confirm his faith in his own powers.

His energy was a surprise to all who had known him, for besides teaching
his classes he painted, sketched and etched. Most of his etchings were of
his own face--not intended as portraits, for they are often purposely
disguised. It seemed to be the intent of the artist to run the whole
gamut of the passions, portraying them on the human face. Six different
etchings done in the year Sixteen Hundred Twenty-eight are to be seen in
the British Museum.

His most intimate friend at this time was Jan Lievens. The bond that
united them was a mutual contempt for Lastman of Amsterdam. In fact, they
organized a club, the single qualification required of each candidate for
admittance being a hatred for Lastman. This club met weekly at a
beer-hall, and each member had to relate an incident derogatory to the
Lastman school. At the close of each story, all solemnly drank eternal
perdition to Lastman and his ilk. Finally, Lastman was invited to join;
and in reply he wrote a gracious letter of acceptance. This surely shows
that Lastman was pretty good quality, after all.

Rembrandt was making money. His pupils spread his praise, and so many new
ones came that he took the old quarters of Swanenburch.

In Sixteen Hundred Thirty-one, there came to him a young man who was to
build a deathless name for himself--Gerard Dou. Then to complete the
circle came Joris van Vliet, whose reputation as an engraver must ever
take a first rank. Van Vliet engraved many of Rembrandt's pictures, and
did it so faithfully and with such loving care that copies today command
fabulous prices among the collectors. Indeed, we owe to Van Vliet a debt
for preserving many of Rembrandt's pictures, the originals of which have
disappeared. With the help of Van Vliet the Elzevirs accomplished their
wishes, and so made use of the talent of Rembrandt.

Rembrandt lived among the poor, as a matter of artistic policy, mingling
with them on an absolute equality. He considered their attitudes simpler,
more natural, and their conduct less artificial, than the manners of
those in higher walks.

About Sixteen Hundred Twenty-nine, there came into his hands a set of
Callot's engravings, and the work produced on his mind a profound
impression. Callot's specialty was beggardom. He pictured decrepit
beggars, young beggars, handsome girl-beggars, and gallant old beggars
who wore their fluttering rags with easy grace.

The man who could give