To recapitulate, then, in this series of the Old Pinakothek we have a striking example of Rembrandt’s motive in the treatment of Biblical subjects, developed during the period from 1633 to 1646 of his greatest popularity in Amsterdam. It involved, as we have seen, the translation of the heroic and grandiloquent style of religious subjects, as practised by the Italians, into the homelier poignancy and intimate personal suggestiveness of meaning that commended themselves to the simple directness and home-love of the Hollanders. It practically converted the religious picture into one of genre; and its example led to a similar treatment of these subjects by other painters, notably Carel Fabritius, Govert Flinck, Ferdinand Bol, and Gerbrandt van den Eeckhout, while to the painters of domestic genre pure and simple it also supplied the motive of sentiment and a new motive of technique. It is true that sentiment plays a comparatively small part in Holland genre. Dou has been mentioned as following the example of Rembrandt in this respect, and the other prominent instance is Nicolaes Maes, who entered the master’s studio in 1648, that is to say, two years after the completion of _The Adoration of the Shepherds_, the latest of the Munich series. How far Rembrandt had influenced the bias of Maes’s temperament toward sentiment is conjectural, but that he supplied the younger man with a technical principle for its expression is certain. Maes discovered the possibilities of emotional suggestion that existed in the device of heightening the luster of certain parts of the composition by the contrast of veiled and shadowed color elsewhere. With him it does not reach the dramatic force or depth of emotional appeal that the master’s use of it involves, but nevertheless becomes the expression of a sentiment that, as Bode remarks, is nearer to the sentiment of Rembrandt than that of any other artist of the school. On the other hand, by those genre artists of the period who were not given to sentiment, the principle of Rembrandt’s chiaroscuro was adopted for the sake of æsthetic considerations, founded upon the facts of sight. It may or may not be true that Rembrandt himself derived it from his observation of the light in the dim recesses of his father’s mill, but at any rate the artists of genre interiors soon saw its application to their subjects, and were led by it to study with more discrimination the infinite variety of light value. The result was twofold. Their color-schemes grow more subtle and refined, and the tonality becomes impregnated with the suggestion of atmosphere. Thus the example of Rembrandt’s chiaroscuro wedded to that of Hals’s facile craftsmanship developed the inimitable perfection of technique which characterizes the best works of Holland genre.