As soon as he had finished one portfolio, the watchful attendant carried it away, and substituted another. It was so easy, so restful, and so invigorating to study a master under these conditions, that he wondered the public did not flock to the Print Room as to a first night at a popular theatre.
On another day he studied the drawings and landscape etchings--that dark, spacious design called _The Three Trees_, and a perfect little drawing of _Joseph Consoling the Prisoners_. The large plates inspired him with reverence and profound admiration for Rembrandt's genius as an etcher, but it was the smaller etchings that won his love and held it. He promised himself, when he came into certain family monies of which there was some prospect, that instead of buying an automobile, he would make himself the proud owner of _The Three Trees_, _The Prodigal Son_, _Abraham's Sacrifice_, and _Tobit Blind_--perhaps one, perhaps two, perhaps three, perhaps all four.
Suppose the admiration of our enthusiast for Rembrandt had been noted in the select suburb where he lived: suppose his mother was one of those estimable ladies who hold monthly Dorcas meetings in their drawing-rooms: suppose that while the ladies were working at useful garments for the poor, she persuaded her son to discourse on Rembrandt: suppose, because the petition came from his mother that he, very much against his will, consented.
It was not an easy task, as he took little or no interest in the life of Rembrandt; his interests were entirely with the æsthetic appeal of his work. What, he asked himself, can one say about the life of a man when that life was wholly one with his art--mingling with it, ministering to it at every point. A boy, the fifth child of a miller living at Leyden, is born into the world, takes to art as a duck to water, becomes one of the greatest painters of the world, dies in obscurity, is forgotten, and long after his death is placed among his peers. What is there to say about such a life? He made the attempt.
[Illustration: PORTRAIT OF AN OLD LADY IN A VELVET HOOD, HER HANDS FOLDED
At the age of fourteen Rembrandt entered at Leyden University, but showed little inclination for books. He preferred Lucas van Leyden to Virgil, and his parents, accepting the situation, allowed him to study painting under Swanenburch, and later in the studio of Lastman at Amsterdam. After a few months with Lastman he returned to Leyden, "to practise painting alone and in his own way." So much for his schooling. At the age of twenty-one he produced a picture called _St. Paul in Prison_, and Gerard Dou became his pupil. In 1631 he left Leyden and settled in Amsterdam. In 1634 he married Saskia van Uylenborch, who bore him three children, and Titus was the youngest. Some years later he had two daughters by his servant, Hendrickje Stoffels. Perhaps he married her. She was a kind, good soul, faithful and loyal to her master. His friends do not seem to have disapproved of this irregular union, but the Consistory of her church summoned Hendrickje before them and forbade her to communicate. At the age of fifty Rembrandt was declared bankrupt. From that date until his death troubles encompassed him; but he was happy so long as he could paint undisturbed. His son Titus died when he was sixty-two, and the following year Rembrandt died, and was buried at a cost of thirteen florins.