had come from the metropolis to see it were lavish in their praise. Later
we find him painting the subject again with another doctor handling the
tweezers and scalpel.

Rembrandt started for Amsterdam the second time--this time as a teacher,
not as a scholar. He rented an old warehouse on the canal for a studio.
It was nearly as outlandish a place as his former quarters in the mill at
Leyden. But it gave him plenty of room, was secluded, and afforded good
opportunity for experiments in light and shade.

He seemed to have gotten over his nervousness in working with strange
models; for new faces now begin to appear. One of these is that of a
woman, and it would have been well for his art had he never met her. We
see her face quite often, and in the "Diana Bathing" we behold her
altogether.

Rembrandt shows small trace of the classic instinct, for classic art is
founded on poetic imagination. Rembrandt painted what he saw; the Greeks
portrayed that which they felt; and when Rembrandt paints a Dutch wench
and calls her "Diana," he unconsciously illustrates the difference
between the naked and the nude. Rembrandt painted this same woman,
wearing no clothes to speak of, lolling on a couch; and evidently
considering the subject a little risky, thought to give it dignity by a
Biblical title: "Potiphar's Wife." One good look at this picture, and the
precipitate flight of Joseph is fully understood. We feel like following
his example.

Rembrandt had simply haunted the dissecting-rooms of the University at
Leyden a little too long.