in. by 8-1/5 in.
+
+9. _Christ at Emmaus_. Louvre, Paris. Signed and dated 1648. Size: 2
+ft. 2-13/16 in. by 2 ft. 1-5/8 in.
+
+10. _Portrait of Saskia_. Cassel Gallery. Painted about 1632-1634.
+Life size. Size: 3 ft. 2-11/16 in. by 2 ft. 1-3/5 in.
+
+11. _Sortie of the Civic Guard_. Ryks Museum (Trippenhuis), Amsterdam.
+Signed and dated 1642. Life size figures. Size: 11 ft. 9-3/8 in. by 14
+ft. 3-5/16 in.
+
+12. _Portrait of Jan Six_. Etching. Signed and dated 1647. Size: about
+9-3/8 in. by 7-3/8 in.
+
+13. _Portrait of an Old Woman_. Hermitage Gallery, St. Petersburg.
+Signed and dated 1654. Size: 3 ft. 6-7/8 in. by 2 ft. 9 in.
+
+14. _The Syndics of the Cloth Guild_. Ryks Museum (Trippenhuis),
+Amsterdam. Signed and dated 1661. Life size figures. Size: 6 ft. 7/8
+in. by 8 ft. 11-15/16 in.
+
+15. _The Three Trees_. Etching, 1643. Size: 8-2/5 in. by 11 in.
+
+
+IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN REMBRANDT'S LIFE
+
+1606.[1] Rembrandt born in Leyden.
+
+1621. Rembrandt apprenticed to the painter, Jacob van Swanenburch.
+
+1624. Rembrandt studied six months with Pieter Lastman in Amsterdam.
+
+1627. Rembrandt's earliest known works, St. Paul in Prison, (Stuttgart
+Museum); The Money Changers (Berlin Gallery).
+
+1631. Rembrandt removed to Amsterdam.
+
+1631. The Presentation painted.
+
+1632. The Anatomy Lecture painted.
+
+1633. The portrait of the Shipbuilder and his Wife painted.
+
+1634. Rembrandt married Saskia van Uylenborch, June 22, in Bildt.
+
+1635. Rembrandt's son Rombertus baptized December 15. (Died in
+infancy.)
+
+1637. Angel Raphael Leaving Family of Tobit painted.
+
+1638. Rembrandt's daughter Cornelia born. (Died in early childhood.)
+
+1639. Rembrandt bought a house in the Joden Breestraat.
+
+1640. Rembrandt's second daughter born and died.
+
+1640. Rembrandt's mother died.
+
+1640. The Carpenter's Household painted.
+
+1641. Manoah's Prayer painted.
+
+1641. Rembrandt's son Titus baptized.
+
+1642. Sortie of the Civic Guard (The Night Watch) painted for the hall
+of the Amsterdam Musketeers.
+
+[Footnote 1: Authorities are not entirely unanimous as to the date of
+Rembrandt's birth.]
+
+1642. Rembrandt's wife, Saskia, died.
+
+1648. Christ at Emmaus painted.
+
+1649. The Hundred Guilder print etched.
+
+1651. Christ Appearing to Magdalen painted.
+
+1652. Christ Preaching etched.
+
+1656. Rembrandt's bankruptcy.
+
+1656. Israel Blessing the Sons of Joseph painted.
+
+1661. Portrait of the Syndics painted for the Guild of Drapers,
+Amsterdam.
+
+1668. Rembrandt's son Titus died.
+
+1669. Rembrandt died.
+
+
+V. SOME OF REMBRANDT'S FAMOUS CONTEMPORARIES IN HOLLAND
+
+Frederick Henry of Orange, stadtholder, 1625. Princess Amalia of
+Solms, wife of Frederick Henry, built the Huis ten Bosch (House in the
+Woods) at the Hague, 1647.
+
+William II of Orange, stadtholder, 1647. In 1650 the stadt-holderate
+was suppressed, and John de Witt became in 1653 chief executive of the
+republic for twenty years. Murdered in 1672.
+
+John of Barneveld, Grand Pensioner, "the greatest statesman in all the
+history of the Netherlands" (Griffis). Executed May 24, 1619.
+
+Michael de Ruyter, "the Dutch Nelson," died 1676.
+
+Marten Harpertzoon von Tromp, admiral. Born 1597; died 1691. (He
+defeated the English fleet under Blake.)
+
+Cornelius Evertsen, admiral.
+
+Floriszoon, admiral.
+
+Witte de With, admiral.
+
+Hendrik Hudson, navigator and discoverer; first voyage, 1607, last
+voyage, 1610.
+
+Captain Zeachen, discoverer.
+
+Hugo Grotius, father of international law, 1583-1645.
+
+Jan Six, burgomaster, bibliophile, art connoisseur, and dramatist,
+1618-1700.
+
+Spinoza, philosopher, 1622-1677.
+
+Joost van den Vondel, poet and dramatist, 1587-1679.
+
+Jacob Cats, Grand Pensionary and poet, 1577-1660.
+
+Constantine Huyghens, poet.
+
+Gysbart Voet (Latin, Voetius) 1588-1678, professor of theology at
+Utrecht.
+
+Cornelis Jansen, born 1585. Professor of scripture interpretation at
+Louvain.
+
+Johannes Koch (Latin, Coccejus), 1603-1669, professor of theology at
+Leyden and, "after Erasmus, the father of modern Biblical criticism."
+
+J. van Kampen, architect, built the Het Palais (Royal Palace) in
+Amsterdam, 1648.
+
+Jansz Vinckenbrink, sculptor.
+
+Hendrik de Keyser, sculptor.
+
+Crabeth brothers, designers of stained glass.
+
+Painters:--
+
+Franz Hals, 1584-1666.
+
+Gerard Honthorst, 1590-1656.
+
+Albert Cuyp, 1605-1691.
+
+Jan van Goyen, 1596-1656.
+
+Jacob Ruysdael, 1625-1682.
+
+Paul Potter, 1625-1654.
+
+Jan Lievens, born 1607; died after 1672.
+
+Salomon Koning, 1609-1668.
+
+Gerard Terburg, 1608-1681.
+
+Nicolas Berghem, 1620-1683.
+
+Jan Steen, 1626-1679.
+
+Adrian van Ostade, 1610-1685.
+
+Rembrandt's pupils:--
+
+Ferdinand Bol, 1616-1680.
+
+Govert Flinck, 1615-1660.
+
+Van den Eeckhont, 1620-1674.
+
+Gerard Don, 1613-1680.
+
+Nicolas Maes, 1632-1693.
+
+Juriaen Ovens, 1623.
+
+Hendrick Heerschop, born 1620, entered Rembrandt's studio, 1644.
+
+Carl Fabritius, 1624-1654.
+
+Samuel van Hoogstraaten, born 1627, with Rembrandt, 1640-1650.
+
+Aert de Gelder, 1645-1727.
+
+Less important names: Jan van Glabbeck, Jacobus Levecq, Heyman
+Dullaert, Johan Hendricksen, Adriaen Verdael, Cornelis Drost.
+
+
+VI. FOREIGN CONTEMPORARY PAINTERS
+
+Flemish:--
+
+Peter Paul Rubens, 1577-1640.
+
+Anthony Van Dyck, 1599-1641.
+
+Jacob Jordaens, 1594-1678.
+
+Franz Snyders, 1574-1657.
+
+Gaspard de Craeyer, 1582-1669.
+
+David Teniers, 1610-1690.
+
+Spanish:--
+
+Velasquez, 1599-1660.
+
+Pacheco, 1571-1654.
+
+Cano, 1601-1676.
+
+Herrera, 1576-1656.
+
+Zurbaran, 1598-1662.
+
+Murillo, 1618-1682.
+
+French:--
+
+Simon Vouet, 1582-1641.
+
+Charles Le Brun, 1619-1690.
+
+Eustache Le Sueur, 1617-1655.
+
+Italian:--
+
+Carlo Dolci, 1616-1686.
+
+Guido Reni, 1575-1642.
+
+Domenichino, 1581-1641.
+
+Francesco Albani, 1578-1660.
+
+Guercino, 1591-1666.
+
+Sassoferrato, 1605-1685.
+
+
+
+
+I
+
+JACOB WRESTLING WITH THE ANGEL
+
+
+The history of the Old Testament patriarch Jacob reads like a romance.
+He was the younger of the two sons of Isaac, and was at a great
+disadvantage on this account. Among his people the eldest son always
+became the family heir and also received the choicest blessing from
+the father, a privilege coveted as much as wealth. In this case
+therefore the privileged son was Jacob's brother Esau. Jacob resented
+keenly the inequality of his lot; and his mother sympathized with him,
+as he was her favorite. A feeling of enmity grew up between the
+brothers, and in the end Jacob did Esau a great wrong.
+
+One day Esau came in from hunting, nearly starved, and finding his
+younger brother cooking some lentils, begged a portion of it for
+himself. Jacob seized the chance to make a sharp bargain. He offered
+his brother the food--which is called in the quaint Bible language a
+"mess of pottage"--making him promise in return that he would let
+their father give his blessing to the younger instead of the older
+son. Esau was a careless fellow, too hungry to think what he was
+saying, and so readily yielded.
+
+But though Esau might sell his birthright in this fashion, the father
+would not have been willing to give the blessing to the younger son,
+had it not been for a trick planned by the mother. The old man was
+nearly blind, and knew his sons apart by the touch of their skin, as
+Esau had a rough, hairy skin and Jacob a smooth one. The mother put
+skins of kids upon Jacob's hands and neck and bade him go to his
+father pretending to be Esau, and seek his blessing. The trick was
+successful, and when a little later Esau himself came to his father on
+the same errand, he found that he had been superseded. Naturally he
+was very angry, and vowed vengeance on his brother. Jacob, fearing for
+his life, fled into a place called Padanaram.
+
+In this place he became a prosperous cattle farmer and grew very rich.
+He married there also and had a large family of children. After
+fourteen years he bethought himself of his brother Esau and the great
+wrong he had done him. He resolved to remove his family to his old
+home, and to be reconciled with his brother. Hardly daring to expect
+to be favorably received, he sent in advance a large number of cattle
+in three droves as a gift to Esau. Then he awaited over night some
+news or message from his brother. In the night a strange adventure
+befell him. This is the way the story is told in the book of
+Genesis.[2]
+
+[Footnote 2: Genesis, chapter xxxii. verses 24-31.]
+
+[Illustration: JACOB WRESTLING WITH THE ANGEL
+_Berlin Gallery_]
+
+"There wrestled a man with him until the breaking of the day. And when
+he saw that he prevailed not against him, he touched the hollow of
+his thigh; and the hollow of Jacob's thigh was out of joint, as he
+wrestled with him. And he said, 'Let me go, for the day breaketh.' And
+he said, 'I will not let thee go, except thou bless me,' And he said
+unto him, 'What is thy name?' And he said, 'Jacob,' And he said, 'Thy
+name shall be called no more Jacob, but Israel; for as a prince hast
+thou power with God and with men, and hast prevailed.'... And he
+blessed him there.
+
+"And Jacob called the name of the place Peniel: for I have seen God
+face to face, and my life is preserved. And as he passed over Penuel,
+the sun rose upon him and he halted upon his thigh;" that is, he
+walked halt, or lame.
+
+The crisis in Jacob's life was passed, for hardly had he set forth on
+this morning when he saw his brother whom he had wronged advancing
+with four hundred men to meet him. "And Esau ran to meet him, and
+embraced him, and fell on his neck and kissed him: and they wept."
+
+So were the brothers reconciled.
+
+The picture represents Jacob wrestling with his mysterious adversary.
+We have seen from his history how determined he was to have his own
+way, and how he wrested worldly prosperity even from misfortunes. Now
+he is equally determined in this higher and more spiritual conflict.
+It is a very real struggle, and Jacob has prevailed only by putting
+forth his utmost energy. It is the moment when the grand angel,
+pressing one knee into the hollow of Jacob's left thigh and laying
+his hand on his right side, looks into his face and grants the
+blessing demanded as a condition for release. Strong and tender is his
+gaze, and the gift he bestows is a new name, in token of the new
+character of brotherly love of which this victory is the beginning.
+
+The story of St. Michael and the Dragon, which Raphael has painted,
+stands for the everlasting conflict between good and evil in the
+world. There is a like meaning in the story of Jacob's wrestling with
+the angel. The struggle is in the human heart between selfish impulses
+and higher ideals. The day when one can hold on to the good angel long
+enough to win a blessing, is the day which begins a new chapter in a
+man's life.
+
+
+
+
+II
+
+ISRAEL BLESSING THE SONS OF JOSEPH
+
+
+When Jacob wrestled with the angel he received a new name, Israel, or
+a prince, a champion of God.
+
+Israel became the founder of the great Israelite nation, and from his
+twelve sons grew up the twelve tribes of Israel, among whom was
+distributed the country now called Palestine. Among these sons the
+father's favorite was Joseph, who was next to the youngest. This
+favoritism aroused the anger and jealousy of the older brothers, and
+they plotted to get rid of him. One day when they were all out with
+some flocks in a field quite distant from their home, they thought
+they were rid forever of the hated Joseph by selling him to a company
+of men who were journeying to Egypt. Then they dipped the lad's coat
+in goat's blood and carried it to Israel, who, supposing his son to
+have been devoured by a wild beast, mourned him as dead.
+
+When Joseph had grown to manhood in Egypt, a singular chain of
+circumstances brought the brothers together again. There was a sore
+famine, and Egypt was the headquarters for the sale of corn. Joseph
+had shown himself so able and trustworthy that he was given charge of
+selling and distributing the stores of food. So when Israel's older
+sons came from their home to Egypt to buy corn they had to apply to
+Joseph, whom they little suspected of being the brother they had so
+cruelly wronged. There is a pretty story, too long to repeat here, of
+how Joseph disclosed himself to his astonished brethren, and forgave
+them their cruelty, how he sent for his father to come to Egypt to
+live near him, how there was a joyful reunion, and how "they all lived
+happily ever after."
+
+When the time drew near for Israel to die, he desired to bestow his
+last blessing on his sons. And first of all his beloved son Joseph
+brought him his own two boys, Ephraim and Manasseh.
+
+Now according to the traditions of the patriarchs, it was the eldest
+son who should receive the choicest blessing from his father. Israel,
+however, had found among his own sons that it was a younger one,
+Joseph, who had proved himself the most worthy of love. This may have
+shaken his faith in the wisdom of the old custom. Perhaps, too, he
+remembered how his own boyhood had been made unhappy because he was
+the younger son, and how he had on that account been tempted to
+deceit.
+
+Whatever the reason, he surprised Joseph at the last moment by showing
+a preference for the younger of the two grandsons, Ephraim, expressing
+this preference by laying the right hand, instead of the left, on his
+head. The blessing was spoken in these solemn words: "God, before whom
+my fathers Abraham and Isaac did walk, the God which fed me all my
+life long unto this day, the Angel which redeemed me from all evil,
+bless the lads."
+
+[Illustration: ISRAEL BLESSING THE SONS OF JOSEPH
+_Cassel Gallery_]
+
+The narrative relates[3] that "When Joseph saw that his father laid
+his right hand upon the head of Ephraim, it displeased him; and he
+held up his father's hand, to remove it from Ephraim's head unto
+Manasseh's head. And Joseph said unto his father, 'Not so, my father:
+for this is the first-born; put thy right hand upon his head.' And his
+father refused, and said, 'I know it, my son, I know it: he also shall
+become a people, and he also shall be great; but truly his younger
+brother shall be greater than he, and his seed shall become a
+multitude of nations.' And he blessed them that day, saying, 'In thee
+shall Israel bless, saying, God make thee as Ephraim, and as
+Manasseh;' and he set Ephraim before Manasseh."
+
+[Footnote 3: Genesis, chapter xlviii. verses 17-20.]
+
+As we compare the picture with the story, it is easy to identify the
+figures. We are naturally interested in Joseph as the hero of so many
+romantic adventures. As a high Egyptian official, he makes a dignified
+appearance and wears a rich turban. His face is gentle and amiable, as
+we should expect of a loving son and forgiving brother.
+
+In the old man we see the same Jacob who wrestled by night with the
+Angel and was redeemed from his life of selfishness. The same strong
+face is here, softened by sorrow and made tender by love. The years
+have cut deep lines of character in the forehead, and the flowing
+beard has become snowy white.
+
+The dying patriarch has "strengthened himself," to sit up on the bed
+for his last duty, and his son Joseph supports him. The children kneel
+together by the bedside, the little Ephraim bending his fair head
+humbly to receive his grandfather's right hand, Manasseh looking up
+alertly, almost resentfully, as he sees that hand passing over his own
+head to his brother's. Joseph's wife Asenath, the children's mother,
+stands beyond, looking on musingly. We see that it is a moment of very
+solemn interest to all concerned. Though the patriarch's eyes are dim
+and his hand trembles, his old determined spirit makes itself
+manifest. Joseph is in perplexity between his filial respect and his
+solicitude for his first-born. He puts his fingers gently under his
+father's wrist, trying to lift the hand to the other head. The mother
+seems to smile as if well content. Perhaps she shares the
+grandfather's preference for little Ephraim.
+
+The picture is a study in the three ages of man, childhood, manhood,
+and old age, brought together by the most tender and sacred ties of
+human life, in the circle of the family.
+
+
+
+
+III
+
+THE ANGEL RAPHAEL LEAVING THE FAMILY OF TOBIT
+
+
+The story of Tobit is found in what is called the Apocrypha, that is,
+a collection of books written very much in the manner of the Bible,
+and formerly bound in Bibles between the Old and the New Testament.
+
+The story goes that when Enemessar, King of Assyria, conquered the
+people of Israel, he led away many of them captive into Assyria, among
+them the family of Tobit, his wife Anna, and their son Tobias. They
+settled in Nineveh, and Tobit, being an honest man, was made purveyor
+to the king. That is, it was his business to provide food for the
+king's household.
+
+In this office he was able to lay up a good deal of money, which he
+placed for safe keeping in the hands of Gabael, an Israelite who lived
+at Rages in Media. Tobit was a generous man, and he did many kind
+deeds for his less fortunate fellow exiles; he delighted in feeding
+the hungry and clothing the naked.
+
+When Sennacherib was king of Assyria, many Jews were slain and left
+lying in the street, and Tobit, finding their neglected bodies, buried
+them secretly. One night, after some such deed of mercy, a sad
+affliction befell him. White films came over his eyes, causing total
+blindness. In his distress he prayed that he might die, and began to
+make preparations for death. He called his son Tobias to him and gave
+him much good advice as to his manner of life, and then desired him to
+go to Rages to obtain the money left there with Gabael. But Tobias
+must first seek a guide for the journey. "Therefore," says the story,
+"when he went to seek a man, he found Raphael that was an angel. But
+he knew not; and he said unto him, 'Canst thou go with me to Rages?
+and knowest thou those places well?' To whom the angel said, 'I will
+go with thee, and I know the way well: for I have lodged with our
+brother Gabael,'" The angel gave himself the name Azarias. "So they
+went forth both, and the young man's dog with them."
+
+"As they went on their journey, they came in the evening to the river
+Tigris, and they lodged there. And when the young man went down to
+wash himself, a fish leaped out of the river, and would have devoured
+him. Then the angel said unto him, 'Take the fish,' And the young man
+laid hold of the fish, and drew it to land. To whom the angel said,
+'Open the fish and take the gall, and put it up safely.' So the young
+man did as the angel commanded him, and when they had roasted the
+fish, they did eat it: then they both went on their way, till they
+drew near to Ecbatane. Then the young man said to the angel, 'Brother
+Azarias, to what use is the gall of the fish?' And he said unto him,
+'It is good to anoint a man that hath whiteness in his eyes, and he
+shall be healed.'"
+
+[Illustration: THE ANGEL RAPHAEL LEAVING THE FAMILY OF TOBIT
+_The Louvre, Paris_]
+
+After this curious incident there were no further adventures till they
+came to Ecbatane. Here they lodged with Raguel, a kinsman of Tobit,
+and when Tobias saw Sara, the daughter, he loved her and determined to
+make her his wife. He therefore tarried fourteen days at Ecbatane,
+sending Azarias on to Rages for the money. This delay lengthened the
+time allotted for the journey, but at last the company drew near to
+Nineveh,--Azarias or Raphael, and Tobias, with the bride, the
+treasure, and the precious fishgall. Raphael then gave Tobias
+directions to use the gall for his father's eyes. Their arrival was
+the cause of great excitement. "Anna ran forth, and fell upon the neck
+of her son. Tobit also went forth toward the door, and stumbled: but
+his son ran unto him, and took hold of his father: and he strake of
+the gall on his father's eyes, saying, 'Be of good hope, my father.'
+And when his eyes began to smart, he rubbed them; and the whiteness
+pilled away from the corners of his eyes: and when he saw his son, he
+fell upon his neck."
+
+Now Tobit and Tobias were full of gratitude to Azarias for all that he
+had done for them, and, consulting together as to how they could
+reward him, decided to give him half the treasure. So the old man
+called the angel, and said, "Take half of all that ye have brought,
+and go away in safety." Then Raphael took them both apart, and said
+unto them, "Bless God, praise him, and magnify him, and praise him
+for the things which he hath done unto you in the sight of all that
+live."
+
+With this solemn introduction the angel goes on to tell Tobit that he
+had been with him when he had buried his dead countrymen, and that his
+good deeds were not hid from him, and that his prayers were
+remembered. He concludes by showing who he really is.
+
+"I am Raphael, one of the seven holy angels, which present the prayers
+of the saints, and which go in and out before the glory of the Holy
+One."
+
+"Then they were both troubled, and fell upon their faces: for they
+feared God. But he said unto them, 'Fear not, for it shall go well
+with you; praise God therefore. For not of any favor of mine, but by
+the will of our God I came; wherefore praise him for ever. All these
+days I did appear unto you; but I did neither eat nor drink, but ye
+did see a vision. Now therefore give God thanks: for I go up to him
+that sent me.'" "And when they arose, they saw him no more."
+
+The picture shows us the moment when the angel suddenly rises from the
+midst of the little company and strikes out on his flight through the
+air like a strong swimmer. Tobit and Tobias fall on their knees
+without, while Anna and the bride Sara stand in the open door with the
+frightened little dog cowering beside them. The older people are
+overcome with wonder and awe, but Tobias and Sara, more bold, follow
+the radiant vision with rapturous gaze.
+
+
+
+
+IV
+
+THE RAT KILLER
+
+
+The pictures we have examined thus far in this collection have been
+reproductions from Rembrandt's paintings. You will see at once that
+the picture of the Rat Killer is of another kind. The figures and
+objects are indicated by lines instead of by masses of color. You
+would call it a drawing, and it is in fact a drawing of one kind, but
+properly speaking, an etching. An etching is a drawing made on copper
+by means of a needle. The etcher first covers the surface of the metal
+with a layer of some waxy substance and draws his picture through this
+coating, or "etching ground," as it is called. Next he immerses the
+copper plate in an acid bath which "bites," or grooves, the metal
+along the lines he has drawn without affecting the parts protected by
+the etching ground.
+
+The plate thus has a picture cut into its surface, and impressions of
+this picture may be taken by filling the lines with ink and pressing
+wet paper to the surface of the plate. You will notice that the
+difference between the work of an engraver and that of an etcher is
+that the former cuts the lines in his plate with engraving tools,
+while the latter only draws his picture on the plate and the acid cuts
+the lines. The word etching is derived from the Dutch _etzen_, and
+the most famous etchers in the world have been among Dutch and German
+artists.
+
+Rembrandt is easily first of these, and we should have but a limited
+idea of his work if we did not examine some of his pictures of this
+kind. Impressions made directly from the original plates, over two
+centuries ago, are, of course, very rare and valuable, and are
+carefully preserved in the great libraries and museums of the world.
+There is a collection in the Museum of Fine Arts, Boston, where this
+etching of the Rat Killer may be seen.
+
+The Rat Killer is one of many subjects from the scenes of common life
+which surrounded the artist. In smaller towns and villages, then as
+well as now, there were no large shops where goods were to be bought.
+Instead, all sorts of peddlers and traveling mechanics went from house
+to house--the knife grinder, the ragman, the fiddler, and many others.
+This picture of the Rat Killer suggests a very odd occupation. The
+pest of rats is, of course, much greater in old than in new countries.
+In Europe, and perhaps particularly in the northern countries of
+Holland and Germany, the old towns and villages have long been
+infested with these troublesome creatures.
+
+[Illustration: THE RAT KILLER
+_Museum of Fine Arts, Boston_]
+
+There are some curious legends about them. One relates how a certain
+Bishop Hatto, as a judgment for his sins, was attacked by an army of
+rats which swam across the Rhine and invaded him in his island tower,
+where they made short work of their victim.[4] Another tells how a
+town called Hamelin was overrun with rats until a magic piper appeared
+who so charmed them with his enchanted music that they gathered about
+him and followed his leading till they came to the river and were
+drowned.[5]
+
+[Footnote 4: See Southey's poem, Bishop Hatto.]
+
+[Footnote 5: See Browning's poem, The Pied Piper of Hamelin.]
+
+The old Rat Killer in the picture looks suspiciously like a magician.
+It seems as if he must have bewitched the rats which crawl friskily
+about him, one perching on his shoulders. He reminds one of some ogre
+out of a fairy tale, with his strange tall cap, his kilted coat, and
+baggy trousers, the money pouch at his belt, the fur mantle flung over
+one shoulder, and the fierce-looking sword dangling at his side. But
+there is no magic in his way of killing rats. He has some rat poison
+to sell which his apprentice, a miserable little creature, carries in
+a large box.
+
+The picture gives us an idea of an old Dutch village street. The
+cottages are built very low, with steep overhanging roofs. The walls
+are of thick masonry, for these were days when in small villages and
+outlying districts "every man's house was his castle," that is, every
+man's house was intended, first of all, as a place of defense against
+outlawry.
+
+The entrance doors were made in two sections, an upper and a lower
+part, or wing, each swinging on its own hinges. Whenever a knock came,
+the householder could open the upper wing and address the caller as
+through a window, first learning who he was and what his errand,
+before opening the lower part to admit him. Thus an unwelcome intruder
+could not press his way into the house by the door's being opened at
+his knock, and the family need not be taken unawares. In many of our
+modern houses we see doors made after the same plan, and known as
+"Dutch doors."
+
+The cautious old man in the picture has no intention of being imposed
+upon by wandering fakirs. He has opened only the upper door and leans
+on the lower wing, as on a gate, while he listens to the Rat Killer's
+story. The latter must have a marvellous tale to tell of the effects
+of the poison, from the collection of dead rats which he carries as
+trophies in the basket fastened to the long pole in his hand. But the
+householder impatiently pushes his hand back, and turns away as if
+with disgust. The apprentice, grotesque little rat himself, looks up
+rather awestruck at this grand, turbaned figure above him.
+
+
+
+
+V
+
+THE PHILOSOPHER IN MEDITATION
+
+
+Ever since the beginning of human history there have been people who
+puzzled their brains about the reasons of things. Why things are as
+they are, whence we came, and whither we are going are some of the
+perplexing questions they have tried to answer. Some men have given
+all their lives to the study of these problems as a single occupation
+or profession. Among the ancient Greeks, who were a very intellectual
+nation, such men were quite numerous and were held in great esteem as
+teachers. They were called philosophers, that is, lovers of wisdom,
+and this word has been passed down to our own times in various modern
+languages.
+
+In the passing of the centuries men found more and more subjects to
+think about. Some studied the movements of the stars and tried to
+discover if they had any influence in human affairs. These men were
+called astrologers, and they drew plans, known as horoscopes, mapping
+out the future destiny of persons as revealed by the position of the
+constellations. There were other men who examined the various
+substances of which the earth is composed, putting them together to
+make new things. These were alchemists, and their great ambition was
+to find some preparation which would change baser metals into gold.
+This hoped-for preparation was spoken of as the "philosopher's stone."
+
+Now modern learning has changed these vague experiments into exact
+science; astronomy has replaced astrology, and chemistry has taken the
+place of alchemy. Nevertheless these changes were brought about only
+very gradually, and in the 17th century, when Rembrandt lived and
+painted this picture, a great stir was made by the new ideas of
+astronomy taught by Galileo in Italy, and the new discoveries in
+chemistry made by Van Helmont in Belgium. Many philosophers still held
+to the old beliefs of astrology and alchemy.
+
+It is not likely that Rembrandt had any one philosopher in mind as the
+subject of his picture. That his philosopher is something of a
+scholar, we judge from the table at which he sits, littered with
+writing materials. Yet he seems to care less for reading than for
+thinking, as he sits with hands clasped in his lap and his head sunk
+upon his breast. He wears a loose, flowing garment like a
+dressing-gown, and his bald head is protected by a small skull cap.
+His is an ideal place for a philosopher's musings. The walls are so
+thick that they shut out all the confusing noise of the world. A
+single window lets in light enough to read by through its many tiny
+panes. It is a bare little room, to be sure, with its ungarnished
+walls and stone-paved floor, but if a philosopher has the ordinary
+needs of life supplied he wants no luxuries. He asks for nothing
+more than quiet and uninterrupted leisure in which to pursue his
+meditations.
+
+[Illustration: THE PHILOSOPHER IN MEDITATION
+_The Louvre, Paris_]
+
+Our philosopher is well taken care of; for while his thoughts are on
+higher things and eternal truths, an old woman is busy at the fire in
+the corner. Evidently she looks after the material and temporal things
+of life. She kneels on the hearth and hangs a kettle over the cheerful
+blaze. The firelight glows on her face and gleams here and there on
+the brasses hanging in the chimney-piece above. Here is promise of
+something good to come, and when the philosopher is roused from his
+musings there will be a hot supper ready for him.
+
+There are two mysteries in the room which arouse our curiosity. In the
+wall behind the philosopher's chair is a low, arched door heavily
+built with large hinges. Does this lead to some subterranean cavern,
+and what secret does it contain? Is it a laboratory where, with
+alembic and crucible, the philosopher searches the secrets of alchemy
+and tries to find the "philosopher's stone?" Is some hid treasure
+stored up there, as precious and as hard to reach as the hidden truths
+the philosopher tries to discover?
+
+At the right side of the room a broad, winding staircase rises in
+large spirals and disappears in the gloom above. We follow it with
+wondering eyes which try to pierce the darkness and see whither it
+leads. Perhaps there is an upper chamber with windows open to the sky
+whence the philosopher studies the stars. This place with its winding
+staircase would be just such an observatory as an astrologer would
+like. Indeed it suggests at once the tower on the hillside near
+Florence where Galileo passed his declining years.
+
+Our philosopher, too, is an old man; his hair has been whitened by
+many winters, his face traced over with many lines of thought. Even if
+his problems have not all been solved he has found rich satisfaction
+in his thinking; the end of his meditations is peace. The day is
+drawing to a close. The waning light falls through the window and
+illumines the philosopher's venerable face. It throws the upper spiral
+of the stairway into bold relief, and brings out all the beautiful
+curves in its structure. The bare little room is transfigured. This is
+indeed a fit dwelling-place for a philosopher whose thoughts,
+penetrating dark mysteries, are at last lighted by some gleams of the
+ideal.
+
+
+
+
+VI
+
+THE GOOD SAMARITAN
+
+
+The story of the Good Samaritan was related by Jesus to a certain
+lawyer as a parable, that is, a story to teach a moral lesson. The
+object was to show what was true neighborly conduct; and this was the
+story:--[6]
+
+"A certain man went down from Jerusalem to Jericho, and fell among
+thieves, which stripped him of his raiment, and wounded him, and
+departed, leaving him half dead. And by chance there came down a
+certain priest that way; and when he saw him, he passed by on the
+other side. And likewise a Levite, when he was at the place, came and
+looked on him, and passed by on the other side.
+
+"But a certain Samaritan, as he journeyed, came where he was: and when
+he saw him, he had compassion on him, and went to him, and bound up
+his wounds, pouring in oil and wine, and set him on his own beast, and
+brought him to an inn, and took care of him. And on the morrow when he
+departed, he took out two pence, and gave them to the host, and said
+unto him, 'Take care of him; and whatsoever thou spendest more, when I
+come again I will repay thee.'"
+
+[Footnote 6: St. Luke, chapter x. verses 30-37.]
+
+The point of the story is very plain, and when Jesus asked the lawyer
+which one of the three passers-by was a neighbor to the wounded man,
+he was forced to reply, "He that shewed mercy." Then said Jesus
+simply, "Go, and do thou likewise."
+
+Though the scene of the story is laid in Palestine, it is the sort of
+incident which one can imagine taking place in any country or period
+of time. So it seems perfectly proper that Rembrandt, in representing
+the subject, should show us an old Dutch scene. The etching
+illustrates that moment when the Good Samaritan arrives at the inn,
+followed by the wounded traveler mounted on his horse.
+
+The building is a quaint piece of architecture with arched doors and
+windows. That it was built with an eye to possible attacks from
+thieves and outlaws, we may see from the small windows and thick walls
+of masonry, which make it look like a miniature fortress. This is a
+lonely spot, and inns are few and far between. The plaster is cracking
+and crumbling from the surface, and the whole appearance of the place
+does not betoken great thrift on the part of the owners. On the
+present occasion, during the working hours of the day, doors and
+windows are open after the hospitable manner of an inn.
+
+The host stands in the doorway, greeting the strangers, and the Good
+Samaritan is explaining the situation to him. In the mean time the inn
+servants have come forward: the hostler's boy holds the horse by the
+bridle, while a man lifts off the wounded traveler.
+
+[Illustration: THE GOOD SAMARITAN
+_Museum of Fine Arts, Boston_]
+
+About the dooryard are the usual signs of life. In the rear a woman
+draws water from a well, lowering the bucket from the end of a long
+well-sweep, heedless of the stir about the door. Fowl scratch about in
+search of food, and there is a dog at one side. Some one within looks
+with idle curiosity from the window into the yard. It is little
+touches like these which give the scene such vividness and reality.
+
+There is also a remarkable expressiveness in the figures which tells
+the story at a glance. You can see just what the Good Samaritan is
+saying, as he gestures with his left hand, and you can guess the
+inn-keeper's reply. Already he has put the proffered money into the
+wallet he carries at his belt, and listens attentively to the orders
+given him. He may privately wonder at his guest's singular kindness to
+a stranger, but with him business is business, and his place is to
+carry out his guest's wishes.
+
+You see how the hostler's boy magnifies his office, swaggering with
+legs wide apart. Even the feather in his cap bristles with importance.
+This bit of comedy contrasts with the almost tragic expression of the
+wounded man. The stolid fellow who lifts him seems to hurt him very
+much, and he clasps his hands in an agony of pain. He seems to be
+telling the gentleman at the window of his recent misfortune.
+
+To study the picture more critically, it will be interesting to notice
+how the important figures are massed together in the centre, and how
+the composition is built into a pyramid. Draw a line from the
+inn-keeper's head down the stairway at the left, and follow the
+outline of the Good Samaritan's right shoulder along the body of the
+wounded traveler, and you have the figure. This pyramidal form is
+emphasized again by the wainscot of the stairway at the left, and the
+well-sweep at the right.
+
+To appreciate fully the character of the etching, one must examine
+attentively all the different kinds of lines which produce the varying
+effects of light and shadow. Below the picture Rembrandt wrote his
+name and the date 1633, with two Latin words meaning that he designed
+and etched the plate himself. This would seem to show that he was well
+pleased with his work, and it is interesting to learn that the great
+German poet, Goethe, admired the composition extravagantly.
+
+
+
+
+VII
+
+THE PRESENTATION IN THE TEMPLE
+
+
+The story which the picture of the Presentation illustrates is a story
+of the infancy of Jesus Christ. According to the custom of the Jews at
+that time, every male child was "presented," or dedicated, to the Lord
+when about a month old. Jesus was born in Bethlehem of Judæa, a small
+town about four miles from the city of Jerusalem, the Jewish capital,
+where the temple was. When he was about a month old, his mother Mary
+and her husband Joseph, who were devout Jews, brought him to the great
+city for the ceremony of the presentation in the temple. Now the
+temple was a great place of worship where many religious ceremonies
+were taking place all the time.
+
+Ordinarily, a party coming up from the country for some religious
+observance would not attract any special attention among the
+worshippers. But on the day when the infant Jesus was presented in the
+temple, a very strange thing occurred. The evangelist St. Luke[7]
+relates the circumstances.
+
+[Footnote 7: St. Luke, chapter ii. verses 25-35.]
+
+"And behold, there was a man in Jerusalem whose name was Simeon; and
+the same man was just and devout, waiting for the consolation of
+Israel: and the Holy Ghost was upon him. And it was revealed unto him
+by the Holy Ghost that he should not see death, before he had seen the
+Lord's Christ. And he came by the Spirit into the temple: and when the
+parents brought in the child Jesus, to do for him after the custom of
+the law, then took he him up in his arms, and blessed God, and said,
+Lord, now lettest thou thy servant depart in peace, according to thy
+word: for mine eyes have seen thy salvation which thou hast prepared
+before the face of all people, a light to lighten the Gentiles and the
+glory of thy people Israel.
+
+"And Joseph and his mother marveled at those things which were spoken
+of him. And Simeon blessed them, and said unto Mary his mother, Behold
+this child is set for the fall and rising again of many in Israel; and
+for a sign which shall be spoken against; that the thought of many
+hearts may be revealed."
+
+[Illustration: THE PRESENTATION IN THE TEMPLE
+_The Hague Gallery_]
+
+In the picture we find ourselves, as it were, among the worshippers in
+the temple, looking at the group on the pavement in front of us--Mary
+and Joseph and Simeon, kneeling before a priest, with two or three
+onlookers. It is a Gothic cathedral, in whose dim recesses many people
+move hither and thither. At the right is a long flight of steps
+leading to a throne, which is overshadowed by a huge canopy. At the
+top of the steps we see the high priest seated with hands
+outstretched, receiving the people who throng up the stairway. It was
+towards this stairway that Mary and Joseph were making their way,
+when the aged Simeon first saw them, and recognized in the child
+they carried the one he had long expected. Taking the babe from his
+mother's arms, he kneels on the marble-tiled pavement and raises his
+face to heaven in thanksgiving. His embroidered cymar, or robe, falls
+about him in rich folds as he clasps his arms about the tiny swaddled
+figure.
+
+Mary has dropped on her knees beside him, listening to his words with
+happy wonder. Joseph, just beyond, looks on with an expression of
+inquiry. He carries two turtle doves as the thank offering required of
+the mother by the religious law. His unkempt appearance and bare feet
+contrast with the neat dress of Mary. The tall priest standing before
+them extends his hands towards the group in a gesture of benediction.
+A broad ray of light gleams on his strange headdress, lights up his
+outstretched hand, and falls with dazzling brilliancy upon the soft
+round face of the babe, the smiling mother, and the venerable Simeon
+with flowing white hair and beard.
+
+There are but few people to pay any heed to the strange incident. Two
+or three of those who climb the stairway turn about and stare
+curiously at the group below. There are three others still more
+interested. One man behind puts his turbaned head over Simeon's
+shoulders, peering inquisitively at the child, as if trying to see
+what the old man finds so remarkable in him. Beyond, two old beggars
+approach with a sort of good-natured interest. They are quaintly
+dressed, one of them wearing a very tall cap. Such humble folk as
+these alone seem to have time to notice others' affairs.
+
+It must not be supposed that this scene very closely represents the
+actual event it illustrates. The painter Rembrandt knew nothing about
+the architecture of the old Jewish temple destroyed many centuries
+before. A Gothic cathedral was the finest house of worship known to
+him, so he thought out the scene as it would look in such
+surroundings. The people coming and going were such as he saw about
+him daily; the beggars looking at the Christ-child were the beggars of
+Amsterdam, and the men seated in the wooden settle at the right were
+like the respectable Dutch burghers of his acquaintance. It was like
+translating the story from Aramaic to Dutch, but in the process
+nothing is lost of its original touching beauty.
+
+In studying the picture, you must notice how carefully all the figures
+are painted, even the very small ones in the darkest parts of the
+composition. The beautiful contrast, between the light on the central
+group and the soft dimness of the remoter parts of the cathedral,
+illustrates a style of work for which Rembrandt was very famous, and
+which we shall often see in his pictures.
+
+
+
+
+VIII
+
+CHRIST PREACHING
+
+
+We read in the evangelists' record of the life of Jesus that he went
+about the country preaching the gospel (or the good news) of the
+kingdom of Heaven. Sometimes he preached in the synagogue on the
+Sabbath day; but more often he talked to the people in the open air,
+sometimes on the mountain-side, sometimes on the shore of the lake
+Gennesaret, or again in the streets of their towns.
+
+The scribes and Pharisees were jealous of his popularity, and angry
+because he exposed their hypocrisy. The proud and rich found many of
+his sayings too hard to accept. So it was the poor and unhappy who
+were most eager to hear him, and they often formed a large part of his
+audience. Jesus himself rejoiced in this class of followers, and when
+John the Baptist's messengers came to him to inquire into his mission,
+he sent back the message, "The poor have the gospel preached to them."
+
+In this picture of Christ Preaching, we see that his hearers are of
+just the kind that the preacher's message is intended for,--the weary
+and heavy-laden whom he called to himself. There are a few dignitaries
+in the gathering, it is true, standing pompously by in the hope of
+finding something to criticise. But Jesus pays no attention to them
+as he looks down into the faces of the listeners who most need his
+words. His pulpit is a square coping-stone in a courtyard, and the
+people gather about him in a circle in the positions most convenient
+to them.
+
+There is no formality here, no ceremony; each one may come and go as
+he pleases. Here is a mother sitting on the ground directly in front
+of the speaker, holding a babe in her arms, while a little fellow
+sprawls out on the ground beside her, drawing on the sand with his
+finger. Though we cannot see her face, we know that she is an absorbed
+listener, and Jesus seems to speak directly to her.
+
+A pathetic-looking man beyond her is trying to take in the message in
+a wondering way, and a long-bearded man behind him is so aroused that
+he leans eagerly forward to catch every word. There are others, as is
+always the case, who listen very stolidly as if quite indifferent.
+
+Again there are two who ponder the subject thoughtfully. One of these
+is in the rear,--a young man, perhaps one of Jesus' disciples; the
+other sits in front, crossing his legs, and supporting his chin with
+his hand. In the group at the right of Jesus we can easily pick out
+the scoffers and critics, listening intently, some of them more
+interested, perhaps, than they had expected to be.
+
+[Illustration: CHRIST PREACHING
+_Museum of Fine Arts, Boston_]
+
+As we look at Jesus himself, so gentle and tender, raising both hands
+as if to bless the company, we feel sure that he is speaking some
+message of comfort. One day when he was reading the Scriptures in
+the synagogue at Capernaum, he selected a passage which described his
+own work, and which perfectly applies to this picture. We can imagine
+that he is saying: "The spirit of the Lord God is upon me; because the
+Lord hath anointed me to preach good tidings unto the meek; he hath
+sent me to bind up the brokenhearted, to proclaim liberty to the
+captives, and the opening of the prison to them that are bound; to
+proclaim the acceptable year of the Lord, and the day of vengeance of
+our God; to comfort all that mourn; to appoint unto them that mourn in
+Zion, to give unto them beauty for ashes, the oil of joy for mourning,
+the garment of praise for the spirit of heaviness."
+
+It is a noticeable fact that the figures in this picture of Christ
+preaching are Dutch types. If you think that this is a strange way to
+illustrate scenes which took place in Palestine many centuries ago,
+you must remember that the picture was drawn by a Dutchman who knew
+nothing of Palestine, and indeed little of any country outside his own
+Holland. He wished to make the life of Christ seem real and vivid to
+his own countrymen; and the only way he could do this was to represent
+the scenes in the surroundings most familiar to himself and to them.
+The artist was simply trying to imagine what Jesus would do if he had
+come to Amsterdam in the seventeenth century, instead of to Jerusalem
+in the first century; somewhat as certain modern writers have tried to
+think what would take place "If Jesus came to Chicago," or "If Jesus
+came to Boston," in the nineteenth century. The sweet gentleness in
+the face of Christ and the eager attention of the people show how well
+Rembrandt understood the real meaning of the New Testament.
+
+This picture is worthy of very special study because it is reckoned by
+critics one of the best of Rembrandt's etchings. One enthusiastic
+writer[8] says that "the full maturity of his genius is expressed in
+every feature." One must know a great deal about the technical
+processes of etching to appreciate fully all these excellencies; but
+even an inexperienced eye can see how few and simple are the lines
+which produce such striking effects of light and shadow: a scratch or
+two here, a few parallel lines drawn diagonally there; some coarse
+cross-hatching in one place, closer hatching in another; now and then
+a spot of the black ink itself,--and the whole scene is made alive,
+with Jesus standing in the midst, the light gleaming full upon his
+figure.
+
+[Footnote 8: Michel.]
+
+
+
+
+IX
+
+CHRIST AT EMMAUS
+
+
+The picture of Christ at Emmaus illustrates an event in the narrative
+of Christ's life which took place on the evening of the first Easter
+Sunday. It was now three days since the Crucifixion of Christ just
+outside Jerusalem, and the terrible scene was still very fresh in the
+minds of his disciples. It happened that late in the day two of them
+were going to a village called Emmaus, not very far from Jerusalem.
+
+They made the journey on foot, and as they walked along the way, "they
+talked together," says the evangelist[9] who tells the story, "of all
+those things which had happened. And it came to pass, that, while they
+communed together and reasoned, Jesus himself drew near, and went with
+them. But their eyes were holden that they should not know him. And he
+said unto them, 'What manner of communications are these that ye have
+one to another, as ye walk, and are sad?' And the one of them, whose
+name was Cleopas, answering said unto him, 'Art thou only a stranger
+in Jerusalem, and hast not known the things which are come to pass
+there in these days?' And he said unto them, 'What things?' And they
+said unto him, 'Concerning Jesus of Nazareth.'" Then followed a
+conversation in which they told the stranger something of Jesus, and
+he in turn explained to them many things about the life and character
+of Jesus which they had never understood.
+
+[Footnote 9: St. Luke, chapter xxiv. verses 13-32.]
+
+"And they drew nigh unto the village, whither they went: and he made
+as though he would have gone further. But they constrained him,
+saying, 'Abide with us: for it is toward evening, and the day is far
+spent.' And he went in to tarry with them.
+
+"And it came to pass, as he sat at meat with them, he took bread, and
+blessed it, and brake, and gave to them. And their eyes were opened
+and they knew him; and he vanished out of their sight. And they said
+one to another, 'Did not our hearts burn within us, while he talked
+with us by the way?'"
+
+The picture suggests vividly to us that wonderful moment at Emmaus
+when the eyes of the disciples were opened, and they recognized their
+guest as Jesus, whom they had so recently seen crucified. The table is
+laid in a great bare room with the commonest furnishings, and the
+disciples appear to be laboring men, accustomed to "plain living and
+high thinking." They are coarsely dressed, and their feet are bare, as
+are also the feet of Jesus. One seems to have grasped the situation
+more quickly than the other, for he folds his hands together,
+reverently gazing directly into the face of Jesus. His companion,
+an older man, at the other end of the table, looks up astonished and
+mystified. The boy who is bringing food to the table is busy with his
+task, and does not notice any change in Jesus.
+
+[Illustration: CHRIST AT EMMAUS
+_The Louvre, Paris_]
+
+In the midst is Christ, "pale, emaciated, sitting facing us, breaking
+the bread as on the evening of the Last Supper, in his pilgrim robe,
+with his blackened lips, on which the torture has left its traces, his
+great brown eyes soft, widely opened, and raised towards heaven, with
+his cold nimbus, a sort of phosphorescence around him which envelops
+him in an indefinable glory, and that inexplicable look of a breathing
+human being who certainly has passed through death."
+
+This description is by a celebrated French critic,[10] himself a
+painter, who knows whereof he speaks. He says that this picture alone
+is enough to establish the reputation of a man.
+
+[Footnote 10: Fromentin, in _Old Masters of Belgium and Holland._]
+
+There is one artistic quality in the picture to which we must pay
+careful attention, as it is particularly characteristic of Rembrandt.
+This is the way in which the light and shadow are arranged, or what a
+critic would call the chiaroscuro of the picture. The heart of the
+composition glows with a golden light which comes from some unseen
+source. It falls on the white tablecloth with a dazzling brilliancy as
+if from some bright lamp. It gleams on the faces of the company,
+bringing out their expressions clearly. The arched recess behind the
+table is thrown into heavy shadow, against which the centrally lighted
+group is sharply contrasted.
+
+This singular manner of bringing light and darkness into striking
+opposition makes the objects in a picture stand out very vividly. Some
+one has defined chiaroscuro as the "art of rendering the atmosphere
+visible and of painting an object enveloped in air." The art was
+carried to perfection by Rembrandt. You will notice it more or less in
+every picture of this collection, but nowhere is it more appropriate
+than here, where the appearance of Christ, as the source of light,
+emphasizes the mystery of the event and makes something sacred of this
+common scene.
+
+As we compare this picture with the etching of Christ Preaching, we
+get a better idea of Rembrandt's aim in representing Christ. He did
+not try to make his face beautiful with regular classical features,
+after the manner of the old Italian painters. He did not even think it
+necessary to make his figure grand and imposing. Something still
+better Rembrandt sought to put into his picture, and this was a gentle
+expression of love.
+
+
+
+
+X
+
+PORTRAIT OF SASKIA
+
+
+We should have but a very imperfect idea of Rembrandt's work if we did
+not learn something about the portraits he painted. It was for these
+that he was most esteemed in his own day, being the fashionable
+portrait painter of Amsterdam at a time when every person of means
+wished to have his likeness painted. A collection of his works of this
+kind would almost bring back again the citizens of Amsterdam in the
+seventeenth century, so life-like are these wonderful canvases. Among
+them we should find the various members of his family, his father and
+mother, his sister, his servant, his son, and most interesting of all,
+his beloved wife, Saskia.
+
+Saskia was born in Friesland, one of nine children of a wealthy
+patrician family. Her father, Rombertus van Uylenborch, was a
+distinguished lawyer, who had had several important political missions
+intrusted to him. At one time he was sent as a messenger to William of
+Orange, and was sitting at table with that prince just before his
+assassination. He died in 1624, leaving Saskia an orphan, as she had
+lost her mother five years before. The little girl of twelve now began
+to live in turn with her married sisters. At the age of twenty she
+came to Amsterdam to live for a while with her cousin, the wife of a
+minister, Jan Cornelis Sylvius, whose face we know from one of
+Rembrandt's etchings. Saskia had also another cousin living in
+Amsterdam, Hendrick van Uylenborch, a man of artistic tastes, who had
+not succeeded as a painter, and had become a dealer in bric-à-brac and
+engravings. He was an old friend of Rembrandt; and when the young
+painter came to seek his fortune in the great city in 1631, he had
+made his home for a while with the art dealer.
+
+It was doubtless Hendrick who introduced Rembrandt to Saskia. Probably
+the beginning of their acquaintance was through Rembrandt's painting
+Saskia's portrait in 1632. The relation between them soon grew quite
+friendly, for in the same year the young girl sat two or three times
+again to the painter. The friendship presently ended in courtship, and
+when Rembrandt pressed his suit the marriage seemed a very proper one.
+Saskia was of a fine family and had a sufficient dowry.
+
+Rembrandt, though the son of a miller, was already a famous painter,
+much sought after for portraits, and with a promising career before
+him. The engagement was therefore approved by her guardians, but
+marriage being deferred till she came of age, the courtship lasted two
+happy years. During this time Rembrandt painted his lady love over and
+over again. It was one of his artistic methods to paint the same
+person many times. He was not one of the superficial painters who
+turn constantly from one model to another in search of new effects. He
+liked to make an exhaustive study of a single face in many moods, with
+many expressions and varied by different costumes.
+
+[Illustration: PORTRAIT OF SASKIA
+_Cassel Gallery_]
+
+Saskia had small eyes and a round nose, and was not at all beautiful
+according to classical standards. Rembrandt, however, cared less for
+beauty than for expression, and Saskia's face was very expressive, at
+times merry and almost roguish, and again quite serious. She had also
+a brilliant complexion and an abundance of silky hair, waving from her
+forehead. The painter had collected in his studio many pretty and
+fantastic things to use in his pictures,--velvets and gold embroidered
+cloaks, Oriental stuffs, laces, necklaces, and jewels. With these he
+loved to deck Saskia, heightening her girlish charms with the play of
+light upon these adornments.
+
+One of the most famous of the many portraits of Saskia at this time is
+the picture we have here. Because it is not signed and dated, after
+Rembrandt's usual custom, it is thought that it was intended as a gift
+for Saskia herself, and thus it has a romantic interest for us. Also
+it is painted with extreme care, as the work of a lover offering the
+choicest fruit of his art.
+
+The artist has arranged a picturesque costume for his sitter,--a
+broad-brimmed hat of red velvet with a sweeping white feather, an
+elaborate dress with embroidered yoke and full sleeves, a rich mantle
+draped over one shoulder, necklace, earrings, and bracelets of
+pearls. Her expression is more serious here than usual, though very
+happy, as if she was thinking of her lover; and in her hand she
+carries a sprig of rosemary, which in Holland is the symbol of
+betrothal, holding it near her heart.
+
+The marriage finally took place in June, 1634, in the town of Bildt.
+The bridal pair then returned to Amsterdam to a happy home life.
+Rembrandt had no greater pleasure than in the quiet family circle, and
+Saskia had a simple loving nature, entirely devoted to her husband's
+happiness. A few years later Rembrandt moved into a fine house in the
+Breestraat, which he furnished richly with choice paintings and works
+of art.
+
+A succession of portraits shows that the painter continued to paint
+his wife with loving pride. He represented her as a Jewish bride, as
+Flora, as an Odalisque, a Judith, a Susanna, and a Bathsheba. There is
+one painting of the husband and wife together, Saskia perched like a
+child on Rembrandt's knee, as he flourishes a wine-glass in the air.
+In another picture (an etching) they sit together at a table about the
+evening lamp, the wife with her needle-work, the artist with his
+engraving. The love between them is the brightest spot in Rembrandt's
+history, clouded as it was with many disappointments and troubles. As
+a celebrated writer has expressed it, Saskia was "a ray of sunshine in
+the perpetual chiaroscuro of his life."
+
+
+
+
+XI
+
+THE SORTIE OF THE CIVIC GUARD, OR THE NIGHT WATCH
+
+
+The patriotism of the Dutch is seen through the entire history of
+"brave little Holland." Early in the sixteenth century every town of
+considerable size had a military company composed of the most
+prominent citizens. Each company, or guild, had a place of assembly,
+or _doelen_, and a drilling-ground. The officers were chosen for a
+year, and the highest appointments were those of captain, lieutenant,
+and ensign. Upon these civic guards rested the responsibility of
+maintaining the order and safety of the town. Sterner duties than
+these were theirs when in the late sixteenth century (1573), at the
+call of William of Orange, the various guilds formed themselves into
+volunteer companies to resist the Spanish. How well they acquitted
+themselves is a matter of history, and Spain recognized the republic
+in the treaty of 1609. After the war, many of the corporations were
+reorganized and continued to be of great importance in the seventeenth
+century.
+
+The picture we have here represents the Civic Guard of Amsterdam
+during the captaincy of Frans Banning Cocq in 1642. Cocq was a man of
+wealth and influence who had purchased the estate of Purmerland in
+1618 and had also been granted a patent of nobility. So it was natural
+that Lord Purmerland, one of the most distinguished citizens of the
+town, should be called to a term of office as captain of the Civic
+Guard. His magnificent stature and manly bearing show him well fitted
+for the honor.
+
+The picture represents an occasion when the guard issues from the
+assembly hall, or doelen, in a sudden call to action. Captain Cocq
+leads the way with Lieutenant Willem van Ruytenberg, of Vlaerdingen,
+and as he advances gives orders 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, another loading his gun, another
+firing. A mass of lance-bearers press on from the rear. In the
+confusion a dog scampers into the midst and barks furiously at the
+drum. A little girl slips into the crowd on the other side, oddly out
+of place in such company, but quite fearless. It has been suggested
+that she may have been the bearer of the tidings which calls the guard
+forth. The quaint figure is clad in a long dress of some shimmering
+stuff, and she has the air of a small princess. From her belt hangs a
+cock, and she turns her face admiringly towards the great captain.
+
+[Illustration: SORTIE OF THE CIVIC GUARD
+_Ryks Museum, Amsterdam_]
+
+We do not know of any historical incident which precisely corresponds
+to the action in the picture. Indeed, it is not strictly speaking an
+historical picture at all, but rather a portrait group of the Civic
+Guard, in attitudes appropriate to their character as a military
+body. They may be going out for target practice or for a shooting
+match such as was held annually as a trial of skill; it may be a
+parade, or it may be, as some have fancied, a call to arms against a
+sudden attack from the enemy. In any case the noticeable thing is the
+readiness with which all respond to the call--the spirit of patriotism
+which animates the body. The Dutch are not naturally warlike, but
+rather a peace-loving people; lacking the quick impulsiveness of a
+more nervous race, they are of a somewhat heavy and deliberate temper;
+yet they have the solid worth which can be counted on in an emergency,
+and in love of country they are united to a man. Benjamin Franklin
+once said of Holland, "In love of liberty, and bravery in the defense
+of it, she has been our great example."
+
+The picture cannot be fully understood without some knowledge of its
+history. Painted for the hall of the Amsterdam Musketeers, it was to
+take its place among others by contemporary painters, as a portrait
+group in honor of the officers of the year, and as a lasting memorial
+of their services. The other pictures had been stiff groups about a
+table, and the novelty of Rembrandt's composition displeased some of
+the members of the guild. Each person who figures in the scene had
+subscribed a certain sum towards the cost of the picture for his own
+portrait, and was anxious to get his money's worth. Consequently,
+there were many who did not at all relish their insignificance in the
+background, quite overshadowed by the glory of the captain and
+lieutenant. They thought they would have shown to much better
+advantage arranged in rows.
+
+It was Rembrandt's way when painting a portrait to give life and
+reality to the figure, by showing the leading element in the character
+or occupation of the person. Thus his shipbuilder is designing a ship,
+the writing master, Coppenol, is mending a pen, the architect has his
+drawing utensils, and the preacher his Bible. So in the Civic Guard
+each man carries a weapon, and the figures are united in spirited
+action. All this artistic motive was lost upon those for whom the
+picture was painted, because of their petty vanity. So the great
+painting, now so highly esteemed, was not a success at the time.
+
+In the following century it was removed to the town hall; and in order
+to fit it into a particular place on the wall, a strip was cut off
+each side the canvas. It is the loss of these margins which gives the
+composition the crowded appearance which so long seemed a strange
+fault in a great artist like Rembrandt.
+
+The original colors of the painting grew so dark with the accumulation
+of smoke in 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 was cleaned, in 1889, it is apparent that the
+incident occurred in the daytime, and if you look carefully you can
+plainly see the shadow of Captain Cocq's hand on the lieutenant's
+tunic.
+
+
+
+
+XII
+
+PORTRAIT OF JAN SIX
+
+
+When the painter Rembrandt came to Amsterdam in 1631, a young man
+seeking his fortune in the great city, a lad of twelve years was
+living in his father's country seat, near by, who was later to become
+one of his warm friends. This was Jan Six, the subject of the portrait
+etching reproduced here. There was a great contrast in the
+circumstances of life in which the two friends grew up. Rembrandt was
+the son of a miller, and had his own way to make in the world. Jan Six
+was surrounded from his earliest years with everything which tended to
+the gratification of his natural taste for culture. Rembrandt's rare
+talent, however, overbalanced any lack of early advantages, and made
+him a friend worth having.
+
+Six had come of Huguenot ancestry. His grandfather had fled to Holland
+during the Huguenot persecution in France, and had become a resident
+in Amsterdam in 1585. Jan's father, another Jan, had married a Dutch
+lady of good family, whose maiden name was Anna Wijmer. It was in the
+service of this good lady that we first hear of Rembrandt's connection
+with the Six family. He was called to paint her portrait in 1641, and
+must have then, if not before, made the acquaintance of her young
+son, Jan. Jan united to a great love of learning a love of everything
+beautiful, and was an ardent collector of objects of art. Paintings of
+the old Italian and early Dutch schools, rare prints and curios of
+various kinds, were his delight. He found in Rembrandt a man after his
+own heart. Already the painter had gone far beyond his means in
+filling his own house with costly works of art. So the two men, having
+a hobby in common, found a strong bond of union in their congenial
+tastes. We may be sure that they were often together, to show their
+new purchases and discuss their beauty.
+
+Rembrandt, as an older and more experienced collector, would doubtless
+have good advice to offer his younger friend, and, an artist himself,
+would know how to judge correctly a work of art. One record of their
+friendship in these years is a little etched landscape which Rembrandt
+made in 1641, showing a bridge near the country estate of the Six
+family, a place called Elsbroek, near the village of Hillegom.
+
+[Illustration: PORTRAIT OF JAN SIX
+_Museum of Fine Arts, Boston_]
+
+It was in 1647 that Rembrandt made this portrait of his friend, then
+twenty-nine years of age. Six had now begun to make a name for himself
+in the world of letters as a scholar and poet. He had already
+published a poem on Muiderberg (a village near Amsterdam), and by this
+time, doubtless, had under way his great literary work, the tragedy of
+Medæa. Many were the times when Rembrandt, coming to his house to talk
+over some new treasure-trove, found him in his library with his
+head buried in a book, and his thoughts far away. It was in such a
+moment that he must have had the idea of this beautiful portrait. He
+catches his friend one day in the corner of his library, standing with
+his back to the window to get the light on the book he is reading. He
+transfers the picture to a copper plate and hands it down to future
+generations.
+
+The slender figure of the young man is clad in the picturesque dress
+of a gentleman of his time, with knee-breeches and low shoes, with
+wide white collar and cuffs. His abundant wavy blond hair falls to his
+shoulders; he has the air of a true poet. In his eagerness to read, he
+has flung his cavalier's cloak on the window seat behind him, a part
+of it dropping upon a chair beyond. Its voluminous folds make a
+cushion for him, as he leans gracefully against the window ledge. His
+sword and belt lie on the chair with the cloak. For the moment the pen
+is mightier than the sword. The furnishings of the room show the
+owner's tastes; a pile of folio volumes fill a low chair, an antique
+picture hangs on the wall.
+
+The young man's face is seen by the light reflected from the pages of
+his open book. It is a refined, sensitive face, of high intellectual
+cast, amiable withal, and full of imagination. He is completely
+absorbed in his reading, a smile playing about his mouth. How little
+of a fop and how much of a poet he is, we see from his disordered
+collar. Breathing quickly as he bends over his book, in his
+excitement he cannot endure the restraint of a close collar. He has
+unloosed it, as, quite oblivious of any untidiness in his appearance,
+he hurries on, ruthlessly crushing the pages of the folio back, as he
+grasps it in his hand.
+
+The friendship between Six and Rembrandt seemed to grow apace; for
+when the tragedy of Medæa was published, in 1648, it was illustrated
+by a magnificent etching by Rembrandt, representing the Marriage of
+Jason and Creusa.
+
+The literary work of Jan Six led the way to various public honors. In
+1656 he became commissioner of marriages; in 1667, a member of the
+Council of the States General of Holland, and in 1691, burgomaster of
+Amsterdam. His continued friendship for Rembrandt was shown in his
+purchasing a number of the latter's paintings. Rembrandt at length
+painted a magnificent portrait of his friend in his old age, which,
+with the portrait of his mother and the original plate for this
+etching, still remains in the Six family in Amsterdam. Referring to
+the portrait of Jan Six, the famous Dutch poet, Vondel, contemporary
+of Rembrandt and Six, paid a fitting tribute to the great burgomaster,
+as a "lover of science, art, and virtue."
+
+
+
+
+XII
+
+PORTRAIT OF AN OLD WOMAN
+
+
+The story is told of a little child who, upon being introduced to a
+kind-faced lady, looked up brightly into her eyes with the question,
+"Whose mother are you?" When we look into the wrinkled old face of
+this picture, the same sort of a question springs to mind, and we
+involuntarily ask, "Whose grandmother are you?" We are sure that
+children and grandchildren have leaned upon that capacious lap. The
+name of the subject is not known, though the same face appears many
+times in Rembrandt's works. But there are many people whose names we
+can quote, of whom we know much less than of this old woman.
+
+The story of her life is written in the picture. Those clasped hands,
+large and knotted, have done much hard work. They have ministered to
+the needs of two generations. They have dandled the baby on her knee,
+and supported the little toddler taking his first steps. They have
+tended the child and wrought for the youth. They have built the fire
+on the hearth and swept out the house; they have kneaded the bread and
+filled the kettle; they have spun and woven, and sewed and mended.
+They have not even shrunk from the coarser labors of dooryard and
+field, the care of the cattle, the planting and harvesting. But labor
+has done nothing to coarsen the innate refinement of the soul which
+looks out of the fine old face.
+
+She is resting now. The children and grandchildren have grown up to
+take care of themselves and their grandmother also. She has time to
+sit down in the twilight of life, just as she used to sit down at the
+close of each day's work, to think over what has happened. She has a
+large comfortable chair, and she is neatly dressed, as befits an old
+woman whose life work is done. A white kerchief is folded across her
+bosom, a shawl is wrapped about her shoulders, and a hood droops over
+her forehead. Her thoughts are far away from her present surroundings;
+something sad occupies them. She dreams of the past and perhaps also
+of the future. Sorrow as well as work has had a large share in her
+life, but she has borne it all with patient resignation. She is not
+one to complain, and does not mean to trouble others with her sadness.
+But left all alone with her musings, a look of yearning comes into her
+eyes as for something beautiful and much loved, lost long ago.
+
+Some painters have been at great pains to fashion a countenance
+sorrowful enough and patient enough to represent the subject of the
+Mater Dolorosa, that is, the Sorrowing Mother of Christ. Perhaps they
+would have succeeded better if they had turned away from their own
+imaginations to some mother in real life, who has loved and worked
+and suffered like this one. The face answers in part our first
+question. A woman like this is capable of mothering great sons.
+Industrious, patient, self-sacrificing, she would spare herself
+nothing to train them faithfully. And the life of which her face
+speaks--a life of self-denying toil, ennobled by high ideals of
+duty--is the stuff of which heroes are made. Some of the great men of
+history had such mothers.
+
+[Illustration: PORTRAIT OF AN OLD WOMAN
+_Hermitage Gallery, St. Petersburg_]
+
+The picture illustrates the fact that a face may be interesting and
+even artistic, if not beautiful. This idea may surprise many, for when
+one calls a person "as pretty as a picture," it seems to be understood
+that it is only pretty people who make suitable models for pictures.
+Rembrandt, however, was of quite another mind. He was a student of
+character as well as a painter, and he cared to paint faces more for
+their expression than for beauty of feature.
+
+Now the expression of a face is to a great extent the index of
+character. We say that the child has "no character in his face,"
+meaning that his skin is still fair and smooth, before his thoughts
+and feelings have made any record there. Gradually the character
+impresses itself on his face. Experience acts almost like a sculptor's
+chisel, carving lines of care and grooving furrows of sorrow, shaping
+the mouth and the setting of the eyes.
+
+The longer this process continues, the more expressive the face
+becomes, so that it is the old whose faces tell the most interesting
+stories of life. Rembrandt understood this perfectly, and none ever
+succeeded better than he in revealing the poetry and beauty of old
+age.
+
+His way of showing the character in the face of this old woman is very
+common with him. The high light of the picture is concentrated on the
+face and is continued down upon the snowy kerchief. This forms a
+diamond of light shading by gradations into darker tints. It was the
+skillful use of light and shadow in the picture, which made a poetic
+and artistic work of a subject which another painter might have made
+very commonplace.
+
+
+
+
+XIV
+
+THE SYNDICS OF THE CLOTH GUILD
+
+
+The word syndic is a name applied to an officer of a corporation, and
+this is its meaning in the title of the picture, The Syndics of the
+Cloth Guild. In Holland, as in England and France and elsewhere in
+Europe, guilds were associations of tradesmen or artisans united for
+purposes of mutual help and for the interests of their respective
+industries. In some points they were the forerunners of modern trades
+unions, except that the members were proprietary merchants and master
+craftsmen instead of employees, and their purpose was the advancement
+of commercial interests in municipal affairs, instead of the
+protection of labor against capital. There were guilds of mercers,
+wine merchants, goldsmiths, painters and many others.
+
+Now the wool industry was one of the most important in Holland, hence
+the Guild of Drapers or Cloth Workers was a dignified association in
+several cities. There was one in Leyden, where Rembrandt was born, and
+another in Amsterdam, where he passed the most of his life. Amsterdam
+was at that time the foremost commercial city of Europe. Its guilds
+had fine halls, ornamented with works of art painted by the best
+contemporary artists. It was for this purpose that Rembrandt received
+from the Amsterdam Cloth Guild the commission to paint a portrait
+group of their five officers, and he accordingly delivered to them in
+1661 the great picture of which we have this little reproduction to
+examine.
+
+Just as in the picture of the Civic Guard he had given life to the
+portraits, by showing the members in some action appropriate to their
+military character, so here he represents the officers of the guild in
+surroundings suggestive of their duties. They are gathered about a
+table covered with a rich scarlet cloth, on which rests the great
+ledger of the corporation. They are engaged in balancing their
+accounts and preparing a report for the year, and a servant awaits
+their order in the rear of the apartment. Their task seems a pleasant
+one, for whatever difficulties have arisen during their
+administration, it is evident that the outcome is successful. They
+take a quiet satisfaction in the year's record.
+
+It is as if in the midst of their consultations, as they turn the
+leaves of the ledger, we suddenly open the door into the room. They
+are surprised but not disturbed by the intrusion, and look genially
+towards the newcomers. The younger man at the end welcomes us with a
+smile. Next to him is one who has been leaning over the book. He
+raises his head and meets our eyes frankly and cordially. His
+companion continues his discourse, gesturing with the right hand. The
+older men at one side give more attention to the arrival. One seated
+in the armchair smiles good naturedly; the other, rising and
+leaning on the table, peers forward with a look of keen inquiry.
+
+[Illustration: THE SYNDICS OF THE CLOTH GUILD
+_Ryks Museum, Amsterdam_]
+
+As we examine the faces one by one, we could almost write a character
+study of each man, so wonderfully does the portrait reveal the inner
+life--the placid amiability of one, the quiet humor of another, the
+keen, incisive insight of a third. That they are all men of sound
+judgment we may well believe, and they are plainly men to be trusted.
+The motto of the guild is a key to their character: "Conform to your
+vows in all matters clearly within their jurisdiction; live honestly;
+be not influenced in your judgments by favor, hatred, or personal
+interest." These principles are at the foundation of the commercial
+prosperity for which Holland is noted.
+
+The picture may be taken to illustrate a page in American history. It
+was the Dutch, as we all remember, who founded the State of New York,
+and the fifty years of their occupation (1614-1664) fell within the
+lifetime of Rembrandt. The fifteen thousand settlers, who came during
+this time from Holland to America, brought with them the manners and
+customs of their home country. The citizens of New Amsterdam were the
+counterparts of their contemporaries in the old Amsterdam. We may see,
+then, in this picture of the Cloth Merchants of Amsterdam just such
+men as were to be seen among our own colonists. In the broad-brimmed
+hat and the wide white collar we find the same peculiarities of dress,
+and in their honest faces we read the same national traits. It was to
+men like these that we owe a debt of gratitude for some of the best
+elements in our national life. In the words of a historian,[11] "The
+republican Dutchmen gave New York its tolerant and cosmopolitan
+character, insured its commercial supremacy, introduced the common
+schools, founded the oldest day school and the first Protestant church
+in the United States, and were pioneers in most of the ideas and
+institutions we boast of as distinctly American."
+
+[Footnote 11: W. E. Griffis, in _Brave Little Holland_, pp. 212-213.]
+
+If you fancy that it was quite accidental that the six figures of this
+picture are so well arranged, and wonder why the art of Rembrandt
+should be so praised here, you may try an experiment with your camera
+upon a group of six figures. In posing six persons in any order which
+is not stiff, and getting them all to look with one accord and quite
+naturally towards a single point, you will understand some of the many
+difficulties which Rembrandt overcame so simply.
+
+
+
+
+XV
+
+THE THREE TREES
+
+
+Holland, as is well known, is a country built upon marshes, which have
+been drained and filled in by the patient industry of many generations
+of workers. The land is consequently very low, almost perfectly level,
+and is covered by a network of canals. It lacks many of the features
+which make up the natural scenery of other countries,--mountains and
+ravines, rocks and rivers,--but it is, nevertheless, a very
+picturesque country. Artists love it for the quiet beauty of its
+landscape. Though this is not grand and awe-inspiring, it is restful
+and attractive.
+
+We may well believe that the artistic nature of Rembrandt was
+sensitive to the influences of his native Dutch scenery. Though his
+great forte in art lay in other directions, he paused from time to
+time to paint or etch a landscape.
+
+Even in this unaccustomed work he proved himself a master. He treated
+the subject much as he did a portrait,--trying to bring out the
+character of the scene just as he brought out the character in a face.
+How much of a story he could tell in a single picture we see in this
+famous etching called The Three Trees.
+
+One can tell at a glance that this is Holland. We look across a wide
+level stretch of land, and the eye travels on and on into an almost
+endless distance. Far away we see the windmills of a Dutch town
+outlined against the sky,--a sign of industry as important in Holland
+as are factory chimneys in some other parts of the world. Beyond this,
+another endless level stretch meets the sky at the horizon line. It is
+hard to distinguish the land and water, which seem to lie in alternate
+strips. The pastures are surrounded by canals as by fences.
+
+Here and there are cows grazing, and we are reminded of the fine dairy
+farms for which Holland is noted, the rich butter and cheese, which
+are the product of these vast flat lands, apparently so useless and
+unproductive. Directly in front of us, at the left, is a still pool,
+and on the farther bank stands a fisherman holding a rod over the
+water. A woman seated on the bank watches the process with intense
+interest. There are two other figures near by which can hardly be
+discerned.
+
+[Illustration: THE THREE TREES
+_Museum of Fine Arts, Boston_]
+
+The wide outlook of flat country is the setting for the little
+tree-crowned hill which rises near us at the right. It would seem a
+very small hillock anywhere else, but in these level surroundings it
+has a distinct character. It is the one striking feature which gives
+expression to the face of the landscape. The eye turns with pleasure
+to its grassy slopes and leafy trees. The trees have the symmetrical
+grace so characteristic of Dutch vegetation. Nothing is allowed to
+grow wild in this country. Every growing thing is carefully nurtured
+and trained. We see that the distances between these trees were
+carefully spaced in the planting, so that each one might develop
+independently and perfectly without injury to the others. The branches
+grow from their straight trunks at the same height, and they are
+plainly of the same age. Their outer branches interlace in brotherly
+companionship to make a solid leafy arbor, beneath which the wayfarer
+may find a shady retreat. On the summit of the hill, outlined against
+the sky, is a hay wagon followed by a man with a rake. At a distance,
+also clearly seen against the sky, on the ridge of the hill, sits a
+man, alone and idle.
+
+The sky is a wonderful part of the picture. Rembrandt, it appears,
+almost never ventured to represent the clouds. He had the true
+artist's reverence for subjects which were beyond his skill, and
+preferred to leave untouched what he could not do well. Now in this
+case, lacking the experience to draw a sky as finished in workmanship
+as his landscape, he _suggested_ in a few lines the effect which he
+wished to produce. At the left a few diagonal strokes show a smart
+shower just at hand. A whirl of dark-colored clouds comes next, and in
+the upper air beyond, a stratum of clouds is indicated by a mass of
+lines crossing and recrossing in long swirling curves.
+
+With these few lines Rembrandt conveys perfectly the idea that a storm
+is approaching. The clouds seem to be in motion, scurrying across the
+sky in advance of the rain. One imaginative critic has thought that
+he could discern in the cloud-whirl a dim phantom figure as of the
+spirit of the on-coming storm. Like the clouds we often see in nature,
+it takes some new fantastic shape every time we look at it. Altogether
+the impression we receive is that of vivid reality. The artist's few
+lines have produced with perfect success an effect, which might have
+been entirely spoiled had he tried to finish it carefully.
+
+We look once more at the landscape to see what influence the coming
+storm has upon it. The fisherman pays no heed. The clouding of the sky
+only makes the fish bite better, and absorbed in his sport he cares
+nothing for weather. The haymaker on the hilltop has a better chance
+to read the face of the sky, and starts up his wagon. The three trees
+seem to feel the impending danger. Their leafage is already darkening
+in the changed light, and they toss their branches in the wind, as if
+to wrestle with the spirit of the storm.
+
+
+
+
+XVI
+
+THE PORTRAIT OF REMBRANDT
+
+
+In studying the fifteen pictures of this collection, we have seen
+something of the work of the great Dutch master, Rembrandt, and have
+learned a little of the man himself, of his love for the sweet wife,
+Saskia, of his friendship with the cultured burgomaster, Jan Six, of
+his faithful and reverent study of the Bible, of his rare insight into
+people's character. We are ready now to look directly into the
+artist's own face, in a portrait by his own hand.
+
+There are a great many portraits of Rembrandt etched and painted by
+himself. We have noticed how fond he was of painting the same model
+many times, in order to make a thorough study of the face, in varying
+moods and expressions. Now there was one sitter who was always at
+hand, and ready to do his bidding. He had only to take a position in
+front of a mirror, and there was this model willing to pose in any
+position and with any expression he desired. So obliging a sitter
+could nowhere else be found; and thus it is that there is such a large
+collection of his self-made portraits.
+
+His habit of painting his own portrait gave him an opportunity to
+study all sorts of costume effects. His patrons were plain, slow-going
+Dutchmen who did not want any "fancy" effects in their portraits.
+They wished first of all a faithful likeness in such clothing as they
+ordinarily wore. It was chiefly in his own portraits that Rembrandt
+had the satisfaction of painting the rich and fanciful costumes he
+loved so well. He wore in turn all sorts of hats and caps, many jewels
+and ornaments, and every variety of mantle, doublet, and cuirass. In
+this he was somewhat like an actor taking the parts of many different
+characters. Sometimes he is an officer with mustaches fiercely
+twisted, carrying his head with a dashing military air. Again he is a
+cavalier wearing his velvet mantle, and plumed hat, with the languid
+elegance of a gentleman of leisure. Sometimes he seems a mere country
+boor, a rough, unkempt fellow, with coarse features and a heavy
+expression.
+
+As we see him acting so many rôles, we may well wonder what the
+character of the man really was. As a matter of fact, he was full of
+singular contradictions. In his personal habits he was frugal and
+temperate to the last degree, preferring the simplest fare, and
+contenting himself with a lunch of herring and cheese when occupied
+with his work. On the other hand, his artistic tastes led him into
+reckless extravagance. He thought no price too great to pay for a
+choice painting, or rare print, upon which he had set his heart. He
+was generous to a fault, fond of his friends, yet living much alone.
+
+In the portrait we have chosen for our frontispiece, we like to
+believe that we see Rembrandt, the man himself. He wears one of his
+rich studio costumes, but the face which he turns to ours is quite
+free from any affectation; a spirit of sincerity looks out of his
+kindly eyes. The portrait is signed and dated 1640, so that the man is
+between thirty and thirty-five years of age. This was the happiest
+period of Rembrandt's life, while his wife Saskia was still living to
+brighten his home.
+
+We see his contentment in his face. He has large mobile features,
+which have here settled into an expression of genial repose. He has
+the dignified bearing of one whose professional success entitles him
+to a just sense of self-satisfaction, but he is not posing as a great
+man. He is still a simple-hearted miller's son, a man whom we should
+like to meet in his own family circle, with his little ones playing
+about him. He is a man to whom children might run, sure of a friendly
+welcome; he is a man whom strangers might trust, sure of his
+sincerity. It is, in short, Rembrandt, with all the kindliest human
+qualities uppermost, which show us, behind the artist, the man
+himself.
+
+       *       *       *       *       *
+
+
+
+
+PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS
+
+The Diacritical Marks given are those found in the latest edition of
+Webster's International Dictionary.
+
+EXPLANATION OF DIACRITICAL MARKS.
+
+
+A Dash ([=]) above the vowel denotes the long sound, as in f[=a]te,
+     [=e]ve, t[=i]me, n[=o]te, [=u]se.
+
+A Dash and a Dot ([.=]) above the vowel denote the same sound, less
+     prolonged.
+
+A Curve ([)]) above the vowel denotes the short sound, as in [)a]d
+     [)e]nd, [)i]ll, [)o]dd, [)u]p.
+
+A Dot ([.]) above the vowel a denotes the obscure sound of a in p[.a]st,
+     [.a]b[=a]te, Am[)e]ric[.a].
+
+A Double Dot ([:]) above the vowel a denotes the broad sound of a in
+     fäther, älms.
+
+A Double Dot ([:]) below the vowel a denotes the sound of a in b[a:]ll.
+
+A Wave ([~]) above the vowel e denotes the sound of e in h[~e]r.
+
+A Circumflex Accent ([^]) above the vowel o denotes the sound of o in bôrn.
+
+ê sounds like e in d[.=e]p[)e]nd.
+
+ô sounds like o in pr[.=o]p[=o]se.
+
+ç sounds like s.
+
+[-c] sounds like k.
+
+[s=] sounds like Z.
+
+[=g] is hard as in [=g]et.
+
+[.g] is soft as in [.g]em.
+
+
+Amsterdam ([)A]m'st[~e]rd[)a]m).
+
+Apocrypha ([.a] p[)o]k'r[)i] f[.a]).
+
+Aramaic ([)A]r[.a]m[=a]'[)i][-c]).
+
+Asenath ([=A]s[=e]'n[)a]th).
+
+Assyria ([)A]ss[)y]r'[)i][.a]).
+
+Azarias ([)A]z[.a]r[=i]'[)a]s).
+
+
+Bathsheba (B[)a]thsh[=e]'b[.a]).
+
+Bethlehem (B[)e]th'l[=e]h[)e]m).
+
+Bildt (b[=e]lt).
+
+Braun (brown).
+
+Breestraat (br[=a]'strät).
+
+burgher (b[~e]r'g[~e]r).
+
+
+Capernaum ([-C][=a]p[~e]r'n[=a][)u]m).
+
+Cassel (käs's[)e]l).
+
+chiaroscuro (kyä r[.=o] sk[=oo]'r[.=o]).
+
+Cleopas ([-C]l[=e]'[=o]p[)a]s).
+
+Cocq (k[=k]).
+
+Coppenol (k[)o]p'p[.=e] n[)o]).
+
+Creusa ([-C]r[=e][=u]'s[.a]).
+
+cuirass (kw[=e] räs').
+
+cymar (s[=i] mär').
+
+
+doelen (d[=oo]'l[)e]n).
+
+
+Ecbatane ([)e]k b[)a]t'[.a] n[)u]).
+
+Elsbroek ([)e]ls'br[=oo]k).
+
+Emmaus (Emm[=a]'[)u]s) or ([)e]m'm[=a] [)u]s).
+
+Enemessar (En[=e]m[)e]s's[)a]r).
+
+Ephraim (E'phr[=a][)i]m).
+
+etzn ([)e]t'z[)n]).
+
+
+Friesland (fr[=e]z'l[.a]nd).
+
+Fromentin (fr[.=o] m[)o]N t[))a]N')·
+
+
+Gabael (G[)a]b'[.=a][)e]l) or (g[.=a]'b[.=a] [)e]l).
+
+Galileo (G[)a]l[)i]l[=e]'[.=o]).
+
+Gennesaret ([.G][)e]nn[)e]s'[.a]r[)e]t).
+
+Goethe ([=g][~e]'t[)u]).
+
+
+Hague (h[=a]g).
+
+Hamelin (hä'm[)e] l[)i]n).
+
+Hanfstaengl, Franz (hänf'st[=a]ngl fränts).
+
+Hatto (h[)a]t'[.=o]).
+
+Hillegom (h[)i]l'l[.=e] g[)o]m).
+
+
+Israel (I[.=s]'r[=a][)e]l).
+
+
+Jason (J[=a]'s[)o]n).
+
+Jericho (J[)e]r'[)i][-c]h[=o]).
+
+Joden (y[=o]'d[)e]n).
+
+
+Lastman, Pieter (läst'män p[=e]'t[~e]r).
+
+Leyden (l[=i]'d[)e]n).
+
+Louvre (l[=oo]'vr).
+
+
+Manasseh (m[.a] n[)a]s's[)u]).
+
+Manoah (M[.=a]n[=o]'[.a]h).
+
+Mater Dolorosa (m[=a]'t[~e]r  d[)o]l [.=o] r[=o]'s[.a]).
+
+Medæa (m[.=e] d[=e]'[.a]).
+
+Media (m[=e]'d[)i] [.a]).
+
+Michel (m[.=e] sh[)e]l').
+
+Muiderberg (moi'd[e(]r  b[)e]rg).
+
+
+Nazareth (N[)a]z'[.a]r[)e]th).
+
+Nineveh (n[)i]n'[.=e] v[)u]).
+
+
+Odalisque ([=o]'d[.a] l[)i]sk).
+
+
+Padanaram (P[=a]d[.a]n[=a]'r[.a]m).
+
+Palestine (P[)a]l'[)e]st[=i]ne).
+
+Peniel (P[.=e]n[=i]'[.=e]l).
+
+Penuel (P[.=e]n[=u]'[)e]l).
+
+Purmerland (P[)u]r'm[~e]rl[)a]nd).
+
+
+Rages (R[=a]'g[=e]s).
+
+Raguel (R[.=a]g[=u]'[)e]l) or (r[)a]g'[=u] [)e]l).
+
+Raphael (rä'f[=a] [)e]l).
+
+Rembrandt (r[)e]m'br[)a]nt).
+
+Ruytenberg, Willem van (roi't[e(]n b[)e]rg w[)i]l'l[)e]m vän).
+
+Ryks (R[=y]ks).
+
+
+Saskia (säs'k[.=e] [.a]).
+
+Sennacherib (S[)e]nn[)a]ch'[.=e]r[)i]b).
+
+Simeon (S[)i]m'[.=e][)o]n).
+
+Six, Jan (s[=e]x yän).
+
+Stuttgart (st[)oo]t'gärt).
+
+Sylvius, Jan Cornelis (s[)i]l'v[.=e] [)oo]s yän  k[.=o]r n[=e]'l[)i]s).
+
+Syndic (S[)y]n'd[)i][-c]).
+
+Swanenburch (swä'n[)e]n b[)oo]rK).
+
+
+Tigris (T[=i]'gr[)i]s).
+
+Tobias (T[.=o]b[=i]'[)a]s).
+
+Tobit (T[=o]'b[)i]t).
+
+Trippenhuis (tr[)i]p'p[)e]n hois).
+
+
+Uylenborch, Rombertus van (oi'l[)e]n b[.=o]rK r[)o]m b[)e]r't[)oo]s vän).
+
+
+Vlaerdingen (vlär'd[)i]ng [)e]n).
+
+Vondel (v[)o]n'd[)e]l).
+
+
+Wijmer (w[=i]'m[~e]r).
+
+       *       *       *       *       *
+
+
+
+
+
+End of the Project Gutenberg EBook of Rembrandt, by Estelle M. Hurll
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