Rembrandt Part 6

IX

CHRIST AT EMMAUS

The picture of Christ at Emmaus ill.u.s.trates an event in the narrative of Christ's life which took place on the evening of the first Easter Sunday. It was now three days since the Crucifixion of Christ just outside Jerusalem, and the terrible scene was still very fresh in the minds of his disciples. It happened that late in the day two of them were going to a village called Emmaus, not very far from Jerusalem.

They made the journey on foot, and as they walked along the way, "they talked together," says the evangelist[9] who tells the story, "of all those things which had happened. And it came to pa.s.s, that, while they communed together and reasoned, Jesus himself drew near, and went with them. But their eyes were holden that they should not know him. And he said unto them, 'What manner of communications are these that ye have one to another, as ye walk, and are sad?' And the one of them, whose name was Cleopas, answering said unto him, 'Art thou only a stranger in Jerusalem, and hast not known the things which are come to pa.s.s there in these days?' And he said unto them, 'What things?' And they said unto him, 'Concerning Jesus of Nazareth.'" Then followed a conversation in which they told the stranger something of Jesus, and he in turn explained to them many things about the life and character of Jesus which they had never understood.

[Footnote 9: St. Luke, chapter xxiv. verses 13-32.]

"And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him, saying, 'Abide with us: for it is toward evening, and the day is far spent.' And he went in to tarry with them.

"And it came to pa.s.s, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened and they knew him; and he vanished out of their sight. And they said one to another, 'Did not our hearts burn within us, while he talked with us by the way?'"

The picture suggests vividly to us that wonderful moment at Emmaus when the eyes of the disciples were opened, and they recognized their guest as Jesus, whom they had so recently seen crucified. The table is laid in a great bare room with the commonest furnis.h.i.+ngs, and the disciples appear to be laboring men, accustomed to "plain living and high thinking." They are coa.r.s.ely dressed, and their feet are bare, as are also the feet of Jesus. One seems to have grasped the situation more quickly than the other, for he folds his hands together, reverently gazing directly into the face of Jesus. His companion, an older man, at the other end of the table, looks up astonished and mystified. The boy who is bringing food to the table is busy with his task, and does not notice any change in Jesus.

[Ill.u.s.tration: CHRIST AT EMMAUS _The Louvre, Paris_]

In the midst is Christ, "pale, emaciated, sitting facing us, breaking the bread as on the evening of the Last Supper, in his pilgrim robe, with his blackened lips, on which the torture has left its traces, his great brown eyes soft, widely opened, and raised towards heaven, with his cold nimbus, a sort of phosph.o.r.escence around him which envelops him in an indefinable glory, and that inexplicable look of a breathing human being who certainly has pa.s.sed through death."

This description is by a celebrated French critic,[10] himself a painter, who knows whereof he speaks. He says that this picture alone is enough to establish the reputation of a man.

[Footnote 10: Fromentin, in _Old Masters of Belgium and Holland._]

There is one artistic quality in the picture to which we must pay careful attention, as it is particularly characteristic of Rembrandt.

This is the way in which the light and shadow are arranged, or what a critic would call the chiaroscuro of the picture. The heart of the composition glows with a golden light which comes from some unseen source. It falls on the white tablecloth with a dazzling brilliancy as if from some bright lamp. It gleams on the faces of the company, bringing out their expressions clearly. The arched recess behind the table is thrown into heavy shadow, against which the centrally lighted group is sharply contrasted.

This singular manner of bringing light and darkness into striking opposition makes the objects in a picture stand out very vividly. Some one has defined chiaroscuro as the "art of rendering the atmosphere visible and of painting an object enveloped in air." The art was carried to perfection by Rembrandt. You will notice it more or less in every picture of this collection, but nowhere is it more appropriate than here, where the appearance of Christ, as the source of light, emphasizes the mystery of the event and makes something sacred of this common scene.

As we compare this picture with the etching of Christ Preaching, we get a better idea of Rembrandt's aim in representing Christ. He did not try to make his face beautiful with regular cla.s.sical features, after the manner of the old Italian painters. He did not even think it necessary to make his figure grand and imposing. Something still better Rembrandt sought to put into his picture, and this was a gentle expression of love.

X

PORTRAIT OF SASKIA

We should have but a very imperfect idea of Rembrandt's work if we did not learn something about the portraits he painted. It was for these that he was most esteemed in his own day, being the fas.h.i.+onable portrait painter of Amsterdam at a time when every person of means wished to have his likeness painted. A collection of his works of this kind would almost bring back again the citizens of Amsterdam in the seventeenth century, so life-like are these wonderful canvases. Among them we should find the various members of his family, his father and mother, his sister, his servant, his son, and most interesting of all, his beloved wife, Saskia.

Saskia was born in Friesland, one of nine children of a wealthy patrician family. Her father, Rombertus van Uylenborch, was a distinguished lawyer, who had had several important political missions intrusted to him. At one time he was sent as a messenger to William of Orange, and was sitting at table with that prince just before his a.s.sa.s.sination. He died in 1624, leaving Saskia an orphan, as she had lost her mother five years before. The little girl of twelve now began to live in turn with her married sisters. At the age of twenty she came to Amsterdam to live for a while with her cousin, the wife of a minister, Jan Cornelis Sylvius, whose face we know from one of Rembrandt's etchings. Saskia had also another cousin living in Amsterdam, Hendrick van Uylenborch, a man of artistic tastes, who had not succeeded as a painter, and had become a dealer in bric-a-brac and engravings. He was an old friend of Rembrandt; and when the young painter came to seek his fortune in the great city in 1631, he had made his home for a while with the art dealer.

It was doubtless Hendrick who introduced Rembrandt to Saskia. Probably the beginning of their acquaintance was through Rembrandt's painting Saskia's portrait in 1632. The relation between them soon grew quite friendly, for in the same year the young girl sat two or three times again to the painter. The friends.h.i.+p presently ended in courts.h.i.+p, and when Rembrandt pressed his suit the marriage seemed a very proper one.

Saskia was of a fine family and had a sufficient dowry.

Rembrandt, though the son of a miller, was already a famous painter, much sought after for portraits, and with a promising career before him. The engagement was therefore approved by her guardians, but marriage being deferred till she came of age, the courts.h.i.+p lasted two happy years. During this time Rembrandt painted his lady love over and over again. It was one of his artistic methods to paint the same person many times. He was not one of the superficial painters who turn constantly from one model to another in search of new effects. He liked to make an exhaustive study of a single face in many moods, with many expressions and varied by different costumes.

[Ill.u.s.tration: PORTRAIT OF SASKIA _Ca.s.sel Gallery_]

Saskia had small eyes and a round nose, and was not at all beautiful according to cla.s.sical standards. Rembrandt, however, cared less for beauty than for expression, and Saskia's face was very expressive, at times merry and almost roguish, and again quite serious. She had also a brilliant complexion and an abundance of silky hair, waving from her forehead. The painter had collected in his studio many pretty and fantastic things to use in his pictures,--velvets and gold embroidered cloaks, Oriental stuffs, laces, necklaces, and jewels. With these he loved to deck Saskia, heightening her girlish charms with the play of light upon these adornments.

One of the most famous of the many portraits of Saskia at this time is the picture we have here. Because it is not signed and dated, after Rembrandt's usual custom, it is thought that it was intended as a gift for Saskia herself, and thus it has a romantic interest for us. Also it is painted with extreme care, as the work of a lover offering the choicest fruit of his art.

The artist has arranged a picturesque costume for his sitter,--a broad-brimmed hat of red velvet with a sweeping white feather, an elaborate dress with embroidered yoke and full sleeves, a rich mantle draped over one shoulder, necklace, earrings, and bracelets of pearls. Her expression is more serious here than usual, though very happy, as if she was thinking of her lover; and in her hand she carries a sprig of rosemary, which in Holland is the symbol of betrothal, holding it near her heart.

The marriage finally took place in June, 1634, in the town of Bildt.

The bridal pair then returned to Amsterdam to a happy home life.

Rembrandt had no greater pleasure than in the quiet family circle, and Saskia had a simple loving nature, entirely devoted to her husband's happiness. A few years later Rembrandt moved into a fine house in the Breestraat, which he furnished richly with choice paintings and works of art.

A succession of portraits shows that the painter continued to paint his wife with loving pride. He represented her as a Jewish bride, as Flora, as an Odalisque, a Judith, a Susanna, and a Bathsheba. There is one painting of the husband and wife together, Saskia perched like a child on Rembrandt's knee, as he flourishes a wine-gla.s.s in the air.

In another picture (an etching) they sit together at a table about the evening lamp, the wife with her needle-work, the artist with his engraving. The love between them is the brightest spot in Rembrandt's history, clouded as it was with many disappointments and troubles. As a celebrated writer has expressed it, Saskia was "a ray of suns.h.i.+ne in the perpetual chiaroscuro of his life."

XI

THE SORTIE OF THE CIVIC GUARD, OR THE NIGHT WATCH

The patriotism of the Dutch is seen through the entire history of "brave little Holland." Early in the sixteenth century every town of considerable size had a military company composed of the most prominent citizens. Each company, or guild, had a place of a.s.sembly, or _doelen_, and a drilling-ground. The officers were chosen for a year, and the highest appointments were those of captain, lieutenant, and ensign. Upon these civic guards rested the responsibility of maintaining the order and safety of the town. Sterner duties than these were theirs when in the late sixteenth century (1573), at the call of William of Orange, the various guilds formed themselves into volunteer companies to resist the Spanish. How well they acquitted themselves is a matter of history, and Spain recognized the republic in the treaty of 1609. After the war, many of the corporations were reorganized and continued to be of great importance in the seventeenth century.

The picture we have here represents the Civic Guard of Amsterdam during the captaincy of Frans Banning Cocq in 1642. Cocq was a man of wealth and influence who had purchased the estate of Purmerland in 1618 and had also been granted a patent of n.o.bility. So it was natural that Lord Purmerland, one of the most distinguished citizens of the town, should be called to a term of office as captain of the Civic Guard. His magnificent stature and manly bearing show him well fitted for the honor.

The picture represents an occasion when the guard issues from the a.s.sembly hall, or doelen, in a sudden call to action. Captain Cocq leads the way with Lieutenant Willem van Ruytenberg, of Vlaerdingen, and as he advances gives orders to his fellow officer. The drum beats, the ensign unfurls the standard, every man carries a weapon of some sort. One is priming a musket, another loading his gun, another firing. A ma.s.s of lance-bearers press on from the rear. In the confusion a dog scampers into the midst and barks furiously at the drum. A little girl slips into the crowd on the other side, oddly out of place in such company, but quite fearless. It has been suggested that she may have been the bearer of the tidings which calls the guard forth. The quaint figure is clad in a long dress of some s.h.i.+mmering stuff, and she has the air of a small princess. From her belt hangs a c.o.c.k, and she turns her face admiringly towards the great captain.

[Ill.u.s.tration: SORTIE OF THE CIVIC GUARD _Ryks Museum, Amsterdam_]

We do not know of any historical incident which precisely corresponds to the action in the picture. Indeed, it is not strictly speaking an historical picture at all, but rather a portrait group of the Civic Guard, in att.i.tudes appropriate to their character as a military body. They may be going out for target practice or for a shooting match such as was held annually as a trial of skill; it may be a parade, or it may be, as some have fancied, a call to arms against a sudden attack from the enemy. In any case the noticeable thing is the readiness with which all respond to the call--the spirit of patriotism which animates the body. The Dutch are not naturally warlike, but rather a peace-loving people; lacking the quick impulsiveness of a more nervous race, they are of a somewhat heavy and deliberate temper; yet they have the solid worth which can be counted on in an emergency, and in love of country they are united to a man. Benjamin Franklin once said of Holland, "In love of liberty, and bravery in the defense of it, she has been our great example."

The picture cannot be fully understood without some knowledge of its history. Painted for the hall of the Amsterdam Musketeers, it was to take its place among others by contemporary painters, as a portrait group in honor of the officers of the year, and as a lasting memorial of their services. The other pictures had been stiff groups about a table, and the novelty of Rembrandt's composition displeased some of the members of the guild. Each person who figures in the scene had subscribed a certain sum towards the cost of the picture for his own portrait, and was anxious to get his money's worth. Consequently, there were many who did not at all relish their insignificance in the background, quite overshadowed by the glory of the captain and lieutenant. They thought they would have shown to much better advantage arranged in rows.

It was Rembrandt's way when painting a portrait to give life and reality to the figure, by showing the leading element in the character or occupation of the person. Thus his s.h.i.+pbuilder is designing a s.h.i.+p, the writing master, Coppenol, is mending a pen, the architect has his drawing utensils, and the preacher his Bible. So in the Civic Guard each man carries a weapon, and the figures are united in spirited action. All this artistic motive was lost upon those for whom the picture was painted, because of their petty vanity. So the great painting, now so highly esteemed, was not a success at the time.

In the following century it was removed to the town hall; and in order to fit it into a particular place on the wall, a strip was cut off each side the canvas. It is the loss of these margins which gives the composition the crowded appearance which so long seemed a strange fault in a great artist like Rembrandt.

The original colors of the painting grew so dark with the acc.u.mulation of smoke in the hall that the critics supposed the scene occurred at night, hence the incorrect name of the Night Watch was given to it.

Since the picture was cleaned, in 1889, it is apparent that the incident occurred in the daytime, and if you look carefully you can plainly see the shadow of Captain Cocq's hand on the lieutenant's tunic.

XII

PORTRAIT OF JAN SIX

When the painter Rembrandt came to Amsterdam in 1631, a young man seeking his fortune in the great city, a lad of twelve years was living in his father's country seat, near by, who was later to become one of his warm friends. This was Jan Six, the subject of the portrait etching reproduced here. There was a great contrast in the circ.u.mstances of life in which the two friends grew up. Rembrandt was the son of a miller, and had his own way to make in the world. Jan Six was surrounded from his earliest years with everything which tended to the gratification of his natural taste for culture. Rembrandt's rare talent, however, overbalanced any lack of early advantages, and made him a friend worth having.