in throat and heart. For the rest let the mangled remains be placed
in iron cages swung from the tower of St. Lambert's Church.

"On the 26th of January, 1536, Jan Bockelson and Knipperdollinch meet
their fate. A high scaffolding is erected in the market-place, and
before it a lofty throne for his grace the bishop, that he may glut
his vengeance to the full. Let the rest pass in silence. The most
reliable authorities tell us that the Anabaptists remained calm and
firm to the last. 'Art thou a king?' 'Art thou a bishop?' The iron
cages still hang on the church tower at Münster; placed as a warning,
they have become a show; perhaps some day they will be treasured as
weird mentors of the truth which the world has yet to learn from the
story of the Kingdom of God in Münster."

A living German artist of great power, named Joseph Sattler, too
much of whose time has recently been given to designing book-plates,
produced some few years ago an extraordinary illustrated history of the
Anabaptists in Münster. Many artists have essayed to portray madness,
but I know of no work more terrible than his.

We have travelled far from Leyden's peaceful studios. It is time to
look at the work of Gerard Dou. Rembrandt we have seen was the son of
a miller, Jan Steen of a brewer; the elder Dou was a glazier. His son
Gerard was born in Leyden in 1613. The father was so far interested
in the boy's gifts that he apprenticed him to an engraver when he
was nine. At the age of eleven he passed to the studio of a painter
on glass, and on St. Valentine's day, 1628, he became a pupil of
Rembrandt. From Rembrandt, however, he seems to have learned only
the charm of contrasts of light and shade. None of the great rugged
strength of the master is to be seen in his minute and patient work,