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.