diff options
41 files changed, 17 insertions, 4285 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..a54cd80 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52178 (https://www.gutenberg.org/ebooks/52178) diff --git a/old/52178-0.txt b/old/52178-0.txt deleted file mode 100644 index e0443f1..0000000 --- a/old/52178-0.txt +++ /dev/null @@ -1,1720 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Rembrandt, Vol. 4, Num. 20, -Serial No. 120, December 1, 1916, by John C. van Dyke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Mentor: Rembrandt, Vol. 4, Num. 20, Serial No. 120, December 1, 1916 - -Author: John C. van Dyke - -Release Date: May 28, 2016 [EBook #52178] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: REMBRANDT, VOL. *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - - THE MENTOR 1916.12.01, No. 120, - Rembrandt - - LEARN ONE THING - EVERY DAY - - DECEMBER 1 1916 SERIAL NO. 120 - - THE - MENTOR - - REMBRANDT - - By JOHN C. VAN DYKE - - Professor of the History of Art - Rutgers College - - DEPARTMENT OF VOLUME 4 - FINE ARTS NUMBER 20 - - FIFTEEN CENTS A COPY - - - - -Christmas Giving - - -The old question--What shall we give? Too often answered by giving the -easiest thing. “There, that’s off my mind for another year!” Yes, off -your mind--but how does your heart feel when your friend sends _you_ -something that shows that he has cherished a little special thought of -you? - - * * * * * - -Christmas giving may be a blessing or a blight--according to the spirit -of the giver. It is a blessing when it carries with it a thought that -honors the one that gives and benefits the one that receives. - - * * * * * - -“Benefit is the end of Nature,” says Emerson, “and he is great who -confers the most benefits. Beware of good staying in your hand. Pay it -away quickly to someone.” - - * * * * * - -Thousands of you tell me in the daily mail how The Mentor benefits you. -Can you give a better gift to your friend than this same benefit? If -we benefit you, we can also benefit him. With whole heart we pledge -full service to him as to you. Give, then, this Christmas, The Mentor -and all its service to your friend. Your message of friendship will be -repeated to him twice a month throughout the year. - - THE EDITOR. - - - - -[Illustration: IN THE HERMITAGE, PETROGRAD - -SOBIESKI--PORTRAIT BY REMBRANDT] - - - - -_REMBRANDT_ - -_Early Years_ - -ONE - - -Sometimes it is difficult to learn the truth about a great man. This -is particularly so in the case of one who lived three centuries ago; -for in those days people were not as careful to keep records as they -are today. For years the great painter Rembrandt was regarded as having -been ignorant, boorish, and avaricious. Fables making him out to be -such a character sprang up without any foundation. It is only within -the last fifty years that we have come to know the true Rembrandt, and -to realize that he had profound sympathy, a powerful imagination, and -originality of mind, and that he was a poet as well as a painter, an -idealist and also a realist. He has justly been called “the Shakespeare -of Holland.” - -Rembrandt Harmens van Rijn--for that is his full name--was born at -Leyden, a town near Amsterdam, in Holland, on July 15, 1605. Leyden is -famous in history as the birthplace of many great artists and other men -of renown. Rembrandt’s home overlooked the river Rhine. He was the son -of a well-to-do miller, and his parents were ambitious that Rembrandt -enter the law, for his older brothers had been sent into trade. - -At that time Holland was entering upon her great career of national -enterprise. Science and literature flourished, poetry and the stage -were cultivated by her people, and art was made welcome in every town, -large and small. So Rembrandt, after he had been sent to the high -school at Leyden, decided to become a painter. For already within him -he felt the first urgings of genius. - -Accordingly, when Rembrandt was only twelve or thirteen years old, -his father allowed him to become a pupil of Jacob van Swanenburch, a -painter of no great ability, who, however, enjoyed some reputation -because he had studied in Italy. Three years later the boy was placed -under Pieter Lastman, of Amsterdam, who was a much better artist and -teacher. Authorities differ as to how long Rembrandt remained with -Lastman. One says that he was his pupil until he was nineteen years -old; another believes that he studied with him for only six months. At -any rate, sometime after 1623 Rembrandt returned to the home of his -parents at Leyden. - -During these first years of his artistic life, Rembrandt worked hard. -He painted pictures of almost everyone he saw--beggars, cripples, and -in short every picturesque face and form of which he could get hold. -Life, character, and special lighting effects were his principal -concern. Frequently he used his mother for a model, and from these -portraits we can trace his strong resemblance to her. The young -artist also liked to paint his father and sisters; and by the number -of portraits he painted of himself, we can see that from the very -beginning he worked hard to master every form of expression, learning -to draw the human face as it appeared not only to the casual observer, -but also to one who read the character within. It is said that during -his lifetime Rembrandt painted nearly sixty portraits of himself. - -Time went by, and the young artist of Leyden was attracting the -attention of art lovers in the great metropolis of Amsterdam. Some of -them urged him to move there; and feeling that he was now strong enough -to stand alone, Rembrandt rented a large house in Amsterdam and removed -there in 1631. He divided the upper part of his house into small -studios, and there he worked and taught. His pupils were many and from -wealthy families. From this teaching Rembrandt derived a large income. - -Fortune smiled upon him. At one bound he leaped into the position of -the leading portrait painter of Amsterdam. Numerous commissions for -portraits flowed in upon him, and during the first few years of his -residence there he painted at least forty. When he was only twenty-six -years old, in 1632, he painted the “Anatomy Lesson,” a picture that -made an enormous sensation, and holds its place today as one of -Rembrandt’s masterpieces. - -The year 1634 was one of the happiest in Rembrandt’s life. He was then -at the beginning of a successful artistic career, and it was at that -time that he married Saskia van Ulenburg, a beautiful Frisian maiden. -Saskia brought him love and wealth. Eight years of prosperity and -sunshine followed their union. - -Rembrandt and his wife were a joyous pair. They had four children, a -boy and two girls who died in infancy--and a son, Titus, who grew to -man’s estate. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: DETAIL OF THE ANATOMY LESSON - -BY REMBRANDT - -IN THE HAGUE MUSEUM] - - - - -_REMBRANDT_ - -_The Master Painter_ - -TWO - - -The year 1640 marks the beginning of what may be termed the second -period of Rembrandt’s life and work. It was during these years that -success and happiness were his. From then until 1654 Rembrandt worked -in what has been called his “second manner.” His art grew in power, -and the coldness of his “first manner” had disappeared. He had passed -through a period of exaggerated expression and had come to a truer, -calmer form of painting. It is interesting to compare his own portrait -painted in 1640 with the earlier portraits of himself. This painting -portrays a man strong and robust, with powerful head, determined chin, -and keen, penetrating eyes. This was the Rembrandt of that period, the -man confidently independent and careless as to his popularity as an -artist. - -Rembrandt had now many pupils. He had bought a house in Amsterdam, and -had placed in it a great collection of paintings and engravings. At -that time the artist was living a life of simple domesticity, happy -with his wife and children. His friends were many, and his interests -were large. - -Rembrandt’s mother died in 1640, and two years later the great -sorrow of his life came upon him. His wife Saskia died. This changed -everything for him. The events of his latter days are clouded in -obscurity. - -The terms of Saskia’s will are interesting, in that they may throw -some light upon a later action of the artist’s, which will be related -further on. She left her money to their son Titus, with Rembrandt as -sole trustee, and with full use of the money until he should marry -again or until the marriage of Titus. - -It was in 1642 also that Rembrandt painted his most famous picture--the -“Night Watch.” This is one of the landmarks of Rembrandt’s career. -However, it is not a night watch at all, but a call to arms by day, and -more properly should be named the “Day Watch.” - -The artist’s life was changed after the death of his wife. No longer -does he appear to have been the buoyant, carefree painter and art -lover. There is a pathetic sadness in many of his works done at this -time. This is well illustrated in his pictures of the Holy Family, a -subject which was a favorite with him during this period of his life. - -One reason for Rembrandt’s unhappiness was his waning popularity. The -“Night Watch,” which was painted to order as a collection of portraits -in one composition, did not prove satisfactory to his customers. -Some of them complained of being put in the background and obscured. -Naturally, the artist could not give places of prominence to every -person in the picture. Not understanding this, however, these people -took offence at his disposition of the characters, and transferred -their patronage elsewhere. - -It was at this time that Rembrandt did a great deal of landscape -painting, and genius that he was, he made a success of it. It is to -this period that the famous painting, “The Mill,” is ascribed. - -But though he was still the great artist, a cloud of adversity was -slowly coming over Rembrandt’s life. Evil days were at hand. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE WIDENER COLLECTION, PHILADELPHIA - -THE MILL, BY REMBRANDT] - - - - -_REMBRANDT_ - -_Last Years_ - -THREE - - -During the last part of the seventeenth century money was scarce in -Holland. Long continued wars and civil troubles had worn out the -country. Financial depression overwhelmed Amsterdam; and in addition -to this the taste in art changed, and Rembrandt and his pictures were -neglected. - -Most of Rembrandt’s money was tied up in his house and in his large -collection of valuable pictures; and when his paintings ceased to be -in demand, he was forced to borrow money. Very little is known of the -artist’s life at this time. He was living with his servant, Hendrickje -Stoffels, and in 1654 a child was born to them. To her Rembrandt gave -the name of Cornelia, after his much loved mother. It has been asserted -that he married Hendrickje, but it is probable that he did not, for in -such a case the money left by Saskia would have gone at once to her son -Titus, according to the will. - -In 1656 Rembrandt’s financial affairs went crashing down to ruin. By -a process of law his house and land were transferred to Titus. But as -his son was still a minor, Rembrandt was allowed to remain in charge of -Saskia’s estate. And then ruin stared him in the face. In July, 1656, -Rembrandt was declared bankrupt, and an inventory of his property was -ordered. Two years later the larger part of his collection of etchings -and drawings was sold. The sum realized was only a small fraction of -their value. - -Rembrandt, driven from his house, stripped of everything he possessed, -without friends or money, took a modest lodging in Amsterdam. The city -which once had acclaimed him as its greatest portrait painter now -passed him by and left him alone to wait for death. - -During all these dark years, however, Rembrandt was painting some of -his greatest pictures. Even amid the ruins of his affairs he could go -calmly on working; and for this he deserves the highest respect. Among -the works of this time are the portrait of Jan Six, the “Adoration of -the Magi,” and “John the Baptist Preaching in the Wilderness.” At the -same time he continued to paint his own portrait; but in these pictures -of the artist in his old age we see a man broken by misfortune. - -Titus, Rembrandt’s only son, had married. He died in 1668, leaving -one child. A year later, on October 8, 1669, Rembrandt himself passed -away. In the “Livre Mortuaire” of the Wester Kerk in Amsterdam appears -the following simple entry, relating to his death: “Tuesday, 8th Oct., -1669, Rembrandt van Rijn, Painter on the Rovzegraft, opposite the -Doolhof. Leaves two children.” - -Rembrandt outlived his popularity, although he was the greatest genius -of his time and country, and in fact one of the great geniuses of all -time and all countries. He was left to die alone and neglected by his -fellow-countrymen, who had they foreseen the fame that the future held -in store for him, might have sought his humble lodging to honor him on -bended knee. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE RYKS MUSEUM, AMSTERDAM - -ELIZABETH BAS--PORTRAIT BY REMBRANDT] - - - - -_REMBRANDT_ - -_The Real Man_ - -FOUR - - -One day Rembrandt was employed in painting the portraits of a very -rich family in Amsterdam. This was to be a group picture, and as usual -with him, Rembrandt was working hard to make it a success. While he -was painting, someone opened the door of the room in which he was and -brought in the dead body of a monkey. The appearance of this funny -little creature appealed to the artist at once. He wanted to make a -picture of it right away. But the only thing on which he could make the -drawing was the canvas on which he was painting the portraits of the -rich family. So Rembrandt, without hesitation, painted the monkey in -among their portraits. They were very angry, of course, but in those -days Rembrandt was at the height of his career and he did not have to -concern himself about how his customers felt. - -This little incident, whether it is strictly true or not, illustrates -one side of Rembrandt’s character. When he was most successful he -was carefree and independent. It may have been this independence -that brought him to his ruin--although in all probability it was the -indifference of his fellow citizens to his work. - -The age in which Rembrandt lived cared little for personalities. -There were no newspapers to record his doings, and no one of his -contemporaries cared enough about it to write down much about his life -and work. For these reasons, the world has never known much about -Rembrandt, the man. We know that he was light-hearted, headstrong and -extravagant. We know that he was neglected and died poor and feeble. -But we know little more than this, although of late more reliable -information concerning the life of this great painter has been found. - -A man’s faults are usually remembered when his virtues are -forgotten. For years it pleased biographers to represent Rembrandt -as a ne’er-do-well artist, who could not take advantage of his -opportunities. We know now, however, that his faults were very human -ones, and that his merits greatly overbalanced them. - -As a boy the artist was not an industrious scholar. He looked upon -reading and writing as rather troublesome and hardly worth the labor -involved in learning them. Later he worked hard at his chosen career, -and the great number of pictures that he painted is sufficient evidence -that he was by no means lazy. - -Probably Rembrandt’s greatest fault was his extravagance. Many a man -can endure adversity with courage; success is sometimes more difficult -to bear. Hard luck often brings out the best in a man; success may -destroy it. Rembrandt was no exception. He spent his money freely, and -like the grasshopper of the fable, sang happily through the summer, -with no thought of the cold to come. - -He liked to attend sales of works of art, and he gladly paid huge sums -for any pictures that caught his fancy. It is said that the dealers -came very soon to know his rash and reckless methods and would push the -prices far up, confident that Rembrandt would meet them. At the same -time, the artist liked to buy expensive jewels for his wife. He loved -Saskia devotedly, and he wanted her to have everything of the finest. -This manner of open-handed living naturally played havoc with his -finances. - -When Saskia died Rembrandt was heartbroken. His customers fell off -and many troubles overwhelmed him. His friends helped him as much as -possible, but money ran through his hands like water through a sieve, -and he could not seem to control his expenditures. Then later the death -of his faithful Hendrickje was the last blow to his happiness. For a -few years Rembrandt lingered, and then he too passed into the great -silence. - -It is true that many of Rembrandt’s troubles were self-inflicted: but -he suffered enough to pay for his faults. At any rate it is better to -remember him as a great genius and a man worthy of respect and honor. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE DRESDEN GALLERY - -SASKIA HOLDING A FLOWER--PORTRAIT BY REMBRANDT] - - - - -_REMBRANDT_ - -_Saskia van Ulenburg_ - -FIVE - - -Rembrandt’s life was one of curious contrasts. During his early manhood -he was Amsterdam’s leading portrait painter. These were years of -happiness and carefree enjoyment of all the good things of life. But -almost as suddenly as the painter stepped into the sunshine of success, -he fell back into the shadows of adversity. One of the principal causes -of his happiness was his wife, Saskia. Just as her entrance into his -life coincided with the period of his greatest prosperity, so her -death marked the beginning of his darker years. It would seem almost -as though Saskia were his guardian angel, and that with her departure -Rembrandt’s star began to descend. - -Saskia van Ulenburg was the ninth child of a wealthy patrician family -of Friesland. She was born at Leeuwarden in 1612. Saskia became an -orphan at an early age, and then she made her home with one or the -other of her married sisters in turn, and finally with a cousin, who -lived in Amsterdam. It was at the house of this cousin that Rembrandt -met her. Charmed by her youthful grace, he obtained permission to paint -several portraits of her. - -Saskia at this time was a slender girl, rather small of stature. Her -features were very regular, and her eyes were of a beautiful brown -shade, matching her soft reddish brown hair. Her brilliant complexion -was the envy of her less favored companions. - -The young painter soon showed that he took a special interest in -Saskia. He bestowed great care on her portraits, and was in her company -as much as possible. He himself was young, attractive, and good -looking; and we may be sure that Saskia’s family did not frown upon his -suit. They probably realized that Rembrandt would make an excellent -husband for their ward. - -Rembrandt’s father had died some time before this, and his mother -gladly gave her consent to the marriage. Saskia and Rembrandt were made -man and wife on June 22, 1634. - -Their life together was very happy. Rembrandt’s tastes were domestic, -and he was never more pleased than when planning his wife’s happiness. -He centered his whole thought and energy upon her. Saskia, simple and -loving, was governed in all things by his wishes: she was entirely -devoted to him. - -Rembrandt liked to use Saskia as his model. Some of the better known -pictures for which she posed are her own portrait in the Cassel -Gallery, the “Jewish Bride,” painted in 1634, which is now in the -Hermitage in Petrograd, “Sophonisba Receiving the Cup of Poison from -Massinissa,” in the Prado at Madrid, which is also dated 1634, and the -famous painting of Saskia and himself, now in the Dresden Gallery and -done about 1635, which represents Rembrandt in military costume, seated -at a table, with a long glass of sparkling wine in his hand and Saskia -perched on his knee. - -At this period in his life everything seemed to smile on Rembrandt. -He was extravagant and did not know the meaning of the word “save.” -Saskia’s health had not as yet given cause for anxiety. But sad days -were to come. Three children were lost in rapid succession. In 1641 the -only child of theirs who survived was born. He was named Titus, after -Saskia’s sister Titia. But the young wife did not live long after her -son was born. Her health broke down, and an etching made by Rembrandt -about 1640 shows her with sharpened features, feverish eyes, and an -expression of pensive melancholy. The happy days were over. Their brief -union, begun in joy, was soon to end in tears. As if in prophecy, -Rembrandt’s anxieties were deepened by another sorrow--the death of his -mother in 1640. - -Saskia’s illness made rapid progress. Day after day she faded, and no -longer did the artist have any delusions as to her recovery. Saskia -made her will on June 5, 1642. She herself, however, had not lost all -hope, for in this will she spoke of the children she might eventually -have. She made Rembrandt trustee of her property for their son Titus, -showing her perfect trust in her husband. At the end of the document -she signed her name for the last time in tremulous, almost illegible -characters, as if exhausted by the effort. - -It was only a few days later that Saskia passed away, on June 19, 1642. -Rembrandt followed her coffin to the Oude Kerk and then returned to his -lonely house, where everything reminded him of his brief happiness and -where he was now alone with a child nine months old. He never seemed -to recover from the blow. He went on working, and during the years to -come painted some of his greatest pictures; but seemingly he had lost -his grip on life, and from that time on it was only a matter of a few -years until he was overwhelmed by financial troubles and was driven to -a humble lodging and his death. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE CASSEL GALLERY - -COPPENOL--PORTRAIT BY REMBRANDT] - - - - -_REMBRANDT_ - -_His Etchings_ - -SIX - - -Many people in considering Rembrandt think of him only as a master -painter; they overlook the fact that he was also the leading etcher of -his time. This monograph will take up briefly this part of the great -artist’s work. - -It is related of Hokusai, the Japanese artist, that he once said -that he hoped to live to be very old, and that he might have time to -learn to draw in such a way that every stroke of his pencil would be -the expression of some living thing. That is exactly what Rembrandt -managed to do in almost every one of his etchings. This is particularly -true of the wonderful little etching of his mother. One critic says -that on looking at this etching he was compelled to close his eyes -for a moment, because of the tears that rose unbidden at sight of -it. It would be hard to find anything more worthy of praise than -this engraving. Every line expresses motherly kindness, sweetness, -and thoughtfulness. Nothing could have been omitted; the etching is -complete. - -So skilful was Rembrandt as an etcher that the nobleness of his ideas -and the depth of his nature are apt to be overlooked. His engravings -are pervaded by his big, artistic personality and by his own ennobling -influence. The artist’s soul spoke not only through the choice of -subject, but found expression in every single detail. He showed a -singular inventive power, originality of conception, and a great depth -of understanding. - -Among Rembrandt’s etchings were many wonderfully life-like portraits, -biblical subjects, and landscapes. An interesting thing about all this -work is that most of it was done between the years 1639 and 1661. After -this Rembrandt seems to have renounced etching entirely. In these -twenty years he produced his greatest works, on every one of which -appears the impress of the genius of the man. - -Rembrandt seems to have had a particular interest in making etchings -of beggars. He delighted to draw them. These types were easy to find -in Amsterdam at that time; but they may be called super-beggars, for -as a critic says, “One is almost inclined to say that they cannot be -beggars, because the master’s hand has endowed them with the warmth -and splendor with which his artistic temperament clothed everything he -looked at.” - -Some of Rembrandt’s etchings have brought great prices. In most cases, -however, these prices varied because of the “state” of the plates. The -points of difference between these “states” arise from the additions -and changes made by Rembrandt on the plates. A single impression of -one of his etchings, “Rembrandt with a Sword,” was bought for about -$10,000 in 1893. Another, “Ephraim Bonus with Black Ring,” brought -about $9,750; while a third, the “Hundred Guilder Print,” fetched about -$8,750. - -Some may find in Rembrandt’s etching much that at first appears rough -and uncouth. More apparent skill and ease in drawing may appear to have -been shown by other etchers. But Rembrandt’s work may justly be termed -big, for it was conceived on a grand scale by a genius and master. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -THE MENTOR · DEPARTMENT OF FINE ARTS · DECEMBER 1, 1916 - -REMBRANDT - -By JOHN C. VAN DYKE - -_Professor of the History of Art, Rutgers College_ - - _MENTOR GRAVURES_ - - SOBIESKI - - DETAIL OF THE ANATOMY LESSON - - THE MILL - - _MENTOR GRAVURES_ - - ELIZABETH BAS - - PORTRAIT OF SASKIA HOLDING A FLOWER - - COPPENOL - -[Illustration: Portrait of the Artist - -By Himself - -In the Collection of Mr. Henry C. Frick, New York City] - - Entered as second-class matter March 10, 1913, at the - postoffice at New York, N. Y., under the act of March 3, 1879. - Copyright, 1916, by The Mentor Association, Inc. - - -The visitor to the Netherland art galleries should leave his notions of -Greek and Italian art with his umbrella, at the entrance. Holland is no -place to talk about canons of proportion or types of beauty or ideals -of any kind. The Dutch are now, as they have always been, a people -confronted by the realities of existence, and see life, literature, and -art as facts rather than as fancies. There has never been much romance -about them, but, on the contrary, a realization of the existent, a -grasp of the truth and vitality of things, a keen penetration into the -human problem. There never was any need for far-fetched fancies or -ideals. The life about them interested and impressed them, and, from -the very beginning, the Dutch painters were painting the portrait of -their own land and people. The result was an art that has a distinct -quality of its own--just as distinct a quality as the art of Persia or -Japan. You would not think of judging Japanese art by that of Italy. -Why then think of Dutch art in any other terms than its own? - - -_Rembrandt and Raphael_ - -[Illustration: PORTRAIT OF A MAN - -Altman Collection of Metropolitan Museum, New York] - -To carry out the thought in illustration, it may be said that -Rembrandt, the great Dutchman, was the very opposite of Raphael, the -great Italian. He painted no allegories on Vatican walls, was not -led away by Renaissance revivals of Greek form, dreamed no dreams -of uniting pagan types with Christian ideals. Even technically he -was widely different from Raphael. He painted the easel picture in -oils, had no love whatever for Italian line and composition, did all -his drawing and modeling by catches of shadow, and produced his most -startling effects by the dramatic use of light and color. In all this -Rembrandt was merely reflecting his time and his people in his own -ingenious way. He was emphatically true to the Dutch point of view, and -today his art is full of truth, force, vitality, character. In fact, -that word “character” is the keynote to all his work. It furthermore -explains that æsthetic paradox, sometimes applied to Rembrandt, “the -beauty of the ugly.” For many of his people are ugly, if we regard them -for the straightness of their foreheads and noses, the oval of their -chins, or the proportions of their figures; but they are beautiful -in their simplicity of presence, their unconscious sincerity, their -profound truth of character. - -[Illustration: THE ARCHITECT - -In the Gallery at Cassel, Germany] - - -_Rembrandt as a Leader_ - -No country in Europe produced a finer quality of art, or a more learned -school of craftsmen, than Holland. There was a master genius there as -elsewhere, and that genius was Rembrandt. He came when Holland had -reached her highest pitch of power--came on the crest of the wave of -which he and his fellow painters were the light and color. He has been -acclaimed as her great painter and he deserves that title, for of all -the Dutch masters he was practically the only one who was universal in -his scope. His art alone, in its appeal, travels beyond the confines -of the Netherlands. What he has to say is world-embracing, and finds -sympathetic response with all peoples. He is profound in his humanity, -in his penetration into life problems, in his sympathy with his fellow -man. The poor, mean-looking Amsterdam Jews that he portrayed in so many -of his pictures are pathetic in their humility, their suffering, their -patience. He was always taking for models the humble, the despised, the -lowly. His heart seemed to go out to them. - - -_His Biblical Pictures_ - -And with such types what a new interpretation he gave the Bible! How he -realized Bible truth and brought it home to his own people by using the -Jew of the quarter and the boor of the polder for models! Look at the -“Supper at Emmaus”--look for the intensity of the types rather than for -any regularity of form. What pathos in the pale, blue-lipped Christ, -with the phosphorescent glimmer of the tomb about the architecture at -the back! What amazement in the disciples at the table! What fear in -the boy bringing in the dish! This was perhaps the first time in art -that the “Supper at Emmaus” was made real and believable. The story -was not only realized, but humanized. All of Rembrandt’s Biblical -pictures were of this nature. Look again at the “Manoah’s Prayer,” or -the “Tobit and the Angel,” or the “Sacrifice of Abraham.” They are -Dutch types again, in Dutch costumes and surroundings. Rembrandt knew -very well that the Biblical characters were not Dutch in type, and -that the people in the time of Christ did not dress like the boors -and burghers of Holland. He purposely painted his own people in their -native costumes, that he might the better and the more forcefully bring -realization home to them. It was not, is not, affectation. Study the -Manoah and his wife, the Abraham, the family of Tobit on the doorstep, -and you cannot find in all art people of more unconscious sincerity. -Rembrandt believed in them. And that is why you and I believe in them -today. - - -_Rembrandt as a Portrait Painter_ - -[Illustration: JAN HERMANSZ KRUL - -In the Gallery at Cassel, Germany] - -[Illustration: PORTRAIT OF JOHN SIX - -In the Six Gallery, Amsterdam] - -[Illustration: WOMAN WITH PINK - -In the Gallery at Cassel, Germany] - -Rembrandt painted many Biblical pictures, which are at present widely -scattered throughout the European galleries. In all of them he gave a -new interpretation, a profound insight, a real meaning, to Scriptural -story. In addition he painted many figure compositions of a historical -or mythological cast. But his great success, after all said and done, -was with the portrait. His technical methods were well suited to the -portrait, and he was unsurpassed in giving the truth of presence in -his sitter. The quiet dignity of his Dutch burghers, their repose -and simplicity, the complete absence of anything like pretense about -them, made up Rembrandt’s point of view; but to this he added a -cunning hand and a technical skill that were wonderful. How superbly -with his catches of light and shade he could draw an eye, a forehead, -a nose, a chin! How instantly and inevitably he caught the salient -feature and turned it by sharp emphasis into positive expression! What -significance he could get out of an outstretched hand, a bent back, a -bowed head! These were features wherewith he proclaimed the character -of his sitter. The “Portrait of an Old Lady,” in the National Gallery, -London, has the flabby cheek, the trembling lip, the wrinkled brow of -the aged; but you can also see that hers has been a life of suffering, -and that the eyes have often been blinded with tears. On the contrary, -the “Portrait of a Man”--the so-called Sobieski, at Petrograd, has the -determination and force of the warrior. It has grip and firmness and -courage about it. These are not only in the features, but Rembrandt has -even put them in the brush work--the manner of handling. Again, by way -of contrast, the heads in the “Lesson in Anatomy” are put in calmly, -serenely, inevitably just right. What intelligence, seriousness, and -living presence they have! They are what might be called speaking -likenesses, in the sense that all they lack of life is speech. And what -can one say that will adequately describe the loveliness of mood, the -eternal womanly, in the “Portrait of Saskia,” at Cassel! It is a wonder -as a piece of color, but still more wonderful as a characterization -of the painter’s wife. Once more, for a further contrast, look at the -“Portrait of Coppenol.” He is supposed to be a writing master because -he is sharpening a quill pen, but whatever his profession or pursuit, -have you any difficulty in seeing here a dull-witted person of very -limited intelligence? The very fatness of the forehead, so remarkable -in its realistic rendering, the narrow eyes, with their vacant stare, -the pumpkin cheeks and head, the soft, lazy hands, seem to point to -some clerk or pedagogue, who had not enough brains to know that he -wanted more. - -Rembrandt was easily one of the great group of portrait painters with -Titian, Velasquez, and Holbein. And by this I mean no faint praise. -It seems to be thought in some quarters that portraiture is somehow -an inferior branch of painting. It is said to require no invention or -imagination. But nothing could be more mistaken than such an idea. When -we speak of Rembrandt, Titian, Velasquez, and Holbein we are speaking -of the world’s great masters, and perhaps their most satisfactory -masterpieces are their portraits. A painter who can adequately portray -his fellow man, as Rembrandt did, has practically said the last word in -art. That Rembrandt had this gift and accomplishment is evidenced by -the high esteem in which his work is held by painters even to this day. - -[Illustration: THE NIGHT WATCH - -In the Ryks Museum, Amsterdam - -A fine gravure reproduction of this painting appears in The Mentor, -Number 17, “Dutch Masterpieces.”] - - -_His Technical Method_ - -There was no trick about Rembrandt’s painting. He was no slave to a -peculiar color, canvas or brush. He painted at times with a palette -knife: at other times with his thumb. He kneaded the surface, ploughed -through it when it was wet, did almost anything to get effects by -catches of light and shade whereby he drew and modeled. But none of -these small peculiarities explains his technical success. His methods -were sound enough, and for the most part were known before his day; -but he applied them better and increased their carrying power. He -has been called the master of light and shade, and so, indeed, he -was within a limited range. It was the same light and shade known to -Leonardo, Giorgione, and Carravagio, and probably Rembrandt got it from -pictures of the Neapolitan School, though he never was in Italy. But -Rembrandt improved upon the Italian method of using shadow. He made it -transparent, enveloping, mysterious. And its antithesis, light, he made -penetrating and dramatic by putting it in sharp contrast. Out of the -two he got wonderful effects. In doing the portrait head, for instance, -he threw his highest light on the collar, the nose, the chin, the -forehead. This high light ran off quickly into half-light and then into -shadow, so that by the time the ear or side of the neck was reached, -dark, even black, notes were used. The decrease was rapid; in fact -often violent, but this only served to focus the attention more keenly -upon the dominant features of the face. The result was what has been -called “forced,” but it was very effective. It was the same effect that -one sees today at the opera, when the chief actor is in the spot-light -and the rest of the stage is in gloom. - -[Illustration: SYNDICS OF THE CLOTH HALL - -In the Ryks Museum, Amsterdam - -A fine gravure reproduction of this painting appears in The Mentor, -Number 8, “Pictures We Love to Live With.”] - - -_The Night Watch_ - -But this violent focusing of light had its limitations even in -Rembrandt’s hands. The “Night Watch” exemplifies them. This was to be -a portrait group of the sixteen members of the Frans Banning Cock -Shooting Company. The members wanted their portraits painted in a -group, after the manner of the time, and Rembrandt conceived the -idea of painting the portraits and making a stirring picture of the -company coming out of its quarters, at one and the same time. It was -an ambitious scheme, and not wholly successful, because here came in -the limitations of his method. He painted sixteen portraits with his -spot-light illumination, each one being completed under its own light. -The picture lacked that one light which should have bound together the -whole company. As a result there were sixteen separate portraits on the -one canvas, held together in measure by shadow, color and atmosphere, -but spotty in the lighting. The French writers of the eighteenth -century could not understand the lighting, and were led to think the -picture represented a night scene. They called it the “Ronde de Nuit,” -and, later, Sir Joshua Reynolds translated this into “Night Watch.” But -nothing is more certain than that Rembrandt intended it for a day scene -in full sunlight. It was simply his arbitrary way of handling light -that made a night effect out of daylight. - -[Illustration: THE ANATOMY LESSON - -In the Hague Museum] - -That is about the only criticism that can be lodged against the -“Night Watch.” Light and color have both been sacrificed to shadow; -but when that is conceded the picture still remains a marvel of -color, shadow, and atmosphere, and a wonder of life and action. -The movement--the bustle of it--is superb. The Captain and his -Lieutenant in the foreground are in full light, but back of them and -around them, emerging out of the gloom, are nebulous heads, flashing -casques, plumes, halberds, guns, drums, dogs, street urchins--all the -belongings of a militia company on parade. They are not only wonderful -in their action, but in their mystery of appearance, coming out of -shadow depths into light. Of course, the picture was not entirely -satisfactory to the sixteen. They had bargained for their portraits, -and little knew then how cheaply they were purchasing immortality. -Those in the background complained that they were not sufficiently -spot-lighted, not treated with sufficient importance; in fact, -subordinated to those in the front row. But the picture, as a picture, -is certainly successful, is a great favorite with all art-lovers, and -in the Ryks Museum in Amsterdam, where it now hangs, it is considered -one of the world’s great masterpieces. Truer lighting--that is truer to -the facts of general illumination--is seen in the earlier “Lesson in -Anatomy” and the later “Syndics of the Cloth Hall,” but neither picture -has the fascination nor the imagination of the “Night Watch.” - - -_Rembrandt’s Styles_ - -[Illustration: THE SACRIFICE OF ABRAHAM - -In the Old Pinacothek, Munich] - -[Illustration: THE ANGEL LEAVING TOBIT - -In the Gallery of the Louvre, Paris] - -[Illustration: BLESSING OF JACOB - -In the Gallery at Cassel, Germany] - -Rembrandt’s work is usually divided into three different periods. -At first his method of handling was calm, measured, even at times -smooth. His light and color were gray, as also his backgrounds. This -period has been called his “gray period.” The “Lesson in Anatomy,” -the “Sacrifice of Abraham,” the “Coppenol,” the “Elizabeth Bas,” the -“Old Lady” of the National Gallery, London, all illustrate this early -manner. It was gradually encroached upon and finally superseded by -a fuller, freer handling of the brush, with much warmer color and -light, tending toward reddish gold. This has been called his “golden -period,” and marks the midday of his career. The beautiful “Saskia,” -at Cassel, and the so-called “Sobieski,” at Petrograd, illustrate -the beginning of this period--the changing from gray to warmer notes -of red, yellow, and gold. The “Woman with the Pink,” at Cassel, the -“Manoah’s Prayer,” at Dresden, the “Night Watch,” were done further -along in this middle period. It was the time when Rembrandt was in -his full strength, saw comprehensively, handled a full palette of -color, and was almost infallibly accurate with his hand. In his -third and last period Rembrandt’s work became rather hot and foxy in -color, dark in illumination, kneaded and thumbed in the surface, and -sometimes uncertain in drawing. He was expanding into a larger view -and vision up to the last--seeing objects in their broader relations -and proportions rather than in their surfaces. Toward the close he -often slurred the surfaces, neglected textual qualities, and threw his -whole force into the rendering of mass in relation to light, air, and -color. The pictures of this period are hard for the beginner in art to -understand, because he is misled by the roughness of the surfaces, the -messy state of the pigments, the apparent fumbling, kneading, rubbing -out and amending, of the brush work. But, as we have said, Rembrandt -was purposely slurring surface truths for the greater truths of bulk, -weight, and general relationship. The best example of this late work -among our illustrations is the “Syndics of the Cloth Hall,” in the Ryks -Museum, Amsterdam. In it Rembrandt went back to his early method of -lighting, but continued with his late manner of handling and coloring. -It is superbly broad in vision, absolute in its truth to life, and -convincing in its incident. The cloth merchants are seated about a -table, perhaps figuring up their year’s balance, when someone opens the -door to enter and they all look up to see the incomer. Nothing could -be simpler, more direct, or truer. Rembrandt never painted anything -better. For here he completely fulfilled expectations. Many of his -later canvases he could not complete. The “Blessing of Jacob,” at -Cassel, for instance, he probably gave up in despair, or was working -upon at the time of his death. He had reached a pitch in his career -when he saw and strove for things that his hand or brush could not -realize or pin down to canvas. That is the great stone wall that even -genius encounters and cannot surmount. - - -_The Master’s Life_ - -[Illustration: PORTRAIT OF AN OLD LADY - -In the National Gallery, London] - -The story of Rembrandt’s career is recited elsewhere in this number -of The Mentor, but it may be said here that it was not different from -that of many other painters. He came up to Amsterdam from the outlying -country, and achieved celebrity at an early age. Praise and pay and -pupils poured in upon him. He married the beautiful Saskia and was -happy. But as he expanded in vision and methods he went beyond the -understanding and the appreciation of his public. His pupils, such -as Bol and Flinck, who had a more commonplace point of view, and a -smoother, prettier style of painting, outdid him in public favor. The -public began to desert him, the fair Saskia died, the great master fell -upon evil days, and finally passed out in penury and want--evidently -neglected and possibly forgotten by the age and people he had done so -much to glorify. The record of his death in the Burial Book of the -Wester Kirk, Amsterdam, is pathetic in its meagerness. “Tuesday, 8th -Oct., 1669. Rembrandt van Rijn, painter on the Roozegraft, opposite -the Doolhof. Leaves two children.” It almost looks as though he were -identified only by the squalid quarters in which he died. And this -was Rembrandt, the greatest master north of the Alps, and a genius of -almost Shakespearian quality! - - -_Many Pictures Attributed to Him_ - -[Illustration: SASKIA VAN ULENBURGH - -In the Gallery at Cassel, Germany - -A fine gravure reproduction of this painting appears in The Mentor, -Number 28.] - -It seems that not only was Rembrandt and his art misunderstood in his -own time, but that he is still misunderstood at the present time. This -is in measure due to many pictures which are mistakenly attributed to -him. One need not be an expert to find it strange that of twenty pupils -of Rembrandt, who painted more or less in his style, there remain -hardly twenty pictures apiece, and of some of them not even one. What -paralyzed their hands or destroyed their works? What became of their -pictures? You begin to get a glimmer of light when you understand that -to Rembrandt there are assigned a thousand or fifteen hundred examples; -that these are painted in fifteen or twenty different styles, though -all superficially resembling Rembrandt’s style. Almost everything that -is Rembrandtesque, or even casually resembles Rembrandt, has been -signed up and sold as his since the master came back to popular favor. -The name is one that now brings thousands of dollars in the auction -room, and what wonder that it is often misused! - -These Rembrandtesque pictures were done by other hands than his, are -pupils’ works, or school work or copies, or, in a few cases, forgeries. -Rembrandt’s work has never been critically studied as that of Leonardo -or Giorgione (jore-joe´-nee). Strange, again, is it not, that Leonardo -and Giorgione in the final analysis should have less than a dozen -pictures apiece left to them, while Rembrandt should still be given -his thousand? Northern art has not had a critical searchlight turned -upon it, as had Italian art thirty years ago. When it does, the present -catalogue of Rembrandts will crumble. In the meantime, the art student -would better accept Rembrandt only in his best authenticated works, -such, for instance, as are reproduced in this number of The Mentor. -Half of the so-called Rembrandts in the European galleries are now to -be taken with a grain of salt. They may be, and often are, exceedingly -good pictures, but they are not by Rembrandt. - - -_SUPPLEMENTARY READING_ - - GREAT MASTERS OF DUTCH AND FLEMISH PAINTING _Bode_ - London, 1909. - - OLD MASTERS OF BELGIUM AND HOLLAND _Fromentin_ - Boston, 1882. - - THE DUTCH SCHOOL OF PAINTING _Havard_ - London, 1885. - - REMBRANDT _Michel_ - New York, 1894. - - REMBRANDT _Verhaeren_ - (Les Grands Artistes), Paris. - - REMBRANDT _Vosmoer_ - Paris, 1877. - - REMBRANDT _Valentiner_ - (Klassiker die Kunst), Stuttgart. - - REMBRANDT, A STUDY OF HIS LIFE AND WORK _Brown_ - New York, 1907. - -⁂ Information concerning the above books and articles may be had on -application to the Editor of The Mentor. - - - - -_THE OPEN LETTER_ - - -“Why are pictures repeated,” asks one of our readers. We rarely -repeat a picture, but we _do_ print more than one picture of the -same subject--and for a most excellent reason: The Mentor is not -through with a subject in one number. That would be a poor and meager -educational service. The plan of The Mentor Association is to present -subjects to its members in various ways, so that they may consider -these subjects from different points of view. This is done so as -to give the reader a broad, comprehensive grasp of things. Let me -illustrate. The Taj Mahal is one of the most beautiful buildings in -existence. When, therefore, we published The Mentor on “Beautiful -Buildings of the World,” we printed, of course, a picture of the Taj -Mahal. When we came to the subject of India in Mr. Elmendorf’s series -of travel numbers, we could not overlook the exquisite Taj Mahal--which -is one of the sights of India. We shall later on have a number of The -Mentor on Oriental Architecture. The Taj Mahal being one of the finest -examples of oriental architecture, cannot of course be ignored in that -number simply because we printed two pictures of the building in former -Mentors. In each case the reader is asked to consider the Taj Mahal -from a different point of view. And, moreover, we do not repeat the -same picture. We print three different views of the Taj Mahal. - - * * * * * - -Another instance. We printed in The Mentor devoted to “Masters of the -Violin” a very fine portrait of the Spanish violinist, Sarasate. This -picture not only happens to be a most interesting portrait of the great -violinist, but it has a special art value in having come from the brush -of Whistler. Next year we shall devote a number of The Mentor to the -work of James MacNeil Whistler. When we do so it will be impossible -for us to ignore this wonderful portrait of Sarasate, for it is a -distinguished example of Whistler’s art. The present number is another -case in point. We have considered Rembrandt’s art several times in -The Mentor. He occupied a prominent place, as you know, in the number -devoted to “Dutch Masterpieces.” He also appears in the number on “The -Wife in Art.” And now we devote a number exclusively to him. - -The basic idea of The Mentor is a broad one. We do not consider that a -subject, once treated, must be boxed up and shelved. Oh, no! While we -make our excursions into the different fields of knowledge, we shall -often turn our faces back to some great subject of interest that we -have already observed and consider it anew from a different point of -view. - - * * * * * - -When you write to The Mentor always sign your name and address. The old -time-worn signatures of “Reader” or “Friend” make it hard for us to -give Mentor service. The following came into the office a few days ago: - - “Have greatly enjoyed your Mentor this last year. One - suggestion I would make, though, is relative to the Madonna - Ansidei. That famous painting was purchased by Morgan a number - of years ago. In 1910 it was in the National Gallery, as a - loan, and at present is in the Metropolitan Museum, New York, - one of its greatest treasures. Ought our public to be informed - by The Mentor that it is in London?” - - A READER. - -Where our reader got the notion that the Ansidei Madonna is in the -Metropolitan Museum of Art, in New York, I am at a loss to understand. -If that famous work had ever been brought to America, surely the whole -world would have known of it. Works of art of such importance are not -moved about without the public being advised of it. The Ansidei Madonna -is in the National Museum, London, and the circumstances of its being -placed there are exactly as stated in The Mentor. It was purchased -for the National Museum from the Duke of Marlborough’s collection for -about $350,000. The Raphael Madonna, in the Metropolitan Museum of Art, -that our reader refers to, is known as the “Madonna of St. Anthony of -Padua.” I hope that this will catch the eye of our friendly reader, and -especially I hope that he will not continue to entertain the thought, -or impart it to others, that The Mentor is giving the public incorrect -information concerning the Ansidei Madonna. - -[Illustration: W. D. Moffat - -EDITOR] - - - - -THE MENTOR ASSOCIATION - - -ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, -LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - -CONTRIBUTORS--PROF. JOHN C. VAN DYKE, HAMILTON W. MABIE, PROF. ALBERT -BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, -DWIGHT L. ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER SINGLETON, -PROF. G. W. BOTSFORD, IDA M. TARBELL, GUSTAV KOBBÉ, DEAN C. WORCESTER, -JOHN K. MUMFORD, W. J. HOLLAND, LORADO TAFT, KENYON COX, E. H. FORBUSH, -H. E. KREHBIEL, SAMUEL ISHAM, BURGES JOHNSON, STEPHEN BONSAL, JAMES -HUNEKER, W. J. HENDERSON, AND OTHERS. - -The purpose of The Mentor Association is to give its members, in an -interesting and attractive way, the information in various fields of -knowledge which everybody wants to have. The information is imparted -by interesting reading matter, prepared under the direction of leading -authorities, and by beautiful pictures, produced by the most highly -perfected modern processes. - -THE MENTOR IS PUBLISHED TWICE A MONTH - -BY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW -YORK, N. Y. SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 -CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN -CENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN -EYCK; SECRETARY, W. D. MOFFAT; TREASURER, ROBERT M. DONALDSON; ASST. -TREASURER AND ASST. SECRETARY, J. S. CAMPBELL - - * * * * * - -COMPLETE YOUR MENTOR LIBRARY - -Subscriptions always begin with the current issue. The following -numbers of The Mentor Course, already issued, will be sent postpaid at -the rate of fifteen cents each. - - Serial - No. - 1. Beautiful Children in Art - 2. Makers of American Poetry - 3. Washington, the Capital - 4. Beautiful Women in Art - 5. Romantic Ireland - 6. Masters of Music - 7. Natural Wonders of America - 8. Pictures We Love to Live With - 9. The Conquest of the Peaks - 10. Scotland: The Land of Song and Scenery - 11. Cherubs in Art - 12. Statues With a Story - 13. The Discoverers - 14. London - 15. The Story of Panama - 16. American Birds of Beauty - 17. Dutch Masterpieces - 18. Paris, the Incomparable - 19. Flowers of Decoration - 20. Makers of American Humor - 21. American Sea Painters - 22. The Explorers - 23. Sporting Vacations - 24. Switzerland: The Land of Scenic Splendors - 25. American Novelists - 26. American Landscape Painters - 27. Venice, the Island City - 28. The Wife in Art - 29. Great American Inventors - 30. Furniture and Its Makers - 31. Spain and Gibraltar - 32. Historic Spots of America - 33. Beautiful Buildings of the World - 34. Game Birds of America - 35. The Contest for North America - 36. Famous American Sculptors - 37. The Conquest of the Poles - 38. Napoleon - 39. The Mediterranean - 40. Angels in Art - 41. Famous Composers - 42. Egypt, the Land of Mystery - 43. The Revolution - 44. Famous English Poets - 45. Makers of American Art - 46. The Ruins of Rome - 47. Makers of Modern Opera - 48. Dürer and Holbein - 49. Vienna, the Queen City - 50. Ancient Athens - 51. The Barbizon Painters - 52. Abraham Lincoln - 53. George Washington - 54. Mexico - 55. Famous American Women Painters - 56. The Conquest of the Air - 57. Court Painters of France - 58. Holland - 59. Our Feathered Friends - 60. Glacier National Park - 61. Michelangelo - 62. American Colonial Furniture - 63. American Wild Flowers - 64. Gothic Architecture - 65. The Story of the Rhine - 66. Shakespeare - 67. American Mural Painters - 68. Celebrated Animal Characters - 69. Japan - 70. The Story of the French Revolution - 71. Rugs and Rug Making - 72. Alaska - 73. Charles Dickens - 74. Grecian Masterpieces - 75. Fathers of the Constitution - 76. Masters of the Piano - 77. American Historic Homes - 78. Beauty Spots of India - 79. Etchers and Etching - 80. Oliver Cromwell - 81. China - 82. Favorite Trees - 83. Yellowstone National Park - 84. Famous Women Writers of England - 85. Painters of Western Life - 86. China and Pottery of Our Forefathers - 87. The Story of The American Railroad - 88. Butterflies - 89. The Philippines - 90. The Louvre - 91. William M. Thackeray - 92. Grand Canyon of Arizona - 93. Architecture in American Country Homes - 94. The Story of The Danube - 95. Animals in Art - 96. The Holy Land - 97. John Milton - 98. Joan of Arc - 99. Furniture of the Revolutionary Period - 100. The Ring of the Nibelung - 101. The Golden Age of Greece - 102. Chinese Rugs - 103. The War of 1812 - 104. The National Gallery, London - 105. Masters of the Violin - 106. American Pioneer Prose Writers - 107. Old Silver - 108. Shakespeare’s Country - 109. Historic Gardens of New England - 110. The Weather - 111. American Poets of the Soil - 112. Argentina - 113. Game Animals of America - 114. Raphael - 115. Walter Scott - 116. The Yosemite Valley - 117. John Paul Jones - 118. Russian Music - 119. Chile - -NUMBERS TO FOLLOW - -December 15, SOUTHERN CALIFORNIA: THE LAND OF SUNSHINE. _By Charles F. -Lummis, Author and Editor._ - -January 1, 1917. KEEPING TIME. _By C. F. Talman, of the United States -Weather Bureau._ - -THE MENTOR ASSOCIATION, INC. - -52 EAST 19th STREET, NEW YORK, N. Y. - - - - -THE MENTOR - - -You will have to hurry if you wish to take advantage of the Special -Christmas Offer we are now making. There are only a few days left. - -Most of our members have sent in their gift names already. A few have -delayed. If you are among these few, please be sure to send yours in -_at once_. - -_Special Christmas Offer_: - - 1 Yearly subscription $3.00 - 2 One-year subscriptions 5.00 - OR - 1 Two-year subscription 5.00 - -Send your subscriptions in at once. Statement will be sent you January -1st. - -THE MENTOR ASSOCIATION, INC. 52 EAST NINETEENTH STREET--NEW YORK, N. Y. - -MAKE THE SPARE MOMENT COUNT - - - - - -End of the Project Gutenberg EBook of The Mentor: Rembrandt, Vol. 4, Num. -20, Serial No. 120, December 1, 191, by John C. van Dyke - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: REMBRANDT, VOL. *** - -***** This file should be named 52178-0.txt or 52178-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/7/52178/ - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org Section 3. Information about the Project Gutenberg -Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/52178-0.zip b/old/52178-0.zip Binary files differdeleted file mode 100644 index 4b0159b..0000000 --- a/old/52178-0.zip +++ /dev/null diff --git a/old/52178-h.zip b/old/52178-h.zip Binary files differdeleted file mode 100644 index 9726823..0000000 --- a/old/52178-h.zip +++ /dev/null diff --git a/old/52178-h/52178-h.htm b/old/52178-h/52178-h.htm deleted file mode 100644 index 797284b..0000000 --- a/old/52178-h/52178-h.htm +++ /dev/null @@ -1,2565 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Mentor 1916.12.01, No. 120, Rembrandt, by John C. Van Dyke. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - -<style type="text/css"> - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2 { - text-align: center; - clear: both; -} - -h3 { - text-align: center; -} - -hr { - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; - margin-top: 2em; - margin-bottom: 2em; - clear: both; -} - -img.dropcap { - float: left; - margin: 0 0.5em 0 0; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -p.dropcap { - text-indent: 0em; -} - -p.dropcap:first-letter { - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -table { - max-width: 40em; - margin: auto; - border-collapse: collapse; -} - -ul { - list-style-type: none; -} - -.bbox { - border: solid 2px; - padding: 1em; - margin-top: 2em; - width: 25em; - margin-left: auto; - margin-right: auto; -} - -.bbox-dashed { - border: dashed 2px; - padding: 1em; - margin-top: 2em; - width: 35em; - margin-left: auto; - margin-right: auto; -} - -.blockquote { - margin-left: 10%; - margin-right: 10%; - margin-top: 1.5em; -} - -.bordered { - width: 100%; - border-bottom: thin solid black; - page-break-before: always; -} - -.caption { - text-align: center; - margin-bottom: 1em; - text-indent: 0em; - font-size: 90%; -} - -.captionleft { - text-align: left; - text-indent: 0em; - font-size: 80%; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.chapter { - width: 100%; - border-top: double; - border-bottom: solid thin; - margin-top: 2em; - page-break-before: always; -} - -.chapter2 { - width: 100%; - border-top: solid 2px; - border-bottom: solid 2px; - margin-top: 2em; - page-break-before: always; -} - -.clearboth { - clear: both; -} - -.figcenter { - margin: auto; - text-align: center; - margin-top: 2em; -} - -.figleft { - float: left; - clear: left; - margin-left: 0; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 1em; - padding: 0; - text-align: center; -} - -.figmulti { - margin-left: 1em; - display: inline-block; - vertical-align: top; -} - -.figright { - float: right; - clear: right; - margin-left: 1em; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; -} - -.gesperrt { - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -.hanging { - padding-left: 4em; - text-indent: -2em; -} - -.noindent { - text-indent: 0em; -} - -.larger { - font-size: 150%; -} - -.line { - text-align: center; - text-indent: 0em; - margin-top: -.75em; - font-size: smaller; -} - -.linebg { - background: white; - padding-left: 0.5em; - padding-right: 0.5em; -} - -.right { - text-align: right; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; -} - -td { - vertical-align: top; - padding: 0.25em; -} - -.tdr { - text-align: right; -} - -.tdc { - text-align: center; -} - -@media handheld { - -img { - max-width: 100%; - width: auto; - height: auto; -} - -img.dropcap { - display: none; -} - -.blockquote { - margin-left: 5%; - margin-right: 5%; -} - -p.dropcap:first-letter { - color: inherit; - visibility: visible; - margin-left: 0; -} -} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Mentor: Rembrandt, Vol. 4, Num. 20, -Serial No. 120, December 1, 1916, by John C. van Dyke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Mentor: Rembrandt, Vol. 4, Num. 20, Serial No. 120, December 1, 1916 - -Author: John C. van Dyke - -Release Date: May 28, 2016 [EBook #52178] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: REMBRANDT, VOL. *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<h1>THE MENTOR 1916.12.01, No. 120,<br /> -Rembrandt</h1> - -<div class="figcenter" style="width: 479px;"> -<img src="images/cover.jpg" width="479" height="700" alt="Cover page" /> -</div> - -<div class="bbox"> - -<p class="center gesperrt smaller">LEARN ONE THING<br /> -EVERY DAY</p> - -<p class="smaller noindent">DECEMBER 1 1916</p> - -<p class="right smaller noindent" style="margin-top: -2em;">SERIAL NO. 120</p> - -<p class="center larger">THE<br /> -MENTOR</p> - -<p class="center">REMBRANDT</p> - -<p class="center smaller">By JOHN C. VAN DYKE<br /> -Professor of the History of Art<br /> -Rutgers College</p> - -<p class="smaller noindent">DEPARTMENT OF<br /> -FINE ARTS</p> - -<p class="right smaller noindent" style="margin-top: -3em;">VOLUME 4<br /> -NUMBER 20</p> - -<p class="center smaller">FIFTEEN CENTS A COPY</p> - -</div> - -<hr /> - -<div class="bbox-dashed"> - -<h2>Christmas Giving</h2> - -<div class="figcenter" style="width: 60px;"> -<img src="images/leaf.jpg" width="60" height="60" alt="(decorative)" /> -</div> - -<p>The old question—What shall we give? Too often -answered by giving the easiest thing. “There, that’s -off my mind for another year!” Yes, off your mind—but -how does your heart feel when your friend sends <i>you</i> something -that shows that he has cherished a little special -thought of you?</p> - -<div class="figcenter" style="width: 30px;"> -<img src="images/flower.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<p>Christmas giving may be a blessing or a blight—according -to the spirit of the giver. It is a blessing -when it carries with it a thought that honors the one -that gives and benefits the one that receives.</p> - -<div class="figcenter" style="width: 30px;"> -<img src="images/flower.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<p>“Benefit is the end of Nature,” says Emerson, “and -he is great who confers the most benefits. Beware -of good staying in your hand. Pay it away quickly to -someone.”</p> - -<div class="figcenter" style="width: 30px;"> -<img src="images/flower.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<p>Thousands of you tell me in the daily mail how -The Mentor benefits you. Can you give a better -gift to your friend than this same benefit? If we benefit -you, we can also benefit him. With whole heart we -pledge full service to him as to you. Give, then, this -Christmas, The Mentor and all its service to your friend. -Your message of friendship will be repeated to him twice -a month throughout the year.</p> - -<p class="right">THE EDITOR.</p> - -</div> - -<hr /> - -<div class="figcenter" style="width: 475px;"> -<img src="images/plate1.jpg" width="475" height="650" alt="" /> -<p class="captionleft">IN THE HERMITAGE, PETROGRAD</p> -<p class="caption"><span class="smcap">SOBIESKI—Portrait by Rembrandt</span></p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>Early Years</i></span></h2> -</div> - -<p class="line"><span class="linebg">ONE</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Sometimes it is difficult to learn the truth about a -great man. This is particularly so in the case of -one who lived three centuries ago; for in those days -people were not as careful to keep records as they -are today. For years the great painter Rembrandt was -regarded as having been ignorant, boorish, and avaricious. -Fables making him out to be such a character -sprang up without any foundation. -It is only within the last fifty years that -we have come to know the true Rembrandt, -and to realize that he had profound sympathy, -a powerful imagination, and originality -of mind, and that he was a poet as -well as a painter, an idealist and also a -realist. He has justly been called “the -Shakespeare of Holland.”</p> - -<p>Rembrandt Harmens van Rijn—for that -is his full name—was born at Leyden, a -town near Amsterdam, in Holland, on -July 15, 1605. Leyden is famous in history -as the birthplace of many great artists -and other men of renown. Rembrandt’s -home overlooked the river Rhine. He was -the son of a well-to-do miller, and his -parents were ambitious that Rembrandt -enter the law, for his older brothers had -been sent into trade.</p> - -<p>At that time Holland was entering upon -her great career of national enterprise. -Science and literature flourished, poetry -and the stage were cultivated by her people, -and art was made welcome in every -town, large and small. So Rembrandt, -after he had been sent to the high school -at Leyden, decided to become a painter. -For already within him he felt the first -urgings of genius.</p> - -<p>Accordingly, when Rembrandt was only -twelve or thirteen years old, his father allowed -him to become a pupil of Jacob van -Swanenburch, a painter of no great ability, -who, however, enjoyed some reputation -because he had studied in Italy. -Three years later the boy was placed -under Pieter Lastman, of Amsterdam, -who was a much better artist and teacher. -Authorities differ as to how long Rembrandt -remained with Lastman. One says -that he was his pupil until he was nineteen -years old; another believes that he studied -with him for only six months. At any -rate, sometime after 1623 Rembrandt returned -to the home of his parents at Leyden.</p> - -<p>During these first years of his artistic -life, Rembrandt worked hard. He painted -pictures of almost everyone he saw—beggars, -cripples, and in short every picturesque -face and form of which he could get -hold. Life, character, and special lighting -effects were his principal concern. Frequently -he used his mother for a model, -and from these portraits we can trace his -strong resemblance to her. The young -artist also liked to paint his father and -sisters; and by the number of portraits -he painted of himself, we can see that -from the very beginning he worked hard -to master every form of expression, learning -to draw the human face as it appeared -not only to the casual observer, but also -to one who read the character within. It -is said that during his lifetime Rembrandt -painted nearly sixty portraits of himself.</p> - -<p>Time went by, and the young artist of -Leyden was attracting the attention of art -lovers in the great metropolis of Amsterdam. -Some of them urged him to move -there; and feeling that he was now strong -enough to stand alone, Rembrandt rented -a large house in Amsterdam and removed -there in 1631. He divided the upper part -of his house into small studios, and there -he worked and taught. His pupils were -many and from wealthy families. From this -teaching Rembrandt derived a large income.</p> - -<p>Fortune smiled upon him. At one -bound he leaped into the position of the -leading portrait painter of Amsterdam. -Numerous commissions for portraits flowed -in upon him, and during the first few years -of his residence there he painted at least -forty. When he was only twenty-six years -old, in 1632, he painted the “Anatomy -Lesson,” a picture that made an enormous -sensation, and holds its place today as -one of Rembrandt’s masterpieces.</p> - -<p>The year 1634 was one of the happiest -in Rembrandt’s life. He was then at the -beginning of a successful artistic career, -and it was at that time that he married -Saskia van Ulenburg, a beautiful Frisian -maiden. Saskia brought him love and -wealth. Eight years of prosperity and -sunshine followed their union.</p> - -<p>Rembrandt and his wife were a joyous -pair. They had four children, a boy and -two girls who died in infancy—and a son, -Titus, who grew to man’s estate.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 500px;"> -<img src="images/plate2.jpg" width="500" height="650" alt="" /> -<p class="captionleft">DETAIL OF THE ANATOMY LESSON</p> -<p class="captionleft"><span class="smcap">By Rembrandt</span></p> -<p class="captionleft">IN THE HAGUE MUSEUM</p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>The Master Painter</i></span></h2> -</div> - -<p class="line"><span class="linebg">TWO</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">The year 1640 marks the beginning of what may be -termed the second period of Rembrandt’s life and -work. It was during these years that success and -happiness were his. From then until 1654 Rembrandt -worked in what has been called his “second manner.” -His art grew in power, and the coldness of his “first manner” -had disappeared. He had passed through -a period of exaggerated expression and -had come to a truer, calmer form of painting. -It is interesting to compare his own -portrait painted in 1640 with the earlier -portraits of himself. This painting portrays -a man strong and robust, with powerful -head, determined chin, and keen, -penetrating eyes. This was the Rembrandt -of that period, the man confidently -independent and careless as to his -popularity as an artist.</p> - -<p>Rembrandt had now many pupils. He -had bought a house in Amsterdam, and -had placed in it a great collection of paintings -and engravings. At that time the -artist was living a life of simple domesticity, -happy with his wife and children. His -friends were many, and his interests were -large.</p> - -<p>Rembrandt’s mother died in 1640, and -two years later the great sorrow of his -life came upon him. His wife Saskia died. -This changed everything for him. The -events of his latter days are clouded in -obscurity.</p> - -<p>The terms of Saskia’s will are interesting, -in that they may throw some light -upon a later action of the artist’s, which -will be related further on. She left her -money to their son Titus, with Rembrandt -as sole trustee, and with full use of the -money until he should marry again or until -the marriage of Titus.</p> - -<p>It was in 1642 also that Rembrandt -painted his most famous picture—the -“Night Watch.” This is one of the landmarks -of Rembrandt’s career. However, -it is not a night watch at all, but a call -to arms by day, and more properly should -be named the “Day Watch.”</p> - -<p>The artist’s life was changed after the -death of his wife. No longer does he appear -to have been the buoyant, carefree -painter and art lover. There is a pathetic -sadness in many of his works done at this -time. This is well illustrated in his pictures -of the Holy Family, a subject which -was a favorite with him during this period -of his life.</p> - -<p>One reason for Rembrandt’s unhappiness -was his waning popularity. The -“Night Watch,” which was painted to order -as a collection of portraits in one composition, -did not prove satisfactory to his customers. -Some of them complained of -being put in the background and obscured. -Naturally, the artist could not give places -of prominence to every person in the picture. -Not understanding this, however, -these people took offence at his disposition -of the characters, and transferred -their patronage elsewhere.</p> - -<p>It was at this time that Rembrandt did -a great deal of landscape painting, and -genius that he was, he made a success of -it. It is to this period that the famous -painting, “The Mill,” is ascribed.</p> - -<p>But though he was still the great artist, a -cloud of adversity was slowly coming over -Rembrandt’s life. Evil days were at hand.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 650px;"> -<img src="images/plate3.jpg" width="650" height="530" alt="" /> -<p class="captionleft">IN THE WIDENER COLLECTION, PHILADELPHIA</p> -<p class="caption"><span class="smcap">THE MILL, By Rembrandt</span></p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>Last Years</i></span></h2> -</div> - -<p class="line"><span class="linebg">THREE</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-d.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">During the last part of the seventeenth century -money was scarce in Holland. Long continued wars -and civil troubles had worn out the country. Financial -depression overwhelmed Amsterdam; and in -addition to this the taste in art changed, and Rembrandt -and his pictures were neglected.</p> - -<p>Most of Rembrandt’s money was tied -up in his house and in his large collection -of valuable pictures; and when his paintings -ceased to be in demand, he was -forced to borrow money. Very little is -known of the artist’s life at this time. -He was living with his servant, Hendrickje -Stoffels, and in 1654 a child was -born to them. To her Rembrandt gave -the name of Cornelia, after his much loved -mother. It has been asserted that he -married Hendrickje, but it is probable that -he did not, for in such a case the money -left by Saskia would have gone at once to -her son Titus, according to the will.</p> - -<p>In 1656 Rembrandt’s financial affairs -went crashing down to ruin. By a process -of law his house and land were transferred -to Titus. But as his son was still a minor, -Rembrandt was allowed to remain in -charge of Saskia’s estate. And then ruin -stared him in the face. In July, 1656, -Rembrandt was declared bankrupt, and -an inventory of his property was ordered. -Two years later the larger part of his collection -of etchings and drawings was sold. -The sum realized was only a small fraction -of their value.</p> - -<p>Rembrandt, driven from his house, -stripped of everything he possessed, without -friends or money, took a modest lodging -in Amsterdam. The city which once -had acclaimed him as its greatest portrait -painter now passed him by and left him -alone to wait for death.</p> - -<p>During all these dark years, however, -Rembrandt was painting some of his -greatest pictures. Even amid the ruins of -his affairs he could go calmly on working; -and for this he deserves the highest respect. -Among the works of this time are the portrait -of Jan Six, the “Adoration of the -Magi,” and “John the Baptist Preaching in -the Wilderness.” At the same time he continued -to paint his own portrait; but in -these pictures of the artist in his old age -we see a man broken by misfortune.</p> - -<p>Titus, Rembrandt’s only son, had married. -He died in 1668, leaving one child. -A year later, on October 8, 1669, Rembrandt -himself passed away. In the -“Livre Mortuaire” of the Wester Kerk in -Amsterdam appears the following simple -entry, relating to his death: “Tuesday, -8th Oct., 1669, Rembrandt van Rijn, -Painter on the Rovzegraft, opposite the -Doolhof. Leaves two children.”</p> - -<p>Rembrandt outlived his popularity, although -he was the greatest genius of his -time and country, and in fact one of the -great geniuses of all time and all countries. -He was left to die alone and neglected -by his fellow-countrymen, who -had they foreseen the fame that the future -held in store for him, might have sought -his humble lodging to honor him on -bended knee.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 475px;"> -<img src="images/plate4.jpg" width="475" height="650" alt="" /> -<p class="captionleft">IN THE RYKS MUSEUM, AMSTERDAM</p> -<p class="caption"><span class="smcap">ELIZABETH BAS—Portrait by Rembrandt</span></p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>The Real Man</i></span></h2> -</div> - -<p class="line"><span class="linebg">FOUR</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-o.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">One day Rembrandt was employed in painting the -portraits of a very rich family in Amsterdam. This -was to be a group picture, and as usual with him, -Rembrandt was working hard to make it a success. -While he was painting, someone opened the door of the room -in which he was and brought in the dead body of a monkey. -The appearance of this funny little creature -appealed to the artist at once. He wanted -to make a picture of it right away. But -the only thing on which he could make -the drawing was the canvas on which he -was painting the portraits of the rich family. -So Rembrandt, without hesitation, -painted the monkey in among their portraits. -They were very angry, of course, but -in those days Rembrandt was at the height -of his career and he did not have to concern -himself about how his customers felt.</p> - -<p>This little incident, whether it is strictly -true or not, illustrates one side of Rembrandt’s -character. When he was most -successful he was carefree and independent. -It may have been this independence that -brought him to his ruin—although in all -probability it was the indifference of his -fellow citizens to his work.</p> - -<p>The age in which Rembrandt lived cared -little for personalities. There were no -newspapers to record his doings, and no -one of his contemporaries cared enough -about it to write down much about his -life and work. For these reasons, the -world has never known much about Rembrandt, -the man. We know that he was -light-hearted, headstrong and extravagant. -We know that he was neglected -and died poor and feeble. But we know -little more than this, although of late more -reliable information concerning the life of -this great painter has been found.</p> - -<p>A man’s faults are usually remembered -when his virtues are forgotten. For years -it pleased biographers to represent Rembrandt -as a ne’er-do-well artist, who could -not take advantage of his opportunities. -We know now, however, that his faults -were very human ones, and that his merits -greatly overbalanced them.</p> - -<p>As a boy the artist was not an industrious -scholar. He looked upon reading and -writing as rather troublesome and hardly -worth the labor involved in learning them. -Later he worked hard at his chosen career, -and the great number of pictures that he -painted is sufficient evidence that he was -by no means lazy.</p> - -<p>Probably Rembrandt’s greatest fault -was his extravagance. Many a man can -endure adversity with courage; success is -sometimes more difficult to bear. Hard -luck often brings out the best in a man; -success may destroy it. Rembrandt was -no exception. He spent his money freely, -and like the grasshopper of the fable, sang -happily through the summer, with no -thought of the cold to come.</p> - -<p>He liked to attend sales of works of art, -and he gladly paid huge sums for any pictures -that caught his fancy. It is said -that the dealers came very soon to know -his rash and reckless methods and would -push the prices far up, confident that -Rembrandt would meet them. At the -same time, the artist liked to buy expensive -jewels for his wife. He loved Saskia -devotedly, and he wanted her to have -everything of the finest. This manner of -open-handed living naturally played havoc -with his finances.</p> - -<p>When Saskia died Rembrandt was heartbroken. -His customers fell off and many -troubles overwhelmed him. His friends -helped him as much as possible, but money -ran through his hands like water through -a sieve, and he could not seem to control -his expenditures. Then later the death of -his faithful Hendrickje was the last blow -to his happiness. For a few years Rembrandt -lingered, and then he too passed -into the great silence.</p> - -<p>It is true that many of Rembrandt’s -troubles were self-inflicted: but he suffered -enough to pay for his faults. At any -rate it is better to remember him as a -great genius and a man worthy of respect -and honor.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 475px;"> -<img src="images/plate5.jpg" width="475" height="650" alt="" /> -<p class="captionleft">IN THE DRESDEN GALLERY</p> -<p class="caption"><span class="smcap">SASKIA HOLDING A FLOWER—Portrait by Rembrandt</span></p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>Saskia van Ulenburg</i></span></h2> -</div> - -<p class="line"><span class="linebg">FIVE</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-r.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Rembrandt’s life was one of curious contrasts. -During his early manhood he was Amsterdam’s -leading portrait painter. These were years of -happiness and carefree enjoyment of all the good -things of life. But almost as suddenly as the painter stepped -into the sunshine of success, he fell back into the shadows of -adversity. One of the principal causes of -his happiness was his wife, Saskia. Just -as her entrance into his life coincided with -the period of his greatest prosperity, so -her death marked the beginning of his -darker years. It would seem almost as -though Saskia were his guardian angel, -and that with her departure Rembrandt’s -star began to descend.</p> - -<p>Saskia van Ulenburg was the ninth -child of a wealthy patrician family of -Friesland. She was born at Leeuwarden -in 1612. Saskia became an orphan at an -early age, and then she made her home -with one or the other of her married sisters -in turn, and finally with a cousin, who -lived in Amsterdam. It was at the house -of this cousin that Rembrandt met her. -Charmed by her youthful grace, he obtained -permission to paint several portraits -of her.</p> - -<p>Saskia at this time was a slender girl, -rather small of stature. Her features -were very regular, and her eyes were of a -beautiful brown shade, matching her soft -reddish brown hair. Her brilliant complexion -was the envy of her less favored -companions.</p> - -<p>The young painter soon showed that he -took a special interest in Saskia. He bestowed -great care on her portraits, and -was in her company as much as possible. -He himself was young, attractive, and -good looking; and we may be sure that -Saskia’s family did not frown upon his -suit. They probably realized that Rembrandt -would make an excellent husband -for their ward.</p> - -<p>Rembrandt’s father had died some time -before this, and his mother gladly gave -her consent to the marriage. Saskia and -Rembrandt were made man and wife on -June 22, 1634.</p> - -<p>Their life together was very happy. -Rembrandt’s tastes were domestic, and -he was never more pleased than when -planning his wife’s happiness. He centered -his whole thought and energy upon -her. Saskia, simple and loving, was governed -in all things by his wishes: she was -entirely devoted to him.</p> - -<p>Rembrandt liked to use Saskia as his -model. Some of the better known pictures -for which she posed are her own portrait -in the Cassel Gallery, the “Jewish -Bride,” painted in 1634, which is now in -the Hermitage in Petrograd, “Sophonisba -Receiving the Cup of Poison from Massinissa,” -in the Prado at Madrid, which is -also dated 1634, and the famous painting -of Saskia and himself, now in the Dresden -Gallery and done about 1635, which -represents Rembrandt in military costume, -seated at a table, with a long glass -of sparkling wine in his hand and Saskia -perched on his knee.</p> - -<p>At this period in his life everything -seemed to smile on Rembrandt. He was -extravagant and did not know the meaning -of the word “save.” Saskia’s health -had not as yet given cause for anxiety. -But sad days were to come. Three children -were lost in rapid succession. In -1641 the only child of theirs who survived -was born. He was named Titus, after -Saskia’s sister Titia. But the young wife -did not live long after her son was born. -Her health broke down, and an etching -made by Rembrandt about 1640 shows her -with sharpened features, feverish eyes, and -an expression of pensive melancholy. The -happy days were over. Their brief union, -begun in joy, was soon to end in tears. As -if in prophecy, Rembrandt’s anxieties -were deepened by another sorrow—the -death of his mother in 1640.</p> - -<p>Saskia’s illness made rapid progress. -Day after day she faded, and no longer -did the artist have any delusions as to her -recovery. Saskia made her will on June -5, 1642. She herself, however, had not -lost all hope, for in this will she spoke of -the children she might eventually have. -She made Rembrandt trustee of her property -for their son Titus, showing her perfect -trust in her husband. At the end of -the document she signed her name for -the last time in tremulous, almost illegible -characters, as if exhausted by the -effort.</p> - -<p>It was only a few days later that Saskia -passed away, on June 19, 1642. Rembrandt -followed her coffin to the Oude -Kerk and then returned to his lonely -house, where everything reminded him of -his brief happiness and where he was now -alone with a child nine months old. He -never seemed to recover from the blow. -He went on working, and during the years -to come painted some of his greatest pictures; -but seemingly he had lost his grip -on life, and from that time on it was only -a matter of a few years until he was overwhelmed -by financial troubles and was -driven to a humble lodging and his death.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 475px;"> -<img src="images/plate6.jpg" width="475" height="650" alt="" /> -<p class="captionleft">IN THE CASSEL GALLERY</p> -<p class="caption"><span class="smcap">COPPENOL—Portrait by Rembrandt</span></p> -</div> - -<div class="chapter"> -<h2><i>REMBRANDT</i><br /> -<span class="smaller"><i>His Etchings</i></span></h2> -</div> - -<p class="line"><span class="linebg">SIX</span></p> - -<div> -<img class="dropcap" src="images/dropcap-plain-m.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Many people in considering Rembrandt think of him -only as a master painter; they overlook the fact -that he was also the leading etcher of his time. -This monograph will take up briefly this part of -the great artist’s work.</p> - -<p>It is related of Hokusai, the Japanese artist, that he once -said that he hoped to live to be very old, -and that he might have time to learn to -draw in such a way that every stroke of -his pencil would be the expression of some -living thing. That is exactly what Rembrandt -managed to do in almost every one -of his etchings. This is particularly true -of the wonderful little etching of his -mother. One critic says that on looking -at this etching he was compelled to close -his eyes for a moment, because of the tears -that rose unbidden at sight of it. It would -be hard to find anything more worthy of -praise than this engraving. Every line expresses -motherly kindness, sweetness, and -thoughtfulness. Nothing could have been -omitted; the etching is complete.</p> - -<p>So skilful was Rembrandt as an etcher -that the nobleness of his ideas and the -depth of his nature are apt to be overlooked. -His engravings are pervaded by his big, -artistic personality and by his own ennobling -influence. The artist’s soul spoke -not only through the choice of subject, -but found expression in every single detail. -He showed a singular inventive -power, originality of conception, and a -great depth of understanding.</p> - -<p>Among Rembrandt’s etchings were -many wonderfully life-like portraits, biblical -subjects, and landscapes. An interesting -thing about all this work is that most -of it was done between the years 1639 and -1661. After this Rembrandt seems to -have renounced etching entirely. In these -twenty years he produced his greatest -works, on every one of which appears the -impress of the genius of the man.</p> - -<p>Rembrandt seems to have had a particular -interest in making etchings of beggars. -He delighted to draw them. These types -were easy to find in Amsterdam at that -time; but they may be called super-beggars, -for as a critic says, “One is almost -inclined to say that they cannot be beggars, -because the master’s hand has endowed -them with the warmth and splendor -with which his artistic temperament -clothed everything he looked at.”</p> - -<p>Some of Rembrandt’s etchings have -brought great prices. In most cases, however, -these prices varied because of the -“state” of the plates. The points of difference -between these “states” arise from -the additions and changes made by Rembrandt -on the plates. A single impression -of one of his etchings, “Rembrandt with a -Sword,” was bought for about $10,000 in -1893. Another, “Ephraim Bonus with -Black Ring,” brought about $9,750; while -a third, the “Hundred Guilder Print,” -fetched about $8,750.</p> - -<p>Some may find in Rembrandt’s etching -much that at first appears rough and uncouth. -More apparent skill and ease in -drawing may appear to have been shown -by other etchers. But Rembrandt’s work -may justly be termed big, for it was conceived -on a grand scale by a genius and -master.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 20, SERIAL No. 120<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="bordered"> - -<p class="center larger">THE MENTOR · DEPARTMENT OF FINE ARTS · DECEMBER 1, 1916</p> - -</div> - -<h2>REMBRANDT</h2> - -<p class="center">By JOHN C. VAN DYKE</p> - -<p class="center"><i>Professor of the History of Art, Rutgers College</i></p> - -<div class="figleft" style="width: 25%;"> - -<p class="center"><i>MENTOR GRAVURES</i></p> - -<p class="center smaller">SOBIESKI</p> - -<p class="center smaller">DETAIL OF THE -ANATOMY LESSON</p> - -<p class="center smaller">THE MILL</p> - -<div class="figcenter" style="width: 30px;"> -<img src="images/book.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -</div> - -<div class="figright" style="width: 25%;"> - -<p class="center"><i>MENTOR GRAVURES</i></p> - -<p class="center smaller">ELIZABETH BAS</p> - -<p class="center smaller">PORTRAIT OF SASKIA -HOLDING A FLOWER</p> - -<p class="center smaller">COPPENOL</p> - -<div class="figcenter" style="width: 30px;"> -<img src="images/book.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -</div> - -<div class="figcenter" style="width: 318px;"> - -<img src="images/illus15.jpg" width="318" height="400" alt="" /> - -<p class="caption">Portrait of the Artist</p> - -<p class="caption">By Himself</p> - -<p class="caption">In the Collection of Mr. Henry C. Frick, New York City</p> - -</div> - -<p class="center smaller clearboth">Entered as second-class matter March 10, 1913, at the postoffice at New York, N. Y., under the act of March 3, 1879. Copyright, 1916, -by The Mentor Association, Inc.</p> - -<div> -<img class="dropcap" src="images/dropcap-italic-t.jpg" width="113" height="100" alt="" /> -</div> - -<p class="dropcap">The visitor to the Netherland art galleries should leave his notions -of Greek and Italian art with his umbrella, at the entrance. -Holland is no place to talk about canons of proportion or types -of beauty or ideals of any kind. The Dutch are now, as they -have always been, a people confronted by the realities of -existence, and see life, literature, and art as facts rather than as fancies. -There has never been much romance about them, but, on the contrary, -a realization of the existent, a grasp of the truth and vitality of things, a -keen penetration into the human problem. There never was any need -for far-fetched fancies or ideals. The life about them interested and -impressed them, and, from the very beginning, the Dutch painters were -painting the portrait of their own land and people. The result was an art -that has a distinct quality of its own—just as distinct a quality as the art -of Persia or Japan. You would not think of judging Japanese art by that -of Italy. Why then think of Dutch art in any other terms than its own?</p> - -<h3><i>Rembrandt and Raphael</i></h3> - -<div class="figright" style="width: 245px;"> - -<img src="images/illus16a.jpg" width="245" height="300" alt="" /> - -<p class="caption">PORTRAIT OF A MAN</p> - -<p class="caption">Altman Collection of Metropolitan Museum, -New York</p> - -</div> - -<p>To carry out the thought in illustration, it may be said that Rembrandt, -the great Dutchman, was the very opposite of Raphael, the great -Italian. He painted no allegories on Vatican walls, was not led away by -Renaissance revivals of Greek form, -dreamed no dreams of uniting pagan -types with Christian ideals. Even -technically he was widely different -from Raphael. He painted the easel -picture in oils, had no love whatever -for Italian line and composition, did -all his drawing and modeling by -catches of shadow, and produced his -most startling effects by the dramatic -use of light and color. In all this -Rembrandt was merely reflecting his -time and his people in his own -ingenious way. He was emphatically -true to the Dutch point of view, -and today his art is full of truth, -force, vitality, character. In fact, -that word “character” is the keynote -to all his work. It furthermore -explains that æsthetic paradox, -sometimes applied to Rembrandt, -“the beauty of the ugly.” For many -of his people are ugly, if we regard them for the straightness of their -foreheads and noses, the oval of their -chins, or the proportions of their -figures; but they are beautiful in -their simplicity of presence, their -unconscious sincerity, their profound -truth of character.</p> - -<div class="figleft" style="width: 223px;"> - -<img src="images/illus16b.jpg" width="223" height="300" alt="" /> - -<p class="caption">THE ARCHITECT</p> - -<p class="caption">In the Gallery at Cassel, Germany</p> - -</div> - -<h3><i>Rembrandt as a Leader</i></h3> - -<p>No country in Europe produced -a finer quality of art, or a more -learned school of craftsmen, than -Holland. There was a master genius -there as elsewhere, and that genius -was Rembrandt. He came when -Holland had reached her highest -pitch of power—came on the crest of -the wave of which he and his fellow -painters were the light and color. -He has been acclaimed as her great -painter and he deserves that title, -for of all the Dutch masters he was -practically the only one who was -universal in his scope. His art alone, -in its appeal, travels beyond the confines of the Netherlands. What he has -to say is world-embracing, and finds sympathetic response with all peoples. -He is profound in his humanity, in his penetration into life problems, -in his sympathy with his fellow man. The poor, mean-looking Amsterdam -Jews that he portrayed in so many of his pictures are pathetic in their -humility, their suffering, their patience. He was always taking for models -the humble, the despised, the lowly. His heart seemed to go out to them.</p> - -<h3><i>His Biblical Pictures</i></h3> - -<p>And with such types what a new interpretation he gave the Bible! -How he realized Bible truth and brought it home to his own people by -using the Jew of the quarter and the boor of the polder for models! Look -at the “Supper at Emmaus”—look for -the intensity of the types rather than for -any regularity of form. What pathos -in the pale, blue-lipped Christ, with the -phosphorescent glimmer of the tomb -about the architecture at the back! -What amazement in the disciples at the -table! What fear in the boy bringing -in the dish! This was perhaps the -first time in art that the “Supper at -Emmaus” was made real and believable. -The story was not only realized, but -humanized. All of Rembrandt’s Biblical -pictures were of this nature. Look -again at the “Manoah’s Prayer,” or the -“Tobit and the Angel,” or the “Sacrifice -of Abraham.” They are Dutch types -again, in Dutch costumes and surroundings. -Rembrandt knew very well that -the Biblical characters were not Dutch -in type, and that the people in the time -of Christ did not dress like the boors -and burghers of Holland. He purposely -painted his own people in their native costumes, that he might the -better and the more forcefully bring realization home to them. It was -not, is not, affectation. Study the Manoah and his wife, the Abraham, -the family of Tobit on the doorstep, and you cannot find in all art people -of more unconscious sincerity. Rembrandt believed in them. And -that is why you and I believe in them today.</p> - -<h3><i>Rembrandt as a Portrait Painter</i></h3> - -<div class="figcenter"> - -<div class="figmulti" style="width: 200px;"> - -<img src="images/illus17.jpg" width="200" height="300" alt="" /> - -<p class="caption">JAN HERMANSZ KRUL</p> - -<p class="caption">In the Gallery at Cassel, Germany</p> - -</div> - -<div class="figmulti" style="width: 228px;"> - -<img src="images/illus18a.jpg" width="228" height="300" alt="" /> - -<p class="caption">PORTRAIT OF JOHN SIX</p> - -<p class="caption">In the Six Gallery, Amsterdam</p> - -</div> - -<div class="figmulti" style="width: 248px;"> - -<img src="images/illus18b.jpg" width="248" height="300" alt="" /> - -<p class="caption">WOMAN WITH PINK</p> - -<p class="caption">In the Gallery at Cassel, Germany</p> - -</div> - -</div> - -<p>Rembrandt painted many Biblical pictures, which are at present -widely scattered throughout the European galleries. In all of them he -gave a new interpretation, a profound insight, a real meaning, to Scriptural -story. In addition he painted many -figure compositions of a historical or -mythological cast. But his great success, -after all said and done, was with the -portrait. His technical methods were well -suited to the portrait, and he was unsurpassed -in giving the truth of presence in -his sitter. The quiet dignity of his Dutch -burghers, their repose and simplicity, the -complete absence of anything like pretense -about them, made up Rembrandt’s -point of view; but to this he added a -cunning hand and a technical skill that -were wonderful. How superbly with his -catches of light and shade he could draw -an eye, a forehead, a nose, a chin! How -instantly and inevitably he caught the -salient feature and turned it by sharp -emphasis into positive expression! What -significance he could get out of an outstretched hand, a bent back, a -bowed head! These were features wherewith he proclaimed the character -of his sitter. The “Portrait of an Old Lady,” in the National Gallery, -London, has the flabby cheek, the trembling lip, the wrinkled brow -of the aged; but you can also see that hers has been a life of suffering, -and that the eyes have often been blinded with tears. On the contrary, the -“Portrait of a Man”—the so-called -Sobieski, at Petrograd, has the determination -and force of the warrior. -It has grip and firmness and courage -about it. These are not only in the -features, but Rembrandt has even -put them in the brush work—the -manner of handling. Again, by way -of contrast, the heads in the “Lesson -in Anatomy” are put in calmly, -serenely, inevitably just right. What -intelligence, seriousness, and living -presence they have! They are what -might be called speaking likenesses, -in the sense that all they lack of life -is speech. And what can one say that -will adequately describe the loveliness -of mood, the eternal womanly, in the -“Portrait of Saskia,” at Cassel! It -is a wonder as a piece of color, but -still more wonderful as a characterization of the painter’s wife. Once more, -for a further contrast, look at the “Portrait of Coppenol.” He is supposed -to be a writing master because he is sharpening a quill pen, but whatever -his profession or pursuit, have you any difficulty in seeing here a dull-witted -person of very limited intelligence? The very fatness of the forehead, so -remarkable in its realistic rendering, the narrow eyes, with their vacant stare, -the pumpkin cheeks and head, the soft, lazy hands, seem to point to some -clerk or pedagogue, who had not enough brains to know that he wanted more.</p> - -<p>Rembrandt was easily one of the great group of portrait painters -with Titian, Velasquez, and Holbein. And by this I mean no faint praise. -It seems to be thought in some quarters that portraiture is somehow -an inferior branch of painting. It is said to require no invention or -imagination. But nothing could be more mistaken than such an idea. -When we speak of Rembrandt, Titian, Velasquez, and Holbein we are -speaking of the world’s great masters, and perhaps their most satisfactory -masterpieces are their portraits. A painter who can adequately portray -his fellow man, as Rembrandt did, has practically said the last word in -art. That Rembrandt had this gift and accomplishment is evidenced by -the high esteem in which his work is held by painters even to this day.</p> - -<div class="figcenter" style="width: 500px;"> - -<img src="images/illus19.jpg" width="500" height="334" alt="" /> - -<p class="caption">THE NIGHT WATCH</p> - -<p class="caption">In the Ryks Museum, Amsterdam</p> - -<p class="caption">A fine gravure reproduction of this painting appears in The Mentor, Number 17, “Dutch Masterpieces.”</p> - -</div> - -<h3><i>His Technical Method</i></h3> - -<p>There was no trick about Rembrandt’s painting. He was no slave -to a peculiar color, canvas or brush. He painted at times with a palette -knife: at other times with his thumb. He kneaded the surface, ploughed -through it when it was wet, did almost anything to get effects by catches -of light and shade whereby he drew and modeled. But none of these -small peculiarities explains his technical success. His methods were -sound enough, and for the most part were known before his day; but he -applied them better and increased their carrying power. He has been -called the master of light and shade, and so, indeed, he was within a -limited range. It was the same light and shade known to Leonardo, -Giorgione, and Carravagio, and probably Rembrandt got it from pictures -of the Neapolitan School, though he never was in Italy. But Rembrandt -improved upon the Italian method of using shadow. He made -it transparent, enveloping, mysterious. And its antithesis, light, he -made penetrating and dramatic by putting it in sharp contrast. Out -of the two he got wonderful effects. In doing the portrait head, for -instance, he threw his highest light on the collar, the nose, the chin, the -forehead. This high light ran off quickly into half-light and then into -shadow, so that by the time the ear or side of the neck was reached, dark, -even black, notes were used. The decrease was rapid; in fact often violent, -but this only served to focus the attention more keenly upon the dominant -features of the face. The result was what has been called “forced,” but it -was very effective. It was the same effect that one sees today at the opera, -when the chief actor is in the spot-light and the rest of the stage is in gloom.</p> - -<div class="figcenter" style="width: 500px;"> - -<img src="images/illus20.jpg" width="500" height="285" alt="" /> - -<p class="caption">SYNDICS OF THE CLOTH HALL</p> - -<p class="caption">In the Ryks Museum, Amsterdam</p> - -<p class="caption">A fine gravure reproduction of this painting appears in The Mentor, Number 8, “Pictures We Love to Live With.”</p> - -</div> - -<h3><i>The Night Watch</i></h3> - -<p>But this violent focusing of light had its limitations even in Rembrandt’s -hands. The “Night Watch” exemplifies them. This was to be -a portrait group of the sixteen members of the Frans Banning Cock -Shooting Company. The members wanted their portraits painted in a -group, after the manner of the time, and Rembrandt conceived the idea -of painting the portraits and making a stirring picture of the company -coming out of its quarters, at one and the same time. It was an ambitious -scheme, and not wholly successful, because here came in the limitations -of his method. He painted sixteen portraits with his spot-light -illumination, each one being completed under its own light. The picture -lacked that one light which should have bound together the whole company. -As a result there were sixteen separate portraits on the one canvas, -held together in measure by shadow, color and atmosphere, but spotty -in the lighting. The French writers of the eighteenth century could not -understand the lighting, and were led to think the picture represented a -night scene. They called it the “Ronde de Nuit,” and, later, Sir Joshua -Reynolds translated this into “Night Watch.” But nothing is more -certain than that Rembrandt intended it for a day scene in full sunlight. -It was simply his arbitrary way of handling light that made a night -effect out of daylight.</p> - -<div class="figcenter" style="width: 500px;"> - -<img src="images/illus21.jpg" width="500" height="311" alt="" /> - -<p class="caption">THE ANATOMY LESSON</p> - -<p class="caption">In the Hague Museum</p> - -</div> - -<p>That is about the only criticism that can be lodged against the “Night -Watch.” Light and color have both been sacrificed to shadow; but when -that is conceded the picture still remains a marvel of color, shadow, and -atmosphere, and a wonder of life and action. The movement—the bustle -of it—is superb. The Captain and his Lieutenant in the foreground are -in full light, but back of them and around them, emerging out of the -gloom, are nebulous heads, flashing casques, plumes, halberds, guns, drums, -dogs, street urchins—all the belongings of a militia company on parade. -They are not only wonderful in their action, but in their mystery of -appearance, coming out of shadow depths into light. Of course, the -picture was not entirely satisfactory to the sixteen. They had bargained -for their portraits, and little knew then how cheaply they were purchasing -immortality. Those -in the background complained -that they were not sufficiently -spot-lighted, not treated with -sufficient importance; in fact, -subordinated to those in the -front row. But the picture, -as a picture, is certainly successful, -is a great favorite with -all art-lovers, and in the Ryks -Museum in Amsterdam, where -it now hangs, it is considered -one of the world’s great masterpieces. -Truer lighting—that -is truer to the facts of -general illumination—is seen -in the earlier “Lesson in Anatomy” -and the later “Syndics -of the Cloth Hall,” but neither -picture has the fascination -nor the imagination of the -“Night Watch.”</p> - -<h3><i>Rembrandt’s Styles</i></h3> - -<div class="figcenter"> - -<div class="figmulti" style="width: 300px;"> - -<img src="images/illus22.jpg" width="300" height="450" alt="" /> - -<p class="caption">THE SACRIFICE OF ABRAHAM</p> - -<p class="caption">In the Old Pinacothek, Munich</p> - -</div> - -<div class="figmulti" style="width: 292px;"> - -<img src="images/illus23a.jpg" width="292" height="400" alt="" /> - -<p class="caption">THE ANGEL LEAVING TOBIT</p> - -<p class="caption">In the Gallery of the Louvre, Paris</p> - -</div> - -</div> - -<div class="figright" style="width: 300px;"> - -<img src="images/illus23b.jpg" width="300" height="194" alt="" /> - -<p class="caption">BLESSING OF JACOB</p> - -<p class="caption">In the Gallery at Cassel, Germany</p> - -</div> - -<p>Rembrandt’s work is usually -divided into three different -periods. At first his -method of handling was calm, -measured, even at times -smooth. His light and color were gray, as also his backgrounds. This -period has been called his “gray period.” The “Lesson in Anatomy,” the -“Sacrifice of Abraham,” the “Coppenol,” the “Elizabeth Bas,” the “Old -Lady” of the National Gallery, London, all illustrate this early manner. -It was gradually encroached upon and finally superseded by a fuller, -freer handling of the brush, with much warmer color and light, tending -toward reddish gold. This has been called his “golden period,” and marks -the midday of his career. The beautiful “Saskia,” at Cassel, and the -so-called “Sobieski,” at Petrograd, illustrate the beginning of this period—the -changing from gray to warmer notes of red, yellow, and gold. -The “Woman with the Pink,” at Cassel, the “Manoah’s Prayer,” -at Dresden, the “Night Watch,” -were done further along in this -middle period. It was the time when -Rembrandt was in his full strength, -saw comprehensively, handled a full -palette of color, and was almost -infallibly accurate with his hand. -In his third and last period Rembrandt’s -work became rather hot and -foxy in color, dark in illumination, -kneaded and thumbed in the surface, -and sometimes uncertain in drawing. -He was expanding into a larger view -and vision up to the last—seeing -objects in their broader relations and -proportions rather than in their surfaces. -Toward the close he often -slurred the surfaces, neglected textual -qualities, and threw his whole -force into the rendering of mass in -relation to light, air, and color. The -pictures of this period are hard for -the beginner in art to understand, -because he is misled by the roughness of the surfaces, the messy state -of the pigments, the apparent fumbling, kneading, rubbing out and -amending, of the brush work. But, as we have said, Rembrandt was -purposely slurring surface truths for the greater truths of bulk, weight, -and general relationship. The best example of this late work among our -illustrations is the “Syndics of the Cloth Hall,” in the Ryks Museum, -Amsterdam. In it Rembrandt -went back to -his early method of -lighting, but continued -with his late manner -of handling and coloring. -It is superbly -broad in vision, absolute -in its truth to -life, and convincing in -its incident. The cloth -merchants are seated -about a table, perhaps -figuring up their year’s -balance, when someone -opens the door to enter -and they all look up to see the incomer. Nothing could be simpler, more -direct, or truer. Rembrandt never painted anything better. For here he -completely fulfilled expectations. Many of his later canvases he could -not complete. The “Blessing of Jacob,” at Cassel, for instance, he probably -gave up in despair, or was working upon at the time of his death. -He had reached a pitch in his career when he saw and strove for things -that his hand or brush could not realize or pin down to canvas. That is -the great stone wall that even genius encounters and cannot surmount.</p> - -<h3><i>The Master’s Life</i></h3> - -<div class="figleft" style="width: 333px;"> - -<img src="images/illus24.jpg" width="333" height="400" alt="" /> - -<p class="caption">PORTRAIT OF AN OLD LADY</p> - -<p class="caption">In the National Gallery, London</p> - -</div> - -<p>The story of Rembrandt’s career is recited elsewhere in this number -of The Mentor, but it may be said here that it was not different from -that of many other painters. He came up to Amsterdam from the -outlying country, and achieved celebrity at an early age. Praise and pay -and pupils poured in upon him. He married the beautiful Saskia and -was happy. But as he expanded in vision and methods he went beyond -the understanding and the appreciation of his public. His pupils, such as -Bol and Flinck, who had a more commonplace point of view, and a -smoother, prettier style of painting, outdid him in public favor. The -public began to desert him, the fair Saskia died, the great master fell -upon evil days, and finally passed out in penury and want—evidently -neglected and possibly forgotten by the age and people he had done so -much to glorify. The record of his death in the Burial Book of the -Wester Kirk, Amsterdam, is pathetic in its meagerness. “Tuesday, 8th -Oct., 1669. Rembrandt van Rijn, painter on the Roozegraft, opposite -the Doolhof. Leaves two children.” -It almost looks as though he were -identified only by the squalid quarters -in which he died. And this was Rembrandt, -the greatest master north of -the Alps, and a genius of almost -Shakespearian quality!</p> - -<h3><i>Many Pictures Attributed to Him</i></h3> - -<div class="figright" style="width: 272px;"> - -<img src="images/illus25.jpg" width="272" height="400" alt="" /> - -<p class="caption">SASKIA VAN ULENBURGH</p> - -<p class="caption">In the Gallery at Cassel, Germany</p> - -<p class="caption">A fine gravure reproduction of this painting appears in The Mentor, Number 28.</p> - -</div> - -<p>It seems that not only was Rembrandt -and his art misunderstood in -his own time, but that he is still -misunderstood at the present time. -This is in measure due to many pictures -which are mistakenly attributed -to him. One need not be an expert to -find it strange that of twenty pupils -of Rembrandt, who painted more or -less in his style, there remain hardly -twenty pictures apiece, and of some -of them not even one. What paralyzed -their hands or destroyed their works? -What became of their pictures? You -begin to get a glimmer of light when you -understand that to Rembrandt there are -assigned a thousand or fifteen hundred -examples; that these are painted in fifteen -or twenty different styles, though all -superficially resembling Rembrandt’s style. -Almost everything that is Rembrandtesque, -or even casually resembles Rembrandt, -has been signed up and sold as -his since the master came back to popular -favor. The name is one that now -brings thousands of dollars in the auction -room, and what wonder that it is -often misused!</p> - -<p>These Rembrandtesque pictures were -done by other hands than his, are pupils’ -works, or school work or copies, or, in -a few cases, forgeries. Rembrandt’s work -has never been critically studied as that -of Leonardo or Giorgione (jore-joe´-nee). Strange, again, is it not, that -Leonardo and Giorgione in the final analysis should have less than a dozen -pictures apiece left to them, while Rembrandt should still be given his -thousand? Northern art has not had a critical searchlight turned upon it, -as had Italian art thirty years ago. When it does, the present catalogue -of Rembrandts will crumble. In the meantime, the art student would -better accept Rembrandt only in his best authenticated works, such, for -instance, as are reproduced in this number of The Mentor. Half of the -so-called Rembrandts in the European galleries are now to be taken -with a grain of salt. They may be, and often are, exceedingly good -pictures, but they are not by Rembrandt.</p> - -<h3><i>SUPPLEMENTARY READING</i></h3> - -<table summary="Books"> - <tr> - <td>GREAT MASTERS OF DUTCH AND FLEMISH PAINTING</td><td class="tdr"><i>Bode</i></td> - </tr> - <tr> - <td class="smaller">London, 1909.</td><td></td> - </tr> - <tr> - <td>OLD MASTERS OF BELGIUM AND HOLLAND</td><td class="tdr"><i>Fromentin</i></td> - </tr> - <tr> - <td class="smaller">Boston, 1882.</td><td></td> - </tr> - <tr> - <td>THE DUTCH SCHOOL OF PAINTING</td><td class="tdr"><i>Havard</i></td> - </tr> - <tr> - <td class="smaller">London, 1885.</td><td></td> - </tr> - <tr> - <td>REMBRANDT</td><td class="tdr"><i>Michel</i></td> - </tr> - <tr> - <td class="smaller">New York, 1894.</td><td></td> - </tr> - <tr> - <td>REMBRANDT</td><td class="tdr"><i>Verhaeren</i></td> - </tr> - <tr> - <td class="smaller">(Les Grands Artistes), Paris.</td><td></td> - </tr> - <tr> - <td>REMBRANDT</td><td class="tdr"><i>Vosmoer</i></td> - </tr> - <tr> - <td class="smaller">Paris, 1877.</td><td></td> - </tr> - <tr> - <td>REMBRANDT</td><td class="tdr"><i>Valentiner</i></td> - </tr> - <tr> - <td class="smaller">(Klassiker die Kunst), Stuttgart.</td><td></td> - </tr> - <tr> - <td>REMBRANDT, A STUDY OF HIS LIFE AND WORK</td><td class="tdr"><i>Brown</i></td> - </tr> - <tr> - <td class="smaller">New York, 1907.</td><td></td> - </tr> -</table> - -<p class="center smaller">⁂ Information concerning the above books and articles may be had on application to the -Editor of The Mentor.</p> - -<hr /> - -<div class="chapter2"> - -<h2><i>THE OPEN LETTER</i></h2> - -</div> - -<p>“Why are pictures repeated,” asks -one of our readers. We rarely repeat -a picture, but we <i>do</i> print more than -one picture of the same subject—and -for a most excellent reason: The -Mentor is not through with a subject -in one number. That would be a poor -and meager educational service. The -plan of The Mentor Association is to -present subjects to its members in -various ways, so that they may consider -these subjects from different points of -view. This is done so as to give the -reader a broad, comprehensive grasp of -things. Let me illustrate. The Taj -Mahal is one of the most beautiful buildings -in existence. When, therefore, we -published The Mentor on “Beautiful -Buildings of the World,” we printed, of -course, a picture of the Taj Mahal. -When we came to the subject of India -in Mr. Elmendorf’s series of travel numbers, -we could not overlook the exquisite -Taj Mahal—which is one of the -sights of India. We shall later on have -a number of The Mentor on Oriental -Architecture. The Taj Mahal being one -of the finest examples of oriental architecture, -cannot of course be ignored in -that number simply because we printed -two pictures of the building in former -Mentors. In each case the reader is asked -to consider the Taj Mahal from a different -point of view. And, moreover, we do not -repeat the same picture. We print three -different views of the Taj Mahal.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>Another instance. We printed in The -Mentor devoted to “Masters of the -Violin” a very fine portrait of the Spanish -violinist, Sarasate. This picture -not only happens to be a most interesting -portrait of the great violinist, but it has -a special art value in having come from -the brush of Whistler. Next year we -shall devote a number of The Mentor -to the work of James MacNeil Whistler. -When we do so it will be impossible for -us to ignore this wonderful portrait of -Sarasate, for it is a distinguished example -of Whistler’s art. The present number is -another case in point. We have considered -Rembrandt’s art several times in The Mentor. -He occupied a prominent place, as -you know, in the number devoted to -“Dutch Masterpieces.” He also appears -in the number on “The Wife in Art.” -And now we devote a number exclusively -to him.</p> - -<p>The basic idea of The Mentor is a broad -one. We do not consider that a subject, -once treated, must be boxed up and -shelved. Oh, no! While we make our -excursions into the different fields of -knowledge, we shall often turn our faces -back to some great subject of interest -that we have already observed and consider -it anew from a different point of view.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>When you write to The Mentor always -sign your name and address. The old time-worn -signatures of “Reader” or “Friend” -make it hard for us to give Mentor service. -The following came into the office -a few days ago:</p> - -<div class="blockquote"> - -<p>“Have greatly enjoyed your Mentor this last year. -One suggestion I would make, though, is relative to -the Madonna Ansidei. That famous painting was -purchased by Morgan a number of years ago. In -1910 it was in the National Gallery, as a loan, and -at present is in the Metropolitan Museum, New -York, one of its greatest treasures. Ought our public -to be informed by The Mentor that it is in London?”</p> - -<p class="right"><span class="smcap">A Reader.</span></p> - -</div> - -<p>Where our reader got the notion that -the Ansidei Madonna is in the Metropolitan -Museum of Art, in New York, -I am at a loss to understand. If that -famous work had ever been brought to -America, surely the whole world would -have known of it. Works of art of such -importance are not moved about without -the public being advised of it. The -Ansidei Madonna is in the National -Museum, London, and the circumstances -of its being placed there are exactly -as stated in The Mentor. It was -purchased for the National Museum -from the Duke of Marlborough’s collection -for about $350,000. The Raphael -Madonna, in the Metropolitan Museum -of Art, that our reader refers to, is known -as the “Madonna of St. Anthony of -Padua.” I hope that this will catch -the eye of our friendly reader, and especially -I hope that he will not continue -to entertain the thought, or impart it -to others, that The Mentor is giving -the public incorrect information concerning -the Ansidei -Madonna.</p> - -<div class="figright" style="width: 200px;"> -<img src="images/signature.jpg" width="200" height="94" alt="(signature)" /> -<p class="caption">W. D. Moffat<br /> -<span class="smcap">Editor</span></p> -</div> - -<hr /> - -<div class="bbox-dashed"> - -<p class="center larger"><span class="smcap">The Mentor Association</span></p> - -<div class="blockquote"> - -<p class="noindent">ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST -IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL</p> - -</div> - -<p class="noindent">CONTRIBUTORS—PROF. JOHN C. VAN DYKE, HAMILTON W. MABIE, PROF. ALBERT -BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, DWIGHT L. -ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER SINGLETON, PROF. G. W. BOTSFORD, -IDA M. TARBELL, GUSTAV KOBBÉ, DEAN C. WORCESTER, JOHN K. MUMFORD, W. J. -HOLLAND, LORADO TAFT, KENYON COX, E. H. FORBUSH, H. E. KREHBIEL, SAMUEL ISHAM, -BURGES JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS.</p> - -<p class="noindent">The purpose of The Mentor Association is to give its members, in an -interesting and attractive way, the information in various fields of -knowledge which everybody wants to have. The information is imparted -by interesting reading matter, prepared under the direction of leading -authorities, and by beautiful pictures, produced by the most highly perfected -modern processes.</p> - -<p class="center">THE MENTOR IS PUBLISHED TWICE A MONTH</p> - -<p class="noindent">BY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW YORK, N. Y. -SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN -POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. PRESIDENT, THOMAS -H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY, W. D. MOFFAT; TREASURER, -ROBERT M. DONALDSON; ASST. TREASURER AND ASST. SECRETARY, J. S. CAMPBELL</p> - -<hr /> - -<p class="center larger">COMPLETE YOUR MENTOR LIBRARY</p> - -<p class="center">Subscriptions always begin with the current issue. The following numbers of The Mentor Course, -already issued, will be sent postpaid at the rate of fifteen cents each.</p> - -<ul> -<li>Serial No.</li> -<li>1. Beautiful Children in Art</li> -<li>2. Makers of American Poetry</li> -<li>3. Washington, the Capital</li> -<li>4. Beautiful Women in Art</li> -<li>5. Romantic Ireland</li> -<li>6. Masters of Music</li> -<li>7. Natural Wonders of America</li> -<li>8. Pictures We Love to Live With</li> -<li>9. The Conquest of the Peaks</li> -<li>10. Scotland: The Land of Song and Scenery</li> -<li>11. Cherubs in Art</li> -<li>12. Statues With a Story</li> -<li>13. The Discoverers</li> -<li>14. London</li> -<li>15. The Story of Panama</li> -<li>16. American Birds of Beauty</li> -<li>17. Dutch Masterpieces</li> -<li>18. Paris, the Incomparable</li> -<li>19. Flowers of Decoration</li> -<li>20. Makers of American Humor</li> -<li>21. American Sea Painters</li> -<li>22. The Explorers</li> -<li>23. Sporting Vacations</li> -<li>24. Switzerland: The Land of Scenic Splendors</li> -<li>25. American Novelists</li> -<li>26. American Landscape Painters</li> -<li>27. Venice, the Island City</li> -<li>28. The Wife in Art</li> -<li>29. Great American Inventors</li> -<li>30. Furniture and Its Makers</li> -<li>31. Spain and Gibraltar</li> -<li>32. Historic Spots of America</li> -<li>33. Beautiful Buildings of the World</li> -<li>34. Game Birds of America</li> -<li>35. The Contest for North America</li> -<li>36. Famous American Sculptors</li> -<li>37. The Conquest of the Poles</li> -<li>38. Napoleon</li> -<li>39. The Mediterranean</li> -<li>40. Angels in Art</li> -<li>41. Famous Composers</li> -<li>42. Egypt, the Land of Mystery</li> -<li>43. The Revolution</li> -<li>44. Famous English Poets</li> -<li>45. Makers of American Art</li> -<li>46. The Ruins of Rome</li> -<li>47. Makers of Modern Opera</li> -<li>48. Dürer and Holbein</li> -<li>49. Vienna, the Queen City</li> -<li>50. Ancient Athens</li> -<li>51. The Barbizon Painters</li> -<li>52. Abraham Lincoln</li> -<li>53. George Washington</li> -<li>54. Mexico</li> -<li>55. Famous American Women Painters</li> -<li>56. The Conquest of the Air</li> -<li>57. Court Painters of France</li> -<li>58. Holland</li> -<li>59. Our Feathered Friends</li> -<li>60. Glacier National Park</li> -<li>61. Michelangelo</li> -<li>62. American Colonial Furniture</li> -<li>63. American Wild Flowers</li> -<li>64. Gothic Architecture</li> -<li>65. The Story of the Rhine</li> -<li>66. Shakespeare</li> -<li>67. American Mural Painters</li> -<li>68. Celebrated Animal Characters</li> -<li>69. Japan</li> -<li>70. The Story of the French Revolution</li> -<li>71. Rugs and Rug Making</li> -<li>72. Alaska</li> -<li>73. Charles Dickens</li> -<li>74. Grecian Masterpieces</li> -<li>75. Fathers of the Constitution</li> -<li>76. Masters of the Piano</li> -<li>77. American Historic Homes</li> -<li>78. Beauty Spots of India</li> -<li>79. Etchers and Etching</li> -<li>80. Oliver Cromwell</li> -<li>81. China</li> -<li>82. Favorite Trees</li> -<li>83. Yellowstone National Park</li> -<li>84. Famous Women Writers of England</li> -<li>85. Painters of Western Life</li> -<li>86. China and Pottery of Our Forefathers</li> -<li>87. The Story of The American Railroad</li> -<li>88. Butterflies</li> -<li>89. The Philippines</li> -<li>90. The Louvre</li> -<li>91. William M. Thackeray</li> -<li>92. Grand Canyon of Arizona</li> -<li>93. Architecture in American Country Homes</li> -<li>94. The Story of The Danube</li> -<li>95. Animals in Art</li> -<li>96. The Holy Land</li> -<li>97. John Milton</li> -<li>98. Joan of Arc</li> -<li>99. Furniture of the Revolutionary Period</li> -<li>100. The Ring of the Nibelung</li> -<li>101. The Golden Age of Greece</li> -<li>102. Chinese Rugs</li> -<li>103. The War of 1812</li> -<li>104. The National Gallery, London</li> -<li>105. Masters of the Violin</li> -<li>106. American Pioneer Prose Writers</li> -<li>107. Old Silver</li> -<li>108. Shakespeare’s Country</li> -<li>109. Historic Gardens of New England</li> -<li>110. The Weather</li> -<li>111. American Poets of the Soil</li> -<li>112. Argentina</li> -<li>113. Game Animals of America</li> -<li>114. Raphael</li> -<li>115. Walter Scott</li> -<li>116. The Yosemite Valley</li> -<li>117. John Paul Jones</li> -<li>118. Russian Music</li> -<li>119. Chile</li> -</ul> - -<p class="center">NUMBERS TO FOLLOW</p> - -<p class="hanging">December 15, SOUTHERN CALIFORNIA: THE -LAND OF SUNSHINE. <i>By Charles F. Lummis, -Author and Editor.</i></p> - -<p class="hanging">January 1, 1917. KEEPING TIME. <i>By C. F. Talman, -of the United States Weather Bureau.</i></p> - -<p class="center">THE MENTOR ASSOCIATION, INC.</p> - -<p class="center smaller">52 EAST 19th STREET, NEW YORK, N. Y.</p> - -</div> - -<hr /> - -<p class="center larger">THE MENTOR</p> - -<p class="center larger">You will have -to hurry</p> - -<p class="noindent">if you wish to take advantage -of the Special Christmas Offer -we are now making. There are -only a few days left.</p> - -<p class="noindent">Most of our members have sent -in their gift names already. A -few have delayed. If you are -among these few, please be sure -to send yours in <i>at once</i>.</p> - -<p class="center"><i>Special Christmas Offer</i>:</p> - -<table summary="Subscription costs"> - <tr> - <td>1 Yearly subscription</td><td class="tdr">$3.00</td> - </tr> - <tr> - <td>2 One-year subscriptions</td><td class="tdr">5.00</td> - </tr> - <tr> - <td colspan="2" class="tdc smaller">OR</td> - </tr> - <tr> - <td>1 Two-year subscription</td><td class="tdr">5.00</td> - </tr> -</table> - -<p class="noindent">Send your subscriptions in at -once. Statement will be sent -you January 1st.</p> - -<div class="figcenter" style="width: 60px;"> -<img src="images/leaf.jpg" width="60" height="60" alt="(decorative)" /> -</div> - -<p class="center">THE MENTOR ASSOCIATION, INC.</p> - -<p class="center">52 EAST NINETEENTH STREET—NEW YORK, N. Y.</p> - -<p class="center larger">MAKE THE SPARE<br /> -MOMENT COUNT</p> - -<div class="figcenter" style="width: 482px;"> -<img src="images/back.jpg" width="482" height="700" alt="Back cover page: You will have to hurry" /> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Mentor: Rembrandt, Vol. 4, Num. -20, Serial No. 120, December 1, 191, by John C. van Dyke - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: REMBRANDT, VOL. *** - -***** This file should be named 52178-h.htm or 52178-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/7/52178/ - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org Section 3. Information about the Project Gutenberg -Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - -</body> -</html> diff --git a/old/52178-h/images/back.jpg b/old/52178-h/images/back.jpg Binary files differdeleted file mode 100644 index e6f3d75..0000000 --- a/old/52178-h/images/back.jpg +++ /dev/null diff --git a/old/52178-h/images/book.jpg b/old/52178-h/images/book.jpg Binary files differdeleted file mode 100644 index ca6abf4..0000000 --- a/old/52178-h/images/book.jpg +++ /dev/null diff --git a/old/52178-h/images/cover.jpg b/old/52178-h/images/cover.jpg Binary files differdeleted file mode 100644 index 417ef4e..0000000 --- a/old/52178-h/images/cover.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-italic-t.jpg b/old/52178-h/images/dropcap-italic-t.jpg Binary files differdeleted file mode 100644 index 92499ab..0000000 --- a/old/52178-h/images/dropcap-italic-t.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-d.jpg b/old/52178-h/images/dropcap-plain-d.jpg Binary files differdeleted file mode 100644 index 38b960d..0000000 --- a/old/52178-h/images/dropcap-plain-d.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-m.jpg b/old/52178-h/images/dropcap-plain-m.jpg Binary files differdeleted file mode 100644 index 911f6d6..0000000 --- a/old/52178-h/images/dropcap-plain-m.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-o.jpg b/old/52178-h/images/dropcap-plain-o.jpg Binary files differdeleted file mode 100644 index 2baf070..0000000 --- a/old/52178-h/images/dropcap-plain-o.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-r.jpg b/old/52178-h/images/dropcap-plain-r.jpg Binary files differdeleted file mode 100644 index 1b638c7..0000000 --- a/old/52178-h/images/dropcap-plain-r.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-s.jpg b/old/52178-h/images/dropcap-plain-s.jpg Binary files differdeleted file mode 100644 index 9274a1c..0000000 --- a/old/52178-h/images/dropcap-plain-s.jpg +++ /dev/null diff --git a/old/52178-h/images/dropcap-plain-t.jpg b/old/52178-h/images/dropcap-plain-t.jpg Binary files differdeleted file mode 100644 index 3fc9179..0000000 --- a/old/52178-h/images/dropcap-plain-t.jpg +++ /dev/null diff --git a/old/52178-h/images/flower.jpg b/old/52178-h/images/flower.jpg Binary files differdeleted file mode 100644 index 030b213..0000000 --- a/old/52178-h/images/flower.jpg +++ /dev/null diff --git a/old/52178-h/images/illus15.jpg b/old/52178-h/images/illus15.jpg Binary files differdeleted file mode 100644 index 4e8556d..0000000 --- a/old/52178-h/images/illus15.jpg +++ /dev/null diff --git a/old/52178-h/images/illus16a.jpg b/old/52178-h/images/illus16a.jpg Binary files differdeleted file mode 100644 index 936a664..0000000 --- a/old/52178-h/images/illus16a.jpg +++ /dev/null diff --git a/old/52178-h/images/illus16b.jpg b/old/52178-h/images/illus16b.jpg Binary files differdeleted file mode 100644 index fc67012..0000000 --- a/old/52178-h/images/illus16b.jpg +++ /dev/null diff --git a/old/52178-h/images/illus17.jpg b/old/52178-h/images/illus17.jpg Binary files differdeleted file mode 100644 index 5033873..0000000 --- a/old/52178-h/images/illus17.jpg +++ /dev/null diff --git a/old/52178-h/images/illus18a.jpg b/old/52178-h/images/illus18a.jpg Binary files differdeleted file mode 100644 index ce69567..0000000 --- a/old/52178-h/images/illus18a.jpg +++ /dev/null diff --git a/old/52178-h/images/illus18b.jpg b/old/52178-h/images/illus18b.jpg Binary files differdeleted file mode 100644 index 0ef8066..0000000 --- a/old/52178-h/images/illus18b.jpg +++ /dev/null diff --git a/old/52178-h/images/illus19.jpg b/old/52178-h/images/illus19.jpg Binary files differdeleted file mode 100644 index 349898b..0000000 --- a/old/52178-h/images/illus19.jpg +++ /dev/null diff --git a/old/52178-h/images/illus20.jpg b/old/52178-h/images/illus20.jpg Binary files differdeleted file mode 100644 index a6e711a..0000000 --- a/old/52178-h/images/illus20.jpg +++ /dev/null diff --git a/old/52178-h/images/illus21.jpg b/old/52178-h/images/illus21.jpg Binary files differdeleted file mode 100644 index c437417..0000000 --- a/old/52178-h/images/illus21.jpg +++ /dev/null diff --git a/old/52178-h/images/illus22.jpg b/old/52178-h/images/illus22.jpg Binary files differdeleted file mode 100644 index ec3dfd6..0000000 --- a/old/52178-h/images/illus22.jpg +++ /dev/null diff --git a/old/52178-h/images/illus23a.jpg b/old/52178-h/images/illus23a.jpg Binary files differdeleted file mode 100644 index b3f0e55..0000000 --- a/old/52178-h/images/illus23a.jpg +++ /dev/null diff --git a/old/52178-h/images/illus23b.jpg b/old/52178-h/images/illus23b.jpg Binary files differdeleted file mode 100644 index a3eb007..0000000 --- a/old/52178-h/images/illus23b.jpg +++ /dev/null diff --git a/old/52178-h/images/illus24.jpg b/old/52178-h/images/illus24.jpg Binary files differdeleted file mode 100644 index 2a8c93a..0000000 --- a/old/52178-h/images/illus24.jpg +++ /dev/null diff --git a/old/52178-h/images/illus25.jpg b/old/52178-h/images/illus25.jpg Binary files differdeleted file mode 100644 index dd89a44..0000000 --- a/old/52178-h/images/illus25.jpg +++ /dev/null diff --git a/old/52178-h/images/leaf.jpg b/old/52178-h/images/leaf.jpg Binary files differdeleted file mode 100644 index d35273a..0000000 --- a/old/52178-h/images/leaf.jpg +++ /dev/null diff --git a/old/52178-h/images/plate1.jpg b/old/52178-h/images/plate1.jpg Binary files differdeleted file mode 100644 index b3575b7..0000000 --- a/old/52178-h/images/plate1.jpg +++ /dev/null diff --git a/old/52178-h/images/plate2.jpg b/old/52178-h/images/plate2.jpg Binary files differdeleted file mode 100644 index 8518701..0000000 --- a/old/52178-h/images/plate2.jpg +++ /dev/null diff --git a/old/52178-h/images/plate3.jpg b/old/52178-h/images/plate3.jpg Binary files differdeleted file mode 100644 index ca73eb1..0000000 --- a/old/52178-h/images/plate3.jpg +++ /dev/null diff --git a/old/52178-h/images/plate4.jpg b/old/52178-h/images/plate4.jpg Binary files differdeleted file mode 100644 index eee8bd8..0000000 --- a/old/52178-h/images/plate4.jpg +++ /dev/null diff --git a/old/52178-h/images/plate5.jpg b/old/52178-h/images/plate5.jpg Binary files differdeleted file mode 100644 index c120fb1..0000000 --- a/old/52178-h/images/plate5.jpg +++ /dev/null diff --git a/old/52178-h/images/plate6.jpg b/old/52178-h/images/plate6.jpg Binary files differdeleted file mode 100644 index ece8ad7..0000000 --- a/old/52178-h/images/plate6.jpg +++ /dev/null diff --git a/old/52178-h/images/signature.jpg b/old/52178-h/images/signature.jpg Binary files differdeleted file mode 100644 index cee101f..0000000 --- a/old/52178-h/images/signature.jpg +++ /dev/null diff --git a/old/52178-h/images/stars.jpg b/old/52178-h/images/stars.jpg Binary files differdeleted file mode 100644 index 7334d67..0000000 --- a/old/52178-h/images/stars.jpg +++ /dev/null |
