iercely
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 ([.=]