In representing, for example, "David Calming the Fury of Saul," with what simple good faith he makes use of the first type he comes across--a stout clodhopper whom he has picked up in the street or at the tavern! No more is wanted save a harp under his arm and a slashed doublet on his body; just as in picturing the most tragical scenes of the "Passion"--the "Ecce Homo," or the "Crucifixion"--he thinks it enough to surround his Christ with the Jew peddlers or the home-keeping citizens of his native town, without altering in any way their appearance or their dress. What could be more contrary to the traditions of Italian art and the principles which have governed it, from Giotto down to Raphael? What less unusual in the history of Dutch art? Later on Rembrandt himself was to work in the same way; but with what mighty powers of invention! What a startling expression of the inner meaning, the philosophy of a subject, is united in his fashion of treatment with the realistic ideals of the national genius! In truth, it is not merely the peculiar characteristic of an individual--the indifference to, or aversion from, conventional beauty of form which is apparent in this great master, so far-reaching in moral vision, so pre-eminently sagacious and profound among painters of the soul; it sums up and reveals the innate disposition and æsthetic temperament of a whole race. In his brief career Lucas van Leyden had the happiness to see his efforts rewarded and his credit universally established, and of this authority and influence he ever made the noblest use. Looked upon as a leader by the painters of his country; in friendly relations with the German engravers, who, like Albert Dürer, sent him their works, or came themselves to ask advice; possessing greater wealth than usually fell to the share of the artists of his time; he never employed his riches or his influence except in the interest of art, or of the men who practised it. He refused no solicitant of merit, however slight. The worthy master was careful to disguise his aid under pretext of some advantage to himself: he was always requiring drawings of some building or some artistic object, and thus he spared the self-respect of the person whom he wished to help, and whom he entrusted with the commission. More than once he went journeying through the Low Countries to visit engravers and painters far inferior to himself, whom he yet modestly called his rivals. He complimented them with words of praise and encouragement; gave entertainments in their honour; and did not leave them without exchanging his works for theirs, which were thus paid for a hundred times over.