The influence exerted by Hals in these four directions--namely, in the treatment of still-life, in composition, in regard for values, and in the habit of skilful brushwork--was supplemented by that of Rembrandt, which dates from 1632, the year in which he moved to Amsterdam. The latter also affected the development of genre, but not in the line of direct suggestion. Rembrandt’s technique in its most characteristic aspects was and still remains too personal an expression of his own attitude of mind and of its changes of mood, varying according to the nature of each subject interpreted, to permit of imitation. Rembrandt contributed ideas. He enlarged the scope of genre by the suggestion, on the one hand, of a further range of subject, and, on the other, of a new motive in technique. It was especially the example of his religious pictures that affected the idea of subject, either directly leading other artists to a similar treatment of religious themes or indirectly encouraging them to include some kind of sentiment in the domestic scenes they depicted. Meanwhile, by the example of his own use of chiaroscuro, he encouraged a more subtle study of values, at once more intimate and varied and more expressive. An admirable epitome of the character of Rembrandt’s influence upon his contemporaries is in the old Pinakothek in Munich. In the first place there is a _Holy Family_, painted in 1631, the year before he moved from Leyden. It is about six feet high, the figures being life-size; but the conception and treatment of the subject are thoroughly in the way of genre. The picture presents a glimpse of the interior of a Dutch home: the tools hanging on the walls, the face, figure, and costume of the mother, the Child swathed in a shawl, and the familiar accompaniment of the cradle--all are distinctively Dutch in character. The mother, with a pretty gesture of tenderness, is fondling one of the Baby’s feet, looking down at it with a gentle smile, while the father bends forward over the cradle in an attitude of reverent solicitude. The whole scene breathes the quiet happiness of domestic life. In its character the picture is essentially a genre subject. At the time it was painted Dou was working in Rembrandt’s studio, and to its influence it is not unreasonable to trace at least some of the tendency that Dou exhibited in later years to introduce just such tender and reverential sentiment into his own work, as witness _The Young Mother_ at the Hague Gallery and _The Old Woman Saying Grace_ in the Pinakothek in Munich. In fact, _The Holy Family_ is already characteristic of the sentiment that became infused into genre by the example of Rembrandt.