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Our best discoveries are the result of accident.

This single window, eight feet from the ground, allowed the rays of light to enter in a stream. On cloudy days and early in the mornings or in the evenings, Rembrandt noted that when the light fell on the face of the visitor the rest of the body was wholly lost in the shadow. He placed a curtain over the window with a varying aperture cut in it, and with his mother as model made numerous experiments in the effects of light and shade. He seems to have been the very first artist who could draw a part of the form, leaving all the rest in absolute blackness, and yet give the impression to the casual onlooker that he sees the figure complete. Plain people with no interest in the technique of art will look upon a “Rembrandt,” and go away and describe things in the picture that are not there. They will declare to you that they saw them–those obvious things which one fills in at once with his inward eye. For instance, there is a portrait of a soldier, by Rembrandt, in the Louvre, and above the soldier’s head you see a tall cockade. You assume at once that this cockade is in the soldier’s hat, but no hat is shown–not the semblance nor the outline of a hat. There is a slight line that might be the rim of a hat, or it might not. But not one person out of a thousand, looking upon the picture, but would go away and describe the hat, and be affronted if you should tell them there is no hat in the picture. Given a cockade, we assume a hat.

By the use of shadows Rembrandt threw the faces into relief; he showed the things he wished to show and emphasized one thing by leaving all else out. The success of art depends upon what you omit from your canvas. This masterly effect of illusion made the son of the miller stand out in the Leyden art-world like one of his own etchings.

Curiously enough, the effect of a new model made Rembrandt lose his cunning; with strangers he was self-conscious and ill at ease. His mother was his most patient model; his father and sisters took their turn; and then there was another model who stood Rembrandt in good stead. And that was himself. We have all seen children stand before a mirror and make faces. Rembrandt very early contracted this habit, and it evidently clung to him through life. He has painted his own portrait with expressions of hate, fear, pride, mirth, indifference, hope and wrath shown on his plastic features.

There is also an old man with full white beard and white hair that Rembrandt has pictured again and again.

This old man poses for “Lot,” “Abraham,” “Moses,” “A Beggar,” “A King,” and once he even figures as “The Almighty.” Who he was we do not know, and surely he did not realize the honor done him, or he would have written a proud word of explanation to be carved on his tomb.

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In the Stuttgart Museum is a picture entitled, “Saint Paul in Prison,” signed by Rembrandt, with the date Sixteen Hundred Twenty-seven. “The Money-Changers” in the Berlin Gallery bears the same signature and date. Rembrandt was then twenty years of age, and we see that he was doing good work. We also know that there was a certain market for his wares.

When twenty-two years of age his marvelous effects of light and shade attracted people who were anxious to learn how to do it. According to report he had sixteen pupils in Sixteen Hundred Twenty-eight, each of whom paid him the fixed sum of one hundred florins. This was not much, but it gave him an income equal to that of his father, and tended to confirm his faith in his own powers.