"It was said that the contrast of light and shadow corresponded in him to diverse movements of thought. Schiller, before beginning a work, heard within himself a harmony of indistinct sounds, which were like a prelude to inspiration; in like manner, Rembrandt, when in the act of conceiving a picture, had a vision of rays and shadows, which spoke to his soul before he animated them with his personages. There is in his pictures a life, and what may almost be called a dramatic action, quite apart from the human figures. Vivid rays of light break into the darkness like cries of joy; the darkness flies in terror, leaving here and there fragments of shadow full of melancholy, tremulous reflections that seem like lamentations; profound obscurity full of dim threatenings; spurts of light, sparkles, ambiguous shadows, doubtful transparencies, questionings, sighs, words of a supernatural language, heard like music, and not understood, and remaining in the memory like the vague relics of a dream. "And in this atmosphere he plants his figures, of which some are clothed in the dazzling light of a theatrical apotheosis, others veiled like phantoms, others revealed by one stroke of light upon the face; dressed in habits of luxury or misery, but all with something strange and fantastic; without distinctness of outline, but loaded with powerful colors, sculptural reliefs, and bold touches of the brush; and everywhere a warmth of expression, a fury of violent inspiration, the superb, capricious, and profound imprint of a free and fearless genius." This strange, great painter, Rembrandt, was born, not in a windmill, as Amicis says, but in Leyden, Holland, July 15, 1607. His father, Gerrit Harmen van Rhijn, a miller, was then forty years old, in easy circumstances, married to the daughter of the baker Willems van Snydtbrouck, then thirty-five, a vigorous, strong-charactered woman, whom the boy, in after years, loved to paint, over and over again. Of their six children, Adriaen, who became a miller, Gerrit, Machteld, Cornelis, Willem, who became a baker, and Rembrandt, the latter was destined for the law. He was early taught Latin, as a preparation for the Leyden Academy, but before he was twelve he showed such decided taste for painting and designing that his parents removed the lad from school, and placed him with a relative, who was an artist, Jacob van Swanenburg. He had returned from study in Italy in 1617, and Rembrandt entered his studio, probably in 1620, the year in which our forefathers left Holland. For three years the boy bent himself closely to the work he loved. He made such remarkable progress that, at the end of this time, he was sent to the well-known painter, Pieter Lastman of Amsterdam. He remained there but six months, and then returned to his home in Leyden.