The study of these viragos scales down our rating of the master. Still, I
suppose every artist has to go through this period--the period when he
thinks he is called upon to portray the feminine form divine--it is like
the mumps and the measles.

After a year of groping for he knew not what, with money gone, and not
much progress made, Rembrandt took a reef in his pride and settled down
to paint portraits, and to do a little good honest teaching.

Scholars came to him, and commissions for portraits began to arrive. He
renounced the freaks of costume, illumination and attitude, and painted
the customer in plain, simple Dutch dress. He let "Diana" go, and went
soberly to work to make his fortune.

Holland was prosperous. Her ships sailed every sea, and brought rich
treasures home. The prosperous can afford to be generous. Philanthropy
became the fad. Charity was in the air, and hospitals, orphanages and
homes for the aged were established. The rich merchants felt it an honor
to serve on the board of managers of these institutions.

In each of the guildhalls were parlors set apart for deliberative
gatherings; and it became the fashion to embellish these rooms with
portraits of the managers, trustees and donors.

Rembrandt's portraits were finding their way to the guilds. They
attracted much attention, and orders came--orders for more work than the
artist could do. He doubled his prices in the hope of discouraging
applicants.

Studio gossip and society chatter seemed to pall on young Rembrandt. It