It is surely no accident that the name of Rembrandt is familiar to thousands who know little or nothing of his art. It has, in fact, become so embedded in the mental consciousness of modern times, that, even as it must have been a household word in his own day, so almost it has grown to be in ours. And for this there seem to be two reasons. In the very use of the word “household” there is a hint of one: the homely, in the sense of plain and simple, and very heartfelt appeal that his conception of the subject-matter generally makes to the imagination. But there is another reason and a greater. It is the magnitude of his personality as an artist. This was but dimly recognized in his own day, in the succeeding century forgotten, and is only beginning to be fully understood in our own times. The influence with which he fertilized art was to prove so great, that it needed a long period of gestation before it came to birth, and a correspondingly long period of development before it reached maturity. Now it has grown to be recognized and felt, until, like all the great contributions to human ideas, it is, so to say, in the air. Unwittingly as well as by conviction the world is conscious of it. Briefly, the nature of the influence is that it has revolutionized our attitude toward beauty. It has not eliminated the old idea of beauty, but supplemented it with a newer one, no less potent and far more adapted to our modern needs. The absolutism of the classic ideal has been overthrown by it. Art, that once was solely aristocratic, has been expanded to include the democratic ideal. It was therefore necessary for the world to have mastered the latter, as a principle of life and conduct, before it could be capable of appreciating Rembrandt to the full. For Rembrandt’s art is the antithesis of Greek art. The Greek is founded upon a hypothesis, upon the assumption of a possible perfection; Rembrandt’s upon an acceptance of imperfection, upon the facts of life in relation to things as they exist. The one is based upon an artificially constructed absolutism, and is technically expressed through form--form, absolute and supreme. The other, in its recognition of the relativity of everything in life, is based upon tone, as affected by its environment of light. The difference is fundamental both in its technical and psychological aspect.