,,the ,,mentor #aiaf4ab4ja1 ,no4 #abj1 ,rembrandt ,,learn ,,one ,,thing ,,every ,,day ,,december #a #aiaf ,,serial ,,no4 #abj ,,the ,,mentor ,,rembrandt ,by ,,john ,c4 ,,van ,,dyke ,professor of the ,history of ,art ,rutgers ,college ,,department ,,of ,,volume #d ,,fine ,,arts ,,number #bj ,,fifteen ,,cents ,a ,,copy ,christmas ,giving ,the old question--,what shall we give8 ,too often answered by giving the easiest thing4 8,there1 that's off my mind for another year60 ,yes1 off your mind--but how does your heart feel when your friend sends you something that shows that he has cherished a little special thought of you8 99 99 99 99 99 ,christmas giving may be a blessing or a blight--according to the spirit of the giver4 ,it is a blessing when it carries with it a thought that honors the one that gives and benefits the one that receives4 99 99 99 99 99 8,benefit is the end of ,nature10 says ,emerson1 8and he is great who confers the most benefits4 ,beware of good staying in your hand4 ,pay it away quickly to someone40 99 99 99 99 99 ,thousands of you tell me in the daily mail how ,the ,mentor benefits you4 ,can you give a better gift to your friend than this same benefit8 ,if we benefit you1 we can also benefit him4 ,with whole heart we pledge full service to him as to you4 ,give1 then1 this ,christmas1 ,the ,mentor and all its service to your friend4 ,your message of friendship will be repeated to him twice a month throughout the year4 ,,the ,,editor4 ,illustration3 ,,in ,,the ,,hermitage1 ,,petrograd ,,sobieski--,,portrait ,,by ,,rembrandt ,,rembrandt ,early ,years ,,one ,sometimes it is difficult to learn the truth about a great man4 ,this is particularly so in the case of one who lived three centuries ago2 for in those days people were not as careful to keep records as they are today4 ,for years the great painter ,rembrandt was regarded as having been ignorant1 boorish1 and avaricious4 ,fables making him out to be such a character sprang up without any foundation4 ,it is only within the last fifty years that we have come to know the true ,rembrandt1 and to realize that he had profound sympathy1 a powerful imagination1 and originality of mind1 and that he was a poet as well as a painter1 an idealist and also a realist4 ,he has justly been called 8the ,shakespeare of ,holland40 ,rembrandt ,harmens van ,rijn--for that is his full name--was born at ,leyden1 a town near ,amsterdam1 in ,holland1 on ,july #ae1 #afje4 ,leyden is famous in history as the birthplace of many great artists and other men of renown4 ,rembrandt's home overlooked the river ,rhine4 ,he was the son of a well-to-do miller1 and his parents were ambitious that ,rembrandt enter the law1 for his older brothers had been sent into trade4 ,at that time ,holland was entering upon her great career of national enterprise4 ,science and literature flourished1 poetry and the stage were cultivated by her people1 and art was made welcome in every town1 large and small4 ,so ,rembrandt1 after he had been sent to the high school at ,leyden1 decided to become a painter4 ,for already within him he felt the first urgings of genius4 ,accordingly1 when ,rembrandt was only twelve or thirteen years old1 his father allowed him to become a pupil of ,jacob van ,swanenburch1 a painter of no great ability1 who1 however1 enjoyed some reputation because he had studied in ,italy4 ,three years later the boy was placed under ,pieter ,lastman1 of ,amsterdam1 who was a much better artist and teacher4 ,authorities differ as to how long ,rembrandt remained with ,lastman4 ,one says that he was his pupil until he was nineteen years old2 another believes that he studied with him for only six months4 ,at any rate1 sometime after #afbc ,rembrandt returned to the home of his parents at ,leyden4 ,during these first years of his artistic life1 ,rembrandt worked hard4 ,he painted pictures of almost everyone he saw--beggars1 cripples1 and in short every picturesque face and form of which he could get hold4 ,life1 character1 and special lighting effects were his principal concern4 ,frequently he used his mother for a model1 and from these portraits we can trace his strong resemblance to her4 ,the young artist also liked to paint his father and sisters2 and by the number of portraits he painted of himself1 we can see that from the very beginning he worked hard to master every form of expression1 learning to draw the human face as it appeared not only to the casual observer1 but also to one who read the character within4 ,it is said that during his lifetime ,rembrandt painted nearly sixty portraits of himself4 ,time went by1 and the young artist of ,leyden was attracting the attention of art lovers in the great metropolis of ,amsterdam4 ,some of them urged him to move there2 and feeling that he was now strong enough to stand alone1 ,rembrandt rented a large house in ,amsterdam and removed there in #afca4 ,he divided the upper part of his house into small studios1 and there he worked and taught4 ,his pupils were many and from wealthy families4 ,from this teaching ,rembrandt derived a large income4 ,fortune smiled upon him4 ,at one bound he leaped into the position of the leading portrait painter of ,amsterdam4 ,numerous commissions for portraits flowed in upon him1 and during the first few years of his residence there he painted at least forty4 ,when he was only twenty-six years old1 in #afcb1 he painted the 8,anatomy ,lesson10 a picture that made an enormous sensation1 and holds its place today as one of ,rembrandt's masterpieces4 ,the year #afcd was one of the happiest in ,rembrandt's life4 ,he was then at the beginning of a successful artistic career1 and it was at that time that he married ,saskia van ,ulenburg1 a beautiful ,frisian maiden4 ,saskia brought him love and wealth4 ,eight years of prosperity and sunshine followed their union4 ,rembrandt and his wife were a joyous pair4 ,they had four children1 a boy and two girls who died in infancy--and a son1 ,titus1 who grew to man's estate4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,detail ,,of ,,the ,,anatomy ,,lesson ,,by ,,rembrandt ,,in ,,the ,,hague ,,museum ,,rembrandt ,the ,master ,painter ,,two ,the year #afdj marks the beginning of what may be termed the second period of ,rembrandt's life and work4 ,it was during these years that success and happiness were his4 ,from then until #afed ,rembrandt worked in what has been called his 8second manner40 ,his art grew in power1 and the coldness of his 8first manner0 had disappeared4 ,he had passed through a period of exaggerated expression and had come to a truer1 calmer form of painting4 ,it is interesting to compare his own portrait painted in #afdj with the earlier portraits of himself4 ,this painting portrays a man strong and robust1 with powerful head1 determined chin1 and keen1 penetrating eyes4 ,this was the ,rembrandt of that period1 the man confidently independent and careless as to his popularity as an artist4 ,rembrandt had now many pupils4 ,he had bought a house in ,amsterdam1 and had placed in it a great collection of paintings and engravings4 ,at that time the artist was living a life of simple domesticity1 happy with his wife and children4 ,his friends were many1 and his interests were large4 ,rembrandt's mother died in #afdj1 and two years later the great sorrow of his life came upon him4 ,his wife ,saskia died4 ,this changed everything for him4 ,the events of his latter days are clouded in obscurity4 ,the terms of ,saskia's will are interesting1 in that they may throw some light upon a later action of the artist's1 which will be related further on4 ,she left her money to their son ,titus1 with ,rembrandt as sole trustee1 and with full use of the money until he should marry again or until the marriage of ,titus4 ,it was in #afdb also that ,rembrandt painted his most famous picture--the 8,night ,watch40 ,this is one of the landmarks of ,rembrandt's career4 ,however1 it is not a night watch at all1 but a call to arms by day1 and more properly should be named the 8,day ,watch40 ,the artist's life was changed after the death of his wife4 ,no longer does he appear to have been the buoyant1 carefree painter and art lover4 ,there is a pathetic sadness in many of his works done at this time4 ,this is well illustrated in his pictures of the ,holy ,family1 a subject which was a favorite with him during this period of his life4 ,one reason for ,rembrandt's unhappiness was his waning popularity4 ,the 8,night ,watch10 which was painted to order as a collection of portraits in one composition1 did not prove satisfactory to his customers4 ,some of them complained of being put in the background and obscured4 ,naturally1 the artist could not give places of prominence to every person in the picture4 ,not understanding this1 however1 these people took offence at his disposition of the characters1 and transferred their patronage elsewhere4 ,it was at this time that ,rembrandt did a great deal of landscape painting1 and genius that he was1 he made a success of it4 ,it is to this period that the famous painting1 8,the ,mill10 is ascribed4 ,but though he was still the great artist1 a cloud of adversity was slowly coming over ,rembrandt's life4 ,evil days were at hand4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,in ,,the ,,widener ,,collection1 ,,philadelphia ,,the ,,mill1 ,,by ,,rembrandt ,,rembrandt ,last ,years ,,three ,during the last part of the seventeenth century money was scarce in ,holland4 ,long continued wars and civil troubles had worn out the country4 ,financial depression overwhelmed ,amsterdam2 and in addition to this the taste in art changed1 and ,rembrandt and his pictures were neglected4 ,most of ,rembrandt's money was tied up in his house and in his large collection of valuable pictures2 and when his paintings ceased to be in demand1 he was forced to borrow money4 ,very little is known of the artist's life at this time4 ,he was living with his servant1 ,hendrickje ,stoffels1 and in #afed a child was born to them4 ,to her ,rembrandt gave the name of ,cornelia1 after his much loved mother4 ,it has been asserted that he married ,hendrickje1 but it is probable that he did not1 for in such a case the money left by ,saskia would have gone at once to her son ,titus1 according to the will4 ,in #afef ,rembrandt's financial affairs went crashing down to ruin4 ,by a process of law his house and land were transferred to ,titus4 ,but as his son was still a minor1 ,rembrandt was allowed to remain in charge of ,saskia's estate4 ,and then ruin stared him in the face4 ,in ,july1 #afef1 ,rembrandt was declared bankrupt1 and an inventory of his property was ordered4 ,two years later the larger part of his collection of etchings and drawings was sold4 ,the sum realized was only a small fraction of their value4 ,rembrandt1 driven from his house1 stripped of everything he possessed1 without friends or money1 took a modest lodging in ,amsterdam4 ,the city which once had acclaimed him as its greatest portrait painter now passed him by and left him alone to wait for death4 ,during all these dark years1 however1 ,rembrandt was painting some of his greatest pictures4 ,even amid the ruins of his affairs he could go calmly on working2 and for this he deserves the highest respect4 ,among the works of this time are the portrait of ,jan ,six1 the 8,adoration of the ,magi10 and 8,john the ,baptist ,preaching in the ,wilderness40 ,at the same time he continued to paint his own portrait2 but in these pictures of the artist in his old age we see a man broken by misfortune4 ,titus1 ,rembrandt's only son1 had married4 ,he died in #affh1 leaving one child4 ,a year later1 on ,october #h1 #affi1 ,rembrandt himself passed away4 ,in the 8,livre ,mortuaire0 of the ,wester ,kerk in ,amsterdam appears the following simple entry1 relating to his death3 8,tuesday1 #hth ,oct41 #affi1 ,rembrandt van ,rijn1 ,painter on the ,rovzegraft1 opposite the ,doolhof4 ,leaves two children40 ,rembrandt outlived his popularity1 although he was the greatest genius of his time and country1 and in fact one of the great geniuses of all time and all countries4 ,he was left to die alone and neglected by his fellow-countrymen1 who had they foreseen the fame that the future held in store for him1 might have sought his humble lodging to honor him on bended knee4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,in ,,the ,,ryks ,,museum1 ,,amsterdam ,,elizabeth ,,bas--,,portrait ,,by ,,rembrandt ,,rembrandt ,the ,real ,man ,,four ,one day ,rembrandt was employed in painting the portraits of a very rich family in ,amsterdam4 ,this was to be a group picture1 and as usual with him1 ,rembrandt was working hard to make it a success4 ,while he was painting1 someone opened the door of the room in which he was and brought in the dead body of a monkey4 ,the appearance of this funny little creature appealed to the artist at once4 ,he wanted to make a picture of it right away4 ,but the only thing on which he could make the drawing was the canvas on which he was painting the portraits of the rich family4 ,so ,rembrandt1 without hesitation1 painted the monkey in among their portraits4 ,they were very angry1 of course1 but in those days ,rembrandt was at the height of his career and he did not have to concern himself about how his customers felt4 ,this little incident1 whether it is strictly true or not1 illustrates one side of ,rembrandt's character4 ,when he was most successful he was carefree and independent4 ,it may have been this independence that brought him to his ruin--although in all probability it was the indifference of his fellow citizens to his work4 ,the age in which ,rembrandt lived cared little for personalities4 ,there were no newspapers to record his doings1 and no one of his contemporaries cared enough about it to write down much about his life and work4 ,for these reasons1 the world has never known much about ,rembrandt1 the man4 ,we know that he was light-hearted1 headstrong and extravagant4 ,we know that he was neglected and died poor and feeble4 ,but we know little more than this1 although of late more reliable information concerning the life of this great painter has been found4 ,a man's faults are usually remembered when his virtues are forgotten4 ,for years it pleased biographers to represent ,rembrandt as a ne'er-do-well artist1 who could not take advantage of his opportunities4 ,we know now1 however1 that his faults were very human ones1 and that his merits greatly overbalanced them4 ,as a boy the artist was not an industrious scholar4 ,he looked upon reading and writing as rather troublesome and hardly worth the labor involved in learning them4 ,later he worked hard at his chosen career1 and the great number of pictures that he painted is sufficient evidence that he was by no means lazy4 ,probably ,rembrandt's greatest fault was his extravagance4 ,many a man can endure adversity with courage2 success is sometimes more difficult to bear4 ,hard luck often brings out the best in a man2 success may destroy it4 ,rembrandt was no exception4 ,he spent his money freely1 and like the grasshopper of the fable1 sang happily through the summer1 with no thought of the cold to come4 ,he liked to attend sales of works of art1 and he gladly paid huge sums for any pictures that caught his fancy4 ,it is said that the dealers came very soon to know his rash and reckless methods and would push the prices far up1 confident that ,rembrandt would meet them4 ,at the same time1 the artist liked to buy expensive jewels for his wife4 ,he loved ,saskia devotedly1 and he wanted her to have everything of the finest4 ,this manner of open-handed living naturally played havoc with his finances4 ,when ,saskia died ,rembrandt was heartbroken4 ,his customers fell off and many troubles overwhelmed him4 ,his friends helped him as much as possible1 but money ran through his hands like water through a sieve1 and he could not seem to control his expenditures4 ,then later the death of his faithful ,hendrickje was the last blow to his happiness4 ,for a few years ,rembrandt lingered1 and then he too passed into the great silence4 ,it is true that many of ,rembrandt's troubles were self-inflicted3 but he suffered enough to pay for his faults4 ,at any rate it is better to remember him as a great genius and a man worthy of respect and honor4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,in ,,the ,,dresden ,,gallery ,,saskia ,,holding ,a ,,flower--,,portrait ,,by ,,rembrandt ,,rembrandt ,saskia van ,ulenburg ,,five ,rembrandt's life was one of curious contrasts4 ,during his early manhood he was ,amsterdam's leading portrait painter4 ,these were years of happiness and carefree enjoyment of all the good things of life4 ,but almost as suddenly as the painter stepped into the sunshine of success1 he fell back into the shadows of adversity4 ,one of the principal causes of his happiness was his wife1 ,saskia4 ,just as her entrance into his life coincided with the period of his greatest prosperity1 so her death marked the beginning of his darker years4 ,it would seem almost as though ,saskia were his guardian angel1 and that with her departure ,rembrandt's star began to descend4 ,saskia van ,ulenburg was the ninth child of a wealthy patrician family of ,friesland4 ,she was born at ,leeuwarden in #afab4 ,saskia became an orphan at an early age1 and then she made her home with one or the other of her married sisters in turn1 and finally with a cousin1 who lived in ,amsterdam4 ,it was at the house of this cousin that ,rembrandt met her4 ,charmed by her youthful grace1 he obtained permission to paint several portraits of her4 ,saskia at this time was a slender girl1 rather small of stature4 ,her features were very regular1 and her eyes were of a beautiful brown shade1 matching her soft reddish brown hair4 ,her brilliant complexion was the envy of her less favored companions4 ,the young painter soon showed that he took a special interest in ,saskia4 ,he bestowed great care on her portraits1 and was in her company as much as possible4 ,he himself was young1 attractive1 and good looking2 and we may be sure that ,saskia's family did not frown upon his suit4 ,they probably realized that ,rembrandt would make an excellent husband for their ward4 ,rembrandt's father had died some time before this1 and his mother gladly gave her consent to the marriage4 ,saskia and ,rembrandt were made man and wife on ,june #bb1 #afcd4 ,their life together was very happy4 ,rembrandt's tastes were domestic1 and he was never more pleased than when planning his wife's happiness4 ,he centered his whole thought and energy upon her4 ,saskia1 simple and loving1 was governed in all things by his wishes3 she was entirely devoted to him4 ,rembrandt liked to use ,saskia as his model4 ,some of the better known pictures for which she posed are her own portrait in the ,cassel ,gallery1 the 8,jewish ,bride10 painted in #afcd1 which is now in the ,hermitage in ,petrograd1 8,sophonisba ,receiving the ,cup of ,poison from ,massinissa10 in the ,prado at ,madrid1 which is also dated #afcd1 and the famous painting of ,saskia and himself1 now in the ,dresden ,gallery and done about #afce1 which represents ,rembrandt in military costume1 seated at a table1 with a long glass of sparkling wine in his hand and ,saskia perched on his knee4 ,at this period in his life everything seemed to smile on ,rembrandt4 ,he was extravagant and did not know the meaning of the word 8save40 ,saskia's health had not as yet given cause for anxiety4 ,but sad days were to come4 ,three children were lost in rapid succession4 ,in #afda the only child of theirs who survived was born4 ,he was named ,titus1 after ,saskia's sister ,titia4 ,but the young wife did not live long after her son was born4 ,her health broke down1 and an etching made by ,rembrandt about #afdj shows her with sharpened features1 feverish eyes1 and an expression of pensive melancholy4 ,the happy days were over4 ,their brief union1 begun in joy1 was soon to end in tears4 ,as if in prophecy1 ,rembrandt's anxieties were deepened by another sorrow--the death of his mother in #afdj4 ,saskia's illness made rapid progress4 ,day after day she faded1 and no longer did the artist have any delusions as to her recovery4 ,saskia made her will on ,june #e1 #afdb4 ,she herself1 however1 had not lost all hope1 for in this will she spoke of the children she might eventually have4 ,she made ,rembrandt trustee of her property for their son ,titus1 showing her perfect trust in her husband4 ,at the end of the document she signed her name for the last time in tremulous1 almost illegible characters1 as if exhausted by the effort4 ,it was only a few days later that ,saskia passed away1 on ,june #ai1 #afdb4 ,rembrandt followed her coffin to the ,oude ,kerk and then returned to his lonely house1 where everything reminded him of his brief happiness and where he was now alone with a child nine months old4 ,he never seemed to recover from the blow4 ,he went on working1 and during the years to come painted some of his greatest pictures2 but seemingly he had lost his grip on life1 and from that time on it was only a matter of a few years until he was overwhelmed by financial troubles and was driven to a humble lodging and his death4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,in ,,the ,,cassel ,,gallery ,,coppenol--,,portrait ,,by ,,rembrandt ,,rembrandt ,his ,etchings ,,six ,many people in considering ,rembrandt think of him only as a master painter2 they overlook the fact that he was also the leading etcher of his time4 ,this monograph will take up briefly this part of the great artist's work4 ,it is related of ,hokusai1 the ,japanese artist1 that he once said that he hoped to live to be very old1 and that he might have time to learn to draw in such a way that every stroke of his pencil would be the expression of some living thing4 ,that is exactly what ,rembrandt managed to do in almost every one of his etchings4 ,this is particularly true of the wonderful little etching of his mother4 ,one critic says that on looking at this etching he was compelled to close his eyes for a moment1 because of the tears that rose unbidden at sight of it4 ,it would be hard to find anything more worthy of praise than this engraving4 ,every line expresses motherly kindness1 sweetness1 and thoughtfulness4 ,nothing could have been omitted2 the etching is complete4 ,so skilful was ,rembrandt as an etcher that the nobleness of his ideas and the depth of his nature are apt to be overlooked4 ,his engravings are pervaded by his big1 artistic personality and by his own ennobling influence4 ,the artist's soul spoke not only through the choice of subject1 but found expression in every single detail4 ,he showed a singular inventive power1 originality of conception1 and a great depth of understanding4 ,among ,rembrandt's etchings were many wonderfully life-like portraits1 biblical subjects1 and landscapes4 ,an interesting thing about all this work is that most of it was done between the years #afci and #affa4 ,after this ,rembrandt seems to have renounced etching entirely4 ,in these twenty years he produced his greatest works1 on every one of which appears the impress of the genius of the man4 ,rembrandt seems to have had a particular interest in making etchings of beggars4 ,he delighted to draw them4 ,these types were easy to find in ,amsterdam at that time2 but they may be called super-beggars1 for as a critic says1 8,one is almost inclined to say that they cannot be beggars1 because the master's hand has endowed them with the warmth and splendor with which his artistic temperament clothed everything he looked at40 ,some of ,rembrandt's etchings have brought great prices4 ,in most cases1 however1 these prices varied because of the 8state0 of the plates4 ,the points of difference between these 8states0 arise from the additions and changes made by ,rembrandt on the plates4 ,a single impression of one of his etchings1 8,rembrandt with a ,sword10 was bought for about #aj1jjj in #ahic4 ,another1 8,ephraim ,bonus with ,black ,ring10 brought about #i1gej2 while a third1 the 8,hundred ,guilder ,print10 fetched about #h1gej4 ,some may find in ,rembrandt's etching much that at first appears rough and uncouth4 ,more apparent skill and ease in drawing may appear to have been shown by other etchers4 ,but ,rembrandt's work may justly be termed big1 for it was conceived on a grand scale by a genius and master4 ,,prepared ,,by ,,the ,,editorial ,,staff ,,of ,,the ,,mentor ,,association ,,illustration ,,for ,,the ,,mentor1 ,,vol4 #d1 ,no4 #bj1 ,,serial ,no4 #abj ,,copyright1 #aiaf1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,,the ,,mentor ,,department ,,of ,,fine ,,arts ,,december #a1 #aiaf ,,rembrandt ,by ,,john ,c4 ,,van ,,dyke ,professor of the ,history of ,art1 ,rutgers ,college ,,mentor ,,gravures ,,sobieski ,,detail ,,of ,,the ,,anatomy ,,lesson ,,the ,,mill ,,mentor ,,gravures ,,elizabeth ,,bas ,,portrait ,,of ,,saskia ,,holding ,a ,,flower ,,coppenol ,illustration3 ,portrait of the ,artist ,by ,himself ,in the ,collection of ,mr4 ,henry ,c4 ,frick1 ,new ,york ,city ,entered as second-class matter ,march #aj1 #aiac1 at the postoffice at ,new ,york1 ,n4 ,y41 under the act of ,march #c1 #ahgi4 ,copyright1 #aiaf1 by ,the ,mentor ,association1 ,inc4 ,the visitor to the ,netherland art galleries should leave his notions of ,greek and ,italian art with his umbrella1 at the entrance4 ,holland is no place to talk about canons of proportion or types of beauty or ideals of any kind4 ,the ,dutch are now1 as they have always been1 a people confronted by the realities of existence1 and see life1 literature1 and art as facts rather than as fancies4 ,there has never been much romance about them1 but1 on the contrary1 a realization of the existent1 a grasp of the truth and vitality of things1 a keen penetration into the human problem4 ,there never was any need for far-fetched fancies or ideals4 ,the life about them interested and impressed them1 and1 from the very beginning1 the ,dutch painters were painting the portrait of their own land and people4 ,the result was an art that has a distinct quality of its own--just as distinct a quality as the art of ,persia or ,japan4 ,you would not think of judging ,japanese art by that of ,italy4 ,why then think of ,dutch art in any other terms than its own8 ,rembrandt and ,raphael ,illustration3 ,,portrait ,,of ,a ,,man ,altman ,collection of ,metropolitan ,museum1 ,new ,york ,to carry out the thought in illustration1 it may be said that ,rembrandt1 the great ,dutchman1 was the very opposite of ,raphael1 the great ,italian4 ,he painted no allegories on ,vatican walls1 was not led away by ,renaissance revivals of ,greek form1 dreamed no dreams of uniting pagan types with ,christian ideals4 ,even technically he was widely different from ,raphael4 ,he painted the easel picture in oils1 had no love whatever for ,italian line and composition1 did all his drawing and modeling by catches of shadow1 and produced his most startling effects by the dramatic use of light and color4 ,in all this ,rembrandt was merely reflecting his time and his people in his own ingenious way4 ,he was emphatically true to the ,dutch point of view1 and today his art is full of truth1 force1 vitality1 character4 ,in fact1 that word 8character0 is the keynote to all his work4 ,it furthermore explains that sthetic paradox1 sometimes applied to ,rembrandt1 8the beauty of the ugly40 ,for many of his people are ugly1 if we regard them for the straightness of their foreheads and noses1 the oval of their chins1 or the proportions of their figures2 but they are beautiful in their simplicity of presence1 their unconscious sincerity1 their profound truth of character4 ,illustration3 ,,the ,,architect ,in the ,gallery at ,cassel1 ,germany ,rembrandt as a ,leader ,no country in ,europe produced a finer quality of art1 or a more learned school of craftsmen1 than ,holland4 ,there was a master genius there as elsewhere1 and that genius was ,rembrandt4 ,he came when ,holland had reached her highest pitch of power--came on the crest of the wave of which he and his fellow painters were the light and color4 ,he has been acclaimed as her great painter and he deserves that title1 for of all the ,dutch masters he was practically the only one who was universal in his scope4 ,his art alone1 in its appeal1 travels beyond the confines of the ,netherlands4 ,what he has to say is world-embracing1 and finds sympathetic response with all peoples4 ,he is profound in his humanity1 in his penetration into life problems1 in his sympathy with his fellow man4 ,the poor1 mean-looking ,amsterdam ,jews that he portrayed in so many of his pictures are pathetic in their humility1 their suffering1 their patience4 ,he was always taking for models the humble1 the despised1 the lowly4 ,his heart seemed to go out to them4 ,his ,biblical ,pictures ,and with such types what a new interpretation he gave the ,bible6 ,how he realized ,bible truth and brought it home to his own people by using the ,jew of the quarter and the boor of the polder for models6 ,look at the 8,supper at ,emmaus0--look for the intensity of the types rather than for any regularity of form4 ,what pathos in the pale1 blue-lipped ,christ1 with the phosphorescent glimmer of the tomb about the architecture at the back6 ,what amazement in the disciples at the table6 ,what fear in the boy bringing in the dish6 ,this was perhaps the first time in art that the 8,supper at ,emmaus0 was made real and believable4 ,the story was not only realized1 but humanized4 ,all of ,rembrandt's ,biblical pictures were of this nature4 ,look again at the 8,manoah's ,prayer10 or the 8,tobit and the ,angel10 or the 8,sacrifice of ,abraham40 ,they are ,dutch types again1 in ,dutch costumes and surroundings4 ,rembrandt knew very well that the ,biblical characters were not ,dutch in type1 and that the people in the time of ,christ did not dress like the boors and burghers of ,holland4 ,he purposely painted his own people in their native costumes1 that he might the better and the more forcefully bring realization home to them4 ,it was not1 is not1 affectation4 ,study the ,manoah and his wife1 the ,abraham1 the family of ,tobit on the doorstep1 and you cannot find in all art people of more unconscious sincerity4 ,rembrandt believed in them4 ,and that is why you and ,i believe in them today4 ,rembrandt as a ,portrait ,painter ,illustration3 ,,jan ,,hermansz ,,krul ,in the ,gallery at ,cassel1 ,germany ,illustration3 ,,portrait ,,of ,,john ,,six ,in the ,six ,gallery1 ,amsterdam ,illustration3 ,,woman ,,with ,,pink ,in the ,gallery at ,cassel1 ,germany ,rembrandt painted many ,biblical pictures1 which are at present widely scattered throughout the ,european galleries4 ,in all of them he gave a new interpretation1 a profound insight1 a real meaning1 to ,scriptural story4 ,in addition he painted many figure compositions of a historical or mythological cast4 ,but his great success1 after all said and done1 was with the portrait4 ,his technical methods were well suited to the portrait1 and he was unsurpassed in giving the truth of presence in his sitter4 ,the quiet dignity of his ,dutch burghers1 their repose and simplicity1 the complete absence of anything like pretense about them1 made up ,rembrandt's point of view2 but to this he added a cunning hand and a technical skill that were wonderful4 ,how superbly with his catches of light and shade he could draw an eye1 a forehead1 a nose1 a chin6 ,how instantly and inevitably he caught the salient feature and turned it by sharp emphasis into positive expression6 ,what significance he could get out of an outstretched hand1 a bent back1 a bowed head6 ,these were features wherewith he proclaimed the character of his sitter4 ,the 8,portrait of an ,old ,lady10 in the ,national ,gallery1 ,london1 has the flabby cheek1 the trembling lip1 the wrinkled brow of the aged2 but you can also see that hers has been a life of suffering1 and that the eyes have often been blinded with tears4 ,on the contrary1 the 8,portrait of a ,man0--the so-called ,sobieski1 at ,petrograd1 has the determination and force of the warrior4 ,it has grip and firmness and courage about it4 ,these are not only in the features1 but ,rembrandt has even put them in the brush work--the manner of handling4 ,again1 by way of contrast1 the heads in the 8,lesson in ,anatomy0 are put in calmly1 serenely1 inevitably just right4 ,what intelligence1 seriousness1 and living presence they have6 ,they are what might be called speaking likenesses1 in the sense that all they lack of life is speech4 ,and what can one say that will adequately describe the loveliness of mood1 the eternal womanly1 in the 8,portrait of ,saskia10 at ,cassel6 ,it is a wonder as a piece of color1 but still more wonderful as a characterization of the painter's wife4 ,once more1 for a further contrast1 look at the 8,portrait of ,coppenol40 ,he is supposed to be a writing master because he is sharpening a quill pen1 but whatever his profession or pursuit1 have you any difficulty in seeing here a dull-witted person of very limited intelligence8 ,the very fatness of the forehead1 so remarkable in its realistic rendering1 the narrow eyes1 with their vacant stare1 the pumpkin cheeks and head1 the soft1 lazy hands1 seem to point to some clerk or pedagogue1 who had not enough brains to know that he wanted more4 ,rembrandt was easily one of the great group of portrait painters with ,titian1 ,velasquez1 and ,holbein4 ,and by this ,i mean no faint praise4 ,it seems to be thought in some quarters that portraiture is somehow an inferior branch of painting4 ,it is said to require no invention or imagination4 ,but nothing could be more mistaken than such an idea4 ,when we speak of ,rembrandt1 ,titian1 ,velasquez1 and ,holbein we are speaking of the world's great masters1 and perhaps their most satisfactory masterpieces are their portraits4 ,a painter who can adequately portray his fellow man1 as ,rembrandt did1 has practically said the last word in art4 ,that ,rembrandt had this gift and accomplishment is evidenced by the high esteem in which his work is held by painters even to this day4 ,illustration3 ,,the ,,night ,,watch ,in the ,ryks ,museum1 ,amsterdam ,a fine gravure reproduction of this painting appears in ,the ,mentor1 ,number #ag1 8,dutch ,masterpieces40 ,his ,technical ,method ,there was no trick about ,rembrandt's painting4 ,he was no slave to a peculiar color1 canvas or brush4 ,he painted at times with a palette knife3 at other times with his thumb4 ,he kneaded the surface1 ploughed through it when it was wet1 did almost anything to get effects by catches of light and shade whereby he drew and modeled4 ,but none of these small peculiarities explains his technical success4 ,his methods were sound enough1 and for the most part were known before his day2 but he applied them better and increased their carrying power4 ,he has been called the master of light and shade1 and so1 indeed1 he was within a limited range4 ,it was the same light and shade known to ,leonardo1 ,giorgione1 and ,carravagio1 and probably ,rembrandt got it from pictures of the ,neapolitan ,school1 though he never was in ,italy4 ,but ,rembrandt improved upon the ,italian method of using shadow4 ,he made it transparent1 enveloping1 mysterious4 ,and its antithesis1 light1 he made penetrating and dramatic by putting it in sharp contrast4 ,out of the two he got wonderful effects4 ,in doing the portrait head1 for instance1 he threw his highest light on the collar1 the nose1 the chin1 the forehead4 ,this high light ran off quickly into half-light and then into shadow1 so that by the time the ear or side of the neck was reached1 dark1 even black1 notes were used4 ,the decrease was rapid2 in fact often violent1 but this only served to focus the attention more keenly upon the dominant features of the face4 ,the result was what has been called 8forced10 but it was very effective4 ,it was the same effect that one sees today at the opera1 when the chief actor is in the spot-light and the rest of the stage is in gloom4 ,illustration3 ,,syndics ,,of ,,the ,,cloth ,,hall ,in the ,ryks ,museum1 ,amsterdam ,a fine gravure reproduction of this painting appears in ,the ,mentor1 ,number #h1 8,pictures ,we ,love to ,live ,with40 ,the ,night ,watch ,but this violent focusing of light had its limitations even in ,rembrandt's hands4 ,the 8,night ,watch0 exemplifies them4 ,this was to be a portrait group of the sixteen members of the ,frans ,banning ,cock ,shooting ,company4 ,the members wanted their portraits painted in a group1 after the manner of the time1 and ,rembrandt conceived the idea of painting the portraits and making a stirring picture of the company coming out of its quarters1 at one and the same time4 ,it was an ambitious scheme1 and not wholly successful1 because here came in the limitations of his method4 ,he painted sixteen portraits with his spot-light illumination1 each one being completed under its own light4 ,the picture lacked that one light which should have bound together the whole company4 ,as a result there were sixteen separate portraits on the one canvas1 held together in measure by shadow1 color and atmosphere1 but spotty in the lighting4 ,the ,french writers of the eighteenth century could not understand the lighting1 and were led to think the picture represented a night scene4 ,they called it the 8,ronde de ,nuit10 and1 later1 ,sir ,joshua ,reynolds translated this into 8,night ,watch40 ,but nothing is more certain than that ,rembrandt intended it for a day scene in full sunlight4 ,it was simply his arbitrary way of handling light that made a night effect out of daylight4 ,illustration3 ,,the ,,anatomy ,,lesson ,in the ,hague ,museum ,that is about the only criticism that can be lodged against the 8,night ,watch40 ,light and color have both been sacrificed to shadow2 but when that is conceded the picture still remains a marvel of color1 shadow1 and atmosphere1 and a wonder of life and action4 ,the movement--the bustle of it--is superb4 ,the ,captain and his ,lieutenant in the foreground are in full light1 but back of them and around them1 emerging out of the gloom1 are nebulous heads1 flashing casques1 plumes1 halberds1 guns1 drums1 dogs1 street urchins--all the belongings of a militia company on parade4 ,they are not only wonderful in their action1 but in their mystery of appearance1 coming out of shadow depths into light4 ,of course1 the picture was not entirely satisfactory to the sixteen4 ,they had bargained for their portraits1 and little knew then how cheaply they were purchasing immortality4 ,those in the background complained that they were not sufficiently spot-lighted1 not treated with sufficient importance2 in fact1 subordinated to those in the front row4 ,but the picture1 as a picture1 is certainly successful1 is a great favorite with all art-lovers1 and in the ,ryks ,museum in ,amsterdam1 where it now hangs1 it is considered one of the world's great masterpieces4 ,truer lighting--that is truer to the facts of general illumination--is seen in the earlier 8,lesson in ,anatomy0 and the later 8,syndics of the ,cloth ,hall10 but neither picture has the fascination nor the imagination of the 8,night ,watch40 ,rembrandt's ,styles ,illustration3 ,,the ,,sacrifice ,,of ,,abraham ,in the ,old ,pinacothek1 ,munich ,illustration3 ,,the ,,angel ,,leaving ,,tobit ,in the ,gallery of the ,louvre1 ,paris ,illustration3 ,,blessing ,,of ,,jacob ,in the ,gallery at ,cassel1 ,germany ,rembrandt's work is usually divided into three different periods4 ,at first his method of handling was calm1 measured1 even at times smooth4 ,his light and color were gray1 as also his backgrounds4 ,this period has been called his 8gray period40 ,the 8,lesson in ,anatomy10 the 8,sacrifice of ,abraham10 the 8,coppenol10 the 8,elizabeth ,bas10 the 8,old ,lady0 of the ,national ,gallery1 ,london1 all illustrate this early manner4 ,it was gradually encroached upon and finally superseded by a fuller1 freer handling of the brush1 with much warmer color and light1 tending toward reddish gold4 ,this has been called his 8golden period10 and marks the midday of his career4 ,the beautiful 8,saskia10 at ,cassel1 and the so-called 8,sobieski10 at ,petrograd1 illustrate the beginning of this period--the changing from gray to warmer notes of red1 yellow1 and gold4 ,the 8,woman with the ,pink10 at ,cassel1 the 8,manoah's ,prayer10 at ,dresden1 the 8,night ,watch10 were done further along in this middle period4 ,it was the time when ,rembrandt was in his full strength1 saw comprehensively1 handled a full palette of color1 and was almost infallibly accurate with his hand4 ,in his third and last period ,rembrandt's work became rather hot and foxy in color1 dark in illumination1 kneaded and thumbed in the surface1 and sometimes uncertain in drawing4 ,he was expanding into a larger view and vision up to the last--seeing objects in their broader relations and proportions rather than in their surfaces4 ,toward the close he often slurred the surfaces1 neglected textual qualities1 and threw his whole force into the rendering of mass in relation to light1 air1 and color4 ,the pictures of this period are hard for the beginner in art to understand1 because he is misled by the roughness of the surfaces1 the messy state of the pigments1 the apparent fumbling1 kneading1 rubbing out and amending1 of the brush work4 ,but1 as we have said1 ,rembrandt was purposely slurring surface truths for the greater truths of bulk1 weight1 and general relationship4 ,the best example of this late work among our illustrations is the 8,syndics of the ,cloth ,hall10 in the ,ryks ,museum1 ,amsterdam4 ,in it ,rembrandt went back to his early method of lighting1 but continued with his late manner of handling and coloring4 ,it is superbly broad in vision1 absolute in its truth to life1 and convincing in its incident4 ,the cloth merchants are seated about a table1 perhaps figuring up their year's balance1 when someone opens the door to enter and they all look up to see the incomer4 ,nothing could be simpler1 more direct1 or truer4 ,rembrandt never painted anything better4 ,for here he completely fulfilled expectations4 ,many of his later canvases he could not complete4 ,the 8,blessing of ,jacob10 at ,cassel1 for instance1 he probably gave up in despair1 or was working upon at the time of his death4 ,he had reached a pitch in his career when he saw and strove for things that his hand or brush could not realize or pin down to canvas4 ,that is the great stone wall that even genius encounters and cannot surmount4 ,the ,master's ,life ,illustration3 ,,portrait ,,of ,,an ,,old ,,lady ,in the ,national ,gallery1 ,london ,the story of ,rembrandt's career is recited elsewhere in this number of ,the ,mentor1 but it may be said here that it was not different from that of many other painters4 ,he came up to ,amsterdam from the outlying country1 and achieved celebrity at an early age4 ,praise and pay and pupils poured in upon him4 ,he married the beautiful ,saskia and was happy4 ,but as he expanded in vision and methods he went beyond the understanding and the appreciation of his public4 ,his pupils1 such as ,bol and ,flinck1 who had a more commonplace point of view1 and a smoother1 prettier style of painting1 outdid him in public favor4 ,the public began to desert him1 the fair ,saskia died1 the great master fell upon evil days1 and finally passed out in penury and want--evidently neglected and possibly forgotten by the age and people he had done so much to glorify4 ,the record of his death in the ,burial ,book of the ,wester ,kirk1 ,amsterdam1 is pathetic in its meagerness4 8,tuesday1 #hth ,oct41 #affi4 ,rembrandt van ,rijn1 painter on the ,roozegraft1 opposite the ,doolhof4 ,leaves two children40 ,it almost looks as though he were identified only by the squalid quarters in which he died4 ,and this was ,rembrandt1 the greatest master north of the ,alps1 and a genius of almost ,shakespearian quality6 ,many ,pictures ,attributed to ,him ,illustration3 ,,saskia ,,van ,,ulenburgh ,in the ,gallery at ,cassel1 ,germany ,a fine gravure reproduction of this painting appears in ,the ,mentor1 ,number #bh4 ,it seems that not only was ,rembrandt and his art misunderstood in his own time1 but that he is still misunderstood at the present time4 ,this is in measure due to many pictures which are mistakenly attributed to him4 ,one need not be an expert to find it strange that of twenty pupils of ,rembrandt1 who painted more or less in his style1 there remain hardly twenty pictures apiece1 and of some of them not even one4 ,what paralyzed their hands or destroyed their works8 ,what became of their pictures8 ,you begin to get a glimmer of light when you understand that to ,rembrandt there are assigned a thousand or fifteen hundred examples2 that these are painted in fifteen or twenty different styles1 though all superficially resembling ,rembrandt's style4 ,almost everything that is ,rembrandtesque1 or even casually resembles ,rembrandt1 has been signed up and sold as his since the master came back to popular favor4 ,the name is one that now brings thousands of dollars in the auction room1 and what wonder that it is often misused6 ,these ,rembrandtesque pictures were done by other hands than his1 are pupils' works1 or school work or copies1 or1 in a few cases1 forgeries4 ,rembrandt's work has never been critically studied as that of ,leonardo or ,giorgione 7jore-joe-nee74 ,strange1 again1 is it not1 that ,leonardo and ,giorgione in the final analysis should have less than a dozen pictures apiece left to them1 while ,rembrandt should still be given his thousand8 ,northern art has not had a critical searchlight turned upon it1 as had ,italian art thirty years ago4 ,when it does1 the present catalogue of ,rembrandts will crumble4 ,in the meantime1 the art student would better accept ,rembrandt only in his best authenticated works1 such1 for instance1 as are reproduced in this number of ,the ,mentor4 ,half of the so-called ,rembrandts in the ,european galleries are now to be taken with a grain of salt4 ,they may be1 and often are1 exceedingly good pictures1 but they are not by ,rembrandt4 ,,supplementary ,,reading ,,great ,,masters ,,of ,,dutch ,,and ,,flemish ,,painting ,bode ,london1 #aiji4 ,,old ,,masters ,,of ,,belgium ,,and ,,holland ,fromentin ,boston1 #ahhb4 ,,the ,,dutch ,,school ,,of ,,painting ,havard ,london1 #ahhe4 ,,rembrandt ,michel ,new ,york1 #ahid4 ,,rembrandt ,verhaeren 7,les ,grands ,artistes71 ,paris4 ,,rembrandt ,vosmoer ,paris1 #ahgg4 ,,rembrandt ,valentiner 7,klassiker die ,kunst71 ,stuttgart4 ,,rembrandt1 ,a ,,study ,,of ,,his ,,life ,,and ,,work ,brown ,new ,york1 #aijg4 ,information concerning the above books and articles may be had on application to the ,editor of ,the ,mentor4 ,,the ,,open ,,letter 8,why are pictures repeated10 asks one of our readers4 ,we rarely repeat a picture1 but we do print more than one picture of the same subject--and for a most excellent reason3 ,the ,mentor is not through with a subject in one number4 ,that would be a poor and meager educational service4 ,the plan of ,the ,mentor ,association is to present subjects to its members in various ways1 so that they may consider these subjects from different points of view4 ,this is done so as to give the reader a broad1 comprehensive grasp of things4 ,let me illustrate4 ,the ,taj ,mahal is one of the most beautiful buildings in existence4 ,when1 therefore1 we published ,the ,mentor on 8,beautiful ,buildings of the ,world10 we printed1 of course1 a picture of the ,taj ,mahal4 ,when we came to the subject of ,india in ,mr4 ,elmendorf's series of travel numbers1 we could not overlook the exquisite ,taj ,mahal--which is one of the sights of ,india4 ,we shall later on have a number of ,the ,mentor on ,oriental ,architecture4 ,the ,taj ,mahal being one of the finest examples of oriental architecture1 cannot of course be ignored in that number simply because we printed two pictures of the building in former ,mentors4 ,in each case the reader is asked to consider the ,taj ,mahal from a different point of view4 ,and1 moreover1 we do not repeat the same picture4 ,we print three different views of the ,taj ,mahal4 99 99 99 99 99 ,another instance4 ,we printed in ,the ,mentor devoted to 8,masters of the ,violin0 a very fine portrait of the ,spanish violinist1 ,sarasate4 ,this picture not only happens to be a most interesting portrait of the great violinist1 but it has a special art value in having come from the brush of ,whistler4 ,next year we shall devote a number of ,the ,mentor to the work of ,james ,mac,neil ,whistler4 ,when we do so it will be impossible for us to ignore this wonderful portrait of ,sarasate1 for it is a distinguished example of ,whistler's art4 ,the present number is another case in point4 ,we have considered ,rembrandt's art several times in ,the ,mentor4 ,he occupied a prominent place1 as you know1 in the number devoted to 8,dutch ,masterpieces40 ,he also appears in the number on 8,the ,wife in ,art40 ,and now we devote a number exclusively to him4 ,the basic idea of ,the ,mentor is a broad one4 ,we do not consider that a subject1 once treated1 must be boxed up and shelved4 ,oh1 no6 ,while we make our excursions into the different fields of knowledge1 we shall often turn our faces back to some great subject of interest that we have already observed and consider it anew from a different point of view4 99 99 99 99 99 ,when you write to ,the ,mentor always sign your name and address4 ,the old time-worn signatures of 8,reader0 or 8,friend0 make it hard for us to give ,mentor service4 ,the following came into the office a few days ago3 8,have greatly enjoyed your ,mentor this last year4 ,one suggestion ,i would make1 though1 is relative to the ,madonna ,ansidei4 ,that famous painting was purchased by ,morgan a number of years ago4 ,in #aiaj it was in the ,national ,gallery1 as a loan1 and at present is in the ,metropolitan ,museum1 ,new ,york1 one of its greatest treasures4 ,ought our public to be informed by ,the ,mentor that it is in ,london80 ,a ,,reader4 ,where our reader got the notion that the ,ansidei ,madonna is in the ,metropolitan ,museum of ,art1 in ,new ,york1 ,i am at a loss to understand4 ,if that famous work had ever been brought to ,america1 surely the whole world would have known of it4 ,works of art of such importance are not moved about without the public being advised of it4 ,the ,ansidei ,madonna is in the ,national ,museum1 ,london1 and the circumstances of its being placed there are exactly as stated in ,the ,mentor4 ,it was purchased for the ,national ,museum from the ,duke of ,marlborough's collection for about #cej1jjj4 ,the ,raphael ,madonna1 in the ,metropolitan ,museum of ,art1 that our reader refers to1 is known as the 8,madonna of ,st4 ,anthony of ,padua40 ,i hope that this will catch the eye of our friendly reader1 and especially ,i hope that he will not continue to entertain the thought1 or impart it to others1 that ,the ,mentor is giving the public incorrect information concerning the ,ansidei ,madonna4 ,illustration3 ,w4 ,d4 ,moffat ,,editor ,,the ,,mentor ,,association ,,established ,,for ,,the ,,development ,,of ,a ,,popular ,,interest ,,in ,,art1 ,,literature1 ,,science1 ,,history1 ,,nature1 ,,and ,,travel ,,contributors--,,prof4 ,,john ,c4 ,,van ,,dyke1 ,,hamilton ,w4 ,,mabie1 ,,prof4 ,,albert ,,bushnell ,,hart1 ,,rear ,,admiral ,,robert ,e4 ,,peary1 ,,william ,t4 ,,hornaday1 ,,dwight ,l4 ,,elmendorf1 ,,henry ,t4 ,,finck1 ,,william ,,winter1 ,,esther ,,singleton1 ,,prof4 ,g4 ,w4 ,,botsford1 ,,ida ,m4 ,,tarbell1 ,,gustav ,,kobb1 ,,dean ,c4 ,,worcester1 ,,john ,k4 ,,mumford1 ,w4 ,j4 ,,holland1 ,,lorado ,,taft1 ,,kenyon ,,cox1 ,e4 ,h4 ,,forbush1 ,h4 ,e4 ,,krehbiel1 ,,samuel ,,isham1 ,,burges ,,johnson1 ,,stephen ,,bonsal1 ,,james ,,huneker1 ,w4 ,j4 ,,henderson1 ,,and ,,others4 ,the purpose of ,the ,mentor ,association is to give its members1 in an interesting and attractive way1 the information in various fields of knowledge which everybody wants to have4 ,the information is imparted by interesting reading matter1 prepared under the direction of leading authorities1 and by beautiful pictures1 produced by the most highly perfected modern processes4 ,,the ,,mentor ,,is ,,published ,,twice ,a ,,month ,,by ,,the ,,mentor ,,association1 ,,inc41 ,,at #eb ,,east ,,nineteenth ,,street1 ,,new ,,york1 ,n4 ,y4 ,,subscription1 ,,three ,,dollars ,a ,,year4 ,,foreign ,,postage #ge ,,cents ,,extra4 ,,canadian ,,postage #ej ,,cents ,,extra4 ,,single ,,copies ,,fifteen ,,cents4 ,,president1 ,,thomas ,h4 ,,beck2 ,,vice-,,president1 ,,walter ,p4 ,,ten ,,eyck2 ,,secretary1 ,w4 ,d4 ,,moffat2 ,,treasurer1 ,,robert ,m4 ,,donaldson2 ,,asst4 ,,treasurer ,,and ,,asst4 ,,secretary1 ,j4 ,s4 ,,campbell 99 99 99 99 99 ,,complete ,,your ,,mentor ,,library ,subscriptions always begin with the current issue4 ,the following numbers of ,the ,mentor ,course1 already issued1 will be sent postpaid at the rate of fifteen cents each4 ,serial ,no4 #a4 ,beautiful ,children in ,art #b4 ,makers of ,american ,poetry #c4 ,washington1 the ,capital #d4 ,beautiful ,women in ,art #e4 ,romantic ,ireland #f4 ,masters of ,music #g4 ,natural ,wonders of ,america #h4 ,pictures ,we ,love to ,live ,with #i4 ,the ,conquest of the ,peaks #aj4 ,scotland3 ,the ,land of ,song and ,scenery #aa4 ,cherubs in ,art #ab4 ,statues ,with a ,story #ac4 ,the ,discoverers #ad4 ,london #ae4 ,the ,story of ,panama #af4 ,american ,birds of ,beauty #ag4 ,dutch ,masterpieces #ah4 ,paris1 the ,incomparable #ai4 ,flowers of ,decoration #bj4 ,makers of ,american ,humor #ba4 ,american ,sea ,painters #bb4 ,the ,explorers #bc4 ,sporting ,vacations #bd4 ,switzerland3 ,the ,land of ,scenic ,splendors #be4 ,american ,novelists #bf4 ,american ,landscape ,painters #bg4 ,venice1 the ,island ,city #bh4 ,the ,wife in ,art #bi4 ,great ,american ,inventors #cj4 ,furniture and ,its ,makers #ca4 ,spain and ,gibraltar #cb4 ,historic ,spots of ,america #cc4 ,beautiful ,buildings of the ,world #cd4 ,game ,birds of ,america #ce4 ,the ,contest for ,north ,america #cf4 ,famous ,american ,sculptors #cg4 ,the ,conquest of the ,poles #ch4 ,napoleon #ci4 ,the ,mediterranean #dj4 ,angels in ,art #da4 ,famous ,composers #db4 ,egypt1 the ,land of ,mystery #dc4 ,the ,revolution #dd4 ,famous ,english ,poets #de4 ,makers of ,american ,art #df4 ,the ,ruins of ,rome #dg4 ,makers of ,modern ,opera #dh4 ,drer and ,holbein #di4 ,vienna1 the ,queen ,city #ej4 ,ancient ,athens #ea4 ,the ,barbizon ,painters #eb4 ,abraham ,lincoln #ec4 ,george ,washington #ed4 ,mexico #ee4 ,famous ,american ,women ,painters #ef4 ,the ,conquest of the ,air #eg4 ,court ,painters of ,france #eh4 ,holland #ei4 ,our ,feathered ,friends #fj4 ,glacier ,national ,park #fa4 ,michelangelo #fb4 ,american ,colonial ,furniture #fc4 ,american ,wild ,flowers #fd4 ,gothic ,architecture #fe4 ,the ,story of the ,rhine #ff4 ,shakespeare #fg4 ,american ,mural ,painters #fh4 ,celebrated ,animal ,characters #fi4 ,japan #gj4 ,the ,story of the ,french ,revolution #ga4 ,rugs and ,rug ,making #gb4 ,alaska #gc4 ,charles ,dickens #gd4 ,grecian ,masterpieces #ge4 ,fathers of the ,constitution #gf4 ,masters of the ,piano #gg4 ,american ,historic ,homes #gh4 ,beauty ,spots of ,india #gi4 ,etchers and ,etching #hj4 ,oliver ,cromwell #ha4 ,china #hb4 ,favorite ,trees #hc4 ,yellowstone ,national ,park #hd4 ,famous ,women ,writers of ,england #he4 ,painters of ,western ,life #hf4 ,china and ,pottery of ,our ,forefathers #hg4 ,the ,story of ,the ,american ,railroad #hh4 ,butterflies #hi4 ,the ,philippines #ij4 ,the ,louvre #ia4 ,william ,m4 ,thackeray #ib4 ,grand ,canyon of ,arizona #ic4 ,architecture in ,american ,country ,homes #id4 ,the ,story of ,the ,danube #ie4 ,animals in ,art #if4 ,the ,holy ,land #ig4 ,john ,milton #ih4 ,joan of ,arc #ii4 ,furniture of the ,revolutionary ,period #ajj4 ,the ,ring of the ,nibelung #aja4 ,the ,golden ,age of ,greece #ajb4 ,chinese ,rugs #ajc4 ,the ,war of #ahab #ajd4 ,the ,national ,gallery1 ,london #aje4 ,masters of the ,violin #ajf4 ,american ,pioneer ,prose ,writers #ajg4 ,old ,silver #ajh4 ,shakespeare's ,country #aji4 ,historic ,gardens of ,new ,england #aaj4 ,the ,weather #aaa4 ,american ,poets of the ,soil #aab4 ,argentina #aac4 ,game ,animals of ,america #aad4 ,raphael #aae4 ,walter ,scott #aaf4 ,the ,yosemite ,valley #aag4 ,john ,paul ,jones #aah4 ,russian ,music #aai4 ,chile ,,numbers ,,to ,,follow ,december #ae1 ,,southern ,,california3 ,,the ,,land ,,of ,,sunshine4 ,by ,charles ,f4 ,lummis1 ,author and ,editor4 ,january #a1 #aiag4 ,,keeping ,,time4 ,by ,c4 ,f4 ,talman1 of the ,united ,states ,weather ,bureau4 ,,the ,,mentor ,,association1 ,,inc4 #eb ,,east #aith ,,street1 ,,new ,,york1 ,n4 ,y4 ,,the ,,mentor ,you will have to hurry if you wish to take advantage of the ,special ,christmas ,offer we are now making4 ,there are only a few days left4 ,most of our members have sent in their gift names already4 ,a few have delayed4 ,if you are among these few1 please be sure to send yours in at once4 ,special ,christmas ,offer3 #a ,yearly subscription #c4jj #b ,one-year subscriptions #e4jj ,,or #a ,two-year subscription #e4jj ,send your subscriptions in at once4 ,statement will be sent you ,january #ast4 ,,the ,,mentor ,,association1 ,,inc4 #eb ,,east ,,nineteenth ,,street--,,new ,,york1 ,n4 ,y4 ,,make ,,the ,,spare ,,moment ,,count