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Updated: June 11, 2025
"I think," said Eleanor, looking for information to Aunt Theresa, "I think it's a real Rembrandt, isn't it?" "A real what, my dear?" said Mrs. Buller. "One of Rembrandt's etchings," said Eleanor; "and of course I don't know, but I think it must be an original; it's so beautifully done, and my mother has a copy of this one.
He looked at the bowed figure of this white haired toiler, vague in the feeble lamplight, and found himself thinking of Rembrandt's painting, the Visit of Emmaus: the ill-lighted room in the dirty tavern, and the two ragged men, struck dumb by the glow of light about the forehead of their table-companion.
Guido cared more for rare engravings and etchings than for pictures, and a few very fine framed prints stood on the big writing table; there was Dürer's Melancholia, and the Saint Jerome, and the Little White Horse, and the small Saint Anthony, and Rembrandt's Three Trees, all by itself, as the most wonderful etching in the world deserved to be; and here and there, about the room, were a few good engravings by Martin Schöngauer, and by Mantegna, and by Marcantonio Raimondi.
But light indeed were their minds compared with Rembrandt's. Rembrandt was a great visionary; to him the outsides of things were symbols of elemental truths, which he expressed in a form mighty as the truths themselves. There is no question of comparison between him on one hand and Reynolds and Gainsborough on the other.
I then described my stratagem in mailing my letter to the Governor. Discovering that I had left a page of my epistolary booklet blank, I drew upon it a copy of Rembrandt's Anatomy Lesson, and under it wrote: "This page was skipped by mistake. Had to fight fifty-three days to get writing paper and I hate to waste any space hence the masterpiece drawn in five minutes.
The next picture in the collection to mark a special period and one of brilliant achievement in Rembrandt's career is the so-called "Woodcutter's Family," belonging to the decade between 1640 and 1650. After an old fashion the Holy Family is represented as seen in a painting before which a curtain is partly drawn.
In the end, they together took Rembrandt's business interests into their own hands, the son, probably, using his inheritance in the enterprise. Renting a house in their own name, they became his print and picture dealers. But as time went on, Rembrandt's work brought lower and lower prices, and he, himself, the last two years of his life, was almost forgotten.
In the next room was a real art museum, containing splendid pictures, an oaken press and other things which suggest that this was the workroom where Rembrandt's etchings were made and printed. In the drawing-room was a huge mirror, a great oaken table covered with a rich embroidered cloth, "six chairs with blue coverings, a bed with blue hangings, a cedar wardrobe, and a chest of the same wood."
She was seated in a recess of an old-fashioned window; the pale yellow glow of a wintry sun at evening fell upon her beautiful hair, and tinged it with such a light as I have often since then seen in Rembrandt's pictures; her head leaned upon the harp, and as she struck its chords at random, I saw that her mind was far away from all around her.
He would have been glad to visit the old brick mill in which the painter Rembrandt was born, but he abandoned the project upon learning that it would take them out of their way. Few boys as hungry as Ben was by this time would hesitate long between Rembrandt's home a mile off and tiffin close by. Ben chose the latter.
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