orror and disgust of the corpse. Its
forehead is in shadow, its open eyes are turned upward, its mouth half
shut as if in amazement; the chest is swollen, its legs and feet are
rigid, the flesh is livid and looks as if it would be cold to the
touch. In great contrast to this stiffened corpse are the living
attitudes of the students, the youthful faces, the bright eyes, intent
and full of thought, revealing, in different degrees, eagerness to
learn, the joy of comprehension, curiosity, astonishment, the effort
of the intellect, the activity of the mind. The face of the master is
calm, his eye is serene, and his lips seem smiling with the
satisfaction of intimate knowledge of his subject. The whole group is
surrounded by an air of gravity, mystery, and scientific solemnity
which imposes reverence and silence. The contrast between the light
and shade is as marvellous as that between death and life. Everything
is painted with infinite pains; it is possible to count the little
folds of the ruff, the wrinkles in the face, the hairs of the beard.
It is said that the foreshortening of the corpse is incorrect, and
that in some places the finish degenerates into hardness, but
universal approval places the "Lesson in Anatomy" among the greatest
works of art in the world.

Rembrandt was only twenty-six years old when he painted this picture,
which consequently has the mark of his early work. The impetuosity,
audacity, and unequalled assurance of his genius, which shine forth in
his maturer works, are not yet seen, but his immense power of painting
light, his marvellous chiaroscuro, his fascinating magic of contrast,
the most original features of his genius, are all to be found here.

However little we may know about art, and however much we may have
resolved not to sin by excess of enthusiasm, when we come face to face
with Rembrandt van Rijn, we cannot help opening the flood-gates of
language, as the Spanish say. Rembrandt exerts an especial fascination.
Fra Angelico is a saint, Michelangelo is a giant, Raphael is an angel,
Titian a prince, Rembrandt is a spectre. What else can this miller's son
be called? Born in a windmill, he arose unexpectedly without a master,
without example, without any instruction from the schools, to become a
universal painter, who depicted life in every aspect, who painted figures,
landscapes, sea-pieces, animals, saints, patriarchs, heroes, monks, riches
and poverty, deformity, decrepitude, the ghetto,