may well have found in his own collection of old masters. The dark yet luminous landscape, which reveals nothing, yet speaks eloquently of some tragic mystery, is one of those dream-like evocations but remotely based on Nature, in which Rembrand more audacious even than Turner, stands by himself. The keynote of the whole is the lofty, idealistic treatment of the young cavalier's face and figure - the melancholy, the isolation so finely expressed in his dreamy gaze, that sees nothing of external things but looks within. From this the picture starts, and the landscape is Nature's expression of the young man's

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