nterest 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, Rembra