Glasgow, is an achievement of a very different kind, and belongs to the year 1655. The Louvre authorities have been well advised in recent years in hanging all the pictures by Rembrandt in this collection in one Bay of the Long Gallery. Here now we may study the _Portrait of a Young Man_ (No. 2545), the wonderful and rather later _Portrait of the Artist at his Easel at the age of Fifty-four_ (No. 2555), and the striking _St. Matthew_ (No. 2538) of 1661. Before these three works were painted, the great Dutch master had been declared bankrupt, the sale of his most treasured possessions realising a ridiculously small sum in the winter of 1657. Although Rembrandt’s own standard of morality offended his neighbours, and his relations with Hendrickje Stoffels seem to have caused much scandal in Amsterdam, we are not concerned with the morals of one of the greatest and most esteemed of the world’s painters, but only with his _œuvre_, a high place in which must be accorded to the _Portrait of Hendrickje Stoffels and her Child as Venus and Cupid_ (No. 2543), which was painted in 1662, the year that the large _Syndics_, now in the Amsterdam Gallery, was completed. He is also to be credited with the alternative version of the _Pilgrims at Emmaus_ (No. 2555A), a painting of the same date, which for many years was at Compiègne, where, however, it passed only as a school picture. This profoundly creative painter, who learnt as time went on to handle his chiaroscuro with increased effect, was also an etcher of the highest order. We may here note that the art of Jan Lievens (1607-1674), a fellow-pupil with Rembrandt under Pieter Lastman, is seen in the large but far from imposing _Visitation_ (No. 2444). [Illustration: PLATE XXX.—REMBRANDT (1606-1669) DUTCH SCHOOL No. 2547.—PORTRAIT OF HENDRICKJE STOFFELS (Portrait de Hendrickje Stoffels) She is seated, and looks at the spectator. Over her rich brown hair she wears a grey cap with narrow red ribbons; pearl pendants are in her ears, and she wears a brooch on her breast. Life-size half-length figure. Painted in oil on canvas. 2 ft. 4½ in. × 1 ft. 11¾ in. (0·72 × 0·60.)] THE PUPILS OF REMBRANDT That Govaert Flinck (1615-1660) was a pupil of Rembrandt, is evident from his _Announcement to the Shepherds_ (No. 2372) rather than from his _Portrait of a Young Lady_ (No. 2373), a signed work of 1641. Ferdinand Bol (1617-1680) was a pupil and imitator of the great Dutch master, and his _Portrait of a Mathematician_ (No. 2330) is one of his best paintings; but his _Philosopher in Meditation_ (No. 2328) compares most unfavourably with Rembrandt’s two early pictures of the same subject which hang opposite it.