1675) we feel that he can tell us no more about old age that still retains something that is petty and eager; but in the portrait of his mother at Vienna, Rembrandt, soaring, gives us quite another view of old age.

It is the ancient face of a mother painted by a son who loved her, who had studied that face a thousand times, every line, and light, and aspect of the features, and who stated all his love and knowledge upon a canvas.
Rembrandt was always inspired when he painted his own family.

There is a quality about his portraits of father, mother, Saskia, Titus, and Hendrickje, yes! and of himself, that speaks to us as if we were intimates.
It is a personal appeal.

We find it in every presentment that Rembrandt gives us of another figure which constantly inspired his brush--the figure of Christ.

In _The Woman taken in Adultery_, it is His figure that is articulate: it is the figure of Christ in the Emmaus picture that amazes: it is the figure of Christ that haunts us in a dozen of the etchings.
Slowly the child, now become a man, began, as he thought, to understand Rembrandt.