Estelle M. Hurll

The picture of Christ at Emmaus illustrates 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.

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 fashionable 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.

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 assembly, 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.

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 circumstances 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.

The story is told of a little child who, upon being introduced to a kind-faced lady, looked up brightly into her eyes with the question, "Whose mother are you?" When we look into the wrinkled old face of this picture, the same sort of a question springs to mind, and we involuntarily ask, "Whose grandmother are you?" We are sure that children and grandchildren have leaned upon that capacious lap. The name of the subject is not known, though the same face appears many times in Rembrandt's works.

The word syndic is a name applied to an officer of a corporation, and this is its meaning in the title of the picture, The Syndics of the Cloth Guild. In Holland, as in England and France and elsewhere in Europe, guilds were associations of tradesmen or artisans united for purposes of mutual help and for the interests of their respective industries.

by Estelle M. Hurll

Holland, as is well known, is a country built upon marshes, which have been drained and filled in by the patient industry of many generations of workers. The land is consequently very low, almost perfectly level, and is covered by a network of canals. It lacks many of the features which make up the natural scenery of other countries,—mountains and ravines, rocks and rivers,—but it is, nevertheless, a very picturesque country. Artists love it for the quiet beauty of its landscape. Though this is not grand and awe-inspiring, it is restful and attractive.

In the rows of figures which Michelangelo painted along the arched portion of the ceiling of the Sistine Chapel, the prophets are associated with sibyls. Hence, in the plan of decoration, there comes first the figure of a man, and then the figure of a woman.

Now, as the Bible contains no allusion to sibyls, it may seem strange that they should have a place in a series of Bible illustrations, and especially that they should appear side by side with the prophets. To explain this, we must learn something about the sibyls.

Of all the sibyls, the one we hear most about is the Cumæan. The legend runs that, having asked a boon of Apollo, she gathered a handful of sand and said, "Grant me to see as many birthdays as there are sand grains in my hand." The wish was gratified, but unluckily she forgot to ask for enduring youth, so she was doomed to live a thousand years in a withered old age. Thus we always think of her as an old woman, as Michelangelo has represented her.