anxa 2780 -816 p •frwNNV’ec \V- 03 ‘ 2>i Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/vandyckportraiteOOhind VAN DYCK T HE art of portrait undoubtedly reached its zenith in the seventeenth century. Even the splendour of the North Italians in the sixteenth century cannot rival a period which boasts of Velazquez, Rubens, Van Dyck and Rembrandt. And in respect of human characterisation, which must be the final criterion of good portraiture, the artists of the Netherlands went far beyond the more decorative ideals of the Italians. Rubens and Velazquez produced no engraved or etched portraits, unless we accept as by Velazquez a rare etching of the Duke of Olivarez in Berlin, which is far more probably by the hand of Ottavio Leoni (xxxvm), and placed for comparison next to Leoni’s portrait of himself in our plates. Van Dyck and Rembrandt are, without qualification, the two greatest painters who have also pro¬ duced original portraits in etching. There can be little question about Rembrandt’s greater genius and personality, but in spite of that admission I would claim for Van Dyck an even more remarkable position than Rembrandt as the etcher of portraits par excellence. Rembrandt’s portraits form only a small part of his complete etched work, which will be fully illustrated in another volume of this series. We limit ourselves here on that account to giving one of his most characteristic plates, that of Jan Sylvius (xxiv), merely as a basis for comparision with Van Dyck, whose etched work is reproduced in full in the present volume. The difference of their style will be at once evident. Rembrandt in this example and in the majority of his later portraits uses a close mesh of fine lines, by which he renders the subtlest varieties of chiaroscuro. Even the secondary parts of his subject are often finished in the same detail, and the tendency is in general entirely analogous to his portrait painting, a concentration on the face by means of dark shadow in the other parts. But except where this concentration is absolutely obtained, as in the portrait of the Young Haaring, Rembrandt tends to express human character in its complexity, rather than to emphasise some central feature. Van Dyck is, perhaps, the more immediately convincing portrait etcher, for the very directness of his method of presentation. One feels far less subtlety and less depth in his expression of character ; but he always gives the impression of having caught the outstanding feature of his subject. Moreover, considered as etching, his style is purer than Rembrandt’s. The open lineal method that he uses seems to me a far safer standard for etching than the more painter-like manner of Rembrandt. His concentration is obtained by the positive method 5 GREAT ENGRAVERS of putting most detail and shadow in the face (but even here never more than suggesting by open line and bold dotted work what a painter would elaborate by surface tone or chiaroscuro), and its intensity is greatly enhanced by the omission of all but the most essential factors in the figure and its setting. Rembrandt’s early portrait work was nearer to Van Dyck’s manner, but later in life it is only in an occasional example, such as the Clement de Jonghe , that he recurs to the same open style. Van Dyck’s original etchings formed part of his comprehensive project for a series of engraved portraits of the famous men of his time, which is generally called the Iconography. The collection does not appear to have been issued as a corpus until the edition of Gillis Hendricx in 1645, with the title leones Principum Virorum Doctorum Pictorum Chaleographorum Statuariorum nee non amatorum pictoriae artis numero centum ah Antonio van Dyck pictore ad vivum expressae e'tusque sumptibus aeri incisae. Antverpiae. Gillis Hendricx excudit. Anno 1645. The “hundred” plates included fifteen of the original etchings (i.e. all but Cornells sen, Driest , and JVaverius ), eighty plates engraved under Van Dyck’s supervision (the Iconography proper), and five newly engraved plates after Van Dyck. Considerable additions were made in later issues, as many as 124 plates appearing in Verdussen’s edition of the early eighteenth century. It may have been Van Dyck’s original intention to etch all the portraits, completing the faces and leaving the rest in broad outline to be elaborated in line-engraving by his assistants in the work, of whom Lucas Vorsterman, Paul Pontius, Boetius and Schelte a Bolswert, and Pieter de Jode, the younger, are the most distinguished. But except for the eighteen etchings Van Dyck merely supplied his engravers with studies in chalk, such as that of Pieter Brueghel (reproduced on plate 11), which he used for his own etching. Most of the grisailles of the same portraits (of which there is a considerable number in the Alte Pinakothek, Munich) seem to have been the studies made by the engravers after the master’s sketches to serve as the immediate originals for the prints. A comparison of the later state of the Frans Snyders, as engraved by Jacob Neefs, with Van Dyck’s preliminary etching, makes one regret that any of his etchings were subject to this elaboration, which detracts so much from the force and concentration of the portrait. Happily five of Van Dyck’s etchings ( Pieter Brueghel , the younger, Erasmus , J. de Momper , J. Snellinx , J. Sustermans ) entirely escaped the engraver’s hand, while six more (Jan Brueghel , Frans Franc ken, 6 VAN DYCK A. van Noort , P. Pontius, Lucas Vorsterman , J. B. de JVael') remained unelaborated except for an engraved background which was added for the edition of Gillis Hendricx. Seven alone were elaborated throughout with the graver. We reproduce the early etched state of one of these ( TVaverius , xix), touched by Van Dyck as a guide to the engraver in his elaboration. The remaining four heads [Pan Dyck , Snyders , P. de Vos , and IV. de Vos) were not finished till Hendricx’s edition, the portrait of Van Dyck being used for the title. The portrait of Philippe , Baron Le Roy , does not seem to have ever been issued as part of the Iconography. To complete the illustration of Van Dyck’s etched work we have not only included the plate after Titian (xxi), but the Reed offered to Christ (xx), which has this excuse for being included in a volume devoted to portrait. For the sake of collectors a short reference to the principal states in which nearly all the Van Dyck etchings occur will be of interest. In the first place there is the state before all lettering, with or without Van Dyck’s inscription in pen-and-ink. The prints in this state, like the majority of those reproduced, are extremely valuable, being worth from £60 upwards. Then there is the state with Van Dyck’s name etched on the plate, generally in company with the name of the printer, Martin van den Enden,* which is also of very considerable value (see xiv). Afterwards the plates as they appeared in the edition of Gillis Hendricx 1645, bearing the publisher’s initials G.H. (e.g. see xn), which generally fetch about ^3 o £ 10, and finally the later impressions after t e erasure of G. id. Some¬ times even after this erasure the etching is still printing clearly, but as impressions are fairly common they can generally be secured for about £1. Of course, impressions taken after the seventeenth century are of no account, and some issues have been made even during the nineteenth century by the Chalcographie du Louvre, where the majority of the original copper-plates of the Iconography are still preserved. Jan Muller, of Amsterdam, whose work is illustrated in the portrait of the Archduchess Isabella Clara Eugenia (xxvil and xxviii), is a somewhat earlier contemporary of the engravers who took part in Van Dyck’s Iconography. He shows the same virtuosity and bravour as his master Hendrik Goltzius, and his few large portraits after * It is doubtful whether Martin van den Enden ever published a corpus of the plates. He was more probably merely the printer Van Dyck used in his first issue of the separate plates. 7 GREAT ENGRAVERS Rubens are almost the most brilliant achievements of the whole range of portrait engraving. We give an unfinished state as an example of the regular methods of the line-engraver. The main outlines are scratched on the plate with the dry-point (i.e. a stout piece of steel with sharpened point used like a pencil on the plate), and the first illustration given is a proof from the plate in this state, pulled by the engraver as some guide to himself in the progress of his work. The second of the two illustrations shows the work as elaborated throughout with the graver. The method of pushing the graver or burin before the hand (cutting the furrows like a plough), and the lack of freedom in its use when compared with the etching needle, accounts for the stern conventional manner that characterises all line-engraving. In etching, on the other hand, the artist has almost the same freedom as if he were using the pencil or pen. The plate is covered with a thin ground (or coating of wax composition), and the etcher draws his lines through this ground with a needle, exposing the surface of the plate where it is to be bitten by the acid. The resistance to the needle in removing the ground is so slight that the etcher’s style may have all the spontaneity of an original drawing. Of the Dutch line-engravers, Jonas Suyderhoef is of interest from the freedom and variety of his style, and there is life and mobility in his handling that renders him one of the best interpreters of Frans Hals {see xxx). Suyderhoef and his contemporary, Pieter van Sompelen, are chiefly responsible for a series of large engravings, remarkable for the charming individuality of their figured borders ( e.g . xxix). Portraits by Jan Lievens and Carel de Moor are excellent examples of the free manner of etching inaugurated by Van Dyck, each treated in a thoroughly individual style. Carel de Moor takes us into the eighteenth century, and considerably before his time the real centre of gravity of engraved portrait had shifted from the Netherlands to France. The French portrait engravers, of whom Nanteuil is the greatest figure, chiefly followed the pure style of line-engraving used by Pontius, and Vorsterman, and the school of Rubens in general. Jean Morin, with his mixture of etching and engraving, by which he achieves great subtlety of expression, is an exception, and thoroughly individual in his manner. The more conventional style was intro¬ duced by engravers like Michel Lasne, who had worked in his earlier years in the school of Rubens. But both he and Claude Mellan departed from the closer handling of most of the Flemish engravers in favour of an open lineal style which seems to have originated in 8 VAN DYCK Cornelius Cort, and was practised chiefly by Agostino Carracci and Franscesco Villamena in Italy. Mellan probably learnt his style from Villamena in Rome about 1624, but his boldest and most characteristic work was probably done after his return to Paris where he lived till the age of ninety, surviving Nanteuil, a generation his junior, by ten years. In Robert Nanteuil we have the undisputed head of the French school of portrait engraving. His fame stands on the most solid founda¬ tion. We can well believe the testimony of his contemporaries to the excellence of his plates, which to a large extent are from his own drawings, in point of likeness. At his best his work possesses a noble directness of expression and a complete freedom from all the attractive mannerisms by which a spurious reputation is so easily gained. His early work, of which the Louis Hesselin is a most characteristic example (xlviii), is in the open manner of Claude Mellan. There is no cross-hatching, and the variety of effect is largely gained by the variation of thickness of lines in their own length. It is a peculiarly attrative manner, but the shading in curved parallels tends to be disconcerting to the nervous eye. He made an undoubted advance in the adoption of his later manner, in which the strength of Pontius and Vorsterman is combined with the subtelty of Suyderhoef and Soutman. In the delicate modelling of the face in particular he adopted a system of short strokes, carefully and closely laid, which came to form the most distinct element in the French school of portrait. It is remarkable how with all the detail of his method he never fails to give his portraits intense life and concentration. If we would criticise at all unfavourably the latest development of his work it is less in regard to portrait than to his composition as a whole. From about 1670 he tended to disregard the architectural plinth which supported the oval frame of most of his plates [e.g. Simon Arnauld de Pomponne , xliv), and sometimes spoils the balance of his print by the undue size of the head in relation to the space to be filled. As portrait engraver to Louis XIV, of whom he has left eleven prints, nearly all the personages of the court of the great monarch appear in his work, which amounts in all to some 234 numbers (of which 216 are portraits). It is of interest in the history of engraving in France to remember that it was at his solicitation that the King passed the edict of St. Jean-de-Luz, elevating engraving from the number of the “Industrial Arts” to the rank and privileges of one of the “ Liberal Arts.” Nanteuil’s portrait is illustrated here in an engraving by Gerard 9 GREAT ENGRAVERS Edelinck, who with Masson and Nanteuil makes up the great triumvirate of French portrait engravers. Edelinck was actually Antwerp born, but like so many other Flemish portrait engravers (e.g. Pieter Van Schuppen and Nicolas Pitau, the elder), found his chief encouragement and the field of his activity in France. Antoine Masson is by far the least prolific of the triumvirate, but in the quality of his work he is the more serious rival of Nanteuil’s fame. He started life as an armourer, and perhaps never completely escaped a certain metallic stiffness in the handling of detail {e.g. the hair). Plates like the Guillaume de Brisacier (lvi), and the Henri d' Harcourt, both after Mignard, are as brilliant as anything of Nanteuil, but the vigour of the portrait is somewhat lost in the equality of the finish. Absolutely free from a similar reproach, and only slightly removed from Nanteuil at his strongest, are the magnificent prints of Pierre Dupuis (lvii) and Olivier Le Fevre d'Ormesson. Strong work, which at its best almost reaches the level of the French triumvirate, was being done at the same time in England by William Faithorne. Like Nanteuil he started as a follower of Mellan, and his Sir Thomas Fairfax is one of the most vigorous plates in the open lineal manner. The Prince Rupert (lviii) still shows something of the Mellanesque style, but it rather suffers through its mannerisms. One would have appreciated the portrait better without the discon¬ certing brilliance of the scarves and curtain. Lady Castlemaine and Lady Paston (lix and lx) are far finer achievements, and more comparable with Nanteuil’s later style in the delicate elaboration of the engraving. They are all the more attractive from the comparative rarity of portraits of ladies in the seventeenth century. It is a curious fact that the French engravers of this period in particular produced so few female portraits. The beginning of the end of the best French portrait engraving is heralded by one of its most brilliant technical exponents, Pierre Drevet, and almost consummated by his even more brilliant son Pierre Imbert Drevet. Many of the father’s portraits, such as the Boileau-Despreaux (lxiii), preserve great strength and vigour in spite of the extreme care and finish expended on the rendering of the various tonic values of details of dress and setting. But with Pierre Imbert Drevet and his masterpiece, the J. B. Bossuet (lxv), one feels that the real concentration and vigour that should belong to the portrait are lost in the astounding virtuosity with which he renders the glister of silk, the softness of fur, and the delicate texture of the surplice and its lace, and all the various trappings of the elaborate setting. 10 VAN DYCK The development of an exaggerated fineness of technique led logically to a corresponding reduction in the size of the plates as a whole, and this, combined with the growing practice of illustration in small books, led to the eighteenth century school of miniature portrait engravers, of which Ficquet, Savart, and Grateloup were the most accomplished masters. With them the art of portrait engraving turned back, with the added adornment of eighteenth century taste- ulness in small things, to the ground which had been trodden by the Wierixes two centuries before. BOOKS OF REFERENCE Vertue, G. Description of the Works of Hollar. London 1759 Granger, J. Bibliographical History of England. London 1769-74 (5th ed. 1824; continuation by Mark Noble 1S06) Bromley, H. Catalogue of Engraved British Portraits. London 1793 Barjsch, Adam. Le Peintre-Graveur. Vienna 1803-21 Evans, Edward. Two Catalogues. London n.d. [about 1830, and 1853] Robert-Dumesnil, A. P. F. Le Peintre-Graveur Franpais. Paris 1835— 71 (the standard catalogue for most of the French portrait engravers) Parthey, G. Wenzel Hollar. Verzeichniss seiner Kupferstiche. Berlin 1853 (supplement by F. A. Borovsky, Prague 1898) Le Blanc, C. Manuel de 1 ’Amateur d’Estampes. Paris 1834-89 (contains lists of a very large number of engravers not in Bartsch, or Robert- Dumesnil) Montaiglon, A. de. Catalogue Raisonne de l’oeuvre de Claude Mellan. Abbeville 1856 Wussin, Johann. Jonas Suyderhoef. Verzeichniss seiner Kupferstiche. Leipzig 1861 Wessely, J. E. Abraham Blooteling. Verzeichniss seiner Kupferstiche und Schabkunstblatter. Leipzig 1867 Didot, A. Firmin. Les Graveurs de Portrait en France. Catalogue de la collection de A. F. D. Paris 1875-77 Duplessis, G. La Gravure de Portrait en France. Paris 1875 Wibiral, F. L’Iconographie d’Antoine Van Dyck. Leipzig 1877 Dutuit, Eugene. Manuel de l’Amateur d’Estampes. Paris 1881-88 (for Van Dyck, and other Netherlandish etchers) Someren, J. F. van. Catalogus van gegraveerde Portretten van Neder- landers. Amsterdam 1881-91 GREAT ENGRAVERS Fagan, Louis. Descriptive Catalogue of the engraved works of William Faithorne. London 1888 Hymans, Henri. Lucas Vorsterman. Catalogue Raisonne de son oeuvre. Brussels 1893 Paris, Bibliotheque Nationale. G. Duplessis, Catalogue de la Collection des Portraits, 1896, etc. (in progress) Moes, E. W. Iconographia Batava. Amsterdam 1897, 1905 Colvin, (Sir) Sidney. Early Engravers and Engraving in England (1545- 169:), with a List of Works of Engravers 1545-1650 by A. M. Hind. London 1905 London, British Museum, Dept, of Prints and Drawings. F. M. O’Donoghue, Catalogue of Engraved British Portraits, 1908, etc. (in progress) Thomas, T. H. French Portrait Engraving of the XVIIth and XVIIIth Centuries. London 1910 Lemoisne, P. A. La gravure de portraits en France des origines a la fin du regne de Louis XIV. Paris (in preparation) Petitjean, C., and Wickert, C. Catalogue raisonne de Foeuvre de Robert Nanteuil. Paris (in preparation) I LIST OF PLATES The following are the chief abbreviations used : B. = Bartsch, Le B. = Le Blanc, R.-D. = Robert-Dumesnil, W. = Wibiral (see Books of Reference) Sir Anthony Van Dyck. Original etchings Portrait of himself. W. 4, i. Frontis¬ piece Jan Brueghel, the elder. 1. W. 1,1 Pieter Brueghel, the younger. 11. Original chalk drawing for the etching. In the collection of the Duke of Devonshire , Chatsworth Pieter Brueghel, the younger, ill. W. 2,1 Antonis Cornelissen. iv. W. 3,1 Desiderius Erasmus, after Holbein, v. W. 5,1 Frans Francken, the younger, vi. W. 6, 11 Jodocus de Momper. vn. W. 7,1 Adam van Noort. vm. W. 8,11 Paul Pontius, ix. W. 9, 1 Jan Snellinx. x. W. 10, 1 Frans Snyders, xi. First state. W. 11,1 Frans Snyders, xii. Third state. Finished in engraving by Jacob Neefs. W. 11, in Justus Sustermans. xm. W. 12, 1 Antoine Triest, Bishop of Ghent, xiv. W. 1 3, 11 Lucas Vcrsterman. xv. W. 14,1 Willem de Vos. xvi. W. 15, 1 Paul de Vos. xvn. W. 16, 1 Jan de Wael. xvm. W. 17, 1 Jan Waverius (or Van den Wouwer). xix. Impression touched by hand. W. 18, 11 The Reed offered to Christ [Le Christ au Roseau), xx. W. p. 68, A. 1 Titian and his Daughter, after Titian, xxi. W. p. 69, B. 1 Philippe Le Roy. xxn. W. p. 69, C. 1 Rembrandt Jan Cornelis Sylvius, xxm. Original study in pen-and-ink for the etching. British Museum Jan Cornelis Sylvius, xxiv. Etching. B. 280 Schelte a Bolswert. Mary Ruth- ven, wife of Van Dyck, after Van Dyck. xxv. From the Iconography. W. 101,1. Line-engraving Paul Pontius. Peter Paul Rubens, after Rubens. xxvi. Line-en¬ graving Jan Muller. Isabella Clara Eugenia, Archduchess of Austria, after Rubens, xxvii. B. 63. Unfinished proof Ditto, xxviii. Finished state. Line- engraving Jonas Suyderhoef Augusta Maria, daughter of Charles I, after Honthorst. xxix. Wussin, 7, 1. Line-engraving Rene Descartes. xxx. Wussin, 23, 1. Line-engraving Cornelis Van Dalen, the younger. Charles II, after P. Nason, xxxi. Unfinished proof. Line-engraving Abraham Blooteling. Admiral Cornelis Tromp, after Lely. J 3 GREAT ENGRAVERS xxxii. Wessely, 45. Line-en¬ graving Jan Lievens James Gouter (Gaultier), Musician at the Court of Charles I. xxxm. Unfinished state. B. 59,1. Etching An Ecclesiastic seated in a Chair, xxxiv. B. 61. Woodcut Wenzel Hollar. A Young Man playing a Lute. xxxv. Vertue, Class vni. No. 305. Etching Carel de Moor. Jan van Goyen, after Terborch. xxxvi. Dutuit, Manuel de 1 ’Amateur, 11. p. 189. Etching O. Leoni Portrait of himself, xxxvn. B. 9. Engraving in the dot manner Portrait of the Duke of Olivarez, xxxvm. Pr. Jahrbuch, xxix, 165. Berlin. Attributed also to Velaxquez, Jean Morin. Cardinal Bentivoglio, after Van Dyck, xxxix. R.-D. 43. Mixea line-engraving and etching Claude Mellan. Line-engravings Henri Louis Habert de Montmor. xl. Montaiglon, 194 Henriette Marie de Buade-Fron- tenac, wife of H. L. Habert de Montmor. xli. M. 247 Anne of Austria, Queen of France. xlii. M. 245 Nicolas Regnesson. Marie de Bourbon Montpensier, wife of Gaston, Due d’Orleans. xliii. Line-engraving Robert Nanteuil. Line-engravings 14 Simon Arnauld de Pomponne. xliv. R.-D. 24 Pompone de Bellievre, after Charles Le Brun. xlv. R.-D. 37, 1 Marie de Bragelogne. xlvi. R.-D. 57, iv Christina, Queen of Sweden, after Sebastien Bourdon, xlvii. R.-D. 67, hi Louis Hesselin. xlviii. R.-D. iio,i Louis XIV. xlix. R.-D. (vol. xi) 153, I” Due de Richelieu, after Philippe de Champaigne. l. R.-D. 218, 1 Georges de Scudery. li. R.-D. 221, 1 Pieter Van Schuppen. Dr. Giuseppe Francesco Borri, after Juriaen Ovens, lii. Le B. 16. Line- engraving Gerard Edelinck. Line-engravings Philippe de Champaigne, after Champaigne. liii. R.-D. 164, 1 Charles Mouton, Musician to Louis XIV, after Francois de Troy. liv. R.-D. 281, 11 Robert Nanteuil. lv. R.-D. 282, 1 Antoine Masson. Line-engravings Guillaume de Brisacier, after Nicolas Mignard. lvi. R.-D. 15, 1 Pierre Dupuis, after Nicolas Mig¬ nard. lvi 1. R.-D. 25 William Faithorne. Line-en¬ gravings Prince Rupert, lviii. Fagan, p. 13 Barbara, Lady Castlemaine. Lix. Fagan, p. 27 Lady Paston. lx. Fagan, p. 13 PierreLombart. Elizabeth,Countess of Devonshire, after Van Dyck. lxi. Line-engraving David Loggan. Sir Thomas Isham. lxii. Line-engraving Pierre Drevet. Line-engravings Nicolas Boileau-Despreaux, after VAN DYCK Hyacinthe Rigaud. lxiii. Le B. 26 Francis de Troy, after De Troy. lxiv. Le B. 113 Pierre Imbert Drevet J. B. Bossuet, after Hyacinthe Rigaud. lxv. Le B. 19, 1. Line- engraving The title-page border is taken from Nanteuil’s portrait of Queen Christina of Sweden (xlvii) The tail-piece at end of “ Books of Reference” is an undescribed print attributed to Nanteuil in the Fitzwilliam Museum, Cambridge. The arms are those of Jacques de Coigneux (1686) The tail-piece that follows is from Christoffel Jegher’s large woodcut of the “ Garden of Love ” after Rubens (Rooses, 836) I. VAN DYCK. JAN BRUEGHEL, THE ELDER. W. i, i Painter and etcher 5 b. 1599; d. 1641; w. in Antwerp, Italy, London HAi^ EV-SEO V. D. I II. VAN DYCK. ORIGINAL CHALK DRAWING FOR THE ETCHING OF PIETER BRUEGHEL. THE YOUNGER In the collection of the Duke of Devonshire, Chatsworth III. VAN DYCK. PIETER BRUEGHEL, THE YOUNGER. W. 2, PETERVf BRVGEL P1CT0R. PETRVS BREVGtL v I UkwW fakMiLJ&d __ jk urn IV. VAN DYCK. ANTONIS CORNELISSEN. W. \ / ^ V. 1/ rc *11 it? c i-1 /.‘■i V. VAN DYCK. DESIDERIUS ERASMUS, AFTER HOLBEIN. W. 5, i VI. VAN DYCK. FRANS FRANCKEN, THE YOUNGER. W. 6, n VII. VAN DYCK. JODOCUS DE MOMPER. W. 7, 1 VIII. VAN DYCK. ADAM VAN NOORT. W. 8, IX. VAN DYCK. PAUL PONTIUS. W. 9, 1 V. D. 2 X. VAN DYCK. JAN SNELLINX W io, XI. VAN DYCK. FRANS SNYDERS. FIRST STATE. W. XII. VAN DYCK. FRANS SNYDERS Third state. Finished in engraving by Jacob Neefs. W. 11 , hi XIII. VAN DYCK. JUSTUS SUSTERMANS. W 12,1 XIV. VAN DYCK. ANTOINE TRIEST, BISHOP OF GHENT. W. 13, 11 mart XV. VAN DYCK. LUCAS VORSTERMAN. W. 14, XVI. VAN DYCK. WILLEM DE VOS. W. 15, 1 XVII. VAN DYCK. PAUL DE VOS. W. 16, i V. E. 3 XVIII. VAN DYCK. JAN DE WAEL. W. 17, XIX. VAN DYCK. JAN WAVERIUS, Impression touched by hand W. 18, XX. VAN DYCK. THE REED OFFERED TO CHRIST. W. p. 68, A. i XXI. VAN DYCK. TITIAN AND HIS DAUGHTER (AFTER TITIAN; W. p. 69, B. i XXII. VAN DYCK. PHILIPPE LE ROY. W. p. 69, C. 1 PHILLPPVS LE Rc?Y EQVES XnfaAULf i'A4 £)yrk XXIII. REMBRANDT. ORIGINAL STUDY IN PEN-AND-INK FOR THE ETCHING OF JAN CORNELIS SYLVIUS Painter and etcher ; b. Leyden. 1607 ; d. Amsterdam, 1669 XXIV. REMBRANDT. JAN CORNELIS SYLVIUS. B. 280 •umomn Ttrou (vihiu-t fu rja/upr ycrj u Cuilu Qoriui CFacmiJia. QfnJfuim,, iJlijiyuifu ytram^jiiiTbht uJ a/fra vuim 'Ja.fus cra 4 r Syfri fuuj . * luJi v i m oj iffu tn. •AtnJftfj iff* curiftu ory foyut Jffc Ofr.yjjjjt' •'ccw fa y t Jit: fiiednj $. fey err fftrdluJcit.jKiurj,, 11 ! jEt. 9 UL i>in.Jic£ J fa fa J^tlt. nJa. J^uij 'Pi.rtu4i. fuj, j4m . Simjil'm fa far dm.inj'Jit cum &nfamjfit fonefti. Q/7cJo (& 7 vfu.it ^on fa-ji face nd fon us . Sic Jhifait.'SJcJiLm rtfa nuuory doccn ffLcctisu ct n>»uu>t.Juf tuna Jijy m 1 ,uur • jfm/fafit.J^u manor exiindi ■ uni conjuht urlrm. x.6(