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 roles, 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
faether, aelms.
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 born.
e sounds like e in d[.=e]p[)e]nd.
o sounds like o in pr[.=o]p[=o]se.
c 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]'straet).
burgher (b[~e]r'g[~e]r).
Capernaum ([-C][=a]p[~e]r'n[=a][)u]m).
Cassel (kaes's[)e]l).
chiaroscuro (kyae 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] raes').
cymar (s[=i] maer').
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 (hae'm[)e] l[)i]n).
Hanfstaengl, Franz (haenf'st[=a]ngl fraents).
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 (laest'maen 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]).
Medaea (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 (rae'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 vaen).
Ryks (R[=y]ks).
Saskia (saes'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 yaen).
Stuttgart (st[)oo]t'gaert).
Sylvius, Jan Cornelis (s[)i]l'v[.=e] [)oo]s yaen k[.=o]r n[=e]'l[)i]s).
Syndic (S[)y]n'd[)i][-c]).
Swanenburch (swae'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 vaen).
Vlaerdingen (vlaer'd[)i]ng [)e]n).
Vondel (v[)o]n'd[)e]l).
Wijmer (w[=i]'m[~e]r).
* * * * *