more moved by the dramatic intensity and realism of those burdened crosses
against the profound gloom, and the dim, poignantly realised figures in the
foreground. He saw the _Christ before Pilate_ and _The Death of the
Virgin_, lingering before them, studying every detail, realising to the
full, through these splendid impressions, the height and significance of
Rembrandt's genius. He compared the four prints he had purchased with their
originals, and understood why collectors were eager to pay enormous prices
for fine states, probably printed by the master himself.

As soon as he had finished one portfolio, the watchful attendant carried it
away, and substituted another. It was so easy, so restful, and so
invigorating to study a master under these conditions, that he wondered the
public did not flock to the Print Room as to a first night at a popular
theatre.

On another day he studied the drawings and landscape etchings--that dark,
spacious design called _The Three Trees_, and a perfect little drawing of
_Joseph Consoling the Prisoners_. The large plates inspired him with
reverence and profound admiration for Rembrandt's genius as an etcher, but
it was the smaller etchings that won his love and held it. He promised
himself, when he came into certain family monies of which there was some
prospect, that instead of buying an automobile, he would make himself the
proud owner of _The Three Trees_, _The Prodigal Son_, _Abraham's
Sacrifice_, and _Tobit Blind_--perhaps one, perhaps two, perhaps three,
perhaps all four.




CHAPTER IV