Rembrandt Part 5

VI

THE GOOD SAMARITAN

The story of the Good Samaritan was related by Jesus to a certain lawyer as a parable, that is, a story to teach a moral lesson. The object was to show what was true neighborly conduct; and this was the story:--[6]

"A certain man went down from Jerusalem to Jericho, and fell among thieves, which stripped him of his raiment, and wounded him, and departed, leaving him half dead. And by chance there came down a certain priest that way; and when he saw him, he pa.s.sed by on the other side. And likewise a Levite, when he was at the place, came and looked on him, and pa.s.sed by on the other side.

"But a certain Samaritan, as he journeyed, came where he was: and when he saw him, he had compa.s.sion on him, and went to him, and bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn, and took care of him. And on the morrow when he departed, he took out two pence, and gave them to the host, and said unto him, 'Take care of him; and whatsoever thou spendest more, when I come again I will repay thee.'"

[Footnote 6: St. Luke, chapter x. verses 30-37.]

The point of the story is very plain, and when Jesus asked the lawyer which one of the three pa.s.sers-by was a neighbor to the wounded man, he was forced to reply, "He that shewed mercy." Then said Jesus simply, "Go, and do thou likewise."

Though the scene of the story is laid in Palestine, it is the sort of incident which one can imagine taking place in any country or period of time. So it seems perfectly proper that Rembrandt, in representing the subject, should show us an old Dutch scene. The etching ill.u.s.trates that moment when the Good Samaritan arrives at the inn, followed by the wounded traveler mounted on his horse.

The building is a quaint piece of architecture with arched doors and windows. That it was built with an eye to possible attacks from thieves and outlaws, we may see from the small windows and thick walls of masonry, which make it look like a miniature fortress. This is a lonely spot, and inns are few and far between. The plaster is cracking and crumbling from the surface, and the whole appearance of the place does not betoken great thrift on the part of the owners. On the present occasion, during the working hours of the day, doors and windows are open after the hospitable manner of an inn.

The host stands in the doorway, greeting the strangers, and the Good Samaritan is explaining the situation to him. In the mean time the inn servants have come forward: the hostler's boy holds the horse by the bridle, while a man lifts off the wounded traveler.

[Ill.u.s.tration: THE GOOD SAMARITAN _Museum of Fine Arts, Boston_]

About the dooryard are the usual signs of life. In the rear a woman draws water from a well, lowering the bucket from the end of a long well-sweep, heedless of the stir about the door. Fowl scratch about in search of food, and there is a dog at one side. Some one within looks with idle curiosity from the window into the yard. It is little touches like these which give the scene such vividness and reality.

There is also a remarkable expressiveness in the figures which tells the story at a glance. You can see just what the Good Samaritan is saying, as he gestures with his left hand, and you can guess the inn-keeper's reply. Already he has put the proffered money into the wallet he carries at his belt, and listens attentively to the orders given him. He may privately wonder at his guest's singular kindness to a stranger, but with him business is business, and his place is to carry out his guest's wishes.

You see how the hostler's boy magnifies his office, swaggering with legs wide apart. Even the feather in his cap bristles with importance.

This bit of comedy contrasts with the almost tragic expression of the wounded man. The stolid fellow who lifts him seems to hurt him very much, and he clasps his hands in an agony of pain. He seems to be telling the gentleman at the window of his recent misfortune.

To study the picture more critically, it will be interesting to notice how the important figures are ma.s.sed together in the centre, and how the composition is built into a pyramid. Draw a line from the inn-keeper's head down the stairway at the left, and follow the outline of the Good Samaritan's right shoulder along the body of the wounded traveler, and you have the figure. This pyramidal form is emphasized again by the wainscot of the stairway at the left, and the well-sweep at the right.

To appreciate fully the character of the etching, one must examine attentively all the different kinds of lines which produce the varying effects of light and shadow. Below the picture Rembrandt wrote his name and the date 1633, with two Latin words meaning that he designed and etched the plate himself. This would seem to show that he was well pleased with his work, and it is interesting to learn that the great German poet, Goethe, admired the composition extravagantly.

VII

THE PRESENTATION IN THE TEMPLE

The story which the picture of the Presentation ill.u.s.trates is a story of the infancy of Jesus Christ. According to the custom of the Jews at that time, every male child was "presented," or dedicated, to the Lord when about a month old. Jesus was born in Bethlehem of Judaea, a small town about four miles from the city of Jerusalem, the Jewish capital, where the temple was. When he was about a month old, his mother Mary and her husband Joseph, who were devout Jews, brought him to the great city for the ceremony of the presentation in the temple. Now the temple was a great place of wors.h.i.+p where many religious ceremonies were taking place all the time.

Ordinarily, a party coming up from the country for some religious observance would not attract any special attention among the wors.h.i.+ppers. But on the day when the infant Jesus was presented in the temple, a very strange thing occurred. The evangelist St. Luke[7]

relates the circ.u.mstances.

[Footnote 7: St. Luke, chapter ii. verses 25-35.]

"And behold, there was a man in Jerusalem whose name was Simeon; and the same man was just and devout, waiting for the consolation of Israel: and the Holy Ghost was upon him. And it was revealed unto him by the Holy Ghost that he should not see death, before he had seen the Lord's Christ. And he came by the Spirit into the temple: and when the parents brought in the child Jesus, to do for him after the custom of the law, then took he him up in his arms, and blessed G.o.d, and said, Lord, now lettest thou thy servant depart in peace, according to thy word: for mine eyes have seen thy salvation which thou hast prepared before the face of all people, a light to lighten the Gentiles and the glory of thy people Israel.

"And Joseph and his mother marveled at those things which were spoken of him. And Simeon blessed them, and said unto Mary his mother, Behold this child is set for the fall and rising again of many in Israel; and for a sign which shall be spoken against; that the thought of many hearts may be revealed."

[Ill.u.s.tration: THE PRESENTATION IN THE TEMPLE _The Hague Gallery_]

In the picture we find ourselves, as it were, among the wors.h.i.+ppers in the temple, looking at the group on the pavement in front of us--Mary and Joseph and Simeon, kneeling before a priest, with two or three onlookers. It is a Gothic cathedral, in whose dim recesses many people move hither and thither. At the right is a long flight of steps leading to a throne, which is overshadowed by a huge canopy. At the top of the steps we see the high priest seated with hands outstretched, receiving the people who throng up the stairway. It was towards this stairway that Mary and Joseph were making their way, when the aged Simeon first saw them, and recognized in the child they carried the one he had long expected. Taking the babe from his mother's arms, he kneels on the marble-tiled pavement and raises his face to heaven in thanksgiving. His embroidered cymar, or robe, falls about him in rich folds as he clasps his arms about the tiny swaddled figure.

Mary has dropped on her knees beside him, listening to his words with happy wonder. Joseph, just beyond, looks on with an expression of inquiry. He carries two turtle doves as the thank offering required of the mother by the religious law. His unkempt appearance and bare feet contrast with the neat dress of Mary. The tall priest standing before them extends his hands towards the group in a gesture of benediction.

A broad ray of light gleams on his strange headdress, lights up his outstretched hand, and falls with dazzling brilliancy upon the soft round face of the babe, the smiling mother, and the venerable Simeon with flowing white hair and beard.

There are but few people to pay any heed to the strange incident. Two or three of those who climb the stairway turn about and stare curiously at the group below. There are three others still more interested. One man behind puts his turbaned head over Simeon's shoulders, peering inquisitively at the child, as if trying to see what the old man finds so remarkable in him. Beyond, two old beggars approach with a sort of good-natured interest. They are quaintly dressed, one of them wearing a very tall cap. Such humble folk as these alone seem to have time to notice others' affairs.

It must not be supposed that this scene very closely represents the actual event it ill.u.s.trates. The painter Rembrandt knew nothing about the architecture of the old Jewish temple destroyed many centuries before. A Gothic cathedral was the finest house of wors.h.i.+p known to him, so he thought out the scene as it would look in such surroundings. The people coming and going were such as he saw about him daily; the beggars looking at the Christ-child were the beggars of Amsterdam, and the men seated in the wooden settle at the right were like the respectable Dutch burghers of his acquaintance. It was like translating the story from Aramaic to Dutch, but in the process nothing is lost of its original touching beauty.

In studying the picture, you must notice how carefully all the figures are painted, even the very small ones in the darkest parts of the composition. The beautiful contrast, between the light on the central group and the soft dimness of the remoter parts of the cathedral, ill.u.s.trates a style of work for which Rembrandt was very famous, and which we shall often see in his pictures.

VIII

CHRIST PREACHING

We read in the evangelists' record of the life of Jesus that he went about the country preaching the gospel (or the good news) of the kingdom of Heaven. Sometimes he preached in the synagogue on the Sabbath day; but more often he talked to the people in the open air, sometimes on the mountain-side, sometimes on the sh.o.r.e of the lake Gennesaret, or again in the streets of their towns.

The scribes and Pharisees were jealous of his popularity, and angry because he exposed their hypocrisy. The proud and rich found many of his sayings too hard to accept. So it was the poor and unhappy who were most eager to hear him, and they often formed a large part of his audience. Jesus himself rejoiced in this cla.s.s of followers, and when John the Baptist's messengers came to him to inquire into his mission, he sent back the message, "The poor have the gospel preached to them."

In this picture of Christ Preaching, we see that his hearers are of just the kind that the preacher's message is intended for,--the weary and heavy-laden whom he called to himself. There are a few dignitaries in the gathering, it is true, standing pompously by in the hope of finding something to criticise. But Jesus pays no attention to them as he looks down into the faces of the listeners who most need his words. His pulpit is a square coping-stone in a courtyard, and the people gather about him in a circle in the positions most convenient to them.

There is no formality here, no ceremony; each one may come and go as he pleases. Here is a mother sitting on the ground directly in front of the speaker, holding a babe in her arms, while a little fellow sprawls out on the ground beside her, drawing on the sand with his finger. Though we cannot see her face, we know that she is an absorbed listener, and Jesus seems to speak directly to her.

A pathetic-looking man beyond her is trying to take in the message in a wondering way, and a long-bearded man behind him is so aroused that he leans eagerly forward to catch every word. There are others, as is always the case, who listen very stolidly as if quite indifferent.

Again there are two who ponder the subject thoughtfully. One of these is in the rear,--a young man, perhaps one of Jesus' disciples; the other sits in front, crossing his legs, and supporting his chin with his hand. In the group at the right of Jesus we can easily pick out the scoffers and critics, listening intently, some of them more interested, perhaps, than they had expected to be.

[Ill.u.s.tration: CHRIST PREACHING _Museum of Fine Arts, Boston_]

As we look at Jesus himself, so gentle and tender, raising both hands as if to bless the company, we feel sure that he is speaking some message of comfort. One day when he was reading the Scriptures in the synagogue at Capernaum, he selected a pa.s.sage which described his own work, and which perfectly applies to this picture. We can imagine that he is saying: "The spirit of the Lord G.o.d is upon me; because the Lord hath anointed me to preach good tidings unto the meek; he hath sent me to bind up the brokenhearted, to proclaim liberty to the captives, and the opening of the prison to them that are bound; to proclaim the acceptable year of the Lord, and the day of vengeance of our G.o.d; to comfort all that mourn; to appoint unto them that mourn in Zion, to give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness."

It is a noticeable fact that the figures in this picture of Christ preaching are Dutch types. If you think that this is a strange way to ill.u.s.trate scenes which took place in Palestine many centuries ago, you must remember that the picture was drawn by a Dutchman who knew nothing of Palestine, and indeed little of any country outside his own Holland. He wished to make the life of Christ seem real and vivid to his own countrymen; and the only way he could do this was to represent the scenes in the surroundings most familiar to himself and to them.

The artist was simply trying to imagine what Jesus would do if he had come to Amsterdam in the seventeenth century, instead of to Jerusalem in the first century; somewhat as certain modern writers have tried to think what would take place "If Jesus came to Chicago," or "If Jesus came to Boston," in the nineteenth century. The sweet gentleness in the face of Christ and the eager attention of the people show how well Rembrandt understood the real meaning of the New Testament.

This picture is worthy of very special study because it is reckoned by critics one of the best of Rembrandt's etchings. One enthusiastic writer[8] says that "the full maturity of his genius is expressed in every feature." One must know a great deal about the technical processes of etching to appreciate fully all these excellencies; but even an inexperienced eye can see how few and simple are the lines which produce such striking effects of light and shadow: a scratch or two here, a few parallel lines drawn diagonally there; some coa.r.s.e cross-hatching in one place, closer hatching in another; now and then a spot of the black ink itself,--and the whole scene is made alive, with Jesus standing in the midst, the light gleaming full upon his figure.

[Footnote 8: Michel.]