The longer this process continues, the more expressive the face becomes, so that it is the old whose faces tell the most interesting stories of life. Rembrandt understood this perfectly, and none ever succeeded better than he in revealing the poetry and beauty of old age.
His way of showing the character in the face of this old woman is very common with him. The high light of the picture is concentrated on the face and is continued down upon the snowy kerchief. This forms a diamond of light shading by gradations into darker tints. It was the skillful use of light and shadow in the picture, which made a poetic and artistic work of a subject which another painter might have made very commonplace.
XIV
THE SYNDICS OF THE CLOTH GUILD
The word syndic is a name applied to an officer of a corporation, and this is its meaning in the title of the picture, The Syndics of the Cloth Guild. In Holland, as in England and France and elsewhere in Europe, guilds were associations of tradesmen or artisans united for purposes of mutual help and for the interests of their respective industries. In some points they were the forerunners of modern trades unions, except that the members were proprietary merchants and master craftsmen instead of employees, and their purpose was the advancement of commercial interests in municipal affairs, instead of the protection of labor against capital. There were guilds of mercers, wine merchants, goldsmiths, painters and many others.
Now the wool industry was one of the most important in Holland, hence the Guild of Drapers or Cloth Workers was a dignified association in several cities. There was one in Leyden, where Rembrandt was born, and another in Amsterdam, where he passed the most of his life. Amsterdam was at that time the foremost commercial city of Europe. Its guilds had fine halls, ornamented with works of art painted by the best contemporary artists. It was for this purpose that Rembrandt received from the Amsterdam Cloth Guild the commission to paint a portrait group of their five officers, and he accordingly delivered to them in 1661 the great picture of which we have this little reproduction to examine.
Just as in the picture of the Civic Guard he had given life to the portraits, by showing the members in some action appropriate to their military character, so here he represents the officers of the guild in surroundings suggestive of their duties. They are gathered about a table covered with a rich scarlet cloth, on which rests the great ledger of the corporation. They are engaged in balancing their accounts and preparing a report for the year, and a servant awaits their order in the rear of the apartment. Their task seems a pleasant one, for whatever difficulties have arisen during their administration, it is evident that the outcome is successful. They take a quiet satisfaction in the year's record.
It is as if in the midst of their consultations, as they turn the leaves of the ledger, we suddenly open the door into the room. They are surprised but not disturbed by the intrusion, and look genially towards the newcomers. The younger man at the end welcomes us with a smile. Next to him is one who has been leaning over the book. He raises his head and meets our eyes frankly and cordially. His companion continues his discourse, gesturing with the right hand. The older men at one side give more attention to the arrival. One seated in the armchair smiles good naturedly; the other, rising and leaning on the table, peers forward with a look of keen inquiry.