YALE UNIVERSITY LIBRARY

Wi^AJ^^Br:A Wlw^SSSi

If

FORMED BY
James Abraham Hillhouse, BA. 1749
James Hillhouse, BA. 1773
James Abraham Hillhouse, BA. 1808
James Hillhouse, BA. 1875
Removed 1942 from the
Manor House in Sachem's Wood
GIFT OF
GEORGE DUDLEY SEYMOUR

THE ETCHED WORK

OF

REMBRANDT VAN RHYN

LONDON I PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET

A

Descriptive Catalogue

OF THE

ETCHED WORK

OF

REMBRANDT VAN RHYN

CHARLES HENRY MIDDLETON, B.A.

LONDON
JOHN MURRAY, ALBEMARLE STREET
1878

All rights -reserved

By the same Author.
NOTES ON THE ETCHED WORK
OF REMBRANDT. Bibl. xxxi. Pub
lished by John Wilson, i 2 King William
Street, Charing Cross, from whom only
copies may be obtained.

fa*

TO
SIR WILLIAM R. DRAKE

CHAIRMAN

AND THE MEMBERS OF
THE BURLINGTON FINE ARTS CLUB
THIS VOLUME IS INSCRIBED

CONTENTS.

INTRODUCTION ......
LIFE OF REMBRANDT VAN RHYN
GENEALOGY OF THE FAMILY OF REMBRANDT .
GENEALOGY OF THE FAMILY OF ULENBURG
CHRONOLOGICAL TABLE OF THE WHOLE ETCHED
WORK OF REMBRANDT ....
FIRST CLASS. STUDIES AND PORTRAITS REJECTED
SECOND CLASS. SCRIPTURAL SUBJECTS, ETC.
THIRD CLASS. GENERAL AND FANCY SUBJECTS
FOURTH CLASS. LANDSCAPES ....
„ „ REJECTED .
APPENDICES .......
BIBLIOGRAPHY 
INDEX 

lviii lx I
IO19
162
250284308
319 325329

Errata. ... - ^ +- l
Page xxv, line 15, for ' the commencement of the sixteenth century ' read ' the latter part of
the fifteenth.'
Note. — An error has been made in transcribing my notes for the press, and not until too late
"Y1 did I discover the omission of a passage relating to the work of Schongauer and of the Master
of 1480. Page xxvii, line 9 from the end,^?" 'Menecken,' read * Meckenen.'
„ xxxiii, line 10 from the end, for ' as so thoroughly,' read ' are so thoroughly.'
,, 47, line 15, for ' point ' read 'print.'
,, 179, line 10 from the end, for ' Hard,' read ' Haid,'
„ aoi, line 22, for ' De Non/ read ' Denon.'

IY.

INTRODUCTION.
^T is mainly for the guidance of the student that
this descriptive catalogue of the etched works of
Rembrandt is designed. I have no desire to dis
parage the labours of those who have preceded
me, but having for some five-and-twenty years been an
earnest admirer of these works of the great Dutch master,
and having acquainted myself with the well-known catalogues
of Gersaint, Daulby, Bartsch, Wilson, and Charles Blanc, I
have long been of opinion that there is room for another
which, while it presents an accurate account of the various
States in which these etched works exist, shall form an index
to the larger public collections, and by a careful re-arrange
ment shall give a clearer view of Rembrandt's work as a whole
and convey an idea of the order in which the several prints
were executed. How far I have succeeded in my endeavour
to produce a volume which shall fulfil these requirements I
must leave my readers to decide. ' To qualify myself for the
task, I have visited and catalogued all the public collections
to which reference is made ; I have, through the kindness of
the owners, been able to examine and make my notes upon
many rich and extensive private collections both in England
and on the Continent, and, favoured by those to whom they
were entrusted, have seen and recorded the greater part of
those prints which during the last few years have been dis
persed. That my work may be the more complete, I have
sought out the numerous existing copies, whether earlier or
more recent ; and, to escape the error of discarding an authen-

x Introduction.
tic print or accepting a spurious one, have with equal care
studied the technic, and already partly compiled the catalogue
of those etchers who, living in Rembrandt's day, and to a
greater or less extent following his manner, are classed as of
his ' School.' If to this I add that much time has been
devoted to what may be termed the literature of Rembrandt,
it is that the student and the amateur may feel assured that
they are not asked to accept crude ideas or imperfect generali
sations, but that there is placed before them a volume which,
whatever its demerits, has not been hastily put together, but
is the result of long and patient investigation. For much
valuable assistance in my work I must here express my
acknowledgments. To George W. Reid, Esq., Keeper of
the Prints in the British Museum, my thanks are especially
due ; probably no one living, either here or abroad, possesses
a more extensive knowledge of prints ; and few I think can be
credited with the same unerring judgment in estimating their
relative condition and value. I have had frequent occasion to
consult him, and have found him, as indeed all the officials in
the Print Room, ever ready to afford me assistance. Among
others to whom I am under obligation are the Vicomte
Delaborde and Mons. George Duplessis of Paris, Professor
Colvin of Cambridge, Mr. De Vries of Amsterdam, Mr.
Scholten of Haarlem, and the late Mons. De Brou, librarian
to the Due D'Arenberg of Brussels. I have also to thank Dr.
Thausing and Herr Schestag of Vienna for their commu
nications respecting the Rembrandt etchings in their charge,
and other gentlemen whose collections have been opened to
me, or whose ready aid has always been so willingly afforded.
The chief object of a catalogue is to furnish a reliable
index to the works of which it treats ; it is accuracy not
elegance of diction that is desirable. The amateur whose
well-directed taste leads him to look for excellence alone may
think the time misused that is devoted to the task of recording
minute and, in his sense, utterly unimportant peculiarities or

¦Introduction. xi
variations. It is not the rarity of a particular impression or
the consciousness of its possession, but its perfectness and
beauty that give him pleasure ; and he very rightly prefers
the later and more frequent, if in its true and intrinsic value
it is preferable to the earlier and the costlier one. But how
has he acquired the discrimination which enables him to
decide which is the better and more desirable impression ? I
do not hesitate to say that true artistic perception is rarely
intuitive ; it is only as a rule attained by the long and careful
education of special faculties, and often lamentably fails in
cases where we should have expected to find it in perfection.
The student who would really command a knowledge of
his subject must be content to descend to particulars, must
train his eye to remark distinctions and differences which, if
sometimes minute, are sometimes important ; must learn what
to admire, and be able to fix the standard by which he
decides. To acquire this power unaided is no easy task, and
he who attempts to impart it should make it his first endea
vour to be exact.
In the following work I have endeavoured to be as concise
as possible, to use the fewest terms, and those always in the
same sense. Special attention has been given to the measure
ment of the prints, use being made of English inches and
tenths and French millemetres, and where, as is not unfre
quently the case, impressions from the same plate are found
slightly to vary in dimensions, the measures are from that
which shows fewest marks of irregularity and is in the most
satisfactory condition. The signature and date have also
been very carefully recorded ; sometimes concealed beneath
or confused with the shading, or lightly engraved, they are not
always easily decipherable, but, with the able assistance of
Mr. W. M. Scott of the Print Department in the British
Museum, I feel assured that they are in all cases given cor
rectly and may be relied upon. The ' states ' ' have been most
1 Much has been said and written respecting ' states. ' Our use of the word

xii Introduction.
carefully worked out, though only those variations are noticed
which are necessary for definition or are least likely to be
mistaken ; and after each impression or state is added the
initial letter of one or more of six large and important collec
tions in which it may be found. These are the collections in
the Print Room of the British Museum (BM.) ; in the Fitz
william Museum at Cambridge (C.) ; in the Taylor Institute
at Oxford (O.) ; the Bibliotheque Nationale at Paris (P.) ; the
Trippenhuis at Amsterdam (A.) ; and the Teyler Museum at
Haarlem (H.). I regret that the Bibliotheque Royale at
Brussels was closed at the time of my visit, and that I have
not yet had the opportunity of inspecting the collections in the
Hofbibliothek and the Albertina at Vienna.
Notice is next taken of the earlier copies of each several
print, whether in the same direction or in reverse. The
authorship of these cannot always easily be determined.
Where, therefore, a name is given which does not appear
upon the plate, it must be understood to rest in nearly every
case upon my responsibility alone ; and wherever there might
or its corresponding term ' itat ' is comparatively recent. It occurs once or twice in
Bartsch, but there implies not what we now mean by a ' state,' but the condition
to which a varnished plate has been brought by some process which is de
scribed ; when difference of technic, etc. in a worked plate is recorded the
word made use of is ' ipreuve.' Wilson's term is 'impression.' M. Charles
Blanc, in 1858, applied the word as it appears in this volume, and though its
suitableness has occasionally been questioned, the advantages of continuing it
exceed, I think, the objections that have been raised. He explains that by his
word ' remarques ' he designates the peculiarities occurring in certain impressions
of a plate, and not in others, which serve to distinguish priority, and so establish
a State. As any other definition founded on the nature of such variation, or the
lapse of time between the moments of their execution, must to a greater or less
extent be arbitrary, I have thought well to retain this simple and comprehensive
term ' State,' to imply the order established by certain distinctive marks in which
an impression, or set of impressions, were drawn off the plate. That a higher
commercial value attaches to an earlier State is an inevitable result, which, how
ever, need not concern us ; that, as a rule, the earlier State is in Rembrandt's
etchings by far the finer impression is a well-established fact, which I cannot too
strongly impress upon the student. And if my theory is correct — and I claim for
it that it is founded on a wide basis of observation, — just in proportion as we
descend the scale and arrive at later States is, in perhaps nine out of ten cases, the
obliteration of Rembrandt's own work.
For remarks on 'States,' the student may consult Link and Naumann and
Nagler, all referred to in Dr. Willshire's delightful volumes on the Study and Col
lection of Ancient Prints, Bibl. xii.

Introduction. xiii
be even the remotest possibility of such copies deceiving or
misleading the student, the measurement, or some distinctive
variation, is recorded by which they may be known. Of the
later ones, reference is made to the copies and reproductions
which appear in M. Charles Blanc's two superb 4to vols., and
some few others are noted, but for obvious reasons it is not
desirable to direct attention to the variations which distin
guish them ; many are so ably executed that they are almost
absolute facsimiles so far as technic is concerned. I do not
know that the plates will be destroyed ; and if at some future
time the minute differences were corrected and impressions
taken on old paper, or paper prepared for the purpose, even
the most skilful connoisseurs might be deceived.1
Finally, when the subject has required it, notes critical and
otherwise are added.
The illustrations at the end of the volume are referred to
in the text ; executed as best they might be with pencil or
pen, to be again reproduced on lithographic tracing paper
and from that transferred to stone, they make no pretence
to artistic quality, but are simply meant to show some special
variation or peculiarity perhaps not so easily described in
words. But that which gives to this Catalogue its greatest claim
to originality is the chronological arrangement which I have
thought it expedient to adopt. The idea is not a new one ;
Vosmaer, in 1867, pointed out the way, and at the end of his
book has given a carefully arranged table, not of the etchings
alone, but also of the paintings and drawings attributed to
the master. I have not followed his table, but have worked
independently, and, as will be seen, have occasionally dis-
1 I would suggest to collectors not only the expediency of marking their
prints — it can be done without in the least degree marring the beauty of the im
pression — but of instituting some kind of register of the more rare and precious
ones, which, however, to be of value, must be excessively exact and conscientiously
executed.

xiv Introduction.
agreed with him as to the position assigned to certain prints.
Since I commenced it, the Exhibition of Rembrandt's Etch
ings in the Gallery of the Burlington Fine Arts Club has
been held, and an opportunity such as I could hardly have
hoped for was afforded of testing the accuracy and correcting
the errors of my Tables. In the early part of 1 877 a member
of the club requested me to furnish a list of the etchings of
Rembrandt, arranged in the assumed order of their execution,
for the use of the sub-committee ; soon after, being invited to
join that committee, as the selected prints were received and
framed, they were placed in my own order upon the walls.
The advantage of being thus able to see them side by side
cannot be overestimated ; opinions were elicited and altera
tions suggested ; the prints were again and again rehung ; and
though, finally, some were allowed to remain for exhibition
which I myself would not have accepted, and dates assigned
which I have not hesitated to correct, the general result was
most satisfactory ; and I am glad to express my obligations
to the experienced connoisseurs with whom I was associated
for valuable hints and criticisms which have afforded me no
small assistance in this part of my task.
The reasons which have led me to determine on some
form of chronological arrangement for the prints described in
this Catalogue will, I feel convinced, at once commend them
selves to the student and the amateur.
In examining a collection of Rembrandt etchings, there
are certain salient points which must at once attract atten
tion and arouse inquiry ; assuming it to be arranged as every
public and private collection has been arranged hitherto,
prints will be found in close juxtaposition which present so
many singular and unexpected variations in both manner
and technic, that the observer will naturally be inclined to
doubt how far they can properly be attributed to the same
hand. Let him open, for instance, a large volume or solander
containing what are known as the Scriptural subjects ; if the

Introduction. xv
series is complete, the prints will follow in this order : Adam
and Eve in Paradise ; Abraham entertaining the Angels;
Abraham sending away Hagar ; Abraham conversing with
Isaac, Abraham 's Sacrifice; Four Prints from a Spanish Book;
Joseph telling his Dreams ; and Jacob lamenting the Supposed
Death of Joseph ; eight prints, differing so materially in both
treatment and technic, that it is evident that, without some
further explanation, one or more must at once be rejected. A
like difficulty will recur again and again ; and it is not too
much to say that a complete acquaintance with the several
prints, if gained without any regard being paid to their dates,
will leave the student with a most indistinct idea of what the
nature of Rembrandt's etched work really is, and certainly
will have afforded him no data on which he can found his
observations on Rembrandt's other works with the pencil and
the brush. But let the collection be arranged in a chrono
logical order, and his studies will direct him to a definite end ;
he will find that, widely as the etchings differ from the draw
ings and the paintings of the master, he is gaining knowledge
through them which will be of infinite value ; he will take this
knowledge with him when he enters the galleries or inspects
the portfolios in which Rembrandt's other creations are en
shrined, and he will discover that the variation in manner is
equally apparent and in a like direction ; he will see that the
earliest works in all kinds are more finely finished. There
is in the first period a certain delicate and careful handling,
or in the hasty sketches a less formed character ; later on
he will perceive that the technic becomes more decided,
broader and bolder, according to the subject, and towards the
end the point is used daringly, and the brush is broader and
more heavily charged with colour ; that the manner in draw
ing, etching, and painting has equally an earlier, middle, and
later style ; and he learns that a thorough acquaintance with
one is an important step towards a knowledge of the others.
The student will not rest here, but turning his attention to

xvi Introduction.
what is called ' the School of Rembrandt,' will gain a further
source of interest and pleasure ; his careful observations will
enable him to form reliable and sound opinions, and as he
progresses he will be able the better to appreciate the value
and decide on the authenticity of the great master's work.
The growing breadth of design and treatment in the Lesson
in Anatomy, the Night Watch, and the Syndics, is as marked
and real as it is in the superb etchings of the Angel appear
ing to the Shepherds, the H7indred Guilder, and the St. Fran
cis ; the variation in manner is equally marked ; we hardly
need to ask their dates, or inquire into their difference in time.
That I have not entirely followed the chronological
arrangement, but have broken up the series into four classes,
is due partly to a desire to consult the convenience of ama
teurs who require a catalogue whose arrangement shall be
easily mastered, and by which their prints shall be readily
indexed, and partly because I believe that a modification of
the system will prove more instructive to students than
would a rigid adherence to a chronological order.
An artist's manner necessarily varies to some extent with
the nature of his subject ; the resemblances in technic between
a landscape, a portrait, a more elaborate composition, and a
rude hasty sketch, executed at about the same time, are not
always so apparent as to be at once recognised ; and I have
ventured to think that a better knowledge will be gained of
Rembrandt's powers of design and composition, a clearer
conception will be formed of the gradual variation in his
manner and his treatment, if the different groups are in the
first instance studied apart, and we view in their proper order
the several examples each class affords, comparing landscape
with landscape and portrait with portrait, etc., and afterwards
proceed to examine each print as but one in a single series
comprising the whole of his etched work.
It was while I was engaged in arranging the etchings of
Rembrandt in the order of their execution that I became

Introduction. xvii
aware of a fact regarding the use of the monogram RH., which
had certainly never been suspected before ; yet it is so simple
when known that it has already met with general acceptance.
It is singular that, until the time of Vosmaer, all who have
written upon Rembrandt have agreed to misread this sig
nature, assuming it to be composed of the first and last
letters of Rembrandt's name, R — t, instead of seeing in it a
monogram composed of the first letters of his proper desig
nation during his father's lifetime, Rembrandt Harmanszoon,
RH. It has been read by Bartsch, and every catalogue
since his day, as R — t ; it has been so read by Weigel, Nagler
and a host of others, including every English, German, and
French writer, except the most recent ; and although Vosmaer
corrects the error, his correction has been generally over
looked ; while even he, as is shown in his chronological
table, has not perceived the fact, which I was the first to
recognise, that the use of this monogram is confined entirely to
Rembrandt's earliest etchings, and does not appear upon any
one of them later than 1632. The conclusion is an important
one, and may, I believe, be carried still further, and form a
factor in the evidence regarding the authenticity of Rem
brandt's other works. I do not say that the presence of the
RH with a later date is fatal to the painting or drawing on
which it may be placed, but it should lead us to question the
inferior parts of such work, and certainly doubt the correct
ness of the inscription.1
It is frequently asserted that a large number of the prints
which have been hitherto accepted as the work of Rem
brandt, and which are here catalogued, are not by his hand.
This raises an important question only to be satisfactorily
answered by a careful scrutiny of each doubtful print in its
various states, and by an equally careful investigation into
1 For further notes upon the monogram and on the use of the Van Rijn, see
Bibl. xxxi. ; the argument is too long to be inserted here.
a

xviii Introduction.
the arguments of those who believe they see in it the technic
of a pupil or an assistant. It has been said that Rembrandt,
in his earlier days especially, was so fully occupied, that he
could not possibly have executed all the etchings which bear
his name ; but this is to assume that a much longer time was
required for the completion of at least three-fourths of the
minor prints than we are disposed to allow. Those executed
prior to 1633 were mostly mere sketches, essays with the
point, studies of expression or feature, plates taken up pro
bably as much to gain freedom of hand and readiness of
manipulation as for any more serious purpose ; they are un
equal in merit and varied in technic, a few only presenting
signs of elaboration, but mostly evidences of rapid work com
bined with an almost careless indifference as to result. There
is a well-known anecdote regarding a much later print, known
as Six 's Bridge (No. 313), to the effect that it was commenced
and finished while a dilatory servant went to the village for
the mustard ; even if this tale is not accepted as true, it at
least proves that Rembrandt was known to be a very rapid
workman, and we ourselves cannot but feel that in many of
his smaller prints the execution almost kept pace with the
thoughts they embodied. Apparently, a more conclusive
argument is that drawn from the evidence of Sandrart and
Houbraken, to which, in the ' Life of Rembrandt,' I shall
again refer. Their testimony may be accepted so far as this,
that Rembrandt had pupils of whose assistance he at times
availed himself ; and while, as I shall afterwards show (page
1 3 and No. 224), he could have reaped little or no profit by
their engraving, there can be no doubt that he accepted
assistance in filling in the less important parts of his pictures
and of some few of his larger etchings. In regard to paint
ings, he only followed what was, and still is, a common
practice ; no one supposes, for instance, that Rubens filled
entirely with his own hand the large canvases ordered by
princes, church dignitaries, and others. Among the letters of

Introduction. xix
Albrecht Durer is one to Jacob Heller, a rich merchant of
Frankfurt, who had given a commission for a triptych. In this
he assures him that of the central compartment ' no one shall
paint a stroke but himself,' clearly implying that he will not
hesitate to employ extraneous aid in executing the minor
figures.1 Engravers, sculptors, and workers in metal have all
employed the help of others, and it can be no discredit
to Rembrandt that he did so in his etchings as well as in
his larger works ; and yet one cannot but regret that he
should have allowed other hands than his own to appear
upon his plates. Etching, as Hamerton has rightly expressed
it, is a personal art, every touch has its character, and it
is unfortunate that less skilful technic than that of the
master should mar the beauty of compositions, than which
no finer could be conceived ; that the first plate of the
Descent from the Cross should have been ruined in the
acid is a loss for which the repetition of the subject, full
of coarse and inferior work, is insufficient compensation ;
that others should have been permitted to touch the copper
of the Ecce Homo is a grievous drawback to a print which
has always deservedly met with the warmest encomiums.
But it is not only in the larger and more elaborate prints
that pupil or assistant work appears, at times so distinctive
that we can with tolerable certainty assign it to its author,
at others showing so little character that it might have been
executed by any one who could handle a needle or a graver ;
there are many smaller prints known as ' Rembrandts ' full of
inferior technic or wanting in all those qualities which we
expect to find. How do we account for them — must they be
entirely discarded ? There is a certain grand simplicity in
cutting the Gordian knot, and, while we repudiate, distribute
them almost at hazard among ' the Rembrandt School ; '
1 History ofthe Life of Albrecht Durer, by Mrs. Charles Heaton, p. 210.
a 2

xx Introduction.
but the student is bound by stricter rules, must exercise
caution in rejecting prints which have been universally
accepted, and be prepared with proof in support of his
conclusions if he assigns them to another.
It has been constantly and confidently asserted that
Rembrandt continually altered his plates, working up and
producing new States. The charge, usually combined with
an accusation of avarice and dishonesty, would seem to be
established by the numerous States in which some of his
plates appear, and has now come to be regarded generally
as an accepted fact, to which our explanations must be
fitted. But the conclusion at which I have arrived is in
entire contradiction to this usually received opinion. Rem
brandt very rarely altered his plates ; when he did so, it was
solely for an artistic or other such intent ; he corrected an
obvious error, supplied an unintentional omission, or added
that which he knew was an almost necessary improvement ;
alteration for the mere sake of alteration, still more, alteration
through greed of profit, was entirely foreign to his habit ; and
whenever a change is effected which does not recommend
itself to us, and is unworthy of his genius, I do not hesitate
to affirm that an inferior hand has wrought upon the
plate. For proof of alteration by Rembrandt's own hand we may
take the Portrait of Jan Six, No. 1 59, in its Three States.
We see first the removal of an error in design, next is the
correction of a mistake in the inscription, and no other
very evident technical variation beyond what might perhaps
have resulted from the printing. Again, there is the print
called the Large Presentation in the Temple, No. 208 ; the
variations which constitute the 2nd State are a decided
improvement; the deeper shading on parts of the central
group heightens the effect and corrects the_ too great
uniformity of tone. In the beautiful landscape known as
the Three Cottages, No. 325, and in the Portrait of Ephraim

Introduction. xxi
Bonus, No. 158, the high lights which formed too strong
a contrast in the ist States are lowered with excellent
and masterly effect. While for evidences of alteration with
which Rembrandt could have had nothing to do, remark
not only the heavy burin work which disfigures the commoner
impressions of the earlier prints, but also the senseless varia
tions and harsh rework on those of a later time. It can surely
never be assumed that the hand which had created the por
trait of Lutma could so far forget its cunning as to produce
the changes which mark the 2nd State — that the master
himself introduced that meaningless window, and the weak
shading which surrounds it, and the carefully engraved in
scription below ; nor are we willing to believe that he who
had conceived the grandeur and sublimity of the Three
Crosses could, in reworking the worn-out plate, be so little
conscious of its original merit as to obliterate, conceal, or mar
every excellence it had possessed. The more earnestly we
strive to understand and fathom the surpassing genius of the
master, the more will the conviction force itself upon us, that
these injured later States were not his own, but were the
handiwork of others who could neither imitate his technic nor
appreciate his powers.
A great part of the earlier and minor work of Rembrandt
was in pure etching or in drypoint of the simplest character ;
only with a few of the lesser plates could he have had any
other object than an experimental one, or to attain skill
in manipulation. Carelessly executed, or injured with the
acid, the copper was sent back to the beaters to be prepared
for fresh work, or, as must often have been the case, was
thrown aside unheeded, to be taken possession of by a
pupil, and by him completed or varied, parts reworked and
deeply shaded, or backgrounds introduced ; perhaps all
this done as practice under the direction of the master,
and printed from at the time only that the results might
be observed. That in after days Rembrandt's own proofs

xxii Introduction.
of these plates or the impressions produced later on should
be highly prized does not affect our argument. Instances
are not uncommon of early work, hastily executed, regarded
by the master himself as hardly worthy to be retained,
given perhaps, as were David Cox's sketches, to his pupils
as their lesson proceeded, to be by them practised upon,
or kept untouched as memoria of his teaching, and not
until after days be eagerly sought after or lovingly pre
served. The presence of the variations which disfigure Rembrandt's
later plates must be differently accounted for. We know
that towards the close of his career, he, like too many of
the sons of genius, fell into irreparable difficulties. The
bankruptcy which overtook him, however it may be explained,
caused the dispersion of the extensive collections which
he had for years been accumulating. The inventory of his
sale, though clearly far from complete, is sufficient to
show that few, if any, of the contents of his studio and of
his dwelling were left to him. The plates on which he had
wrought were not likely to be forgotten, and, though no
mention is made of them, they too would be sold : passing
into other hands, the time was not far distant when they
would be available ; and that which we know happened
long afterwards, when ' la veuve Jean,' the widow of the
Paris printseller, employed alien hands to rework the Rem
brandt plates which had come into her possession, was
only a repetition of what had taken place before. No sooner
did the day arrive when Rembrandt's opposition could no
longer be feared, when from failing health he was unable
to protest, or it may be when he was not living to claim
his copyright, than these plates were reworked and varied,
and impressions taken to reward some unprincipled dealer
by their ready sale.
And while thus expressing myself, a significant fact
occurs to me which should not be overlooked. An amateur

Introduction. xxiii
of Rembrandt's own time, P. Mariette, has written his own
name on many of the prints which entered his collection,
and with his name has given a date, never I believe earlier
than 1667 : now for six years at least before this date
Rembrandt had ceased to etch, and during those six years
his life is so clouded in obscurity that the dates on a few
pictures and the evidence afforded by the public registers
are the only proofs that he was alive. Can it be that these
latest impressions were then entering the market, and that
Mariette, anxious to attest the originality of the earlier ones
which with such judgment and discrimination he had acquired,
chose to pen an inscription which- should distinguish them ?
It has been asserted that he never put his name upon an
inferior impression ; I have certainly never found his authentic
signature upon an impression from a reworked plate.1 This
at least shows that he thought them unworthy of his
collection, if it does not point to his knowledge of the fraud
that even then was being practised.
The conclusion then to which I have come, and to which
I do not hesitate to commit myself, is this — that while Rem
brandt himself in his earlier time entrusted parts of the larger
prints to students and assistants, he only allowed his minor
plates to fall into their hands from utter carelessness, or that
they might be used for practice ; and that the much more
important variations which were introduced into the prints of
his later time were the result of fraud which he possibly had
no means of preventing even if he knew of its commission.
Is it possible to conceive a more melancholy exhibition than
would be one of the later States alone ? Like the study of a
palimpsest, their interest would lie principally in the attempt
to discover the technic of the master under the inferior work
by which it is concealed.
1 There are both bad prints and copies bearing this name, but a careful ex
amination has convinced me that the signature is forged.

xxiv Introduction.
Much has been both said and written upon Rembrandt's
method and the manner in which he worked upon his plate.
Thus Wilson speaks, ' His object being more to paint than to
engrave, he never followed the rules of ordinary engravers,
but .... sometimes mingled .... such complicated work
as to render it next to impossible to discover its nature ; ' and
again tells of ' Rembrandt's peculiar method of spreading the
ink upon his plates, and then wiping away those portions
where light was intended to appear ; ' and suggests that he
may have derived hints from the then newly invented process
of mezzotint. During the forty years that have elapsed since
Wilson wrote, the art of etching has not only been extensively
practised, but has become so far popularised by such valuable
and exhaustive treatises as those of Hamerton (Bibl. xxii-
iii.), Lalanne (Bibl. xxviii.), and others, that we can speak
with much more certainty as to Rembrandt's method and
practice ; and though special technical knowledge would be
required for any exhaustive discussion of his work, we may
without it understand and accept the decision which Hamer
ton in one terse sentence has expressed, that Rembrandt's
success as an etcher is due ' to no peculiarity of method, but
to a surpassing excellence of skill.' The transparency of the
shadows in such prints as the Sylvius (in an oval 1st State,
No. 155), in the Hundred Guilder, and the Old Har ing is
mysterious, not because the process by which it is attained is
unknown, but because the ablest etchers have not yet equalled
it. Rembrandt was a perfect master with the drypoint, and
some of his finest prints are brought up to their beautiful
effects by being entirely worked on with that instrument.
Nos. 191, 327, 328 may be quoted as examples ; but it was
not until his middle and later time that he allowed the ridge
of copper, created by the tool, to remain upon his plates, and
trusted for result to the rich velvety ' burr ' which was in this
way produced. It would be wrong to say that in every case
the presence of this burr is an absolute success, but in most of

Introduction. xxv
his prints in which it appears it has a painting effect of the
most exquisite character.
It is not then to any critical remarks on Rembrandt's
general eminence as an etcher, or upon the method of his
technic, that I would devote the remaining pages of this Intro
duction, but to a few notes, necessarily brief and imperfect,
upon his use and command of burr in producing transparent
shadow, and upon what is a very important part of his
character as an artist — his ideas of composition.
The origin of etching, using the term in its general sense
as including both the acid and the drypoint, has been assumed
by both the German and Italian schools. Without attempting
to decide between their conflicting claims, it is sufficient to
know that we have no very satisfactory evidence of its use in
producing plates for printing before the eemmefteeHreHt of the
¦seegeesth century, when it was practised, though but to a
limited extent. Marc Antonio is believed to have first etched
certain of his plates and then finished them with the graver
(Bibl. xii. p. 458). The mordant was employed by Diirer, and
he, as well as artists of equal or lesser fame, has furnished us
with examples of drypoint ; but in very few of these are the
brilliant effects of burr, that finest expression of the drypoint,
apparent. It is seen in the David Vainqueur de Goliath, an
early composition by Marc Antonio (Bartsch, xiv. 12), where it
deepens the folds of the dress ; it gives richness to the back
ground in Altdorfer's Hercule et une Muse (ib. viii. 51,
28), and in his Salomon idoldtre (ib. 43, 4) ; in the Mutius
Scevola (ib. 55, 40) burr is left, but not designedly. Very
slight burr, arising probably from neglect, is seen in
Sebald Beham's Adam (ib. 115, 3), and in his copy of
Barthold Beham's Adam and Eve (ib. 117, 6). In Durer's
works are certainly four etchings finished in drypoint with
burr : they are the Shield with the Death's Head (ib. vii.
109, 101), where it strengthens the folds of the lady's dress, and
the dress itself in the lower left. The Man of Sorrows with

xxvi Introduction.
Folded Hands (Barts'ch,vii. 43, 2%) exhibits some burr, evidently
intentional ; it appears only in its richest form in The Holy
Family (ib. 61, 43), and the St. Jerome (ib. 75, 59). These two
prints are such superb examples of the effect of burr that we
wonder why Diirer should not have again resorted to it : his
not having done so can hardly be attributed to any dissatis
faction with the result, but must rather be explained by the
circumstances of his life and the necessity which those circum
stances entailed upon him of foregoing a phase of his art
which was so little remunerative ; these highly finished plates
must have cost him much labour and time, while really good
impressions can only have been very few, so delicate and
so evanescent were their beauties ; to estimate them properly
the student must not content himself with the faded and later
impressions, but must examine them in their finest condition ;
he should see, for instance, the ist State of the St. Jerome,
before the monogram, which is preserved in the British Museum,
if he would at all appreciate its extraordinary beauty.
These two superb etchings were executed in the year 15 18 ;
and from that time the use of the burr seems to have been
not only laid aside, but its powers forgotten until it was re
discovered — for it was an actual re-discovery — 100 years later
by Rembrandt. It is true that etching itself during those
long years was but rarely practised ; the readier and more
lasting work of line engraving was preferred. A list of the
artists who worked with the needle from Diirer to Rem
brandt presents few names of eminence ; and it is, I think,
somewhat singular that engravers like De Goudt and Jan Van
der Velde, who in their translations of the paintings of Elz-
heimer and De Moleyns sought so earnestly to reproduce the
strong contrasts of light and shade with which those painters'
work abounds, should not have purposely left the burr upon
their plates to deepen their shadows or give transparency to
their direct or reflected lights. It is still more remarkable
that Rembrandt himself, even at the very outset of his career,

Introduction. xxvii
should have made so little use of it ; it is not easy to explain
this ; Durer's two prints above referred to would surely, one
would have thought, have shown him the way. There is burr
in some of Rembrandt's earliest prints ; it appears occasionally
in the first impressions of his sketches — for instance, in Nos.
33 and 34, but it is very limited, and it is doubtful how far its
presence is the result of intention : for nine years after he
assumed the drypoint, he, as a rule, carefully followed it with
the scraper ; is it possible that he had never seen these
etchings of the Niirnberg master ? The suggestion sounds im«
probable when we remember how unsparingly he used his
means in procuring the finest drawings and engravings which
came within his reach, when we think what a superb collection
was exhibited in his sale room, and how unlikely it is that the
chef d'ceuvres of Albrecht Diirer should not have found their
way into his portfolios. There is an early etching attributed
to Rembrandt — its authenticity is perhaps doubtful, though it;
bears his name and has always been accepted — in which the
figure of the Christ is directly copied from one of Durer's prints :
it is the Driving out the Money Changers, No. 198, |)Iai£ V. fig. 27.
The artist has here exactly reproduced upon his copper, and
must have had before him as he drew, a print from Durer's
Little Passion on wood ; but it is a curious corroboration of our
doubt, that in the long list of drawings and engravings which
appears in the inventory, though Van Leyden, Mantegna,
Marc Antonio, Cranach, Titian, Michael Angelo, Schoengauer,
Mcncckcn, the Carraccis, and others were represented, there
is only one entry with Durer's name ; it is, ' 't proportie Boeck
van Albert Diirer, houtsnee ;' & Book of Proportions of the
Human Figure, hardly the most satisfactory example of the
engraver. The most striking effects of the burr which give such
charm to the etchings of Rembrandt do nor occur until his
middle and later time, and were his own discovery. At first
it would seem that he was not himself aware of the power

xxviii introduction.
which lay ready to his hand. There is a beautiful little print,
No. 132 — a Portrait of a Young Man, sitting and turned to
wards the left. In the earliest impressions of this plate, which
is dated 1637, a little burr appears ; but it is only in the very
finest, such as that which was contributed by Mr. Seymour
Haden to the Rembrandt Exhibition of 1877, that we can
appreciate the rich effect which the little burr that was
suffered to remain confers upon the print. We. may be sure
that this did not pass unnoticed by the master, for after that
time, though at first sparingly and tentatively, he occasionally
suffered the burr to remain. We recognise its value in The
Mill, in the Long Landscape, in the larger Lion Hunt, and the
Baptism of the Eunuch ; and, as his work progressed, we find it
more frequently employed, until he seemed almost to discard
his earlier manner, that he might devote himself more and
more to this ; until, in such prints as the Three Crosses and the
Presentation to the People, in the Old Haring, the St. Francis,
and the Agony in the Garden, drypoint appears in its full
power and its full perfection.1
But the genius of Rembrandt did not descend to his
pupils : however carefully they tried to follow, no one of them
was able in this even to approach the excellence which had
distinguished him. With the exception of Bol, their failure
in the management of the burr was complete ; and Bol's best
works are wanting in those subtle gradations of light and
shade which give such charm to the later etchings. Of the
others it is hardly necessary to speak ; Philip Koninck, if
certain doubtful and unsigned landscapes may be attributed
to him, used the drypoint in Rembrandt's manner, as also
did Will em de Poorter, and possibly Eeckhout, and one or
1 ' It has been said that Rembrandt, being struck with the new process of mezzo
tint, intended to imitate its effects by his own methods, e.g. such as leaving in
relief upon the plate black burr and inky layers, by means of which he could give
a velvety character to the shadows, and obtain those delicate half-tints which
mezzotinto work had the power of producing.' (Bibl. xii. p. 488, 1st ed.)
Against this opinion, only stated, not upheld, by Dr. Willshire, it is sufficient
answer that no true example of mezzotint is found among Rembrandt's works.

Introduction. xxix
two others ; but they could in this only claim the very
smallest measure of success, and with them the art again
was lost ; and although a host of etchers of that day have
left us works of highest excellence, none took Rembrandt as
their model, or used the drypoint as he had done. And as
130 years passed away from Durer's St. Jerome to Rem
brandt's ' unfinished print,' so did another 1 30 years pass
before even the slightest attempt was made to obtain the
brilliant effects which the skilful use of drypoint in Rem
brandt's hands commanded. Benjamin Wilson, in 1773,
and Andrew Geddes, a much better artist, in 1779, imitated
what was called the style of Rembrandt, but the result was
not satisfactory ; and even now when a gallery could be filled
with modern work, some of it of a very high quality, Rem
brandt in his peculiar domain is unrivalled. No doubt one
reason is that so few great artists have assumed the etching
needle ; the instances are numerous in which a certain
measure of success can be attained even by an inferior
hand, and what is really indifferent work will have a telling
effect ; but a power to produce vivid contrasts of light and
shade, manual dexterity and freedom of touch, are not
enough without a higher artistic perception : the etcher
must be much more than an etcher if he would rise above
mediocrity. But it is not alone that the technic of Rembrandt deserves
our careful study and its results win our admiration ; his
originality of composition and his powers of expression have
combined to place him in the forefront of the ranks of art.
Rembrandt was no obscure Dutch painter whose work
was confined to one style and manner, and who having
passed away may be forgotten : he was the founder of a
school which he not only elevated to the highest point of
which it was capable, but to which he gave ideas and
aspirations which have resulted in the formation of our
English school ; and a knowledge of his manner and com-

xxx Introduction.
position, and an insight into the peculiar bent of his genius,
are a grand foundation for a study of the work of other
masters. In the earliest days of painting in Europe we observe
that the subjects chosen were mainly devotional ; mytho
logical and historic scenes were introduced but sparingly.
As a rule, a religious element pervades the works of the
greatest painters, and the reason for this is not far to seek.
The best patrons of early art were kings and nobles, the
wealthy merchants or religious corporations, who desired
that some picture representing their faith should be repre
sented. Consequently the greatest treasures of the Italian
or early German schools were altar-pieces, or were destined
to decorate the walls of some ecclesiastical home or shrine ;
and the subjects chosen recorded a saintly life or an act of
faith, or were in some way intended to elevate men's thoughts
to a higher conception of holiness or divinity. And thus
there grew up certain canons of composition which were
at times followed with an obedience which even detracted
from their effect. Ex. gr. a Holy Family attended by
saints and martyrs is depicted. The Blessed Virgin in
the centre supports her Divine Son ; the group which sur
rounds them is arranged at a lower level ; the main outline
of the composition assumes a pyramidal form. Such a
scene is often of exquisite proportion and beauty, and
attracts us as much by its loveliness as by the devotional
sentiment in which it is conceived ; the eye is led up
wards, and we perceive that the superior elevation ac
corded to the principal figure is typical of the reverential
regard with which she must be approached. The canon thus
established, of course with many notable exceptions, became
a rule, which was often carried to excess ; and lest the idea
should be imperfectly conveyed, we frequently find that the
chief figure is thrown into artificial relief, and the eye is
carried upwards by the introduction of a column or curtain
placed down the centre of the picture, while the distance,

Introduction. xxxi
if any, is only represented at the sides, and might almost as
well have been omitted.
The result is that we look at not into the picture : every
thing is to the front, or, as an able critic has expressed it
(Bibl. xx.), the composition is flat. Now in some few
instances Rembrandt adhered to this canon, which had,
as I say, much to recommend it — for instance, in the etching
of The Prodigal Son, No. 20 1 ; he followed it too in some of
his grander compositions, such as The Descent from the Cross
and the Ecce Homo, in both of which the group is arranged
in the pyramidal form ; but he very early broke away from
these trammels, and introduced a new form of composition,
which the writer whom I have referred to happily describes
as concave. The genius of the Italian and early German
school was the genius of Roman Catholicism ; that of the
Dutch was the genius of Protestantism ; the objects the new
school would represent had undergone a change ; they left
the lives of saints and martyrs — there was no longer any
desire for lovely spiritual scenes or legendary histories ;
they were compelled to draw their inspiration from every
day life, or from the simple teachings of the Bible ; they
must reproduce the real and apparent, or what their faith
told them were the real and apparent, scenes in the Saviour's
life or the sacred histories of old. In this school Rembrandt
stood the greatest. When he set himself to compose his
picture, he drew what he believed had really occurred, and
drew it as he supposed it must have appeared to one who
was looking on ; and he sought to group his figures in the
manner in which they would naturally be arranged. Thus,
in the composition of Christ healing the Sick, an earlier or
an Italian master would probably have elevated the chief
personage above the others, whom he would strive to render so
subordinate that the intensest idea of Divinity would be
suggested, and by the superior beauty or dignity of the
principal figure the thoughts of the spectator would be led

xxxii Introduction.
heavenwards. Rembrandt regarded the scene differently ;
he gives our Lord but a slight elevation, placing Him not
above but in the centre of the group. This was but natural,
since His presence was the only reason for the group at all.
But, careful to preserve the reality of the scene, the com
position is concave ; the Christ is a little away in the middle
distance ; those who are attracted to Him are arranged on
either hand, while the sides of the design are brought forward
towards the front, and, to prevent too exact an uniformity,
a few persons only are seen in the foreground at the feet of
the Saviour. Could we have imagined a better arrangement ?
We look not only at but into the picture ; yet the chief figure
occupies the chiefest place, and all others are subordinate ;
and then, lest we should lose the idea of depth, he fills his
background wiih marvellous shadows, into which we peer
in the hope that something may yet be seen. A lesser artist
would have given lighter and fainter tones to convey the
idea of perspective ; he gives us gradations of darkness which
we cannot fathom.
Leaving the etchings, turn to his magnificent picture called
the Night Watch, the glory of Amsterdam, known to us in
England by the admirable translations of Flameng and Unger.
Though the central foreground is filled by the two figures of
the captain and his lieutenant, the concave arrangement of
the rest is still as marked, and in the original appears far
more marked than in the etchings : there is a wonderful
depth in the large shadowy hall from which the musketeers
are emerging, and out of which one after another seems to
come forward, until we cease to count them. Each scene is
equally real and actual, each such as might have yesterday
occurred, or strong faith assured him did occur. He tells the
outward march of the soldiers to their shooting ground, or
pictures the concourse that surrounded the Lord, in exactly
the same truthful and simple manner, making us, as we look
into his picture, feel that one event was as real and actual as

Introduction. xxxiii
the other ; placing each scene before us, not as a fervid or
devotional imagination might depict, but just as he believed
a looker-on would see them.
This intense realism is one of the greatest charms in
Rembrandt's composition. There is a little etching of his
middle period — the Smaller Resurrection of Lazarus. How
perfectly true it is. The well-known Large Resurrection is
not to be compared with it ; there Christ appears almost as a
necromancer raising the dead by his spells ; it is an early
composition, designed before Rembrandt knew his own powers,
and in which he followed the accepted canons of religious art.
But in the Little Resurrection, designed in his later manner,
everything is quiet and peaceful ; the Son of Man, the Lord
Jesus Christ, has -come to His friend's grave : there is no out
ward semblance of power, no startling evidence of what is
more than human ; the devotional or religious idea is not
forced upon us, but we feel how thorough and how real it all
is, and we know that a single word has raised the dead.
It is urged, perhaps with some truth, that Rembrandt's
scenes from Scripture are too realistic, and having no very
elevated types before him, he made his figures too coarse and
vulgar ; he, in fact, humanised them too much. But can any
one say that devotional sentiment is wanting in the Hundred
Guilder ? Is the scene less like what we believe it to have
been because the forms and faces around are those of his own
time, las so thoroughly such as must have been present ?
Viewed only for its expression, setting aside for the moment
all sense of beauty and perfection of technic, every figure and
every face is a study : we hear the piteous accents of entreaty
which come from the poor creature who lifts her wasted arms ;
we listen to the tale of misery told by the woman who leads
forward the infirm old man ; nay, we could almost tell of
what malady each has to complain ; and every sorrowful face
and figure speaks as much of suffering and of hoped-for relief
as do those of the most afflicted who crowd our hospitals.

xxxiv Introduction.
And then the group to the left, do we need to be informed
that some were incredulous and that some derided ? They are
there: see the well-clad consequential Pharisee to the left; his
face is turned from us, but we read his character — he is at
present tolerant only because contemptuous.
The glory of Dutch art, in which Rembrandt will for ever
stand the master, lies in its naturalness. It was the art of a
people who had gained their freedom. The struggle for
independence through which they had passed, the resolute
character which rendered independence possible, the new
political and social conditions on which they had entered, the
faith which had rebelled against the ornate, and clung to the
puritan form, and the isolation which was the natural outcome
of all this, had shattered all earlier traditions of art and
created a new influence. Art formed itself into a new school ;
nay, a new school became inevitable, and those who would
lead this art were compelled to originality ; they were, so to
speak, driven to Nature as their teacher, and they set them
selves to learn her lessons. They may have thought less and
aimed lower, but they looked more nearly and observed more
closely ; and they found subjects enough for their imitation
even in their own homes and in their circumscribed country ;
and when their imagination would take them farther, and
they left the simple scenes and landscapes which surrounded
them, they still had the same desire to express truthfully and
naturally. . The same temperament was shown in all they
did : their fields and trees, their houses, their ships, their wide
expanse of sea, were all real, never conventional ; they
,painted cattle to perfection, their flower-pieces would delight
a botanist, their official pictures were historical memorials of
actual events, their delineations of home or peasant life were
reproductions of the life which they or others around them
lived ; and if graver thoughts inspired them, it was still the
same love of what was real and actual that guided their hand —
they tried to paint scenes as they appeared. However varied

Introduction. xxxv
was the manner of the Dutch painters, their style was in this
sense the same — truthfully and to the utmost of their powers
they followed Nature and learnt her lessons. And of this style
Rembrandt was the leader and the chief ; and that which he
so earnestly strove after is seen in all the Dutch school,
however little they at first sight appear to have been led by
his influence. We see his teaching in the Interiors of Ostade,
in the woodland glades of Hobbema, in the wide landscapes of
De Koninck, the cattle of Potter, the courtyards of De Hooghe,
the seas of Bakhuysen and Vandervelde — the same love of
reality pervades them all ; nay, we may go still further, and
note how the teaching was followed in our own English
School of Art. Our painters of landscape and still life have
caught the naturalness of the Dutchmen, and have brought
their best powers to picture, not the scenes in which imagina
tion plays the chief part, but those which on every side sur
round us and form part of our human life. The same love of
the actual pervades their work ; and the deeper we search into
the excellencies of the school of which the great master was
the founder, the more we learn to appreciate the love of the
truthful and the actual which ruled his thoughts and entered
into his composition and his technic, the more shall we
understand and admire the genius which directed the eye
and guided the hand of Rembrandt1
1 For further remarks on the manner and composition of the Dutch school see
Bibl. xx.

b 2

REMBRANDT VAN RHYN.

>^HE life history of the great master whose etched
work forms the subject of this volume, has until
the last few years been very imperfectly known ;
the information given in the encyclopaedias, and
even in the more elaborate and careful notices of those who
have made his works their special study, being, as a rule, singu
larly incorrect. He is introduced to us as ' Paul Gerrits,' or
' Paul Rembrandt ' van Rhyn ; we are told of his birth near
Leydendorp, and his childhood in the mill, in whose dark
corners he first learnt the mysteries of shadow ; of his early
love of money and of his low and coarse associates ; of his
marriage in 1634 with a Ransdorp servant girl ; of the avari
cious shifts to which he descended to gratify his miserly
propensities ; how he inscribed some prints as from Venice to
increase their value, and made trifling alterations in others
for the sake of additional profit, meanly retouching the works
of his numerous pupils and selling them as his own ; as so
infamous that he could combine with his vulgar wife in
spreading a report of his death, that their little son, while
conscious of the lie, might carry his father's prints into the
market and obtain still higher prices. His hours of recreation,
according to these veracious biographers, were ' spent among
the lowest of the people, whom his pencil delighted to pour-
tray, supplying his capricious fancy with its appropriate sti
mulant, and finding his ideals of the beautiful among the
squat and sturdy Dutchmen who were wont to while away

xxxviii Life of Rembrandt.
the time amid the congenial flavours of a beerhouse ; ' and
' at his death he seems to have shared the humble lot of those
with whom he was for the most part associated ; labour and
comparative obscurity while living, and at death forgetful
ness.' It is possible, though not worth our while, to trace most
of these misstatements to their source ; more interesting is it
to learn the true history of the man, and form a just estimate
of his character : without this we cannot hope to attain a right
appreciation of his work.
The best, in fact the only real biography of Rembrandt
that has yet been written, is Rembrandt, sa Vie et ses
CEuvres, of M. Charles Vosmaer, Bibl. xxxvii. I shall have
frequent occasion to refer to this volume ; pleasantly written
and full of generous appreciation of the work of others in a
field which the author's researches and abilities have made
almost his own, it is not only valuable for the information it
contains, but because also it is written in full recognition of
the fact that we cannot hope to understand the genius of a
master like Rembrandt, unless we are familiar with the
general features of his life, and can form our estimate of his
character. The first writer who has made mention of Rembrandt was
his contemporary Orlers. In a volume issued in 1 641, and
which is entitled a Description of the Town of Leyden, he has
given much interesting information regarding the earlier
painters and artists who flourished there. His notices previous
to the year 1607 are entirely derived, as he himself acknow
ledges, from the work of Van Mander ; for the rest he has
relied on the current reports of the day, or the evidence of
the public archives : his information, so far as it goes, may
generally be relied upon. The next work in order of time
is Het gulden Cabinet, by Cornelis Bie. This was published
in 1 66 1 ; but the notices of the painters etc. are very short, and,
in the case of Rembrandt, add nothing to our knowledge.

Life of Rembrandt. xxxix
Simon von Leeuwen, who in 1672 issued a Description of the
Town of Leyden, as Orlers had done before him, gives a short
account of its artists and men of letters ; but a reference to
his book clearly shows that he has made use of the work of
Orlers, and is not always very reliable. A much more im
portant biography is that of Joachim Sandrart, a man of
noble descent, born at Franckfort in 1606, himself an artist
and residing at Amsterdam about the years 1638-41. His
book, compiled no doubt from the notes of many years, did
not appear until much later ; the German edition is dated,
1675, the Latin edition 1683, i.e. after Rembrandt's death.
The nature of his information and his manner of narrating it
impress us with an idea of his general accuracy ; but in
estimating the value to be attached to his remarks upon
Rembrandt, we must not overlook the fact, that he makes no
reference to any etching or painting executed by him after
the year 1640, and that he describes him as a man only
capable of producing simple work, who never pictured subjects
from poetry or history ; thus showing that his personal
acquaintance with Rembrandt, and with the results of his
pencil, must have been very slight, and had ceased altogether
when, sometime previous to 1642, he removed from Amster
dam. Our next authority is Samuel van Hoogstraten, a
native of Dordrecht, where he was born in 1627, and at dne
time a pupil under Rembrandt, whom he styles his ' Second
Master.' His work, entitled Inleyding tot de Hooge school der
Schilderkonsl, was issued at Rotterdam in 1678. Although it
furnishes us with no biographical details, it is valuable as
giving the impressions and opinions respecting Rembrandt,
not so much of a contemporary as of a man who for three
years was in a position of more or less intimate relationship
with him. Fifty years afterwards appeared the work of
Arnold Houbraken, a painter and engraver who had been a
pupil under Hoogstraten, and had, no doubt, learnt from him
many of those little details of Rembrandt's life to which he

xl Life of Rembrandt.
has given his own colouring, and which can only be accepted
when divested of their palpable errors, and in some instances
of their evident untruthfulness. Houbraken was, as Vosmaer
humorously remarks, the founder of that school of bio
graphers who write anecdotal histories of artists, making it
their principal care to pourtray them as absurdly extravagant,
as indulging in the wildest excesses, or condescending to the
lowest ill manners.
The scattered notes or more formal statements which
appeared after Houbraken's time do not require even a
passing reference, — whatever new information they contain is
unreliable, whatever we may accept has been better told be
fore, — until some twenty-five years ago, when, to the honour of
his countrymen be it said, a thorough investigation was made
into Rembrandt's life history. No source of trustworthy
evidence was then neglected ; contemporary documents have
been sought out, the public registers and archives were care
fully examined ; and now, thanks to the labours of Immerzeel
and Scheltema, Eekhoff, Koloff, Thore (better known under
the pseudonym of W. Burger), and Vosmaer, we may regard
the history as complete, or as nearly complete as it is ever
likely to be made.
There has been much uncertainty respecting the exact
year of Rembrandt's birth. Orlers has placed it in 1606, and
in this he is followed by van Leeuwen ; others again, among
whom is Scheltema, misreading the evidence of Rembrandt's
marriage register, have given the date as 1608. The true
date is that of Vosmaer, 1607 ; and this a little consideration
will show.
By common consent Rembrandt's birthday is allowed to
have been the 1 5th of July. His marriage, as is proved by the
register, took place upon the 22nd of June, 1634 ; and he then
calls himself twenty-six years of age. Scheltema has deducted
this twenty-six from 1634, and so arrives at 1608. When Rem-

Life of Rembrandt. xii
brandt entered his age in the register, he called himself, as every
one else would have done, not the age he would attain in a
month's time, but his age at his last birthday, i.e. on the 15th
July, 1633, when he completed his 26th year, and entered
upon his 27th: we must therefore deduct the 26 from 1633,
not from 1634, to find the actual year ; and this gives us 1607.
How Orlers' error arose I am unable to suggest ; his date
1606 is accepted by Mr. F. Seymour Haden, to whose pamphlet
(Bibl. xxi.), the most recent contribution to the literature of
Rembrandt, I shall again have occasion to refer, and who
adduces in support the evidence of an inscription in Rem
brandt's hand upon an early impression of a Portrait, No. 52
in this Catalogue. There are two impressions of this portrait,-
to which a bust has been added in pencil ; and each bears an
inscription ofthe date and Rembrandt's age at the time, 1631
M 24 (pate I. fig. 3). If we allow the assumption that the
portrait in question was taken in the early part of the year
163 1, i.e. before the 1 5th of July, the argument is sufficient, and
Orlers' date, 1606, is established ; but if we prefer to fix the
date of the portrait by the more exact one or the marriage
register, and believe it to have been taken in the latter part of
that year, the conclusion that Rembrandt was born in 1607 is
untouched, and the question may be considered finally at rest.
The grand-parents of Rembrandt, Gerrit Roelofszoon van
Rijn and his wife Lijsbeth Hermansdochter, lived in the
town of Leyden in a house situate in the Weddesteeg or
Wedde Steghe,1 near the Wittepoort (white gate). To this
house Rembrandt's father, Harman Gerritszoon, succeeded,
and to this he brought his wife, Neeltje Willemsdochter van
Suydtbrouck. It seems that Harman was part-owner of the
malt mill which stood upon the Ramparts, and of certain
property in its vicinity, and, as is evident from existing legal
documents and from the account given of the family inherit
ance, divisible among her surviving children on the death of
1 For a bird's-eye view of the Weddesteeg etc., see Vosmaer, Bibl. xxxvii.
p. io.

xiii . Life of Rembrandt.
Rembrandt's mother, they were, if not rich people, yet in
easy circumstances, able and willing to give their seven
children a comfortable home and a sufficient education. Of
these children Rembrandt was the sixth. The particulars of
his early life, as related by Orlers, are probably authentic.
From him we learn that the boy was sent to school at Leyden,
to learn Latin and be prepared for the Leyden Academy, that,
when he grew up, he might be qualified to hold some office,
either in the town or in the State. Showing no aptitude for
such special study, but evincing a strong natural tendency to
wards painting and drawing, he was removed from the school,
and placed, in his twelfth or thirteenth year, with a painter,
under whom he might learn the principles of the art. The
master chosen was Jacob Isaacszoon van Swanenburch, an
artist of very little merit, but a member of an old Leyden
family, and who was residing in the same street. With him.
Rembrandt remained three years, i.e. till about 1622 or 1623. l <
Van Swanenburch was a better tutor than an artist, for
it is on record that during these three years Rembrandt
made such progress that his future fame might certainly be
predicted ; whether any of the rising artist's work is
preserved, or could be recognised, must remain uncertain ;
though I am very strongly inclined to believe that a portrait
in pencil of a Leyden student, one John Belldes, is of this
time, and is rightly attributed to Rembrandt; though evi
dently a youthful production, the drawing has high artistic
qualities, and more than one competent critic agrees with me
in allowing it.2
' Van Leeuwen, writing in' 1672, says that it was Isaac Nicolai van Swanen
burch, the father of Jacob Isaacszoon, under whom Rembrattdt studied. This is an,
evident error, for Isaac died in 1614. The same writer, alone among biographers,
tells us that Rembrandt and Lievens were both scholars under Joris van Schooten.
I have been entirely unable to find any confirmation of tiiis. Van Vliet, one of
Rembrandt's earlier pupils, may have studied with Schooten, but it must have
been only for a very short time, and after he had been with Rembrandt. One of
Van Vliet's best works is an etching, The Samaritan \V0ma71, from a design by
Schooten, dated 1635.
2 This admirable drawing is in the collection of William Russell, Esq. , and
was lent by him for exhibition at the Grosvenor Gallery in the winter of 1877-8.

Life of Rembrandt. xliii
Leaving Swanenburch in. his sixteenth year, Rembrandt
was for six months under the tuition of Lastman at
Amsterdam. Houbraken adds that he afterwards studied under
Jacob Pinas ; but no other authority is known for this statement,
and his return to Leyden was certainly not later than the
end of the year 1623. He remained at home until 1630,
not only gaining distinction as a painter, but directing the
studies of at least one pupil, Gerrit Douenszoon, who joined
him in 1628. In 1630, having already attained a considerable
reputation, he removed to Amsterdam.
At first renting an apartment over a shop in the Bloem-
gracht, a quay situated at the extreme west of the town
(Bibl. xxvii. p. 101), he soon afterwards is found occupying
a house in Sint Antonie Breedstraat, influenced no doubt in
his choice of a residence by its being in the neighbourhood of
his friend and former master, Lastman. The exact position
of this house is now unknown, the street in which it was
situated can never have been an aristocratic one, and we have
no reason to suppose that it was a house of more than very
moderate dimensions, suited to the earlier requirements of
the young artist and sufficient to accommodate his pupils.
The latter part of the year 1632 witnessed the death of
Harman, Rembrandt's father ; and it is not improbable, from
the number of studies and portraits of his mother which
appear about this time, that Rembrandt had been at Leyden
during some part of his father's illness : her portrait, in widow's
dress, an etching upon which Rembrandt for the first time
signed his name, discarding the monogram which he had
hitherto used, is the memorial of this visit.1 In 1634 Rem
brandt, then in his 27th year, contracted a marriage with a
young woman of good family, an heiress, Saskia, the sixth
daughter of Rombertus van Ulenburg, or Vijlenburg, of Leeu-
warden. He, dying in 1624, had left this his youngest child,
now an orphan, to the care of her relatives, among whom was
1 For notes on Rembrandt's signature see p. xvii. and Bibl. xxxi.

xliv Life of Rembrandt.
her cousin Aaltje, the wife of Jan Cornelis Sylvius. Here she
seems chiefly to have made her home, though the marriage,
as was natural, took place from the house of her sister Hiskia,
wife of Gerrit van Loo, June 2 2, 1634.1
Whether Rembrandt and his bride began their married
life in the Breedstraat, or whether, in anticipation of his altered
position, he had removed into a more convenient house, is not
very clear. Certain it is that, early in 1636, about eighteen
months after his marriage, he was living in the Nieuwe Doel
Straat. In 1639 he dates a letter to Huijens from his
residence on the Binnen Amstel, a house known as 'the
Sugarbakers ' (de Suijckerbackerij). In the following year,
1640, his mother died ; and it is not improbable that the
prospect of obtaining his one-fourth share of her property
led him, in that year, to become the owner of a house situate
in the Sint Antonie Breedstraat, the street in which he had
originally resided. Here he remained for the next seventeen
or eighteen years, and it was here that most of his finest
works were executed.
It is by no means unlikely that the somewhat inconsiderate
purchase of this house was the first cause of his embarrass
ments. The documents relating to the transfer are not yet
discovered ; but it is a significant fact that thirteen years
afterwards, in 1654, we find that the property was heavily
mortgaged, and it may be that he had never been able to
raise the necessary capital to complete the purchase, but
that, with the carelessness too often apparently inseparable
from genius, he had allowed the load to accumulate until the
1 Le 10 juin 1634 il fut note dans le registre extraordinaire des mariages a
Amsterdam, que ' Rembrandt Harmens van Rijn, de Leiden, age de 26 ans de
meurant dans la Breedstraat, dont la mere consentira, comparut devant commis
saires, ainsi que Saskia van Vijlenburgh, de Leeuwarden, demeurant au Bil(dt) a
St. Annenkerck, pour laquelle a comparu Jan Cornelis (Sylvius), predicateur
comme cousin de la dite Saskia, se proposant de fournir l'inscription legale de
la dite Saskia, avant la troisieme publication.' L'acte est signe Rembrandt
Harmensz. van Rijn, et porte en marge, 'le consentement de la mere a ete
apporte, par acte de notaire. ' . . . Le mariage fut contracte dans la maison
communale et consacre dans l'eglise paroissiale du Bildt par le ministre Rodolphus
Hermanni Luinga Vosmaer, Bibl. xxxvii. p. 130.

Life of Rembrandt. xiv
fatal day arrived when this with his other liabilities led "to
his insolvency. It was to this house in the Breedstraat, not to the one
which Rembrandt first occupied, that Sandrart and Hou
braken referred in their biographies. Each has told us of the
many pupils who flocked to the master, and of the arrange
ments made for their reception. Sandrart's words are these :
' His house was constantly full of pupils of good family, who
paid him 100 florins annually, without counting the advan
tages which he derived from their painting and engraving,
which amounted to two or three thousand florins more, beside
what he obtained from his own work.' To this Houbrakerl
adds that the whole upper part of the house was divided into
little chambers in which each scholar might work apart.
These statements are, to a certain extent, corroborated by
other facts. The names of more than thirty pupils have been
handed down ; and we are told, that when Rembrandt's house
in the Breedstraat was sold in 1658, the screens or partitions
which formed the cubiculi were, with two stoves, allowed to
be retained. But by an inexplicable oversight, all other bio
graphers, as well as Vosmaer, generally so accurate, have
assumed that Sandrart and Houbraken were speaking of the
first house which Rembrandt tenanted in the Breedstraat,
whereas it is evident, from the confirmation which the sale in
1658 affords, that it was the second house in that street of
which they wrote — a house into which Rembrandt certainly did
not enter until ten years after his arrival in Amsterdam.
Neither of these authors was at all aware that the painter
had lived in three houses, in different parts of the city, before
he became possessed of the one to which they say the pupils
flocked, and in which these little chambers were arranged ;
they are telling of what took place, or was said to have taken
place, during some part of the time over which their infor
mation extended ; that is, while Sandrart was in Amsterdam,
and while Hoogstraten, from whose garrulous lips many years

xlvi Life of Rembrandt.
afterwards Houbraken learnt what he repeats, was, a boy
hardly yet in his teens, a pupil in Rembrandt's studio. The
estimate of his annual receipts and of the very numerous
pupils who flocked to him is mere guesswork. The biographer,
who had lived in the same town with Rembrandt, and yet makes
no mention of the Night Watch, is not likely to have been so
intimate with the painter in the Breedstraat that he could
count his scholars and disclose his income ; nor is the evidence
at second hand of Houbraken to be accepted without reserve.
Besides, who were these pupils ? We have the names of all, or
nearly all, who made the smallest mark in their profession ;
they mostly came to the master very young, and though
Hoogstraten, with the dignity befitting his seventh decade,
told his pupils that he and others were kept apart in Rem
brandt's studio that they might ' preserve their individuality,'
it is quite as possible that the preservation of discipline had
to do with the arrangement. Omitting those who have left
neither name nor work, but admitting one or two who are
very doubtful, there were with Rembrandt from first to last
perhaps thirty-five pupils, and it is not at all clear whether so
many as seven of these were with him at any one time. The
error in assuming that Sandrart and Houbraken were speak
ing of Rembrandt's first house in the Breedstraat, and the
ready acceptance given to their statements about his pupils
and income, are the more unfortunate in that they have led
the biographers into still further misconceptions.
Rembrandt's marriage seems to have been on the whole
a very fortunate one, and the eight years that followed it
were probably the happiest in his life. He had attained con
siderable reputation, had numerous friends, a pleasant home,
and a charming wife, whose fortune added to his own income
was sufficient, if wisely spent, to ensure comfort, and even
leave a margin for indulgence. An unexpected confirmation
of this appears in the reports of an action brought in the court
of Friseland, between certain members of Saskia's family.

Life of Rembrandt. xlvii
¦Feeling themselves aggrieved by a charge of extravagance
brought against his wife, Rembrandt declares, perhaps with
pardonable exaggeration, that they are richly and super
abundantly blessed with temporal goods, for which they
cannot be sufficiently grateful to Providence ; and he re
pudiates on Saskia's behalf all charge of covetousness, and
asked that by the infliction of a fine those who slandered her
should be punished. The frequent fanciful portraits and
studies, both of Saskia and himself, seem to illustrate this
period of their lives ; he represents her always charming,
always gaily, and in some instances richly, dressed ; while his
own figure is clothed in picturesque garb, with velvet hat
and drooping feather, as if too joyous and contented to
recognise a care.1
To this marriage were born four children, three of whom
died in their earliest infancy ; the fourth, Titus, born Sept. 22,
1641, alone survived. In 1642 Saskia herself died. Among
Rembrandt's etchings is a touching little sketch, which,
though undated, belongs to this period (Catalogue, No. 150). It
represents a sick woman propped up in bed : to this Monsieur
Charles Blanc has given the appropriate title of La Femme de
Rembrandt malade. There can be no doubt as to the likeness ;
though wasted and prematurely aged with illness, the same
character of feature is apparent as in the many other studies
of Saskia. From this time a change, slight it may be and
perhaps not always definable, comes over Rembrandt's work.
Without going so far as to say, with Vosmaer, that this great
sorrow is apparent in such compositions as The Three Trees,
etched in 1645, full of sombre and melancholy sentiment (le
sentiment sombre et melancJwlique), there is certainly a graver
tone about his work ; and in 1648, when he etches his own
portrait, he appears in quiet burgher coat and hat, with
thoughtful face and knitted brow, instead of in embroidered
1 For a very interesting chapter on Saskia van Ulenburgh see Bibl. xxxvii.
p. 126, etc.

xlviii Life of Rembrandt.
dress and velvet cap set rakishly on one side over his long
curly hair, as he had pictured himself ten years before. More
reserved, and his habits of life necessarily changed by the loss
of his wife, it is clear that he clung to his work with increasing
earnestness. The paintings and etchings of this period show
with what closeness he must have applied himself; his studio
still attracted pupils ; and although his occasional wanderings
from home, during the eight to ten years which followed, are
shown by his landscapes, some of scenes close to the city,
such as are the view of Omval and the Obelisk, others of
places a few miles away, as are the Goldweigher's Field, and
Six's Bridge, and other views in the district of Het Gooi-
land, bordering upon the Zuiderzee, yet there was too much
work done in his own studio to support the theory which Mr.
Haden (Bibl. xxi. p. 44) has propounded, that 'houseless and
all but friendless, he sought consolation in a lengthened resi
dence with the family of Jan Six.' It would be pleasant to
think that such relief from heavy care could have been
afforded him. But he was not a man who valued leisure ; and
though Jan Six and he had many tastes in common, and the
younger man's friendship was worthy his acceptance, yet his
visits to the hospitable house of Elsbroek cannot have been
very frequent ; and if I judge the great artist rightly, he was
one who would find more relief in the stern realities of work,
than in any social intercourse, however interesting or however
refined. The years pass on, each marked by greater results
in painting, engraving, and drawing than it would have
appeared possible one man could have completed. He is
apparently more closely than ever confined to his easel. In
1654 we near a strange tale of scandal ; in the previous year,
1653, he has borrowed money, 4,180 florins, from Cornelis
Witson ; in March he owns a debt to Isaak van Hertsbeeck of
4,200 more ; in December of 1654 he appears before the court,
acknowledging a mortgage to Christoffel Thijssens, upon his
house in the Breedstraat, for 1,168 florins, upon which interest

Life of Rembrandt. xlix
is due. And thus at length the crash comes. On the 17th of May,
1656, his affairs are in the Insolvent Court. The interests of
his son in Saskia's property must be guarded. On July 25
inventories are taken of all the treasures and works of art he
has accumulated. Towards the end of 1657, tne ^aw. sure
and inexorable, delays no longer; and Thomas Jacobsz
Haring is authorised to take possession and arrange the sale.
On the 1st of February, 1658, his house is sold for 1 1,218 florins;
and in the following September his ruin would seem com
plete. At the Hotel de Barend Jansz Schuurman in the
Kalverstraat, his splendid collection of prints and pictures
and drawings, of old armour, of dresses, and of rare China,
was dispersed ; and as if to prove how he was stripped of
everything, the inventory enumerates the plates and dishes,
the lesser articles of furniture ; and even descends to Lijnwael,
t' welck geseyt op de bleek te zijn, the half dozen linen
articles then at the washerwoman's.
Various conjectures have been made as to the immediate
cause of this catastrophe. As I have said above, it is probable
that since the year 1640 he had never been free from debt.
But the event which precipitated his ruin was, no doubt, his
re-marriage about 1653. The guardians of Saskia's child,
then about twelve or thirteen years of age, would necessarily
be compelled to enforce the terms of their trust, and thus the
son became an unwilling and involuntary agent in his father's
misfortunes. Always generous to a fault, as was shown, for
instance, in the disposition of his mother's property,1 and in
considerate in the disposal of his income, as is proved by the
treasures of art that he accumulated, he yet might have
recovered himself had the collections which he had so lavishly

1 On the death of Neeltje, her estate was equally divided among her surviving
children. Adrian the eldest, who had purchased a share in the mill at Leyden,
requiring capital, Rembrandt allowed the 2,400 florins which he inherited to
remain in Adrian's hands, to be repaid by annual instalments of 300 florins.
Adrian, it would appear, was not successful, and Rembrandt, pressed for money,
tried to negotiate the sale of his bond.

i Life of Rembrandt.
purchased, sold even at their original cost. But for some
reason a poor 5,000 florins was all that was realised. Possibly
the impoverished state of the country at that time, and the
consequent depreciation in the value of all works of art, were
the cause, or it may be that circumstances, we do not know
what, attending the sale had their evil influence ; certain it is,
that to the bitterness of parting with his treasures was added
the regret that the sacrifice was insufficient to enable him to
surmount his difficulties.
Theparticulars of Rembrandt's re-marriage, above referred
to as the proximate cause of his misfortunes, are not accurately
known ; but it is perhaps more than a coincidence that the
Christian name ofthe girl with whom in 1654 he is reported
to have had a liaison is the same as that of the peasant of
Raarep or Randorp with whom he married : it is not unlikely
they were the same person, the surname being in one case
erroneously given. The proceedings in the court on behalf
of Titus prove that there had been a marriage ; and in the
register of July 23, 1654, is an entry of the baptism of the
child of ' Rembrandt van Reijn and Hendricktie Stoffels ; ' the
little girl being named Cornelia, a name which had been
given successively to two of his infant children by his first
wife Saskia.
From this time the history of the artist becomes obscure.
We know that he removed to the Rosengratz, and that, some
time probably about 1665, he was again a widower and had
again re-married, and that his third wife was one Catharina van
Wijck. It has been suggested that, to escape from his
creditors, he sought refuge in Sweden, and certain pictures
discovered at Stockholm have been referred to in support of
this theory. Others again have believed that he came to
England. But not only is the evidence insufficient to prove
that he ever left the town in which so much of his life had
been spent, but there is good reason for bel;eving that his
habits of indefatigable industry, unaltered ty his reverses,

Life of Rembrandt. li
enabled him again to- live in comfort and even indulge in what
to him was luxury. M. Vosmaer has had the happiness of
discovering the actual house in the Rosengratz to which the
great master removed, and where he remained until his death.
He describes it as presenting to the street two old fashioned
frontages with shields, bearing the date 1652 : he tells us in
detail of the wonderful resemblance between the view from
the interior and a precious drawing of Rembrandt's latest
time, now preserved in the British Museum ; and adds that
there are still the remains of marble floors and chimneypieces
which, however unsuited to the house in its present condition,
at one time lent their aid to make it a residence less unworthy
of Rembrandt In 1668, Titus, then twenty-six years of age, married his
cousin on the mother's side, Magdalena, the daughter of Albertus
van Loo and Cornelia Ulenburg : his death is recorded in Sep
tember ofthe same year ; and in the following March is an entry
in the register ofthe baptism of Titia, his posthumous daughter,
Rembrandt himself being present as a witness. The widow
survived but a few months, and was buried on the 21st of
October. But a death that interests us far more had preceded
it. There is a simple announcement in the register of the
Westerkirk : 'Tuesday, October 8,1669, Rembrandt van
Rijn, painter on the Roozegraft opposite the Doolhof leaves
two children.'1
An entry follows, in which the widow, Catharine van Wijk,
whose name is only thus known to us, declares that she is unable
to show that these children had any of their father's inheritance.
The history of Rembrandt's life, though to some extent
incomplete, and here only briefly told, gives us, in conjunction
with his work, sufficient material for our estimate of his
1 The mortuary expenses are stated at fifteen florins. From the smallness of this
sum it has been inferred that Rembrandt was buried among the poor. But these
were not what we should call the undertaker's, but the actual charges for opening
the grave, etc. ; and it has been shown that from ten to twenty florins was a.
usual sum. c 2

Iii Life of Rembrandt.
character. We may at once and finally set aside, as unworthy
of serious refutation, the malicious and unfounded charges
brought against him of ignorance, vulgarity, avarice, and
dishonesty. Sprung from the burgher class, of a family well
to do in the world, he had received an education which,
however good for average boys, apparently did little towards
developing his talents ; yet he cannot have been entirely
'unlearned,' since Philip Angel, writing in 1642-4, speaks
of him as one who was in the habit of reading old books and
studying history. When in later days misfortune overtook
him and his much-prized collections were dispersed, we see
how varied and how sound had been his love of Art. Again,
he had personal qualities which rendered him worthy of
the regard of his townsmen, or we should not find him the
friend and associate of Huijens, of Tulp, of Utenbogaert
and Six. He was intimate with Sylvius ; he married a
charming woman of good position, he enjoyed more than
a mere acquaintance with Anslo, Menasseh, and Decker.
Against his private life but one slander has been uttered,
and that is capable of being explained away. Otherwise he
was without reproach. That he was a generous man is
shown in his conduct to Roghman. Baldannucci speaks of
his willingness to assist his brother artists ; documents still
extant regarding the disposal of his heritage show his disin
terestedness. It was not the act of a covetous man, or of
one over-careful of his own interests, to consent to the arrange
ment made with Adrian regarding the estate inherited from
their mother ; it is evident that at the very time he relin
quished his just rights he was in need of money ; the
correspondence with Huijens tells the same tale ; while
his loved wife Saskia in her last testament declares her faith
in him that he will act like a conscientious man. Of his
power as an artist we ourselves can judge. But for some
reason or other Rembrandt, especially as he advanced in
age, was not generally popular either as an artist or as a

Life of Rembrandt. Iiii
citizen ; in his later period he was hardly appreciated, even
if he was not absolutely neglected. The truth is, as Vosmaer
clearly shows, that Rembrandt had qualities which interfered
very much with all notions of popularity. He was a hard
working man ; his days were passed in study and in labour ;
he was a close observer, a profound thinker, and, if we may
judge him by his works, had that faculty of concentration
which can almost take the place of genius. He loved to
see his intimate friends, but was not a man of the world,
caring nothing for display and mercenary distinction. We
think of him as a man very serious, very natural, and very
independent in his opinions, and, though not lacking in
the polish of the great world, preferring the society of the
sober-minded, intelligent burghers ; indifferent to the com
panionship of those who affected a higher social rank than
himself. Certainly the opportunities for relaxation in such
a life were few. ' When I desire,' said he, ' to rest my mind,
it is not honours that I seek, but freedom.' Here we have
the man ; and this throws a light on the remarks of Sandrart,
who, speaking of the causes of Rembrandt's misfortunes and
want of popularity, tells us that if Rembrandt had known
better how to conduct his own affairs, if he had been more
impressionable, had known how to conceal his own opinions
and adapt himself to the conventionalities of society as well
as the received canons of Art, he would have gained in
social position as well as have increased in wealth. The
well-born artist and biographer failed to understand that the
originality and independence which made Rembrandt's work
what it was were features in his character. The artist-world
could not sympathise with one who called no man master,
and preferred rules of his own to all the teaching of the
schools ; the higher, and in this instance the more intellectual,
class were offended because he showed no anxiety to enter
their ranks. The acknowledged leader of that class, Vondel,

liv Life of Rembrandt.
was no friend of his. No wonder that the good people of
Amsterdam should succumb to the adverse influence, that
they should select other and inferior artists to record the
scenes they desired to immortalise; and, when they would
celebrate the glories of Apollo and Apelles, should not have
known that they had among them a Rembrandt, whose fame
would extend to lands where Vondel would be unknown.1
Vondel himself was, to no small extent, answerable for this
neglect ; he himself was more than willing to keep Rem
brandt in the background. It somewhat, I think, detracts
from the reputation which that scholar and poet deservedly
holds that he should have been moved by any unworthy
feeling, especially towards one so extraordinarily gifted as
Rembrandt. It was not active hostility, but a studied neglect
that Rembrandt endured from Vondel. This is curiously
apparent in the little sonnets or verses in which the poet
was compelled to recognise the painter ; thus, on the portrait
of the minister Anslo, he says : —
O Rembrandt, paint us the voice of Cornelis ;
The visible part of this man is his least charm ;
The invisible we know only by hearing —
Who would know Anslo must hear him.
He praises the eloquence of the preacher, but he cannot, or
will not, see that it is the painter who has conferred on him
immortality. When in 1655 he writes his epithalamium on the marriage
of Jan Six with Margaret Tulp, and refers to the exquisite
portrait of the bridegroom's mother, which still hangs in the
house on the Heerengracht, he is not generous enough to
recal the name of the painter ; and when inspired by the
1 It occurs to me in writing this that the ' neglect ' may have been the other
way, and that Rembrandt rejected the advances of his townsmen. It was quite
compatible with the character of the painter that he should refuse all prominent
positions in their fites. We can hardly fancy him accepting the somewhat ful
some praises which, on the festival of St. Luke, Vondel seems to have appreciated.

Life of Rembrandt. Iv
superb likeness of Six himself, for aught he says the artist
might be unknown.
Thus have they painted Jan Six in the flower of his age.
Surely, if ever the name of the painter deserved to be
recorded, it was the painter of these wonderful portraits ; yet
all that Vondel can say is that the memory of the sitter will
outlive the picture.
It is only because the position of Vondel himself was
so assured, and so universally accepted by his countrymen,
that it is worth while to inquire into the extent of personal
intercourse between the poet and the painter, and learn how
it was that they seemed so entirely apart. Vosmaer, who
touches this matter with a gentle hand, suggests that Vondel's
ideas of art led him away ; he appears to see in Rembrandt's
refusal to be bound by hitherto accepted canons that which
offended the cultivated taste of the poet, who, like Andries
Pels, regarded the independent painter as a 'heretic' But
among Vondel's friends were Bol and Flinck, and Philip
Koninck and Lievens, all of whom, in so far as they followed
Rembrandt, were ' heretics.' A difference in opinion, though
it is only on a matter of art criticism, is, we know, sufficient
to rouse the ill-will of a mean-minded man ; but it can hardly
be deemed sufficient explanation here, and with so many
mutual friends Rembrandt and Vondel were not likely to
have been severed by an opinion.
Can it have been wounded vanity ? The greatest living
artist never painted Vondel. Philip Koninck (Philip King)
seems to have taken his likeness many times ; and in one
case the result is so pleasing that the aged poet sings of the
portrait which ' King Philip ' created
Roi par le pinceau et les couleurs.1
1 Bibl. xxxvii. p. 1S1.

Ivi Life of Rembrandt.
Asselyn, who also painted him, utters words of great signi
ficance when he says of Vondel
If your brush makes him live on the canvas
You will find your praises in his book.
Probably, as Vosmaer remarks, Asselyn had no malicious
intention, and it may be only a coincidence that Lievens
and Koninck, Sandrart, Flinck, and Quellinus, who did paint
him, are admitted into the Walhalla of his praises, while
Rembrandt, who did not, is excluded, or so faintly com
mended as to make the intention more pointed. Vondel's
commendation of Flinck, and his lines on the Sleeping Venus
of Koninck, show an almost spiteful disparagement of the
great master ; here following, or it may be leading, the whole
school of artists and litterateurs, Hooft, Baek, van Baerle,
Plemp, Reael, and others, who have shown us how incapable
they were of appreciating the genius of the artist whose name
will for ever stand foremost among those who have cast such
lustre upon the land of their birth. It was not without mean
ing that Decker writes : —
Je ne reproduirais pas tes traits, Rembrandt,
Mais ton esprit cultive"
Et ton art ingenieux, que je montrerais
A tous les yeux, en depit de I'envie,
Cette bete infame ! . . . .
It is painful to think of the annoyances to which Rem
brandt may have been subjected by the exhibition of such
an unworthy jealousy. Heartily as he may have despised his
detractors, it was impossible he could have borne their ill-will
with indifference ; a nature so keenly alive to all that was beau
tiful in nature and desirable in art could not be entirely callous.
To assume that the shafts of envy passed him unheeded or
left him untouched, is to suppose that the artist who painted
character in a face as no man ever did before was wanting
in perception, and that he who designed the Hundred Guilder
was insensitive.

Life of Rembrandt. lvii
We cannot doubt but that he was affected, and that in
consequence his natural reserve increased upon him : hence
it was that he who had been the husband of Saskia stooped
to a meaner marriage which at least would not draw him
from his retirement, and the artist who had been on terms
of intimacy with the worthiest of his townsmen gradually
allowed himself to be forgotten. But his memory is avenged.
The crowd of poets, the men renowned in literature whose
names light up the pages of Dutch history during that
seventeenth century, the founders of a school of art, so original
and so earnest, the painters whose works are justly regarded
among the finest treasures in a gallery, and whose prints and
drawings are the pride of a collector, have left a reputation
which the world will not willingly let die — above them all
stands Rembrandt ; his is the statue ; their greatest fame is
to form the bas-reliefs or to be inscribed upon the pedestal.

lviii

Cfce Jfamt'Ip of

(By permission of

BOELOF

fGERRIT ROELOFSZ
or Roelens,
b.  ?
d. at Leyden,
1574.
m. Lijsbeth
Harmensdr.,
who remarried
about 1574-5
CornelisClaesz, and
d. 1600.
Cornelis re
married in
1601
Adriaentje Rem-
brandtsdr.

HARMEN or
HARMAN
GERRITSZVAN RHIJN,
b. at Leyden
1565,
d. 1632.
m. Neeltje
Willemsdr.Van Zuyt-
brouck, the
daughter of
WillemAdriaensz. van
Zuytbrouck ;
and Lijsbeth
Cornelisdr. She d. 1640
at Leyden.

MARIJTGE,Gerritsdr.
b.  ?
d. 1600.
m. 1584
Pieter Claesz
van Meden-
blick.

ADRIAEN
b. 1590, d. 1654.
m. Lijsbeth
Simonsdr.
van Leeuwen.

GERRIT
b.  ?
d. 1631.

MACHTELD
b.  ?
d. about 1640.

CORNELIS6.  ?
d. about 1640.

WILLEM
b. 1597, d.  ?
m. 1636, Wil-
lemjen Pietersdr.,
widow of Jacob
Symon van
Leeuwen.

Eemfcran&k

LIJSBETH
b.  ?
d.  ? living
_ about 1646.

f JAN ADRI
AENSZ.

CORNELIS.

CORNELIA
m. Matthijs
Thijsz van
Caerster.

lix

3ftemtiratt&t ban &&pn,
Mr. Charles Vosmaer.)

Eemforattot ban Efepn,
b. at Leyden, July 15, 1607,
d. at Amsterdam, Oct.
1669,
buried Oct. 8, at the
Westerkerk. He m. (1) June 22, 1634,
Saskia van Ulenburg,
b. July 1 61 2,
d. June 1642 ;
buried June 19, 1642, at
the Oude Kerk.

RUMBARTUS,
baptised Dec. 15, 1635, at
the Oude Kerk,
d.  ?

CORN EL YA,
baptised July 22, 1638, at
the Oude Kerk, buried
Aug. 13 at the Zuiderkerk.

CORNELYA,
baptised July 29, 1640, at
the Oude Kerk.

TITUS,
baptised Sept. 22, 1641,
at the Zuiderkerk, buried
Sept. 4, 1668, at the
Westerkerk. m. Feb. 10, 1668,
Magdalena van Loo,
daughter of Albertus van
Loo and Cornelia
Ulenburgh.

TITIAbaptised March 22, 1669,
in the Nieuwe Zijds-
chapel.m. June 6, 1686,
Frangois Bijler (the
younger).

;«. (2) Hendricktie Stoffels J C0RNELYA,
(others). t SS&^F *" *

m. (3) Catharina van
Wijck.

j Two children— names
\ unknown.

Ix

Cfte Jfamt'Ip of eaimburo; or Wijkvihut%.

VAN ULEN- BURG.

HENDRIK.

PIETER.

ROMBER-
TUSb.  ?
d. 1624.
m. Sjukje
Osinga.She d. 1619.

SASKIA m. Keimpe
Wiarda of
.. Garijp.

• ROMBERTUS,
a painter.
HENDRIK,
,. a print dealer.
AALTJE nt. Jan Cornelis
. Sylvius.
ROMBERTUS,
at the bar.
ULRICUS,
at the bar.
IDSERT,
in the army.
ANTJE m. Joannes Mac-
covius or Ma-
kowski, a Profes
sor at Franeker.
HISKIA
m. Gerrit van Loo,
Secretary to the
Commune of Het
Bildt in Friesland.

m. Fransz Copal,
a tax commis
sioner.

m. — Ockhama.
HENDRIKJE,
m. 1622 Wybrand
de Geest.
SASKIA,
b. 1612,
nt. June 10, 1634,
Rembrandt van
Rijn,
d. 1642.

CORNELIA
I m. Albertus
van Loo.

MAGDA
LENA,
b. 1 641,
d. Oct. 22, 1669.
m. Feb. 10, 1668,
Titus, the son of
Rembrandt.

TITUS,
-b. 1641, and three other children,
who d. in infancy.

TABLE OF
THE WHOLE ETCHED WORK OF REMBRANDT
ARRANGED IN CHRONOLOGICAL ORDER.
 ooj®*o« 

The Studies, Sketches, and Portraits are placed first ; then the Scriptural and
Religious Compositions ; General and Fancy Compositions ; and lastly the
Landscapes.
S. followed by a number in the first column to the right refers to Pierre Yver's
Supplement.

Numbers in this Catalogue and Title

Numbers in the Catalogues of

1628
1. Two small figures, etc. unfinished
2. A little bust, a man with a ruff and feathers .
3. Head of a woman ; on the right side of the plate
4. A man on horseback, etc. (Rh)
5. Bust of an old woman, lightly etched (Rh 1628)
6. An old woman's head, full face, seen only to the chin (Rh
1628) 1629
7. Rembrandt, a bust ; supposed to be engraved on pewter (Rh
1629)
8. A beggar by the road side ; an old woman in the distance .
9. A dealer in old clothes 
10. Two beggars, a man and a woman coming from behind a
bank (Rh)
ii. Two beggars ; a half length, and a head
12. Three profiles of old men ....
13. Two beggars, a man and a woman, side by side
14. A beggar warming his hands over a chafing dish
175. St. Jerome ; an outline .....
176. St. J erome, seated ; with a large book .
1630
15. A Philosopher with an Hour-glass (Rh 1630)
16. Rembrandt with a conical cap ; in an oval ....
17. Rembrandt, in a fur cap and dark dress ....
18. Bust, the features resembling Rembrandt, with a jewel in his
cap B

34o
S. 130
S. 141
138
321 320

'¦ J33

158174
34ii7S167 99
S. S3

296 16

3«332736S 138
343
342

3°

162179
364180 170109
146

3'3

373
335
375 J39
354352

336

16 =

374 183173
106 149

230 150149129r47
303 H5 r35 77

36733i
3^9 !39
348347

3°

162179
368 180170111147

318 12 6

Rembrandt's Etchings.

Numbers in this Catalogue and Title

19. Rembrandt ; a small head, stooping
20. Rembrandt ; the plate an irregular octagon (Rh
21. Rembrandt, with very small black eyes .
22. Rembrandt, with an open mouth (Rh 1630) .
23. Rembrandt, with an air of grimace ( Rh 1630)
24. Rembrandt, with haggard eyes (Rh 1630) .
25. Rembrandt, a full face, laughing ( Rh 1630) .
26. Rembrandt, with curly hair, rising into a tuft over his left eye
(Rh 1630)
27. Rembrandt, with fur cap and light dress (Rh 1630)
28.' Portrait (unknown) of a man with a broad brimmed hat and
a ruff (Rh 1630)
29. An old man ; a bust shaded only on the right
30. An old man with a large beard ; the shoulders rise above the
ears (Rh 1630)
31. An old man with a large beard ; the shoulders lower than the
ears (Rh 1630)
32. An old man with a bushy beard ; a full length (Rh)
33. A beggar standing, and leaning upon a stick
34. A beggar sitting on a hillock ; with his mouth open (Rh 1630)
35. A beggar with a wooden leg .......
36. An old man sitting on a chair, and wearing a high cap
(Philon the Jew) (Rh 1630)
37. Two beggars, a man and a woman conversing (Rh 1630)
36. Head and bust, full face ; looking from behind a wall (Rh
1630)
39. Profile of a bald man with a jewelled chain (Rh 1630) .
40. Head resembling the last, smaller and more stooping (Rh
1630)
41. Profile of a man, bald headed, and coarsely etched
177. Jesus Christ disputing with the Doctors ; a small upright
print (Rh 1630)
178. The Presentation ; with the angel (Rh 1630)
179. The Circumcision ; a small upright print ....
180. Tobit ; seen from behind 
181. A Flight into Egypt ; a sketch 
255. A man standing towards the right (Rh 1630)

Numbers hi the Catalogues of

42.
43-44
,45.

1631
Rembrandt, with a broad nose 
Rembrandt, with bushy hair, and strongly shaded (Rh)
Rembrandt, with a cap and robe of fur (Rh 1631)
Rembrandt, with a round fur cap, full face (Rh 1631) .
46. A young man, full face ; with a low mis-shapen cap (Rh 1631)
47. Rembrandt, with a soft round cap ; known as ' L'homme 4
trois crocs '
48. Rembrandt, with a fur mantle or cape (Rh 1631) .
49. Rembrandt, with bushy hair (injured with the acid) (Rh 1631) \
50, Rembrandt, with bushy hair (the head nearly fills the plate) .
51. Rembrandt, with bushy hair, and small white collar (Rh)
52. Portrait of Rembrandt, with broad hat and embroidered
mantle (Rh 1631)

6
S. 131
13
18 !4
298294

269
304286 144
15s
168 172
299 157
280
270270
284 6551
47
146
163 I
S. 26)
182

5
S. 127
19
S. 91

297 20
S.I2] s.131 9

5
3i 9
13
10
3329
2724
3°7288318
3°5 148159
171
176
314 161
300

291290 70
55 52
150 58
187

4
324 14 16
28 15
25

5
336 9
13
10
320316 2724
3"291
325
3°9 iSi
162174179
321 164
3°4 292
294293 66
5148
153 54
190

4
332 1416
322319 1525 8

209221
213219214
217218205
226260

5
3i 9
1310
3329
27
24
312

285 293
282 323

283"5125
136

128
265

273 372421!4
27
155

208
227 225 223 297
224 222220 212204

310149159171

142 ' 176
266 319

161
3°4

272 294
274 29s

308 705653
47 59
187

4
34 16
320 28 15
25 8

Chronological Table.

Numbers in this Catalogue and Title

Numbers In the Catalogues of

¦ Q

53. Rembrandt's mother in a black dress ; a small upright (Rh
1631)
54. Rembrandt's mother seated, looking to the right (Rh f . )
55. Rembrandt's mother, her hand resting upon her breast (Rh
163 1)
56. Bust of a bald man. leaning forward to the right, with his
mouth open (Rh 1631)
57. Bust of a bald-headed man with a large nose (Rh 1631)
58. Bust of an elderly man with a cap and robe of fur (Rh 1631
59. An old man wearing a calotte edged with fur (Rh)
60. Bust of a man turned to the left, with an action of grimace
61. Head and bust, upright, with bushy beard (Rh 1631) .
62. Bust of an old man with a long beard (Rh 1631) .
63. An old man with a large beard ; a square plate (RH 1631)
64. Man with a large beard, and low fur cap
65. An old, beggar seated, with a dog by his side (Rh 1631)
66. An old woman in a cottage : 'the Onion Woman' (Rh 1631)
67. An old woman wearinga dark head-dress with lappets ( Rh 163 1 )
68. A woman in a veil ; the lower part of the plate an irregular oval
69. Head and bust, the head nearly filling the upper right of the
plate (Rh 1631)
70. A beggar in a ragged coat; in the manner of Callot (Rh 1631)
71. Small full-length figure of a beggar in a large cloak (Rh 1631)
72. Lazarus Klap, or the Dumb Beggar (Rh 1631)
73. Two Venetian figures 
74. A beggar with a crippled hand ; in the manner of Callot
75. A beggar woman, with a leathern bottle . . . .
76. A beggar sitting in an elbow chair 
77. A man with a short beard, and embroidered cloak (Rh 1631)
78. The Blind Fiddler (Rh 1631) 
79. The little Polander (Rh 1631) 
80. A beggar standing to the left ; a small upright print (Rh) .
81. Small head, with a high mis-shapen cap . . . .
82. Sketches, with a so-called ' Head of Rembrandt ' (Rh 1631) J
83. A sheet of sketches ; afterwards divided into five (Rh) .
84. Bust of an old man, in profile, to the right
85. Small bust of an old man with an aquiline nose
86. An old man, seen from behind
87. A Turkish slave ......
88. Bust of a man crying out, turned to the left .
89. A peasant with his hands behind him (Rh 1631)
256. A woman sitting upon a hillock .
257. A woman beneath a tree (Rh 1631)
258. Diana bathing (Rh f.)  -;
259. Danae and Jupiter (Rh) ....

Parts of
78, a
sheet of
sketches.

1632
90. An old man with a large white beard, and fur cap (Rh f.)
91. The Persian (Rh 1632) 
92. Rembrandt's mother in a widow's dress (Rembrandt f.)
93. A Polander ; turned to the left, a full length
94. Head of an old man with dark eyes ....
95. Head of a bald old man ; inclined to the left
96. Old man with a grey beard ; his hair short and wavy .
B 1

3i8313 3J7
27S 302283291 285274 240292289 169
322 325
295 160 143165148158161
S. 62
243 137140162
278
33^ I
337 I
332
S. 129
S. 128
141
279 277 134 190183193 196

242 145
3i3 140

339333338294 3*7 3°33103°4 293257 3"308 172
345348312 164
147168151 162
16. 157
260 r37141 166
29836035«326325 142
299296 135195

259 149
334 140

273
S. 132

349 343348298 324307314 308297 2603i5312 175 134
355358317 16715°171154166 168160
263 138
142169
302370 366334333 143
3°3 300 135 198191
201204

262152
344 141

275 276264279 263277 281234278 139 102
245243298 131 114138119130132 124
267 91
108133
296 238308290 292 109
293 291 103162 156165 168

296337

344339343 298 3223°7315 3°9297261316313 172
349 352317 164148168151163165157
265 138142
166
3023^4 360330
329 143
3°3300 136 195i83

264 150
340 141

300280

296 332

Rembrandt's Etchings.

Numbers in this Catalogue and Title

97. Grotesque head of a man crying out ....
98. Grotesque head in a high fur cap .....
182. A Holy Family. The Virgin with a basket of linen (Rh)
183. St. Jerome kneeling ; an arched print (Rembrant ft. 1632)
260. The Rat Killer, an injured plate .....
261. The Rat Killer (Rh 1652) 

1633
99. Rembrandt, with a scarf round his neck (Rembrandt f. 1633)
100. Rembrandt, with the bird of prey ......
101. An old woman, etched no lower than the chin (Rembrandt f.
i633)
102. A Polander ; walking towards the right . . . .
184. The Flight into Egypt ; asmall upright (Rembrandt inventor
et fecit 1633)
185. The Good Samaritan (Rembrandt inventor et feecit 1633)
186. The Descent from the Cross (Rembrant ft. 1633) .
187. The Descent from the Cross (Rembrandt cum pryvl" 1633) .
188. The Resurrection of Lazarus ; a large print (Rh v. Ryn f.) .
189. Jacob lamenting the supposed death of Joseph (Rembrandt
van Ryn fet. )
262. Adverse Fortune (Rembrandt f. 1633) 
I<534
103. A skater . 
104. Two travelling peasants .......
105. Rembrandt, with a drawn sabre, held upright (Rembrandt f.
1634)
106. Rembrandt, with moustache and small beard
107. Rembrandt's wife with pearls in her hair (Rembrandt f. 1634)
108. Study of Saskia ; ' the Great Jewish bride ' (R 1634)
109. A young woman reading (Rembrandt f. 1634)
no. Jan Cornelis Sylvius (Janus Sylvius) (Rembrandt f. 1634)
in. Portrait, unknown, of a man with a sabre (Rembiandtf. 1634)
112. A beggar and a companion piece ; a man turned to the left
(Rembrandt f. 1634)
113. A beggar and a companion piece ; a man turned to the right
(Rembran. f. 163)
190. St. Jerome, sitting at the foot of a tree (Rembrandt f. 1634) .
191. The Angel appearing to the Shepherds (Rembrandt f. 1634) .
192. Joseph and the wife of Potiphar (Rembrandt f. 1634) .
193. The Crucifixion ; a small square plate (Rembrandt f.) .
194. Our Lord and the Disciples at Emmaus ; a small print (Rem
brandt f. 1634)
195. The Samaritan Woman ; ' at the ruins ' (Rembrandt f. 1634)
196. The Tribute Money . 
263. The Travelling Musicians .......

1635
114. Johannes Uijtenbogaerd {Rembrandt f. t. 1635)
115. Three heads of women . ....
116. An old woman sleeping ..
117. The Mountebank (Rembrandt f. 1635) .

Numbers in the Catalogues of

t s
0) >

306
305 61
101 118117

4
3i9 139 52
7784
7435
123

I5r142 23 3
3163"3H 246 28
171171 100 43 36 82
9*72 67
H5

259
3333°3 127

320
3*9 66
104124123

17 3
34i 139 56
9483
77
42
113

33733°335263 23
174175 103 48 43 85
92 75 72
121

276357
34° 130

327326 62
101122121

17 3
3Si 140 52
90 81
81
7338

347 34o345266 23
177178 100 44 39 80

2793^7
35° 129

299301 33729695

281

121 no
231206201 199
242 186
232 140141 71 17 11
55
162 46 4290

190250
244 92

325324 66
106126125

17 3
346 140 57
95
83 84
7742
"5

153144 18

34233734i268 23
174175 i°5 4943 86
93 7572
123

281
361345 132

Chronological Table.

Numbers in the Catalogues of

Numbers in this Catalogue and Title

H rt

a

x

c

U V

0 <u
P

rt

sti
S

0

118. Bust of an old man, in a very high fur cap .

276

295

299

302

299

119. A nvin with curling hair, and his under lip thrust out .

281

301 | 305

259

305

120. An old man with short straight beard ; a profile to the right

282

302 306

294

306

121. A ragged peasant, with his hands behind him

166

169 172

137

169

122. Three Oriental heads. First head, full face (Rembrandt 1635

266

283 ' 286

173

288

123. Three Oriental heads. Second head, a profile to the lef

266

284 ! 287

288

289

(Rembrandt)

124. Three Oriental heads. Third head, a profile to the right
266
285
288
289
290
(Rembrandt 1635)
125. A young man in a mezetin cap (R) ....
267
286
289
255
291
126. Bust of an old man asleep ( Rembrandt)
268
287
290
286
292
197. The Martyrdom of St. Stephen (Rembrandt f. 1635)
98
IOO
97
68
102
198. Jesus Christ driving out the money changers (Rembrandt f
69
73
69
44
73
163S)
199. St. Jerome kneeling (Rembrandt f. 1635)
103
105
102
73
107
264. The Pancake Woman (Rembrandt f. 1635) .
120
126
124
93
128
1636
127. Menasseh Ben Israel (Rembrandt f. 1636)
249
266
269
183
271
128. Rembrandt and His wife (Rembrandt f. 1636)
24
J9
19
203
19
129. Rembrandt's wife and five other heads (Rembrandt f. 1636)
331
355
3^5
249
359
200. The Ecce Homo (Rembrandt f. 1636 cum privele et)
83
82
77
52
82
201. The Prodigal Son (Rembrandt f. 1636) ....
70
95
91
43
96
202. The Virgin mourning the death of Jesus
89
89
85
59
90
203. Abraham caressing Isaac (Rembrandt f.) . . .
. 132
38
33
4
135*
1637
130. Three heads of women, one asleep (Rembrandt f. 1637)
¦ 334
358
368
251
362
131. An old man, wearing a rich velvet cap (Rembrandt f. 1637)
290
3°9
3J3
269
314
132. A young man seated ; turned to the left ( Rembrandt f. 1637
248
265
268
258
270
204. Abraham sending away Hagarand Ishmael (Rembrandt f.1637
) 3i
3"
30
3
37
1638
133. Rembrandt with a fiat rap and slashed vest (Rembrandt)
293
26
26
216
26
134. Rembrandt in a mezetin cap and feather (Rembrandt f. 1636
) 25
20
20
233
20
135. The St. Catharine, or the Little Jewish Bride (Rembrandt f
312
332
342
200
338
1638)
203. Joseph telling his dreams (Rembrandt f. 1638)
37
41
37
9
4i
206. Adam and Eve (Rembrandt f. 1638) ....
29
34
28
1
35
1639
136. The head of Rembrandt, and other studies .
329
353
3^3
237
357
137. Rembrandt leaning on a stone sill (Rembrandt f. 1639)
26
21
21
234
21
138. Wttenboogaert : 'The Goldweigher' (Rembrandt f 1639)
261
278
281
189
283
139. An old man lifting his hand to his cap ....
239
256
259
268
260
140. A Jew with a high cap ; a full length (Rembrandt f. 1639)
131
133
133
IOI
135
141. A beggar, standing, seen in profile : to the left
156
160
163 1 126
160
142. Three beggars — a man, a woman, and a child
S. 63
158 j 161
127
158
143. A physician feeling the pulse of a patient
150
152 155
116
152
144. Two women in separate beds, etc. ...
335
359 ! 369
122 303
207. The Death of the Virgin (Rembrandt 1639) .
97
102
99
70
104
Rembrandt's Etchings.

Numbers in this Catalogue and Title

Numbers In the Catalogues of

208. The Presentation in the Vaulted Temple ....
265. Youth surprised by Death (Rembrandt f. 1639) .
164O
145. Portrait, unknown — an old man in a divided fur cap (Rem
brandt f. 1640)
209. The Decollation of St. John the Baptist (Rembrandt f. 1640)
266. Sketch of a dog 
267. The little dog sleeping 
268. The Flute-player (Rembrandt f. 1640) .
303. A large tree and a house : an early morning effect (R) .
304. A view of Amsterdam ... .

1641
146. Cornelis Claesz. Anslo (Rembrandt f. 1641) ....
147. Portrait : a man with a crucifix and chain (Rembrandt f. 1641)
148. Portrait of a boy, half length (Rembrandt f 1641)
149. An old woman, reading 
210. The Baptism of.the Eunuch (Rembrandt f. 1641)
211. The Virgin and the Holy Child in the clouds (Rembrandt f.
1641)
212. Jacob and Laban (Rembrandt f. 1641) 
213. The Angel ascending from Tobit and his family (Rembrandt
f. 1641)
269. A man playing cards (Rembrandt f. 1641) .
270. The Draughtsman .....
271. The Schoolmaster (Rembrandt f. 1641)
272. The large Lion Hunt (Rembrandt f. 1641) .
273. A small Lion Hunt — with a lioness
274. A Lion Hunt ; a companion piece to No. 273
275. A battle piece ......
305. Rembrandt's Mill (Rembrandt f. 1641) .
306. A large landscape, with a Dutch haybarn (Rembrandt f.
307. A large landscape, with a mill sail (Rembrandt f 1641)

1641)

1642
130. Rembrandt's Wife, dying ....
151. A young woman with a basket ...
152. A man in an arbour (Rembrandt f. 1642) . \ '
214. St. Jerome ; in Rembrandt's dark manner (Rembrandt f 1642)
215. The Resurrection of Lazarus;asmallprint(Rembrandtf 1642)
216. The Descent from the Cross ; a sketch (Rembrandt f. 1642).
276. A student in his chamber ....
308. A cottage with white pales (Rembrandt f. 1642) '. \

1643
153. Three peasants travelling
154. Sketch of a tree, etc.
277. The Hog (Rembrandt f. 1643)
309. The Three Trees (Rembrandt f. 1643)

49
109

245 92
338 153180199
202

251241287
S. 140
9560
114 42
135128126
"3H3"3 "3
225217
222

3263=3237 105 73 85
142
224

129
339 152
204

262 96
361 155185
204 207

268258 306352 101 65
120 47
13613'129 116
117118119
230 222
222

349346 254 108 76 86
145
229

132
362 "54
209

265 92
37i 158 188
207 210

271
261310362 9861
118 43
136130128 114"5116117
233225226

359 356
257 i°5 7282
148
232

131
372 157
212

271 40
35i 352 153
3103'3

202240 262 7647 57
112
332

120
349 35o
315

54
"3

267 97
365 155 185
204207

2732633"356 103 65
122 48
137 133"3i 118119120 121
230222223

3S3350 258 no 76 87
146
229

134
366 154
209

Chronological Table.

Numbers in this Catalogue and Title

1644
310. The Shepherd and his Family (Rembrant f. 1644)
I64S
217. Jesus Christ's Body carried to the Tomb (Rembrant)
218. A Repose : in outline (Rembrandt f. 1645) .
219. St. Peter (Rembrandt f. 1645) ....
220. Abraham with his son Isaac (Rembrant 1645)
311. View of Omval, near Amsterdam (Rembrant. f. 1645)
312. The Boat-house, called 'A Grotto with a Brook' (Rembrandt
1645)
313. Six's Bridge (Rembrandt f. 1645) 
314. A village with a river and sailing vessel ....
1646
155. Jan Cornelis Sylvius ; an oval portrait (Rembrandt 1646)
156. An old man resting his hands on a book ....
157. A beggar woman asking alms (Rembrandt 1646) .
278. An Academical figure seated on the ground (Rembrandt f. 1646)
279. A figure, formerly called 'The Prodigal Son' (Rembrandt
1646)
280. Academical figures of two men 
281. The Shepherds in the wood 
282. The Friar in the Cornfield 
283. Ledikant (Rembrandt f. 1646) 
315. A landscape, with a man sketching the scene
1647
158. Ephraim Bonus (Rembrandt f. 1647) 
159. The Portrait of Jan Six (Rembrandt f. 1647)
221. A Repose in a wood : a night effect 
284. An artist drawing from a model 
285. The Spanish Gipsy  1648
160. Rembrandt drawing (Rembrandt f. 1648) ....
161. Jan Asselyn (Rembra. f. 1.) 
222. The Crucifixion ; an oval plate 
223. St. Jerome writing, seated near a large tree (Rembrandt f. 1648)
286. Medea, or the Marriage of Jason and Creusa (Rembrandt f.
1648)
287. Three beggars at the door of a house (Rembrandt f. 1648) .
288. A Jew's Synagogue (Rembrandt f. 1648) ....
316. An Orchard with a barn 
317. Landscape with a ruined tower and clear foreground .
1649
224. Jesus Christ healing the sick, ' The Hundred Guilder ' .
289. The Bull (Rembrandt f. 1649) 
318. Landscape with a cow drinking 

Numbers in the Catalogues of

58
58 32
2JI223 200219

260 I42
164188
185 186l8l179I78
211

258265 57
184116

27
257 81
102124
170122
221215

75
S. 91
228

217 220

62 58
99 96
39 34
206 209
228 231

205
225

277 144
167193190191
186184183
216

275282 6i
189122

274 84
106114
173128
227
220

78
250234

228

280 147170196193194189187186
219

278
285 57
192120

22
277 79
103112176126
230
223

321

603i07 5
31233i3n329

J54 152
151
320

235 171 54
7482
146 98
33°324

217

8963
101 38
206
228

20s225

282 145 167
193190

159 191

186
184183
216

280287 62
189
124

279 85
108116
173130
227220

78
249234

Rembrandt's Etchings.

Numbers in this Catalogue and Title

1650
225. Jesus Christ in the midst of His disciples (Rembrandt 1650) .
290. The Shell or the Damier (Rembrandt f. 1650)
319. An arched landscape with a flock of sheep (Rembrandt f. 1650)
320. A peasant carrying milk pails ......
321. A village with a square tower ; an arched plate (Rembrandt
f 1650)
322. Landscape with a canal and swans (Rembrandt f. 1650)
323. Landscape with a canal and large boat (Rembrandt f. 1650) .
324. Landscape with an obelisk .......
325. The Three Cottages (Rembrandt f 1650) . . . .

1651
162. Portrait of Coppenol ; a smaller plate .
163. Bust of a young man ; lightly etched .
164. Clement dejonghe (Rembrandt f. 1651)
226. Tobit blind, with the dog (Rembrandt f. 1651)
227. The Flight into Egypt ; a night effect (Rembrandt f. 1651)
228. The Triumph of Mordecai 
291. Doctor Faustus 
292. The Bathers (Rembrandt f. 1631) ....
326. The Goldweigher's Field (Rembrandt, 1651) .

1652
165. Portrait of Titus, Rembrandt's son 
166. A Copse and paling, with studies of a horse, etc. .
229. Jesus Christ preaching ; called the ' La Tombe ' .
230. The Adoration of the Shepherds ; a night piece .
231. Jesus disputing with the Doctors ; a larger plate (Rembrandt
f. 1652)
232. David on his knees (Rembrandt f 1652)
233. Jesus Christ entombed ....
293. The Star of the 'Kings (Rembrandt) .
327. The Canal ; a landscape of irregular form
328. The Vista (Rembrandt f. 1652) .
I6S3
167. Jan Antonides van der Linden ...
234. St. Jerome ; an unfinished piece .
235. Our Lord crucified between two thieves ; otherwise known as
' The Three Crosses ' (Rembrandt f. 1653)
236. The Flight into Egypt, called ' in the Style of Elzheimer ' .
329. The Sportsman, a landscape I6S4
237. Our Lord and the disciples at Emmaus (Rembrandt f \Sz.a\
238. The Nativity (Rembrandt f.)  M'
239. The Circumcision, with the cask and.net (Rembrandt f 1654)
240. The Flight into Egypt— the Holy Family crossing 'a rill
(Rembrandt f 1654)

Numbers in the Catalogues of

¦Sp I S
n >

68
'54
216205210

227227218209

262
S. 125
252 415339
250 187
226

IS
330 664564 4087
112
213214

244 104 80
56
203

90444655

93
156
220210215232233224214

279
322 269 465744
267 192
231

354 7150694590
i'5
218219

60
208

89
159
224213218 235236
227217

282 330
272 42 53
40
270 195
234

364 6746 65 4186
"3
221222

264 104 7856
211

64
353325316319335 336
328 318

236348 39 19
36 13
61 85
322323

181 755329
3M

94
156
221210 215 232
233224 214

284327274 46 58
44
272 192
231

358 71 5i69
45 91
117
218 219

266 109 81

61
208

925°52
60

Chronological Table.

Numbers in this Catalogue and Title

Numbers in the Catalogues of

241. The Holy Family, with the Serpent (Rembrandt f. 1654)
242. The Descent from the Cross ; a night piece (Rembrandt 1654)
243. The Presentation ; in Rembrandt's dark manner .
244. Jesus and His parents returning from Jerusalem (Rembrandt
fi6s4)
243. Jesus disputing with the Doctors ; the smaller print (Rem
brandt f. 1654)
294. The Sport of Kolef or Golf (Rembrandt f. 1654) .
1655
168. The elder Haring 
169. The younger Haring (Rembrandt f. 1655) .
170. Doctor Arnoldus Tholinx 
Abraham's Sacrifice (Rembrandt f. 1655)
Four prints for a Spanish book (Rembrandt f 1655)
Our Lord before Pilate (Rembrandt f. 1655)
St. Peter and St. John at the Gate of the Temple
The Goldsmith (Rembrandt 165s)

246.247. 248.249. 295-

62 86505463
121

1656

171. Johannes Lutma (Rembrandt f. 1656) 
172. Abraham Fransz, or Francen 
250. Abraham entertaining the Angels (Rembrandt f 1656)
I6S7
251.- Our Lord in the Garden of Olives . . . .
252. St. Francis praying (Rembrandt f. 1657) ....
1658
173. Rembrandt on a high and narrow plate (Rembrandt f 1658) .
174. Portrait of Coppenol ; a large plate 
253. Jesus and the Samaritan woman ; an arched print (Rembrandt
1658)
296. An allegorical piece (Rembrandt f 1658) . . . .
297. A woman with her feet in the water (Rembrandt f 1658)
298. A woman preparing to dress after bathing (Rembrandt f. 1658)
299. A woman sealed before a Dutch stove (Rembrandt f. 1658) .
300. A negress lying down (Rembrandt 1658) ....
I6S9
254. St. Peter and St. John at the Gate of the Temple (Rembrandt
f. 1659)
301. Antiope and Jupiter (Rembrandt f. 1659) . . . .

1660 1661
302. The woman with an arrow (Rembrandt f. 1661)

254 255264 33 34
79 58
119 125

256253 30

78
107

263 71
111192191189197

94
195

194

271 272 281 36
40 80

274275284 3536
76 95
123

273 276

270 35

373 29

79
no

75
107

32
280 74

32
283 70

112

no

197196194
202

201 199197
205

97

94

200

203

199

202

178 179
188 6 8
Si
65 94

67 805564 68
129

276277286 3940 80
99
127

182 278
176 27s 36

228 175 45 80
164163161

66
167 166

79
112

283 74
114 197196194
202

199

IO

FIRST CLASS.
STUDIES AND PORTRAITS.
Numbers I to 174.
The PRINTS which are brought together in this extensive
and important group appear under seven different classes in
Wilson, and are spread through four in the catalogue of
Blanc. As might naturally have been expected, they present
the greatest possible diversity as well of technic as of com
position, and if for this reason alone are of the utmost value
to the student. In some, the pose of the head and figure is
admirably designed, the technic elaborately finished, or dis
playing a breadth and vigour of the highest quality, the
composition full of feeling and expression, and the accessories
when introduced of the most suitable character ; in others,
the chief feature is an extreme simplicity, the master's hand
has seemed to revel in its carelessness, and the execution
been as rapid and apparently flowed as unheeded as his
thought. ,
And it is not only that so great a contrast may be
observed in the works separated by an interval of years, the
differences are often equally striking between the prints
which are brought together by their dates ; varying in degree,
their divergence is not unfrequently of the most unexpected
character ; one will be etched with the utmost care and the
finest and most delicate needle, another again presents an
outline or a shading so coarse and harsh that amateurs who
have not made Rembrandt's work their special study may be
excused if at first they are disposed" to repudiate it and assign
the execution to some inferior, perhaps later hand. But let
the student suspend his judgment ; it does not follow that
because two prints are of unequal merit one should be sum
marily rejected. It is with prints as it is with handwriting :
amidst a confused mass of letters, the expert can at a glance

Studies and Portraits. 1 1
select those which he recognises, placing together many which
to the inexperienced show no evidence of similarity ; and in
a like manner to the true connoisseur will Rembrandt's even
most insignificant prints declare their authorship, and stand
apart from, I do not say in advance of, all other etchings of
the period.
Of the finer prints which we regard as portraits it is
impossible to speak too highly. There are no etched works
of that day which can be brought into comparison, for even
the most advanced of Rembrandt's pupils followed him only
at a distance. Ferdinand Bol in some respects came nearest
to the master, but place his most successful print, The
Woman with a Pear, by the side of the Old Haring or
the portrait of Arnoldus Tholinx, whose technic it seems to
imitate, and the extent of the difference will at once be
apparent ; no other pupil even advanced so far ; nor does
modern or more recent work lessen our admiration. Denon,
Basan, and Baillie, Burnet, who has I think been unduly
depreciated, and many others who copied from or have been
inspired by Rembrandt, are separated from him by the
widest interval. Geddes, the earliest impressions of whose
plates, rich in burr, are often of singular merit, Whistler,
Le Gros, and Wontner, have shown a rare excellence in etched
portraiture, but they have wisely followed the bent of their
own genius, and not entered the field with Rembrandt, or
ventured on a rivalry ; Flameng and Unger, in reproducing
or translating for us many of the master's finest works, have
gaine.d a reputation which has placed them in the highest
rank as etchers, but their measure of success is all their own.
To this day, and possibly for all time, Rembrandt's finest
portraits must be placed apart, unequalled and inimitable.
But it is otherwise with the inferior and less finished
pieces which form the larger part of this group. In them the
master's genius is not always so readily discovered, nor are
his peculiar excellencies so marked, yet it is not for this
reason that they should be neglected.
In accepting the greater part of these studies and sketches
as the work of Rembrandt, I am not blindly following the
example of those who have preceded me. Indefatigable
writers like Bartsch and Wilson, Blanc and Vosmaer, full of

12 Rembrandt's Etchings.
intense devotion to Art and susceptibility to its charms, have
felt no difficulty in assigning these etchings to Rembrandt,
and it would be presumptuous in me to question the correct
ness of their decision on insufficient grounds ; at the same
time even deference to opinion may be carried too far, and as
my object is not to support this or that theory, but to place
before the student the best and most reliable information by
which he may educate his judgment, I have devoted no little
time to the consideration of the minor prints. The decision
at which I have arrived is that by far the greater number
must be retained as the undoubted work of the master, and
that the absolutely rejected must be very few. In forming
my opinion I have given their full weight to the strongly
expressed views of a recent writer with regard to these pieces.
In the preface to the catalogue of Rembrandt's etchings
exhibited at the BurlingtonFineArtsClubini877 (Bibl. XXL),
Mr. F. Seymour Haden, while criticising other and larger
prints, has enunciated the idea that most of the smaller
heads and figures of beggars, etc., are the work of other
hands. His conclusions may be thus briefly stated : — Com
paring the finer prints of Rembrandt's earlier time with those
more coarse and careless which yet bear his signature, he has
not hesitated to reject the latter, and declare that they should,
for the future, be eliminated from the catalogues ; relying on
the testimony of Sandrart and Houbraken, he points to the
number of pupils who thronged Rembrandt's studio, and
asserts that their handiwork is seen in the prints he would
thus summarily dismiss ; and further charges Rembrandt
with having permitted the use of his signature that he
might make a profit by their sale. I have already shown
that the evidence, that on which the whole argument is
founded, has no relation whatever to Rembrandt's first
residence in the Breedstraat, and a little reflection will
dispose of the question of profit. In my short history of
the artist's life I have shown the slight value which in this
case is to be attached to the evidence of the biographers ;
and a little reflection will dispose of the question of profit.
When the reputation of Rembrandt as an etcher was at its
highest, that is in or about 1649, ne 1S said to have obtained
a sum of nearly eight pounds for an impression of his finest

Studies and Portraits. 13
print, and the price was thought so unusual that the print
acquired the title of the ' Hundred Guilder.' It is not proved
(see my remarks upon this print, No. 224) whether it even
realized so much ; but assuming the correctness of the state
ment, let the reader, taking into account the simplicity of
design and character of the greater part of Rembrandt's
earlier work, and remembering that when these sketches were
executed he had attained no reputation as an etcher, form his
own estimate of the money value of the impressions drawn oft
from, say, the first hundred plates. I do not myself believe
that the return would cover the price of the materials ex
pended in producing them. The argument that the technic
of the pupils is clearly apparent in a large proportion of these
studies would be decisive if only it could be sustained ; and
on this point the opinions of the author, himself a practised
etcher, are entitled to consideration. It is, however, evident
from Mr. Haden's remarks that he had not thoroughly
acquainted himself with the greater part of these sketches, or
knew them only in their later states, when they had been
tampered with ; while the curious mistakes he has made in
enumerating the pupils (Bibl. XXI. pp. 20, 24, 26) and his
criticisms upon their peculiar work prove that he had not
studied their technic with sufficient closeness to justify his
conclusions. Immature work of the same school is always
much alike ; the pupils who were with Rembrandt — and, pace
Sandrart, in Rembrandt's earlier days they were very few —
have left their mark upon some of the larger plates, and on
the later states of others, but their handiwork is not apparent
in the first states of the minor sketches.
The true explanation is that the larger number of these
studies were experimental, and that in a twofold sense ; they
were not only studies of facial expression or of attitude, but
were trials of the needle and of the copper : to assume that he
had no need to familiarize himself with his ground, his point,
his mordant and his press, is to suppose that Minerva-like, all-
armed, Rembrandt as an etcher at once arrived at maturity.
These early sketches, with all their imperfections, are to us
most valuable ; they introduce us to the studio, they show his
mistakes and his failures as well as his success: upon one, No.
7, are curious tool-marks where the lines lie parallel as if

14 Rembrandt's Etchings.
drawn with a widely split pen ; another, No. 16, might have
been wrought on with a chisel ; No. 28 shows touches of the
finest needle ; No. 59 is underbitten, and so, to a certain
extent, ineffective ; Nos. 17 and 43 are so injured by too long
immersion in the acid that it is hard to recognize the master's
hand ; in some, as No. 42, he has failed in his etching ground^
and the correction of the consequent faulty passage distin
guishes a second state.
As might naturally be expected, the impressions from these
injured plates are few, some are even excessively rare ; while
on the other hand many of the more successful prints, though
not one whit more desirable, are comparatively frequent.
Rembrandt's Studies and Portraits of himself are always
full or nearly full face, having no doubt been taken in a
looking-glass placed before him upon his work-table ; they
are mostly studies of feature and expression, and it is very
doubtful whether, with the exception perhaps of Nos. 52, 128,
and 160, any of them, were intended as actual likenesses.

Terms Used.
Right and left, unless otherwise stated, always refer to the sides of the
print opposite the spectator's right and left.
Diagonals right-to-left or left-to-right are in a descending direc
tion \ or /.
Verticals and horizontals explain themselves.
Descending lines are nearly vertical, and have a direction right-to-left
or left-to-rignt.

15

Rembrandt's Studies, Sketches, and Portraits are so numerous, and in many
cases so difficult to distinguish by description only, that the following table has
been drawn up for the convenience of students and amateurs.

Heads
only, with
out bust.

Head and
bust,
full front.

a

Short Descriptive Titles No :
An old woman seen to the chin  6
Rembrandt's head in a conical cap, in an oval . . . 1 6
Rembrandt's head, the plate a small irregular octagon . 20
An old woman seen to the chin, turned a little to the right 101
Rembrandt's head, in a cap  106
. A man lifting his hand to his cap  139
Little head, with a ruff, and cap and feather ... 2
Rembrandt's head and bust, etched on pewter . . 7
Man looking from behind a wall, wears a calotte . . 38
Old man with large beard, head uncovered and slightly to
the left  63
Man with large white beard and fur cap . . . . 91
Rembrandt with a drawn sabre  105
An old woman sleeping  116
Menassah Ben Israel  127
Rembrandt with a mezetin cap  134
A woman in % large hood (Saskia dying) . . .150
Jan Cornelis Sylvius, in an oval . . . . . 155
t. A boy (Titus), called ' Rembrandt when young' . .165
Rembrandt with an open mouth  22
Rembrandt with an air of grimace  23
Profile quite bald, coarsely etched  41
Rembrandt with a broad nose  42
Rembrandt strongly shaded  43
Rembrandt with a fur mantle or cape . . . .48
Rembrandt with bushy hair, head nearly fills the plate . 50
Man in an upright attitude with ragged beard . . .61
Old man, nearly bald, looking downwards . . -95
Oriental head, nearly full face  122
Portrait of a child, called ' William II. ' . . . .148
Rembrandt in a fur cap and dark dress . . . .17
Rembrandt with an expression of fear . . . .24
Rembrandt with an embroidered mantle . . . • 5 2
Man in a fur cap, stooping  58
Man with an action of grimace  60
Man with large beard, lightly etched . . . .6a

i6

Rembrandt's Etchings.

3

s

Man in a curious high cap, face to the right
Man crying out
Rembrandt with a scarf .
Rembrandt with a bird of prey
A young woman reading
Oriental head
Young man in the style of Castiglione
Old man stooping, his eyes shut
A young man seated
Rembrandt leaning on a stone sill
A young woman with a basket
Man in an arbour .
Portrait of Jan Asselyn .
A young man in a broad hat .
Rembrandt, a small head stooping, bust nearly full
Rembrandt with small black eyes, leaning forward
Rembrandt with a high tuft of hair above to the right
An old man, full face looking downwards, small plate
An old man with wide beard, looking downwards
An old man, nearly full face, large white beard
Bald man with a chain, a profile
Same head looking downwards, a smaller plate
Rembrandt with bushy hair, injured with the acid
Rembrandt with a turned-down white collar
Bald man with open mouth, looking downwards
Bald man, an upright attitude, a three-quarter face
An old man with a large beard
Small head, high forehead . ...
Man, full face, thin hair, and black eyes .
Man with white beard, head nearly to the top of plate
(In third state the head is covered.)
Rembrandt's wife with pearls in her hair .
Man with curly hair and underlip thrust out .
Profile, bald man with a short beard and open mouth
Saint Catharine, or '• The little Jewish bride ' .
Profile, man partially bald, hands crossed upon a book
Head of a woman, at the right side of the plate
Rembrandt's mother, lightly etched
Rembrandt, fur cap on which is a jewel .
Rembrandt laughing ......
Rembrandt, fur cap and light dress ....
Man in broad -brimmed hat, on the left of the plate .
Man, high. cap, face nearly full ....
Rembrandt, cap and robe of fur ....
Rembrandt, round fur cap, full face
Young man, full face, cap nearly touches top of the plate
Rembrandt with a flat cap and fur collar .
Rembrandt's mother, background darkly shaded, nearly
full face

99
100109123125126 132137151!S2 l6l
163 r9
21 26
293°
313940
49 Si 56
5762
8494 96
107 119120 1351S6 3 5
18
25 2728
3644
45 46 4753

Studies and Portraits.

17

¦*

S*

k

^»

J5>
SP
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.«
"5*
s -
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3
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a
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Man with a calotte edged with fur .
Woman with a black veil ....
Woman in an irregular oval
Man, cap nearly touches the top of the plate
Man with short beard, left hand to right arm
Man with aquiline nose and fur cap
Man with hands clasped, a three-quarter figure
Turkish slave, square cap
Man crying out ....
Grotesque head : plate oval at the top
Man without beard, high fur cap
Oriental head 
Man with a richly embroidered cap .
Rembrandt, flat cap and slashed vest
A Physician feeling the pulse of a patient
Man with a divided fur cap
An old woman with spectacles, reading
Portrait of Coppenol : on a large plate
A beggar standing and leaning upon a stick
The Persian 
A ragged peasant with his hands behind him
A man with a crucifix and chain
Ephraim Bonus
Rembrandt drawing
Clement de Jonghe
Jan Antonides van der Linden
The old Haring
The young Haring .
Arnoldus Tholinx .
Janus Lutma ....
Rembrandt, on a high and narrow plate
A dealer in old clothes .
A beggar seated with a dog
The Onion Woman
A beggar in a ragged cloak
Lazarus Klap .
Woman with a leathern bottle
A beggar, a print less than an inch wide
Rembrandt's mother, in a widow's dress
A Polander, with sword-belt and sword
A skater • 
Study of Saskia, ' the great Jewish bride '
Jan Cornelis Sylvius : a square plate
A beggar, Tis vinnich kout
Wttenboogaert, ' the Goldweigher '
A beggar, in profile, with a stick
Cornelis Claesz Anslo
Portrait of Jan Six . C
5967
68 69778586879798
118124131i33
143
145 149174 33
91
121i47158160164167 168
169170171i73 9
65 66 70
72
75
809293
103108no
112138 141146r59
i8

Rembrandt's Etchings.

%

•a

£

Two or
more
figures.

Sheets of
Sketches.

Lieven van Coppenol : the smaller plate
Abraham Fransz .....
A man feeling with his right hand for a door (Tobit)
A man with a ragged coat, walking (Joseph) .
Beggar warming his hands, seated .
A philosopher with an hour glass
Beggar with a bushy beard, resting against a hillock
Beggar with mouth open, seated
Beggar with a wooden leg ....
Rembrandt's mother 
Rembrandt's mother with her hand on her breast
Beggar without beard, in a large cloak
Beggar, in the manner of Callot
Beggar in an elbow chair ....
The Blind Fiddler 
The little Polander 
A peasant; with his hands behind him
A Polander 
Portrait unknown, called ' Rembrandt in an oval '
Beggar, Dats niet ......
Johannes TJijtenbogaerd 
A mountebank ......
A beggar in a high cap .....
Beggar wpman asking alms ....
' Two small figures on the right of the plate
Man on horseback ,,,...
Two beggars, a man and a woman in the distance
Two beggars coming from behind a bank
Two beggars, a half length and a head
Two beggars, a man and a woman, side by side
Two beggars, a man and a woman, conversing
Two men walking tp the right
Two peasants walking to the right .
Rembrandt and his wife ,
A man, a woman, and a child .
_ Three peasants walking to the right .
' Three profiles of old men
Beggar and ' Head of Rembrandt ' .
Sketches, with the head of a cat
Three heads of women .
Rembrandt's wife and five other heads
Three heads of women, one asleep .
Head of Rembrandt, etc.
Two women in separate beds .
Sketches of a tree, etc.
Sketches of a copse and paling, etc.
Head of a dog (Fancy composition)

: 162
: 172180
181

14
. 15
32 34
35 54
55 7i74
767879
89
102
in"3 114117140
157

4 8
10
11 13
37 73
104 128142153 12
8283
"5 129130136
144i54
166 266

Studies and Portraits.

19

Studies and Sketches Rejected.

Titles.

Numbers in the Catalogues of

.3 a

An Evangelist, writing 
Peasant with his hands behind him, etc. (Lievens)
Female peasant, companion to last (Lievens)
A sick beggar on the ground . . • .
A young man sitting in a chair . A A
Bust of an old man, etc. (counterproof of No. 57)
An old man sitting at a table (not known) .
Man crying out (same as No. 83)
Man's head 
Young man, in octagon ....
Young man with cap and feathers (F. Bol)
The Moor with a hammer (A. de Haes)
Man with pointed beard (not known)
Man with singular cap (not known) .
Man with curly hair (not known)
A Mooress (A. de Haes?) ,
An old woman's head ....
A woman reading .....

173
S. 75
177
238
247
S. 112
301
S. r24
S. 126
G.271

177178182
255264297316321
323329

180
181185
258
267301323329
331 339

S. ir2
324327 328

347
35°
3Si

357
360361

143 144
148
253287
295254

306

3°7
241246
247

100 177
178
182
259262269301
321326
32833333433S
336351
354355

20

DESCRIPTIVE CATALOGUE.
%* The French title of each print is that given hy M. Charles Blanc in his
' L'CEuvre complet de Rembrandt.'
The dimensions are in English inches and tenths, and in French mille-
metres.
The Collections referred to are the British Museum, the Cambridge,
Oxford, Paris, Amsterdam, and Haarlem.
1. Two Small Figures, etc.: unfinished. (Griffonne-
ments sfyaris par une ligne))
The plate is divided down the centre by a vertical line ;
to the left of this are A few irregular "scratches ; to the right
two little figures are partly traced ; the one nearer to the
middle has a high cap, 4nd js seen only to the knee, the other
is even less finished. Date -assumed, 1628.
Dimensions : i;8 — '3,0 ¦(¦046 — '076).
[Coll : BM. P. A.] '¦
Copy. Same d., Bibl. IX.
This little print has always been assigned to Rembrandt,
and for that reason may be retained.

2. A Little Bust: a Man with a Ruff, and
Feathers. (Buste d 'homme au bonnet orne' de plumes.)
This is a full face ; on the head is a round cap with a
turned-up border coming close over the eyes, which, as well as
his mouth, are tightly closed ; two feathers rise from the cap
to the left ; round his neck is a ruff ; a little shading is seen on
the left background above the shoulder. Date assumed, 1628.
Dimensions: 1,2 — 1,0 ('031 — '025).
States: 1st. The bust is in outline, and very slightly shaded.
[Coll : A] 6 '
2nd. Some downward lines are added, extending below the
cross-shading on the left shoulder. [Coll : A] The back
ground of the impression at Amsterdam has been tinted
Copy. Same d., Bibl. IX.

Nos. 3—s Studies and Portraits. 2 1
3. Head of a Woman : on the right side of the
PLATE. {Petite tite de femme))
A lightly etched sketch in the lower right of the plate ; a
veil is thrown over her head, which is turned to the right.
The edges of the plate are rough, and the background soiled.
Date assumed, 1628.
Dimensions: 2,5 — 2,2 ("064 — '056).
[Coll : BM. P. A. H.]
Copy. Same d., Bibl. IX.
M. Charles Blanc considers this to be a sketch for the
bust of an old woman, No. 5.

4. A Man on Horseback, etc. {Homme d cheval.)
Seen almost from behind, and carrying a pike or spear
over his left shoulder. Below the horse's head is the upper
part of the figure of a man seen also from behind ; and above
to the left is a figure, indistinct though strongly etched ; still
higher, close to the edge of the plate, is some foliage. In the
fight upper corner, in reverse, is Rh. Date assumed, 1628.
Dimensions: 3,2 — 2,2 ('081 — -°56).
States : ist. The plate is irregular, being a little higher on the
right side, and its edges are uncleaned. [Coll : BM. C. P. A.]
2nd. The bottom of the plate is cut straight, and the corners
are very slightly rounded. [Coll : BM. C. O. H.]
Copy rev. The monogram, not in the right direction as it
would be if this were a counterproof, is half-way between the
centre and the left side, near the top of the plate.

5. Bust of an Old Woman lightly etched. {Petit
buste de la mire de Rembrandt))
The face is a three-quarters turned to the right, and
shadowed on the left side ; a string of six pearls crosses her
head, which is covered with a light veil that falls down on
each shoulder ; her dress is bordered with fur and open in
front. In the right upper corner is engraved Rh, 1628. The
figure 2 is reversed. Dimensions: 2,6 — 2,5 (-o66 — '064).
States : ist. The bust is not yet introduced, the thin veil falls
only along the left shoulder, the plate edges are soiled, and it is
. a little higher on the left. [Coll : BM.]

22 Rembrandt's Etchings, No. 6
2nd. The bust is added ; the veil falls over both shoulders ;
in fine impressions a little burr is seen on the veil, the pearls,
and the fur at the back. The name and date are added.
[Coll : BM. C. O. P. A. H.] M. Charles Blanc describes a
manufactured ist State in the collection at Paris.
Copy rev. Measures : 2,6 — 2,2 (-066 — -056). In this copy
five descending lines form the shading at the back of the neck ;
in the left background is the signature of the copyist, Both.
I have seen this copy faintly printed, and without the name ;
it may then easily be taken for a repetition of the original, as
indeed it was described in Barnard's Catalogue, where it
appears, Lot 418, 'a rev. etched with great spirit, but has failed
in the etching.'
Copy rev. The name of the copyist appears just below the
left shoulder, F. Novelli : it is his No. 37. I have seen this
copy printed as a counterproof; i.e. in the same d. as the
original, and without the name. This copy may be known by
the outlines of the veil, which are irregular, and almost appear
to end in the zigzag which forms the shading in the background.
Copy. Same d., Bibl. IX.

6. An Old Woman's Head, full Face, seen only to
THE Chin. ( Tete de la mere de Rembrandt, vue de face)
A full face, the head closely covered with a kind of mob-
cap or hood ; the mouth is a little drawn up ; the forehead
and right cheek are in shade : there are a few scratches in the
lower part of the background to the left ; a little above these
and close to the head is Rh, 1628. The figure 2 reversed.
Dimensions: 2,5- — 2,5 ("064 — '064).
States : ist. The face alone is finished ; the hood and the
bust are sketched in with great spirit ; the plate measures 3,3 —
2,8 (-085 — -072). [Coll : P. A]
The impression at Amsterdam, which came from Van
Leyden's collection, has been cut down ; the measures are taken
from the impression at Paris.
2nd. The plate is reduced, and finished as described, but
the new work is, I believe, by another hand ; the name and
date are added. The dignified appearance presented in the
first State is lost. [Coll : BM. C. P. A. H.]
The impressions most commonly met with of this plate
have the face printed in a greyish tone, while the hood is
printed in black. The lines of the hood are in dry point
deeply incised, and so held and printed more ink than the
very light etched work of the face.

Nos. 7, 8 Studies and Portraits. 23
7. Rembrandt, a Bust; supposed to be engraved
ON PEWTER. {Rembrandt en buste)
The head turned slightly to the left ; the hair is curly and
disordered, and falls behind on the left shoulder ; the closely
fitting dress has a turn-down collar tied with two strings,
which hanging down in front cross a large star or clasp, which
apparently forms a fastening to the dress ; the background is
roughly shaded on the left to the level of the eyes. On the
same side towards the top is engraved in reverse Rh, 1629.
Dimensions: 7,0 — 6,1 ("178 — '155).
[Coll : BM. A]
Copy rev., Bibl. IX
Etched in a bold style, showing many lines parallel to each
other, as if executed with a single stroke of some double
pointed tool. Bartsch, who does not recognise this as a
portrait of Rembrandt, says that some have supposed it was
etched on a pewter plate. Vosmaer regards it as a doubtful
piece ; but among the Rembrandt drawings in the British
Museum is a fine head, executed with a reed pen and Indian
ink, which bears a strong resemblance to this print, and is
certainly the work of the master ; it is in a reverse direction,
and is, I have no doubt, a study for this print, which I do
not hesitate to assign to Rembrandt.

8. A Beggar by the Road-side, an Old Woman in
THE DISTANCE. {Gueux couvert d'un manteau)
He is standing in a stooping posture, turned a little to
the left ; he has a high cap divided at the tap, and a large
ragged cloak entirely unshaded on the right ; his legs and
feet are apparently swathed in bandages. In the left back
ground is an old woman, who appears to be conversing with
someone who looks out over the hatch of a door placed at
the end of a thatched cottage, above which are some trees.
Date assumed, 1629.
Dimensions: 4,6 — 2,9 ('118 — "074).
[Coll : A.]
Copy. Same d., Bibl. IX.
Wilson, in his catalogue, No. 181, has described a print in
which the principal figure is The Dealer in Old Clothes, No. 9 ;

24. Rembrandt's Etchings. Nos. 9,10
while the background is that of this print, No. 8. He had
evidently never seen such a print, but had transcribed his
account almost literally from Bartsch, who in his turn had
been misled by the catalogue of P. Yver. Both this and the
following are excessively rare.

9. A Dealer in Old Clothes. {Gueuxdgros ventre,
dans son manteau)
He is in profile, walking towards the right ; on his head
is a high cap, with a flap over the ear ; he wears a very large
wide cloak, underneath which he appears to have bundles of
clothes. Date assumed, 1629.
Dimensions: 4,4 — 2,9 ('113 — "074).
[Coll : P. A.J
Copy. Same d., Bibl. IX.
I have ventured to alter the name which M. Charles Blanc
has given to this print, preferring to assume that it is a sketch
of some dealer in old clothes who frequented the quarter in
which Rembrandt's house was situated.

10. Two Beggars, a Man and a Woman, coming
from behind a Bank. {Mendiants, homme et femme,
d cote" d'une butte)
They are coming from behind a rough bank to the left
of the print, and are turned towards the right ; the bank
hides the lower part of the man and his figure conceals part
of the woman ; the man has a fur cap, under which appears a
linen cloth wrapped round his head, with the ends lying on
his right shoulder ; his mouth is open, his beard short and
thin ; both hands rest upon his staff. The woman, seen in
profile, wears a flat hat, under which is a cap which falls
down upon her neck ; her hands are under her apron, a bag
hangs from her waist on her right side ; her mouth also is
open, and like her companion she appears to be singing or
crying out. In the lower right corner is the monogram Rh.
Date assumed, 1629.
Dimensions: 4,6 — 3,2 (-ii8 — -o8i).
States: ist. The edges are irregular, especially along the

No.ro Studies and Portraits. 25
left side ; the work does not in some places reach the plate
edge. [Coll : BM. P. A.]
2nd. The plate has been lowered by -fo in., and the edges are
straight ; the upper outline of the old woman's shoulder, which
was interrupted, is now continuous. [Coll : BM. O.]
yd. The inner outline of the man's stick is continuous, and
the outline of the old woman's right shoulder has been deepened
with dry point. [Coll : BM. C. A. H.]
4th. The plate is again reduced to 3,9 — 2,6 ('099 — '066) ;
the bank to the left has been entirely worked over, and is more
angular in form ; the monogram is cut away. [Coll : BM. P. A.J
$th. Cross work right to left, not before introduced, appears
in the shadow on the old woman's neck. [Coll : BM. C. A.]
6th. The space between the man's shoulder and hand is
covered with descending lines from right to left ; and right to
left diagonals appear on the old woman's face, neck, and chin ;
a roundish space above the bag at her side, which before was
clear, is now slightly worked upon. [Coll : BM. C. P.]
1th. The man's shoulder is covered with cross-work ; from
the roundish space mentioned in the 6th State shading is con
tinued upwards, bordering the old woman's apron ; in other
places the plate is retouched. [Coll : BM. P. A.]
Copy. Same d. A variation is seen in the upper part of the
bank to the left, ffilate I. fig. 1. This copy, a very deceptive
one, is by James Bremerton.
Copy. Same d., of the 4th State. The woman's left hand is
seen resting upon her basket, the thumb and two fingers clearly
drawn ; in the original they are hardly defined ; the foliage on the
bank in the upper left hangs downwards like the foliage of a
tree. By D. Deuchar.
Copy. Same d. enlarged. Very coarse.
Copy rev. Measures 5,3 — 2,6 ("135 — -o66). Below. to the
left is Rh inv. ; probably by Cumano.
The plate is still in existence ; impressions are occasionally
met with which show recent work.
Doubts have been expressed as to the authenticity of
this print, but by a careful comparison with the other re
cognised work of Rembrandt's earliest time, I have satisfied
myself that, though rudely and carelessly executed, it must
not be rejected. After a few impressions of the ist State
were printed it was laid aside, and falling into the hands of
a pupil— in this instance probably Van Vliet — the irregular
edges of the plate were filed with the effect of slightly
reducing its height, and the trifling variations were made
which mark the 2nd and ^rd States. Either then or at some
future time the plate was again lowered and re-worked, and

26 Rembrandt's Etchings. Nos. 11—13
fresh impressions after each variation were struck off In
this as in other instances great care should be taken not to
reject a print on the evidence of its later States ; the earliest
impressions alone should guide our decision.

11. Two Beggars; a Half-length and a Head.
( Gueux griffonne's. )
A humpbacked old man, half-length, placed in profile to
the right, fills nearly the whole left side of the plate ; he is
bareheaded and partly bald, and wears a ragged cloak with
edging and collar of fur. On the same plate, to the right, is a
head in profile, wearing a cap like that seen on the Beggar
in the manner of Callot, No. 69. Date assumed, 1629.
Dimensions: 3,7 — 2,9 ("094 — '074).
[Coll : P.]
12. Three Profiles of Old Men. {Trois profits de
vieillard)
Three heads of old men seen in profile and turned to the
right. They seem to be repetitions of the same model.
The most perfect is that at the top to the left, and under it
is another, slightly sketched, and afterwards covered by zigzag
scratches ; to the right is repeated the same head in a
calotte. Date assumed, 1629.
Dimensions: 4,1 — 3,3 ("105 — -084).
[Coll : BM. P. A.J
Copy. By De Claussin. I have not seen this copy, but it
could probably be recognised by the closer and more regular
work, which is the character of De Claussin's shading.

13. Two Beggars, a Man and a Woman : side by
SIDE. {Mendiants, homme et femme)
They are in profile, walking side by side from left to
right ; the woman has a large flat hat, which throws a deep
shade upon her face ; her hands are concealed under her
apron : the man, partly hidden by the figure of the woman,
is bareheaded and nearly bald. Rough shading nearly fills

Nos. 14, 15 Studies and Portraits. 27
the background, but is darkest at the top and bottom on the
leftside. Date assumed, 1629.
Dimensions: 4,7 — 3,7 (-121 — '094).
[Coll : P. A.]
Only two impressions of this ugly print are known ; the
one at Amsterdam is the full size of the plate ; the one at
Paris has been cut down, and upon the back of it is printed
an unique ist State of Lazarus Klap No. 6j.
Coarse as is the execution of this print and of Nos.
8 and 9, I have not hesitated to follow the example of those
who have preceded me, and attribute them to Rembrandt :
they are trial plates carelessly executed and injured in the
biting.

14. A Beggar warming his Hands over a Chafing
Dish. {Gueux se chauffant les mains)
He wears a large cap with flaps on each side, and over it
a hat, which rises highest in front ; his face is nearly in pro
file turned to jthe right ; his cloak is drawn across his breast ;
he is sitting, and upon his knees is a chafing dish, over which
he warms his hands with his fingers spread out ; by his side
is a frail, or workman's basket, through the handles of which
a stick is passed. Date assumed, 1629.
Dimensions: 3,0 — 1,8 ('077 — "046).
States: ist. The whole of the under part of the frail is not
shaded ; the plate edges are rough and soiled. [Coll : A.]
2nd. The whole of the underpart of the frail is shaded, and
the plate is cut even at the top.
[Coll : BM. C. O. P. A. H.]
Copy rev. Novelli, No. 39.
Copy rev. 2,1 (-052) wide. The inside of the flap of the
hat to the left has a cross-line not seen in the original. I believe
this to be by Deuchar, though I have not found it among his
copies.
15. A Philosopher with an Hour-glass. {Philosophe
avec un sablier)
He is sitting, resting his left arm upon a table, the head,
nearly a profile, turned to the right ; he wears a large high
fur cap wider at the top than at the bottom ; his beard is-.

28 Rembrandt's Etchings.- No. 16
long, white and irregular. At the right are seen an hour
glass and a skull, and a curtain hangs down behind him to
the left ; the background across the top from the curtain to
the right edge of the plate is shaded. In the upper left is
RH, 1630, but this does not appear until the 2nd State.
Dimensions: 2,2 — 2,0 ('056 — '051).
States: ist. As described; before the signature and date.
[Coll : BM. C. P. A. H.] There is an impression in the British
Museum on parchment, which has shrunk in the printing, and'
was at one time regarded as a different State.
2nd. With the name and date. There are also other varia
tions showing rework ; thus, there were in the ist State only
four short horizontals upon the skull ; there are now six ; the
nose has also a double outline, and there is a rework upon the
beard. [Coll : P.]
This piece has been much criticised. Some connoisseurs
regard it as a woodcut, and view it with interest as the only
work on wood which Rembrandt has left to us ; others, still
holding it to be a woodcut, attribute it to Lievens ; others,
again, without deciding on its authorship, believe it to have
been executed on a metal plate. The question is by no
means an easy one. Lievens has left some fine engravings
upon wood, but their technic is superior to that of this print.
Still it is quite possible that this is by him, and that it owes
its present position among Rembrandt's works to the care-,
lessness or ignorance of some early collector. On the other
hand, its unlikeness to everything else which Rembrandt has
left need not cause it to be rejected ; if on wood or zinc, it
was simply an experiment, and as it did not prove a very
successful one, was not repeated. The date only appearing
on the 2nd State, we may assume the execution of the 1st
very early in 1630, and let this find its place among other
essays. Judging from the rework which appears in the 2nd
State, I believe it was executed on metal.

16. Rembrandt, with a Conical Cap : in an Oval.
{Portrait de Rembrandt de forme ovale)
A full face, the head covered with a conical cap of some
rough material, which casts a deep shadow over the forehead
and eyes ; the hair is thick and curly, and falls along the left

No. 17 Studies and Portraits.

29

cheek as low as the shoulder ; the light comes in on this side.
Surrounding the head is a kind of oval chainwork formed of
double triangular points, which look as if dug in with the
point of a graver ; this work is continued along the right side
of the plate, bending a little inwards when below the oval ;
the work on the shaded side of the cap is similarly executed ;
there is a clear space nearly one inch deep below the oval.
Date assumed, 1630.
Dimensions: 3,6 — 2,0 ("091 — "051).
The plate is slightly wider at the top than at the bottom.
States : ist. The print is as described. [Coll : BM.]
2nd. The plate is reduced ; it measures 2,5 — 2,o(x>64 — '051);
the clear space below is cut away. [Coll : BM. A.]
Copy. Same d. Of 2nd State, Bibl. IX.
Wilson has described an impression, without the oval,
which was to be found in the Royal Collection at Paris ; he
had evidently not seen it, but took his description from
De Claussin. This impression is not now known at Paris,
and I do not think that it ever existed. The character of the
work is the same throughout ; it was a study or essay on the
copper, a mere trial of an effect, which, not proving satisfac
tory, was thrown aside. Impressions are excessively rare, and
the variation which constitutes the 2nd State was the reduc7
tion of a somewhat misshapen plate.

17. Rembrandt in a Fur Cap and Dark Dress.
{Rembrandt au bonnet fourre" et d l' habit noir)
Front face, the bust turned to the left of the plate, from
whence the light comes ; he wears an irregularly shaped fur
cap, from under which his hair falls below his left ear and low
down on his right shoulder. There is a little shading in the
right background as high as the shoulder. Date assumed, 1630.
Dimensions: 3,3 — 3,3 ('084 — '084).
States: ist. As described. [Coll : BM. P.]
2nd. The plate is reduced ; it now measures 2,6 — 2,4
(•067 _ -060). [Coll : BM. C. P. A. H.]
I have no hesitation in accepting this as Rembrandt's
work ; its coarseness arises, not from the original work, but
from mismanagement with the acid.

30 Rembrandfs Etchings. Nos. i8, 19
18. Bust, the Features resembling Rembrandt, with
a Jewel in his Cap (not described).
Nearly full face, the bust turned slightly to the right ; he
has a dark moustache ; his hair falls upon his right shoulder ;
he wears a somewhat high cap of short fur, to the front of
which is attached a heart-shaped jewel ; his cloak is fastened
by a double band that passes across his breast in a sloping
direction from right to left (of the plate) ; a trace of em
broidery is seen on his vest ; the background is slightly
shaded immediately above the right shoulder. Date assumed,
1630. Dimensions: 3,3 — 3,1 ('084 — '079).
States: ist. As above. The figure is seen nearly to the
waist. [Coll : BM.]
2nd. The plate is reduced to 2,1 — 2,0 ('053 — '051); the
shoulders and upper part of the bust only are seen. [Coll :
BM.]
I have felt some hesitation in admitting this print ; it is
so deeply overbitten that very little evidence of the master's
hand can be seen ; it is not improbable that it is by Van
Vliet.

19. Rembrandt : a Small Head, stooping. {Rem
brandt au visage rond)
The head is uncovered and seen nearly in front ; the face
is round, the hair frizzled, the nose thick, and the eyebrows
lowered ; the face is turned a little to the right, and shaded
on the left side ; the shoulders, which are high, giving the
figure a stooping appearance, are only outlined, the breast
slightly shaded with right to left diagonals ; the background
is entirely clear. Date assumed, 1630.
Dimensions: 2,5 — 1,9 ('064 — "048).
The plate is a little wider at the bottom.
States : ist. The head is unfinished, the background is
scratched ; turning the print upside down a small face is seen
lightly etched and unshaded in what is, with the impression in
this position, the left lower comer. [Coll : A.]
2nd. The head is finished, the right side of the neck and
throat are shaded by very clearly executed cross-work ; the.
scratches in the background are fewer, but the little face is still
seen. [Coll: P. A.]

Nos. 20, 21 Studies and Portraits. 3 1
$rd. The' plate is reduced to 1,7 — 1,6 (-043 — '040). The
little face is cut away. [Coll : BM. P. A.]
Bartsch, De Claussin and Wilson are followed by Blanc in
describing a state in which a zigzag, seen in the previous slates,
has disappeared. These writers must be in error, the zigzag is
not found in any of the impressions. A little dry point work
appears in the 2nd State, which retains the burr.

20. Rembrandt : The Plate an irregular Octagon.
{Portrait de Rembrandt, de forme octogone)
A full face, the hair is curly and partly concealed under a
low fur cap ; in the background to the left is engraved Rh.
The plate is cut closely round the head in the form of an
octagon. Date assumed, 1630.
Dimensions: 1,6 — 1,4 ("041 — '036).
[Coll : BM. P. A.]
This head is well designed and somewhat resembles the
more youthful portraits of Rembrandt ; it was classed by
Bartsch among his tites de fantaisie ; the expression is deci
dedly ill-tempered. I am told there is a copy rev., but have
not seen it.

21. Rembrandt : with very Small Black Eyes
{Rembrandt aux yeux charge's de noir)
The head is uncovered and the hair curly; the face. is a
three-quarters, high up in the plate, turned to the right and
shaded on the opposite side ; the eyes are very small and
black ; the background is irregularly shaded on the left ; the
acid to some extent has failed, and the effect is weak. Date
assumed, 1630. Dimensions: 2,7 — 2,0 ("069 — '051).
[Coll : BM. P. A.]
Copy. Same d., 2,8 — 2,2 ('071 — "056). Among other dif
ferences, very regular cross-work shades the neck ; in the left
upper corner is Rh.
Copy. Same d., a little larger. The white shirt is shaded by
a zigzag ; slightly curved diagonals cross the forehead and shade
the upper right cheek under the eye : the shading on the bust is
by cross-work extending only two-thirds upwards.

32 Rembrandt's Etchings. Nos. 22, 23
The only impressions I have seen have the plate edges
rough and irregular. It is a print of very little merit.
Bartsch had never seen it, but took his description from
Gersaint ; Pierre Yver assumed it to be the work of Lievens,
but I do not see why it should be attributed to him. I am
not prepared to say to whom I should assign it if it is not
allowed to be by Rembrandt.

22. Rembrandt with an Open Mouth. {Rembrandt
d la bouche ouverte)
Nearly full face, the body turned to the left, the hair
abundant and curly ; the mouth is open and the under jaw
thrust out, imparting to the features an expression of pain ;
the neck is exposed ; the background is shaded in the lower
left to the level of the chin ; at the top on the same side is
faintly engraved Rh, 1630.
Dimensions: 3,3 — 2,9 ("084 — '074).
States : ist. The plate is very irregular and soiled ; a harsh
uneven line is drawn below the bust, marking off a narrow
clear space. [Coll : BM. O. P. A.]
2nd. The plate is reduced to 2,9 — 2,4 ("074 — -o6i) ; the clear
space below and part of the R of the monogram are cut away.
[Coll: BM. C. O. P. A. H.]

23. Rembrandt with an Air of Grimace. {Rem
brandt faisant la moue)
The head is uncovered, the face a full front, the hair
curly, the eyebrows are knit and lowered, and the lips tightly
closed with an air of grimace ; the body turned towards the
left is covered with a fur cloak with a collar ; the light comes
from the right ; two fine lines nearly parallel cross the upper
part of the plate passing through a tuft of hair which rises
higher than the rest. In the upper left, cut through by the
lower ofthe fine strokes, is Rh, and below it 1630.
Dimensions: 3,0 — 3,0 ('076 — '076).
States: ist. As described. The plate edges are rough and
soiled. [Coll: A.]
2nd. The plate is reduced to 2,9 — 2,4 (-074— -061), the Rh
and figures 30 only remain ; in worn impressions these figures
and the lines become indistinct. [Coll : BM. P. A. H.]

Nos. 24, 2s Studies and Portraits. 33
yd. The two lines and the locks of hair through which they
pass are partly effaced by the burnisher. [Coll : P.]
Vosmaer describes a picture at the Hague very much re
sembling this sketch ; the picture was engraved by Valentine
Green as a portrait of Prince Rupert.

24. Rembrandt with Haggard Eyes. {Rembrandt
aux yeux hagards)
The head, which looks upwards, is turned slightly to the
right ; the bust, only in outline, is to the left, from whence the
light comes in ; the eyes, widely opened, have an expression
of fear ; the mouth is partly open, the moustache is thin ; on
the head is a flattened cap, its top cut off by the edge of the
plate ; the background is very lightly shaded half way up on
the lower left ; on the breast is engraved Rh, 1630, but this
is not very legible. Dimensions: 2,0 — 1,8 ('051 — "046).
[Coll : BM. C. O. P. A. H.]
Placed by Bartsch in his ioth class, Tetes d 'homines de fantaisie.
An impression is mentioned by Marcus -fo in. larger, but this I
have never seen, nor is it known to Mons. Blanc. Impressions
exist of which the plate edges are rough and irregular, the upper
right hand corner being contracted, possibly from the shrinking
of the paper.
Copy rev. The top of the cap is \ in. ('013), from the plate
line, in upper left is Thos. Worlidge, 1759.
Copy rev. The expression much exaggerated, the top of the
cap is 1,1 (-028) from the plate line.
Copy rev. The upper line touches the cap, in the lower left
outside a border line is Rl inv. ; to the right is Cumano sc.

25. Rembrandt, Full Face, laughing. {Rembrandt riant)
A full face turned slightly to the left, the head covered
with a cap ; the hair is short and curling, falling over the
forehead ; as usual the nose is large ; the mouth, partly open,
discovers the upper teeth ; the bust, turned to the right from
whence the light comes, is clothed in a habit buttoned down
the front ; round the neck is an untied cravat, one end hang
ing behind his right shoulder, the other seen above his dress in
front ; above the right shoulder are a few lines of shading ;
near the top on this side (the left ofthe plate) is Rh 1630.
D

34 Rembrandt's Etchings. No. 26
Dimensions : 2,0 — 1,7 — ( '05 1 — '043).
States : ist. The plate is irregular, it is a little narrower at the
top than at the bottom and its edges are rough ; the lines across
the bust do not reach the right edge of the plate. An irregular
diagonal line crosses the right shoulder, its direction is parallel
to an imaginary line from the top button of the dress to the left
lower corner. [Coll : BM. A.]
2nd. The plate is cut even, it now measures rather less than
2,0—1,6 (-050— -040). [Coll: BM. P. H.]
yd. The cap and hair are retouched, making the hair, espe
cially on the right side, wavy instead of short and curly ; the
end of the cravat behind the neck is covered with cross-work ;
a second very regular diagonal line covers the shaded part of
the right shoulder, its direction is parallel to an imaginary line
from the right eye to the left corner of the plate ; I cannot think
that this additional work was done by Rembrandt. [Coll :
BM. C. P. A,]
Copy rev. The left eye is larger than the right; the expres
sion is a very grave one, in complete contrast to the original.
Copy rev. and reduced. The head is in the upper middle of
the plate.
Copy rev. At the lower left is Rembrandt, at the right is
F. Novelli inc., and near the top is No. 34.
Copy rev. Said to be by the hand of Rembrandt himself.
I have never seen it, nor do I think any such copy exists.

26. Rembrandt with Curly Hair, rising into a
Tuft over his Left Eye. {Rembrandt aux cheveux
cripus et au toupillon e'leve')
Nearly full face, the light comes from the left, the body
is turned to the right ; the hair covers his forehead throwing
a shadow which partially conceals his eyes, and above to the
right rising in a tuft ; his dress has a plain white collar ; the
background is slightly shaded on the left both at the top and
bottom, but on the right the shading only reaches as high as
the shoulder ; below is a clear space about T6^ in. deep, in
which with some difficulty can be made out Rh 1630.
Dimensions: 3,6 — 2,9 ("091 — '074I
[Coll : BM. H]
I have only seen two impressions of this print ; the plate
was much injured in the biting, and was probably at once
thrown aside.

No. 27 Studies and Portraits. 35
27. Rembrandt with a Fur Cap and Light Dress.
{Rembrandt au bonnet four rd et d V habit blanc)
Nearly full face, slightly to the right, the body turned to
the right, the light enters on the left ; he wears a fur cap
which comes down nearly to his eyebrows ; the lower part of
his right ear is seen, the hair curls down behind it nearly to
his shoulder ; his dress is open in front and edged with fur ;
a slight shading is seen in the left background reaching as
high as the shoulder ; at the top on the same side is engraved
Rh 1630.
Dimensions: 2,4 — 2,1 (nearly) ("061 — '053).
States: ist. The plate measures 3-6 — 2-9 ("092 — '070).
The edges, especially the right, are irregular, and as well as the
background are much soiled ; the vest below the neckband is
white ; the right temple is unshaded ; there is no work in the
left background ; below the figure nearly in the middle is Rh.
1630. [Coll: A]
2nd. The plate is reduced ; the monogram and date, cut away
by lessening the plate, are re-engraved at the top upon the left.
Rh. 1630. [Coll : BM. A]
yd. A slight shading appears in the lower background to the
left. [Coll: A]
4th. Horizontals shade the vest below the neckband ; a slight
shading appears upon the right temple below the cap ; the right
eye, which till now had an unpleasing expression from its upper
lid being too oblique, is altered and has a natural effect. [Coll :
C. O. P. H]
$th. The edges of the plate are smooth and regular, and the
background is burnished ; there are two impressions of this State
in the British Museum, one of which has slipped in the printing.
[Coll: BM.]
Copy rev. of 2nd State. The ear, clearly seen in the original,
is indistinct ; the hair to right is badly expressed with a con
tinuous outline.
Copy rev. of 4th State. Harshly executed.
Copy rev. of $th State. By Watelet.
In the Amsterdam collection is an impression (No. 1006) re
sembling the above, only in reverse ; the etching has failed in the
biting and the result is unsatisfactory; the mouth is placed a
little on one side (the left of the plate) : the impression has
been trimmed, what remains measures 2,1 — 2,0 ('053 — '051).
It is a copy which may have been taken by a pupil in Rem
brandt's studio.

d 2

36 Rembrandt's Etchings. ,Nos. 28, 29
28. A Portrait (unknown) of a Man with a Broad-
brimmed Hat AND A Ruff. {Homme au chapeau a
grands bords)
This is a highly finished print of a man placed rather to
the left of the plate and turned towards the right. He has a
short beard and moustache, his mouth is slightly open and
his teeth are seen ; his dress is closely buttoned, round his
neck is a large falling ruff, and he wears a hat with a broad
brim, which is partly cut away by the left plate-edge. In the
upper left is Rh 1630.
Dimensions: 3,1 — 2,5 ('079 — -064).
[Coll : BM. C. O. P. A. H]
There are no States, though impressions are occasionally
met with without the monogram and date. There is one in the
British Museum ; another was in the collection of the Baron
Verstolk de Soelen. A careful examination reveals no evidence
of erasure or trace of any tampering with the plate. M. Charles
Blanc describing the Verstolk impression says : ' J'ai reconnu
que cette epreuve Aait sophistiquee, et qu'on l'avait imprimee
avec un cache-lettre ; ' adding that the monogram and date are
found on all the finest impressions, an opinion which my own
observation confirms. We may assume that the occasional
absence of the monogram and date is due entirely to neglect in
the printing, no ink having been placed on that part of the plate
where they were etched.
Copy rev. The eyes, etc., much too deeply shaded ; in the
upper left is Rh 1630.
We may regard this as a portrait, it shows so much careful
finish ; but I have not yet found any clue to the original.

29. An Old Man ; the Bust shaded only on the
RIGHT. ( Vieillard a grande barbe et a Npaule blanche)
The forepart of the head is bald, but on the sides and
crown the hair stands up and is curly ; the beard is long,
broad, and grey; the eyes and the right cheek are in shadow,
the light falling on the left cheek and the beard. He is in a
stooping attitude, full face, but his bust is turned towards
the right, and clothed in a gown edged with fur. There is no
work on the right shoulder ; four white buttons are seen upon
the vest. Date assumed, 1630.

Nos. 30, 3i Studies and Portraits. 37
Dimensions: 2,8 — 2,5 (-071 — '064).
[Coll : BM. C. O. P. A. H.]
The Cambridge impression is an unusually fine one,
printed in very rich-toned ink. Vosmaer speaks of a drawing
by Rembrandt for this head, dated 1630, in the collection of
Mr. J. De Voz.

30. An Old Man with a Large Beard ; the Shoul
ders rise above the Ears. {Vieillard a barbe
ibourijfe'e et au front ride")
His bust is a little turned to the right, from whence the
light comes in, falling upon the forehead and the top of the
left shoulder, which is unshaded ; the head is very much in
clined and bald in front, but covered with curly hair on the
crown and sides ; the beard is long and broad. There is a
little shading in the background above the right shoulder,
but it does not extend so high as the top of the dress ; above
the head in the upper left is Rh 1630.
Dimensions: 3,6 — 3,0 ('091 — '076).
[Coll : BM. C. P. A. H.]
Impressions are found without the monogram and date,
and have been described as a ist State. I have seen one
such impression, and I have no doubt that Bartsch was
correct in attributing the absence of monogram and date to
a failure in the printing.

31. An Old Man with a Large Beard ; the Shoul
ders LOWER THAN THE Ears. ( Vieillard a longue
barbe blanche et a lite chauve.)
The head is a three-quarter, turned to the right and in
clined downwards, bald in front and with the hair thin on the
crown and sides ; the bust is covered by a gown of some
coarse material with a long nap ; the light falls on the fore
head, nose, and beard, which last is white, broad, and long ;
the background is shaded on the left above the shoulder.
In the upper corner on this side is Rh 1630.
Dimensions: 3,9 — 3,2 ('099 — -081).
[Coll : BM. C. P. A. H.]

38 Rembrandt's Etchings. Nos. 33, 33
Copy. Same d., by De Claussin. Etched on a plate 7,0 —
4,8 ('178 — "123), at the right of which, placed upside down, is a
copy of No. 130. The angles are marked by which the plate
could be cut to the same size as the original ; there are impres
sions from the plate so cut.
This print has been attributed to Bol, to whose work some
ten years later it bears a certain resemblance. It is not
unlikely that Bol made use of this and other similar heads as
his models.
32. An Old Man with a Bushy Beard: a Full
LENGTH. {Figure de vieillard a courte barbe)
He is turned to the right, and in a stooping position, rest
ing against a bank to the left of the piece ; the face is a three-
quarter ; his hands are a little raised and are placed upon a
stick, which helps to support the figure ; there is some shad
ing in the foreground ; and in the middle, behind the stick, a
little foliage appears in the distance. In the upper right
corner is Rh. Date assumed, 1630.
Dimensions: 4,5 — 3,1 ('115 — '079).
[Coll : BM. C. P. A. H.]
Copy. Same d., by Deuchar, who has represented him as
walking forward, and has added foliage and a background.

33. A Beggar standing and leaning upon a Stick.
{Grand gueux debout)
He is seen in front ; he wears a large high cap with a
narrow border of coarse fur ; he is very ragged, and the toes
of his right foot are seen ; his body is bent forward, and both
hands rest on a staff. The shadow of the figure falls on the
background to the lower left. Date assumed, 1630.
Dimensions : 6,2 — 4,7 ("158 — -i2o).
States : ist. The plate is irregular, and the edges rough and
soiled, as is also the background. There are a few indications
of burr. [Coll: A.]
2nd. The plate is cut straight, and the background and edges
are cleaned. [Coll : BM. C. P. A. H.]
Copy rev. In the left is Rembrandt inv. ; to the right is
Sardi inc. 1791. I have seen an impression without this inscrip
tion, but not good enough to pass for a counterproof.

Nos. 34, 35 Studies ana, Portraits. 39
34. A Beggar sitting on a Hillock, with his
MOUTH OPEN. {Gueux assis sur une motte de terre)
He is sitting, on the left side of the print, turned to the
right ; his head, which is nearly full face, is uncovered, and his
hair matted and untidy ; his furred cloak is ragged and
fastened across his breast with a button ; his left hand, with
the palm open, comes from under his cloak as he asks alms
with an expression of distress ; his left leg is bent so as to
show the sole of his foot ; the toes of the right foot appear
through the shoe. In the middle of a clear space below is
RH 1630. Dimensions: 4,6 — 2,7 (-118 — "069).
[Coll : BM. C. O. P. A. H.]
A 2nd State has been described by Wilson and Blanc, who
tell us that in the lower part to the left is Rembrandt ; this ip in
addition to the monogram and date. I have never seen this
impression. De Claussin says there is a State in which the hand
is covered by the cloak ; this also I have not seen, and believe
there is only one State. In the best impressions the edges are
rough and the background soiled.
Copy. Same d. Very deceptive. By James Bretherton.
For a variation, see fllntc I. fig. 2.
Copy. Same d. Of the head and bust. By Deuchar.
In the earliest impressions burr is seen in the deeper lines
which mark the folds of the dress, etc.

35. A Beggar with a Wooden Leg. {Gueux estropitf)
He is seen nearly in front, but turned a little to the right ;
his head is inclined forward and his mouth open ; he wears a
fur cap ; his forehead is bandaged and his left arm is in a
sling ; his left leg appears to be crippled, and is supported
by a wooden one, in the socket of which his knee is bound,
the foot showing behind ; his right hand rests upon a stick,
and he is very ragged. Date assumed, 1630.
Dimensions: 4,5 — 2,6 ("115 — -o66).
States: ist. The plate is irregular at the top and slightly
higher on the right side ; the end of the stick is -fo from the
bottom of the plate. LColl : BM. O. P. A. H]
2nd. The plate is cut evenly at the top and bottom ; the end
of the stick touches the lower plate line. [Coll : BM. C. P. H.]

40 Rembrandt's Etchings. No. 36
36. An Old Man sitting on a Chair and wearing
a High Cap, 'Philon the Jew.' {Homme assis,
aux trois moustaches.)
In this, a three-quarter length, is represented an elderly
man sitting on a chair, part of the back of which is seen to
the left, the face and body are towards the right ; he has
moustaches and a short tuft on his chin, and wide, open eyes,
the features to some extent resembling those of the First
Oriental Head, No. 1 22. He wears a large, high cap finished
at the lower part with a scarf, which is wrapped round it,
and comes down low on the forehead, and has a cloak turned
up with fur. A slight shading is seen in the background
above the chair which gradually lessens towards the top ;
above it, near the corner, is Rh 1630.
Dimensions: 4,2 — 3,5 ('108 — •089).
States : ist. As described, the work upon the cloak does not
teach the right corner of the plate which is a little wider at the
bottom than at the top. [Coll : BM. A]
2nd. The plate is slightly reduced, it measures 4,0 — 3,4 (-102
— '087). The cloak reaches the corner of the plate ; there has
been some retouching, and a slipped stroke, a diagonal right to
left, crosses the top of the right ear. [Coll : BM. C. P. A. H.]
yd. Described by M. Charles Blanc ; a slipped stroke is
seen on the left cheek, which crosses it at about the level of the
middle of the nose. The print has been re-worked, he believes,
in the time of Basan, since the impressions are generally found
on the yellowish paper used by Basan for his printing. I have
not met with this impression in any of the large collections.
Copy. Same d. of the 2nd State; very deceptive. The
slipped stroke seen upon the ear is wanting in this copy, its
place is taken by a harsh curved stroke looking like a part of
the scarf which surrounds the cap ; by James Bretherton.
Copy. Same d., described thus by M. Charles Blanc : ' Dans
l'estampe originate, il y a sur les cheveux, au-dessus de l'oreille,
un trait echappe" qui, dans la copie, a e'te' transforme en une
seconde meche de cheveux.' Bibl. VIII. II. p. 235. Possibly
this is only another description of Bretherton's copy.
Copy rev. Measures 3,3—2,4 ("084— -061). Only the bust
is seen.
This etching has been known as The Portrait of Philon
the Jew, a title which may very well be restored if only for
the sake of distinction. There is in the Galerie Tschager at
Innspruck a portrait, attributed to Rembrandt, of the person
who is here represented. This in Smith's Catalogue, Part

Nos. 37, 38 Studies and Portraits. 41
VII. No. 461, p. 152, is called a portrait of Philon the Jew ;
and from it Van Vliet made an engraving. Burger (Thore),
in the 'Gazette des beaux Arts,' September, 1866, describes
a portrait of the same person by Van Vliet, after Rembrandt,
bearing upon the hat band the word <j}l\ws ; and I have seen
an impression of the 2nd State of the etching above de
scribed, upon which the word Philo was apparently engraved.
I cannot learn anything about any Philon le Juif; and it
must be acknowledged that the Greek word upon Van Vliet's
picture is somewhat suggestive of the origin of the name.

37. Two Beggars, a Man and a Woman, conversing.
{Gueux etgueuse.)
Two old beggars standing opposite in conversation. The
man, who is on the left, wears a cap without a crown, his
right hand is behind his back, his left rests upon a stick ; the
vvoman has her hands crossed, resting upon a stick, and from
ler left arm hangs a basket Low down on the left is Rh
630. Dimensions: 3,1 — 2,6 ("079 — -o66).
States : ist. The plate edges are uneven, and it is higher on
the left side. A fine line or scratch crosses the plate near the
top, through the upper part of the man's hat. [Coll : BM. P. A]
2nd. The plate is cut straight, the fine line is only seen in the
best impressions. [Coll : BM. C. O. P. A. H.]
Copy. Same d. ; the plate is 3,1 — 2,0 ("079 — '051). Low
down to the right is Rembt., and to the left Deuchar fct.
Copy. Same d. With the name of the copyist and the date,
Overlaet s. 1760.
Copy rev. ; below the man's heel is R.t.
Copy. Of the woman alone. Same d. Etched on the same
plate as his copy of a jFew in a High Cap. No. 102. By J.
Overlaet Copy. Same d., Bibl. IX

38. Head and Bust, Full Face : looking from
behind a Wall. {Homme deface avec bonnet)
He is nearly full face, wearing a low cap or calotte ; both
ears are seen, the left is especially prominent ; he has thin
moustaches ; his cloak, open in front, is bordered with fur.
The light falls upon the upper part of his left cheek, his

42 Rembrandt's Etchings. No. 39
forehead and his nose, and touches his breast. On the left
side of the print is represented a wall, which is continued
across the lower part of the subject to the right. In a clear
space below, a little to the left, is Rh 1630.
Dimensions: 3,8 — 2,9 ("097 — "074).
States : ist. The wall below does not reach the right edge of
the plate, the cap and face only are shaded ; the left shoulder
and side are in outline ; this is also before the monogram and
date. [Coll : BM. P. A.]
2nd. The stonework is carried across the plate, the cap is
still further shaded with lines, chiefly diagonal, and the bust
shaded excepting the upper part of the shirt. The monogram
and date are added. [Coll : BM. P. A.]
yd. The plate is reduced at the bottom and on the left ; it
measures 3,0 — 2,4 ("076 — -o6i). The remains of the stone
work are seen in the left corner, and Rh 1630 is re-engraved
in the upper left. [Coll : BM. P. A. H]
4th. The plate is again slightly reduced in height, the back
ground is worked over, the monogram and date are illegible.
[Coll : BM. C. P.]
$th. The plate has been re-worked, the reflected lights seen
on the face are gone, deep and very regular downward lines
shade the whole right shoulder and breast. [Coll : BM. C. P. A.]
Copy rev. On a larger plate, near the middle of the impres
sion, close by the ear, is Rt. 1641.
Copy rev. Very poor; measures 2,5 — 2,0 ('064 — '051).
Copy rev. The plate measures 3,3 — 2,9 ("084 — "074). Close
to the ear is R 1647.
Copy rev. Measures 3,1 — 2,8 (/079 — "071). The shading
is of regular cross-work, above the head is Rem ; by Justus
Danckaerts. These three copies are of Rembrandt's own time.
The variations which mark the 3rd State are not by the
master ; those of the 4th and $th are of a much later time.

39. Profile of a Bald Man with a Jewelled Chain.
( Vieillard chauve, a couronne de cheveux noirs)
A head and bust turned to the right. He is bald, with
the exception of some short hair behind, and has a slight
moustache and beard ; his eyes are looking downwards ; he
wears a robe edged with white fur in front and on the collar :
over his shoulders is placed a jewelled chain, to which is
attached in front the insignia of some Order. There is a

No. 39 Studies and Portraits.

43

little shading to the left, behind the figure. In the middle of
a clear space below, -^ in. (-oio) deep, is Rh 1630, and a little
to the left this monogram and date are repeated, but the last
figure is lightly engraved and not very legible.
Dimensions: 4,7 — 3,8 (-120 — "097).
States : ist. As described. The edges of the plate are rough
and soiled. [Coll : BM. A]
2nd. This contains only the head and the upper part of the
shoulder, the rest having been effaced ; the background is un
shaded. [Coll : BM. P.]
yd. The plate is reduced to 2,7 — 2,3 (-069 — "058); part
of the bust is worked in again. But it is coarsely and heavily
executed by an inferior hand ; the background above and to
the right of the head is shaded, and in the right lower corner is
Rh and below it 1630. [Coll : BM. C. O. P. A. H.]
Copy. Same d. of yd State, 5,2 — 3,5 ('133 — '089). There
is no shading in the background, and only the collar is complete.
The monogram and date are in the lower left, not, as in the
original, in the right.
Impressions of the ist State of this print are extremely rare,
in fact, I only know of two ; after they were taken, it is probable
that the plate received some accidental injury, which led the
person into whose hands it fell to burnish out the whole of the
bust, and print from the head only. The re-introduction of the
bust is by a very inferior hand.
The impression of the 2nd State in the British Museum is
taken on the back of an impression of a print which I have
rejected — the Morisco ; a bust is added in pencil, but certainly
not by Rembrandt. There is also in the same collection an
impression taken from the plate in its yd State, but without the
bust. The head has been cut out and very neatly inlaid in a
leaf of unprinted paper. At Amsterdam is also an impres
sion without the bust; in this case the shape of the head
has been cut out of a piece of paper, which was then laid
accurately upon the plate ; the head, the only part exposed, was
inked, and an impression printed off ; the irregular outline of
the protecting paper may be detected, and the slightly soiled
background close round the head contrasts with the protected
paper that did not touch the plate. In Paris is an impression
resembling that in the British Museum, and marked as a ist
State : the impression is fastened down, thus preventing our
knowing which process was employed. M. Charles Blanc
credits a certain Monsieur Peters, the greater part of whose
collection was acquired for the Bibliotheque royale, with being
the author of similar supercheries ; it is not unlikely that these
are his handiwork.

44 Rembrandt' s Etchings. Nos. 40, 41
40. Head resembling the last, smaller and more
STOOPING. ( Vieillard chauve, a couronne de cheveux gris. )
This is an apparent repetition of the last head, but smaller
and inclined downwards ; like the last he is in profile to the
right ; he is bald except for a little hair behind his ears,
and has a short beard and moustache ; his dress is edged
with fur. A little shading is seen in the lower right back
ground. In the upper left corner is Rh, and below it 1630.
Dimensions: 2,2 — 1,7 ('056 — '043).
[Coll : BM. C. P. A H.]
The Amsterdam impression has the background soiled and
the edges rough and dirty. Wilson says that there is an im
pression before the monogram and date. I have not seen it.
Copy rev. The eye is an ugly blot produced by harsh cross-
work.

41. Profile of a Man, bald headed, coarsely etched.
{Le mime vieillard chauve, en contre-partie)
A head and bust in profile turned to the right ; it is either
a repetition in rev. of No. 39, or a study from the same head ;
he is bald in front with a little short hair behind, and wears
a mantle of some coarse material ; excepting round the head
the background is irregularly shaded. Date assumed, 1630.
Dimensions: 4,1 — 2,7 ("105 — "069).
States: ist. A clear space, -fo in. (-oi6) deep, is seen both
above and below the subject. [Coll: BM. A.]
2nd. The plate is reduced to 2,9 — -2,7 ('074 — '069); both the
upper and lower borders are cut away. [Coll: BM. P. A.]
Copy same d. of the 2nd State; measures 3,6 — 2,8 ('091 —
•071); there is a clear space below in which to the right is
Hogarth pinxt., and below is Smith alias Buckhorse, 1 747, the
Noted Bruiser.
In curious contrast to the irreverent inscription upon the
copy is the suggestion of a connoisseur, that in this profile,
and in Nos. 39, 40, we have three studies of Johannes Uyten-
bogaert, the Remonstrant minister. The print is very coarsely
executed, and the technic inferior : if by Rembrandt, it is one
of his most careless studies, but it is not unlikely to have been
the work of a pupil, a copy of No. 39, taken directly upon the
copper, and therefore printing in reverse.

Nos. 42, 43 Studies and Portraits. 45
42. Rembrandt with a Broad Nose. {Rembrandt au nez
large)
Full face, the body turned towards the left ; the head is
uncovered, the hair bushy, the nose unusually broad ; the
neck appears above the white band of the shirt ; the light
comes in on the right side. The background is clear except
to the left, where it is irregularly shaded to the level of the
chin. Date assumed, id?,!.
Dimensions: 2,9 — 2,3 ("072 — '059).
States: ist. Measures 2, 9 by a little more than 2,4
(•072 — -062); there is no shading in the background; at the top
are two fine lines crossing the piece from the left in a slanting
and downward direction passing through the upper locks of
hair, these light lines very soon disappear; they are not seen in
the impression at Amsterdam. [Coll: C. A.]
2nd. The plate is slightly reduced; the lower left background
is shaded. [Coll: P.]
Copy. Same d. The bust is shaded with very regular lines;
in the upper left comer is R£. There is a 2nd State of this copy
in which the eyes look to the right, and the shading is worked
up with fine interlines; below is No. 5 ; it is probably by Vivares.
There is a resemblance to the other studies of Rembrandt's
head, but the print is harshly and coarsely worked and is
only valuable because it is rare.

43. Rembrandt with Bushy Hair, and strongly
SHADED. {Rembrandt aux cheveux cripus, fortement
outre')
Turned to the left but nearly full face ; the hair, bushy
and thick, falls on the right shoulder, but not so low on the
other side ; the forehead and whole of the right side of the
face are deeply shaded ; the light falls on the left cheek,
collar and the shoulder ; the background, except the lower
left, is shaded ; low down on this side is engraved Rh. Date
assumed, 163 1. Dimensions: 2,6 — 2,5 ('066 — "064).
States: ist. The edges of the plate are irregular; the shaded
side of the face has been overbitten with the acid. [Coll : BM. A.]
2nd. The edges of the plate are clean and regular, and the
plate itself is slightly reduced. The defects in the shading are
worked over. [Col: BM.]
Copy. Same d. Bibl. IX.

46 Rembrandt's Etchings. Nos. 44, 4S
Gersaint and Bartsch classed this head among their Tites
d'hommes de fantaisie, De Claussin placed it among the
portraits of Rembrandt. It is excessively rare.

44. Rembrandt with a Cap and Robe of Fur. {Rem
brandt au bonnet de fourrure inegal)
Full face, bust slightly turned to the right ; on the head
is a fur cap which rises nearly to the top of the plate on the
right side ; the dress is faced with fur and open at the neck,
disclosing the vest ; the light comes in on the right ; there is a
little shading in the left background as high as the shoulder,
and at the top on the same side is Rh 163 i. A clear space
of -f^ in. is below the subject.
Dimensions: 2,5 — 2,2 ('064 — "056).
States: ist. The shading on the right cheek has failed in the
biting. [Coll: BM. P. A.]
2nd. The right cheek is worked over. Diagonal lines, strongly
given from right to left, deepen the shading upon the cap to the
left of the print, and the shoulder on the same side is closely
covered by regular and nearly vertical lines. [Coll : BM. C. P.
A. H.]
This 2nd State is one of those 'improvements ' which were
not created by Rembrandt ; his etching^having been injured
in the biting he threw it aside.

45. Rembrandt with a Round Fur Cap ; Full Face.
{Rembrandt au bonnet rond etfourri)
A front face, the body turned to the right, and on the head
is a high rounded fur cap shaped like a turban ; the hair, short
and curly, falls lowest over the left ear ; the cloak is faced on
the right shoulder with fur, the other side is not finished ; the
light comes from the right; high up on the left is Rh 1631.
Dimensions : 2,5 — 2,2 ('064 — '056).
States: ist. There is a space on the right shoulder just below
the collar which is shaded partly by a horizontal zigzag, and for
a short distance to the right by a single left-to-right diagonal;
this leaves a light space upon the shoulder and below the collar.
[Coll: BM. C. O. P. A. H.]
2nd. The whole dress below the collar on the right shoulder
is worked over by close curved lines following the roundness of

Nos. 46, 47 Studies and Portraits. 47
the form and obliterating the light space ; deep shading upon
the cap above the right eye gives the appearance of a crease or
fold; all this work is by another hand. [Coll: BM. C. P.]
Copy rev.; described by Wilson and Blanc. I have not seen it.

46. Bust of a Young Man, Full Face ; with a low
MISSHAPEN Cap. {Tete a bonnet))
This is a front face without beard or moustache, the hair
is curly and falls low on the coat collar to the left ; on the
head is a cap, irregular at the top and projecting on the right ;
the turned back part of the dress has an irregular outline ;
there is shading in the left background as high as the cheek,
and on this side the cap, face, and dress are deeply shaded ;
in the upper left is Rh 163 1.
Dimensions: 2,5 — 2,3 ("064 — '058). -/
Wilson has described three States of this ^oint, but his
account is. a very unsatisfactory one. M. Charles Blanc
seems to have followed Wilson, and does not say that he has
himself seen the three States ; I have entirely failed to verify
them, and must therefore set them aside and define the only
States I have been able to meet with.
States: ist. As described. [Coll: A.]
2nd. The plate is reduced to 2,0 — 1,8 ('051 — "046); the
monogram and date are cut away. [Coll : BM. A.]
Copy. Same d. The shading in the left background, which
in the original touches the bust as high up as the shoulder, and
is there a left-to-right zigzag, does not in the copy reach the
bust for about half its height, while its upper part is of left-to-
right diagonals.
Copy. Same d. In the upper left is Rh 1631; it is very
coarsely executed.

47. Rembrandt with a Soft Round Cap; known as
' L'homme a trois crocs.' {Rembrandt au bonnet
retombant)
The head and upper part of the bust are seen nearly in
front, turned a little to the right and inclining forward ; he
has a round face, small moustaches and a tuft ; his hair is
short and curly ; he wears a soft, flatfish cap, placed forward
over his forehead ; his dress has a collar of fur, open in front,

48 Rembrandt's Etchings. No. 48
allowing his neck to be seen ; the background is clear ; the
light comes from the right. Date assumed, 163 1.
Dimensions : 2,2 — 1,8 ('056 — "046).
States: ist. The plate edges are rough and uncleaned ; the
right shoulder is not shaded ; the fur collar is shaded only at
the back and under the ear ; a slight diagonal shading appears
in the left background behind the figure. [Coll : BM. P.]
2nd. The right shoulder and the fur collar are worked upon,
showing the shadow cast by the face ; strong diagonals right to
left shade the cap above the right ear. [Coll : BM.]
yd. The plate is reduced; it measures 2,0 — 1,7 (-051 — '043),
and the shading which would have remained, behind the figure,
is burnished out. [Coll : BM. P. A.]
4th. Diagonals, coarsely executed, cover the shoulder on the
left ; and upon the cap, above the right eye, similar horizontal
strokes form a kind of band. [Coll : BM. C. O. P. A.]
$th. The plate, which was slightly higher at the right side, has
been cut even and the top straightened. [Coll : BM. C]
Copy rev. A scratch crosses the whole busl: near the bottom
of the plate.
The work in the 4th State of this plate is certainly not by
Rembrandt, and I think it very doubtful whether the altera
tions which constitute the 3rd State were executed by him.

48. Rembrandt with a Fur Mantle or Cape. {Rem
brandt au collet pendant)
The head is slightly turned to the left, and partly shaded
on that side ; the curly hair falls over the forehead, covers the
right ear, and hangs behind as low as the neck ; the bust is
wrapped in a cloak with a broad flat collar, above which is
seen the shirt, plaited or gathered to fit the neck ; the back
ground has a little shading in the lower left ; at the top on
the same side is Rh 163 1 ; a clear space is marked off by a
line below the subject T^ in. deep.
Dimensions: 2,6 — 2,1 (-o66 — '053).
States: ist. The upper part of the hair directly over the left
ear is flattened ; the hair alongside the right cheek does not
come so low as the end of the nose. [Coll : BM. P. H.]
2nd. The mass of hair above the left ear has been added to,
and shows traces of dry point; it now presents a rounded
appearance. [Coll : BM. P. A.]
3rd. The hair alongside the right cheek falls as low as the

Nos. 49, 50 Studies ond Portraits. 49
mouth ; left-to-right diagonals shade the cloak ; the right side of
the nose is strongly outlined. [Coll: BM, C. P. A. H.]
4th. The plate is still further reduced, it measures 2,3 — 2,1
(•058 — '053), and is much reworked. [Coll : BM.]
Copy rev. On a larger plate, above the head a little to the
right, is Rh 1633.
After the 2nd State Rembrandt's hand is not seen upon
the plate.

49. Rembrandt with Bushy Hair. {Rembrandt auxyeux
touches)
Turned towards the right, the left side of the face is
strongly shaded, the abundant curly hair falls low on the left
shoulder ; the dress, open at the neck, has a broad fur collar ;
the background is clear, fine left-to-right zigzags in the lower
right excepted. In the upper left is Rh 163 i.
Dimensions: 2,4 — 2,2 (-o6i — '056).
States: ist. There is an oval space between the mouth and the
outline of the cheek, where a spot of acid has bitten so deeply
that the lines are destroyed. [Coll : BM. H.]
2nd. The defect caused by the acid is covered with fresh
work, but its traces are still apparent. [Coll : BM. C. A.]
yd. The plate is reduced, itnowmeasures 2,0 — 1,7 ('050 — "044),
and the monogram and date are cut away. [Coll : P. A.]
This plate has been injured with the acid ; probably only
the ist State was by Rembrandt.

50. Rembrandt with Bushy Hair (the Head nearly
FILLS THE Plate. {Rembrandt aux cheveux he'rissis)
Nearly full face ; the bust, of which very little is seen, is
turned to the left ; the hair is abundant and curly, standing
away from the head, and falling on the shoulder to the right ;
he has a small beard and moustache ; his eyebrows are con
tracted, and his features have an air of grimace ; the shoulder
is only outlined ; a little shading is seen under the chin.
Date assumed 1631.
Dimensions: 2,5 — 2,4 ("064 — -061).
States: ist. The plate measures 3,5 — 3,0 (-090— -076).
[Coll: P. A.]

50 Rembrandt's Etchings. No. 51
2nd. The plate is reduced ; dry point work appears upon the
hair. [Coll : BM. C. P. A]
yd. Upright work in dry point is introduced upon the hair
above the right eyebrow towards the crown of the head ; the
ascending line of the left nostril is continued rather higher than
the corresponding line of the right ; in the previous States this
line was only half the height of that on the right. [Coll :
BM. A]
4th. Oblique lines becoming almost horizontal cover the
lower part and end of the nose on the shaded side. [Coll :
BM. P.]
$th. The face and hair have been entirely reworked, giving
to the whole an uniformly heavy tone ; the long locks which fell
upon the shoulder and reached the right comer of the print are
shortened, allowing the outline of the back to be seen ; the right
cheek from the temple to the chin is distinctly outlined, which
was not the case in the earlier impressions. [Coll: BM. C. P.
A. H]
6th. A series of short verticals deepen the shading below
the chin, and on the chin are short left-to-right diagonals.
[Coll: C]
Probably the reduction of the plate which marks the 2nd
State took place after it had left Rembrandt's hands ; the
work which is found in the 3rd and \th States was by his
pupils, while the rework of the $th and 6th belongs to a much
later time.

51. Rembrandt with Bushy Hair and Small White
Collar. {Rembrandt aux cheveux cripus)
Placed a little towards the upper left of the plate ; nearly
front face, the bust turned to the right ; the nose is broad,
the eyes small, the hair is bushy and standing away from the
head ; a collar, divided in the middle, is seen above the close-
fitting habit. The light comes from the left. The back
ground is shaded only on the lower right ; above this shading,
on a level with the chin, is Rh. Date assumed, 1631.
Dimensions: 2,2 — 2,0 ('056-^- "050).
States: ist. The plate, which slightly exceeds the measures
just given, is soiled, its edges are rough and uncleaned.
[Coll : A.]
The impression at Amsterdam is probably unique ; it has a
small margin. Four short horizontal lines, made to represent
fastenings to the close-fitting habit, have been added in printing
ink, possibly by Rembrandt, as a design for the completed plate,

No. 52 Studies and Portraits. 5 1
but the idea was not carried out. This impression is the one seen
by De Claussin in the De Fries collection ; from thence it passed
into the collection of Baron Verstolk de Soelen, and at his sale
it was acquired for the collection at Amsterdam.
2nd. The usual impression. [Coll: BM. C. P. A H.]
Copy. Same d. 3,5 — 2,7 (-089 — -069). The shading upon
the bust is of very regular cross-work ; in the original it is very
irregular. Copy. Same d. 2,2 — 1,6 ('056 — "041). By Deuchar ; his
name is among the hatchings on the right.
Copy rev. The letters Re are seen above the shading to the
left ; this is also by Deuchar.

52. Portrait of Rembrandt with Broad Hat and
Embroidered Mantle. {Rembrandt au chapeau
rond et au manteau brode.)
The head, seen nearly in front, is covered with a broad-
brimmed hat turned up over the left side of the face ; the hair,
which is very fine and delicate, appears on each side, hanging
on the left as low as the shoulder ; the body is turned towards
the left and in later States is covered with an embroidered
mantle bordered with fur ; round the neck is a plaited and
laced ruffle ; the left hand only appears, it has a wristband,
ruffle and glove ; the light comes in on the right. The date,
163 1, does not appear until the $th State.
Dimensions: 5,8 — 5,1 ('147 — '13°)-
States: ist. A white space is seen in front ofthe hat, the out
line of the brim above the left ear is interrupted, and the extreme
edge of the brim to the left (of the plate) is not clearly given ;
there is a slight defect in the biting in the hair above the left eye,
and the outer white of the right eye is not worked upon ; I have
only seen one impression, it may be called a trial proof and is
probably unique. It has been mutilated and the upper corners
cut off by some foolish collector. [Coll: BM.]
2nd. Delicate curved lines from right to left, following the
shape ofthe hat, cover ,the white space; the edge ofthe hat to
the left is strongly marked, and the outline above the left ear is
continuous; the lower outlines of the nose and chin show rework
in dry point. [Coll: BM.]
yd. The white space in front of the hat is covered with left-
to-right diagonal and horizontal lines ; the defect in the biting
upon the hair over the left eye is remedied ; the outer white of
the right eye is worked with vertical strokes of the same tone as
the iris, which is now rather confused with it, the result being

52 Rembrandt's Etchings. No. 52
that the pupil shows as a small black dot. The British Museum
impression is mutilated; it measures 3,5 — 2,7 (-089— -069).
[Coll: BM. A.]
4th. The outlines of the right eye are clearly defined lines
parallel to the eyelid, appearing both above and below it ; the
iris is darkened by additional work, so that the eye recovers its
expression. The British Museum impression of this State has
been cut down. [Coll: BM.]
$th. The bust is now introduced; the falling collar, on
which is seen only a faint indication of lace work, is outlined;
the cloak hangs from the right shoulder in two distinct folds
which separate as they descend ; the line of the inner fold cuts
the margin of the cloak at the level of the hand, below this is
seen an additional fold faintly expressed, as if introduced and
then partly burnished out; the dress below the left hand is
divided vertically, it is darkly shaded to the left of this division,
lightly shaded to the right; the background is clear except that
low down on the left a few vertical and diagonal cross-strokes
are seen. In the upper corner of the same side is Rh 1631.
[Coll: BM. A]
Wilson describes a state in which the monogram appears
without the date, and M. Charles Blanc does the same, but they
do not say where they have seen it ; the MS. notes to this print
in the British Museum say ' the Rh is added but not the date,' and
again the monogram and date are said to be written ; I have
never seen the state without monogram, etc. It is not in any of
the large collections, but Wilson was generally so well informed
that I think it quite probable that it exists, although if found I
should not regard it as a State, but assume there has been failure
in the printing.
6th. The hat is now entirely reworked in dry point, with lines
and interlines following the curves ofthe brim; the lower border
of the ruff is defined, but its outline and the outline of the right
shoulder are still unfinished ; the hair at the back is made to
fall below the ruff; embroidery appears on the left shoulder, and
a row of buttons is seen round the edge of the cloak on that
side ; the cloak hangs from the shoulder in one fold, the lower
faintly expressed fold is burnished out ; there is some shading
behind the figure to the right at the height of the elbow, as if o'
a bank or wall, against which the figure is leaning. [Coll: BM.
C. P.]
1th. The shading to the right, representing a bank or wall, i:
erased ; the background, to the top and to the left, is coverec.
with irregular work; the monogram and date, which faintly
engraved would have disappeared under this shading, are re
worked in dry point. [Coll: P. A.]
8th. The plaits and lace pattern and the outline of the ruff are
finished ; the outline also of the shoulder is complete ; the ver
tical division in the dress below the left hand has disappeared

No. 53 Studies and Portraits. 53
under fresh work ; in the upper part of the plate to the right,
sloping from left to right, is Rembrandt f. [Coll: BM. P. A. H.]
qth. The shading of the background, except in the lower
corner to the left, is burnished out ; the name is gone, and the
plate, retouched, is worn and poor. [Coll: BM. A.]
Copy. Same d. of the 8th State; it measures 5,6 — 5,1
(•143 — '130); though possessing some merit, it ought not to
deceive, the treatment of the hair is so unlike the touch of
Rembrandt; the lower and outer left outline of the cloak is
straight instead of being curved, and it approaches the hand by
fo instead of '-fo; while the fold on the right, which is darkly
shaded, nearly touches, in the copy, the edge of the plate : this
copy is by Van Vliet, and will be catalogued among his works.
Copy in rev. On a smaller plate, as a frontispiece to Daulby's
catalogue. Engraved by Chapman.
There is a fine impression of the 2nd State in the British
Museum, which possesses the additional interest of having the
bust and collar worked in crayon, no doubt by Rembrandt
himself; he has also added his signature in the lower right,
Rembrandt; and on the left, on a level with the face, is jE 24,
and below 163 1. On an impression contributed to the Rem
brandt Exhibition of 1 877 by R. S. Holford, Esq., is a similar
signature and date, (jgiate I. figure 3.) A collar and bust in
black pencil are also added to an impression of the 3rd State
in the British Museum. The design in each case differs from
that of the etching ; and as the crayon or pencil work, and the
form of the signature, are of a later time, we must assume that
Rembrandt preserved some early impressions of his plate,
which he afterwards completed, not for his own satisfaction,
but as presents to his friends.
The variations which distinguish the States before the bust
are evidently corrections of an oversight or error, and the im
pressions are trial proofs : the %th is the earliest completed
State, but the attitude is so ill-conceived and the effect so
unsatisfactory that we do not wonder that Rembrandt laid
the plate aside, and that the further alterations and additions
are the work of other hands, the 8th, if not the yth, State
belonging to a much later time.

53. Rembrandt's Mother in a Black Dress, a small
UPRIGHT Print. {Buste de la mire de Rembrandt,
la main sur lapoitrine)
This is the bust of an old woman, turned a little to the

54 Rembrandt's Etchings. No. 54
right and looking downwards ; her head is covered with a
black open veil, her dress is also black, her left hand is placed
high up on her breast. The background is shaded ; there is
a clear space below, about -^ in. deep, in which, a little to the
left, is Rh 1 63 1.
Dimensions: 3,7 — 2,6 ('094 — *o66).
States: ist. As described above. [Coll: BM. C. P. A.]
2nd. There is some additional shading below the left hand,
defining the form ofthe sleeve; this shading consists of a series
of short strong horizontal lines partially covered by similar down
ward lines from left to right ; the eyes are retouched ; the result
is unfavourable, for the grey eyelashes seen in the ist State
have disappeared. [Coll: BM. C. O. A. H.]
This head {2nd State) has been substituted for the head of
Rembrandt's wife, No. 128: see the description.
The student should not fail to remark the skilful drawing
of the hand, so expressive of old age. Rembrandt's mother
died in 1640, and though the exact date of her birth is not
known, we have reason for supposing that in 1631 she was
about 63 or 65 years old.

54. Rembrandt's Mother, seated, looking to the
Right. {La mhe de Rembrandt, au voile noir)
Her face a three-quarters ; she is seated, towards the right,
in an armchair, at a round table, only part of which is seen ;
her hands are crossed and placed before her ; she wears a
close-fitting cap under a loose black veil, and has a short fur
cloak or mantelet edged with fur of a longer texture, which,
open at the top, allows a white habit shirt to be seen ; the
background is shaded on the left upwards as high as the
elbow; immediately above this shading is Rh / Date
assumed, 163 1. Dimensions: 5,9 — 5,1 (-150 — "130).
States: ist. The space below the seat of the chair is shaded
with fine horizontal lines from left to right, crossed by diagonals
from right to left ; the shadow in the background rises as high
as the sleeve, the monogram is lightly etched. [Coll: A.]
2nd. The upper part of the shading below the chair is
deepened by a series of verticals, looking almost like a.fringe to
the chair cushion; the shadow in the background rises as

Nos. 55, 56 Studies and Portraits. 55
high as the monogram, which has been reworked in dry point ;
a black spot is seen at the end ofthe nose. [Coll: P. C]
yd. A second stroke outlines the nose, and the black spot
has disappeared. [Coll: BM. P. H.]
t 4th. The plate is cut down to an oval. [Coll: A.]
Copy rev. Above the shading behind the chair is Rh/ww.;
short downward strokes, or dashes, between the lines of this
shading, give it a spotty appearance.
Copy rev. Harsh and poor ; in the upper left is R' inv.; in the
upper right is Cumano sc.
Copy. Same d. Bibl. IX.

55. Rembrandt's Mother, her Hand resting upon her
BREAST. {La mire de Rembrandt, au bonnet de dentelle)
A half length seen in profile and turned to the right ; she
is seated in a dignified attitude in an armchair; her right hand
rests on the arm of the chair, the left is placed upon her
breast ; round her head is a flowered scarf the ends of which
hang down over her right shoulder, and behind her as low as
her elbow ; her shadow is cast upon the background to the
left. Low down on the right is Rh 1631.
Dimensions: 5,8 — 5,1 ("148 — '130).
States: ist. The shadow on the background rises higher than
the head ; the ends of the scarf, which hang over her shoulder,
are plain. [Coll: BM. C. A.]
2nd. The shadow. rises only to the shoulder, and the scarf is
flowered. [Coll: BM.]
yd. In the 2nd State some bold curved lines shade the back
of the right sleeve, but they do not extend to the scarf, the out
lines of which are not well defined. In this State the sleeve is
again worked over with strong curved lines, and stands out
distinctly from the scarf, which is also reworked. [Coll: BM. C.
P. A. H.]
Copy rev. Little masses of shadow upon the hair give it a
woolly appearance, like the hair of a negress : this copy is in
scribed, F. Novelli, 1792, No. 32.

56. Bust of a Bald Man, leaning forward to the
Right, with his Mouth open. {Buste de vieillard
chauve, a tete baissie)
The head is quite bald, and inclined very much forward,
and with the body is turned to the right ; the light comes from

56 Rembrandt's Etchings. No. 57
this side, and falls full upon the head and the left shoulder,
and is seen on the back ; the mouth is open, showing the
teeth ; the beard is short and bristly. In the left upper corner
is Rh 163 1. Dimensions: 2,7 — 2,2 ('069 — '056).
States : ist. There is a light spot at the left corner of the
mouth immediately below the nose ; there is no shading at the
top of the left shoulder. [Coll : BM. A.]
2nd. The teeth are concealed by fresh work, a few lines shade
the top of the left shoulder, and cross-work covers the irregular
left-to-right lines below it ; the whole of the right breast is
covered with downward strokes, which are continued to the edge
of the plate. [Coll : BM. C. P. A. H.]
yd. The small space below the nose is worked over. [Coll :
BM. C. P.]
Copy rev. Very regular cross-work is seen in the shading.
Above the head, near the top, is, in largish letters, Rem. It is
by Danckaerts.
This has been regarded as a doubtful piece. I feel assured
that though the variations are not by Rembrandt, the ist
Slate is his ; one of the careless studies of this date. Possibly
he only began the plate, and threw it aside before even the
head was finished.

57. Bust of a Bald-headed Man with a Large Nose.
{Buste d' homme chauve, d gros nez)
The face is a three-quarters, turned to the right, on which
side the light comes in ; the head is bald, except for a few
short hairs behind and above the ear ; the right background
and the lower part to the left are shaded. In the upper left
corner is Rh 1631. Dimensions: 2,6 — 2,3 ('066 — '058).
States: ist. As described. [Coll : BM. C. P. A.]
2nd. A wrinkle appears between the eyebrows, and another,
strongly marked and curved, between the nose and the corner
of the mouth. [Coll : C]
yd. The wrinkle between the nose and the mouth is widened
by a series of fine short lines, the light on the cheek on this side
is worked over, and nearly vertical strokes are seen on the neck
under the chin. This retouching entirely alters the character of
the face. [Coll : BM. C. O. P. A.]

Nos. 58, 59 Studies and Portraits. 57
Copy rev. of the yd State. The background and parts of the
bust and face are covered with very regular cross-work.
Copy rev. The plate, including a clear space at the bottom,
is 3 in. ("076) high ; in the middle ofthe clear space is 1649.
Copy rev. Above the head to the right is R' 1633. This is
by Cumano.
The alterations which constitute the 3rd State are not
by Rembrandt.
58. Bust of an Elderly Man with a Cap and Robe
OF FUR. {Homme dgi, en robe four rie et bonnet)
Head and bust of a beardless man with broad forehead,
a three-quarters turned to the left and looking downwards ;
he wears a small fur cap, rising in front ; his dress is edged
with fur and open in front, showing his vest. The background
is slightly shaded, leaving a space about the head clear. In
the upper left is Rh 163 i.
Dimensions : 2,9 — 2,3 ('074 — '058).
Wilson describes three States, but as he defines them as 'not
much worked,' ' more worked,' and ' still more finished,' we may
suppose he had not himself seen them, but borrowed his descrip
tion from Bartsch. I have seen twenty-eight impressions, and
carefully noted the variations.
States : ist. As described, the shading from right to left on
the right shoulder is parallel to the outline of that shoulder and
to the fur border of the dress. [Coll : BM. P. A]
2nd. A diagonal right- to-left shading covers and nearly con
ceals the lines parallel to the shoulder ; some nearly horizontal
shading crosses the cap ; an uniform diagonal right to left covers
the face from nose to chin. [Coll : BM. C. P. A. H.]
yd. Very coarsely reworked ; a small light space which was
seen at the side of the nose is gone. [Coll : BM. H.]
Copy. Same d. by Deuchar 3,1 — 2,8 ("079 — '071). The
eyebrows and a wrinkle between them make a circular mark at
the top of the nose. A riband and medal are seen upon the
vest. Copy rev. Above the head is Rembrandt 1633. The eyes
look straightforward.
Copy rev. and enlarged. Below is Docteur Fauste, etc.

59. An Old Man wearing a Calotte edged with
Fur. ( Vieillard d barbe carrie et tris-haut front)
The head is a three-quarters, turned to the right, and
shaded on the opposite side ; the eyes are directed down-

58 Rembrandt's Etchings. No. 60
wards ; the cap is of singular form, like a calotte edged with
fur ; the dress is also bordered with fur ; the background is
only slightly shaded above the right shoulder. In the upper
left corner is Rh followed by two figures of a date which are
not easy to decipher. Date assumed, 1631.
Dimensions : 3,4 — 2,9 ('087 — "074).
States: ist. This is little more than a sketch, the condition
probably in which Rembrandt left the plate. [Coll : A.]
2nd. The plate is reduced, and measures 3,0 — 2,6 ('076 — -o66).
The bust and head are coarsely finished ; the few impressions I
have seen are badly printed, and have a poor effect. I should
not hesitate to reject the piece if the sketch described as the
ist State did not exist [Coll: BM. P. A. H]

60. Bust of a Man, turned to the Left, with an
action of Grimace. {Homme faisant la moue)
The face is nearly in profile, turned to the left, the fore
head is rounded, the beard short, thick, and curly ; the lips
projecting forward as if making a grimace ; the dress-is edged
with fur and fastened with a button in front. The background
has a shading on the left which gradually diminishes upwards.
Date assumed, 1631.
Dimensions: 3,0 — 2,4 ('076 — '061).
States : ist. The forehead is shaded with very irregular work,
the upper border of the cravat is partly unshaded ; the outline of
the short curly beard from the mouth downward and from thence
to the ear is rounded; the shading of the background on the
left is confused with the bust. [Coll : BM. A. H.]
2nd. Distinct cross-work shades the forehead, the white
space on the border of the cravat is worked over, cross-work
strengthens the shading on the right and below the chin and
ear. The outline of the beard from the mouth downwards, and
from thence to the ear, forms a right angle, and a shading in the
lower left outlines the bust. [Coll : BM. P.]
yd. The whole is reworked, regular parallel left-to-right lines
cover the background. This work is of comparatively recent
date. [Coll: BM.]
The 2nd State of this print betrays such inferior work
that amateurs who do not know the ist have ascribed it to
Lievens ; but the variations which mark the 2nd, and still
more the 3rd States are evidently by an inferior and probably
a much later hand, A fine impression of the ist State is in

Nos. 61, 62 Studies and Portraits. 59
the collection of the Duke of Buccleugh ; it bears the inscrip
tion P. Mariette, 1672, probably the date when the 2nd State
appeared.

61. Head and Bust, upright, with Bushy Beard.
( Vieillard d barbe et cheveux frisis.)
The face is a three-quarters, turned to the left ; the head,
which is held upright, is covered with curly hair, and the
forehead is wrinkled ; he has a moustache and short bushy
beard ; his dress is a cloak, unshaded on the left ; a few right-
to-left diagonals are seen in the lower left background. In
the upper left is Rh 163 i.
Dimensions: 2,1 — 1,8 ('053 — '046).
States: ist. Before the monogram and date. [Coll: C]
2nd. With the monogram and date. [Coll : C. P. A]
This doubtful print is very rarely met with. I only know
four impressions. It has always been attributed to Rem
brandt, and as the signature resembles his work I have
retained it.

62. Bust of an Old Man with a Long Beard.
( Vieillard a grande barbe et au front ride)
A fine head uncovered, the forehead bald and wrinkled ;
the hair stands up upon the crown. The face is a three-
quarter, looking downwards and turned to the right ; the
bust, in the same direction, is only slightly sketched on that
side, but the shoulder and back are covered with work ; the
light comes from the right, the shadow on the left rising as
high as the shoulder. On the right, about an inch from the
bottom, is Rh 163 i.
Dimensions: 4,7 — 4,6 ("120 — -]i8).
States: ist. As described; the plate is uncleaned, and in
some places spotted. [Coll : BM. C. P. A]
2nd. The plate is reduced, and now measures 4,7 — 4,2
(•120 — -io8). The last figure of the date is cut away. There
are marks of rework, especially on the cheek and side of the
face. [Coll : BM. C. O. P. A. H]
Copy. Same d. 5,2 — 3,7 ("133 — '094). There is a ragged
hole upon the shoulder, which will help to distinguish this copy

60 Rembrandt's Etchings. Nos. 63, 64
(|8 'att I. fig. 3.) The shading behind the bust, in the original, is of
cross-work up to the level of the shoulder ; in the copy it is
formed of descending lines from right to left, which rarely touch
or cross each other.
The authenticity of this piece has been doubted, it has
even been attributed to Bol, in which case it must have been
executed at least ten years later than the date it bears. I do
not myself doubt the print, but believe it has here its proper
place among Rembrandt's earlier Studies.

63. An Old Man with a Large Beard ; a square
Plate. ( Vieillard d barbe pointue, les cheveux hiriss/s.)
The bust is placed somewhat to the right, but the face is
a three-quarters to the left, and shaded on that side ; the
beard is long and broad, and finishes in points ; the forepart
of the head is bald, but the hair, which is curly, stands up
upon the crown ; the eyes are directed downwards ; the dress
is plain. There is a little shading in the background on the
left above the shoulder, and in the 2nd State, in the upper
corner on the same side, very faintly engraved, is Rh 1631.
Dimensions: 2,6 — 2,6 (-o66 — -o66).
States : ist. The plate-edges are rough and soiled ; the
lines which shade the right shoulder are curved at the top to
show its roundness, and are then made to descend vertically.
[Coll: BM.]
Upon the impression in the British Museum, in the upper left
corner, is read Rh 1631 ; this is not engraved but written, and
the shape of the figures is not the same as in the 2nd State.
2nd. The plate-edges are smooth and clean ; the shading on the
shoulder is as before ; below it left-to-right diagonals cross the
verticals, and a right-to-left diagonal deepens the shading behind
the shoulder. The monogram and date are introduced. [Coll :
BM. C. O. P. A. H.]
Copy rev. ; very good. Without the monogram and date.
Copy rev. 2,6 — 2,4 (-066 — -o6i). The lines are tremulous
and weak.

64. Man with a Large Beard and Low Fur Cap.
( Vieillard a barbe blanche et bonnet dpoil)
This is nearly a full face, but turned a little to the left ;
the beard is white, hroad, and long ; on the head is a fur cap,

Nos. 65, 66 Studies and Portraits. 6 1
placed partly on one side ; the background is very slightly
shaded in the lower left. Date assumed, 1631.
Dimensions: 2, 5 — 2,1 ('064 — '053).
States : ist. The work does not quite reach either the lower
edge or the right side of the plate ; the edges are irregular and
soiled; the line of the cap across the foreheSd is faintly
expressed as if here the acid had failed. [Coll : BM. C]
2nd. The work is carried to the lower edge and the right side
of the plate ; the line of the cap across the forehead is strength
ened, noticeably above the left eyebrow, with short, deep hori
zontals. [Coll : BM. C. P. A. H.]
Copy rev. The cap is darkened with shading which has a
right-to-left direction.
Impressions are always faintly printed, the plate having
been insufficiently bitten.

65. An Old Beggar seated with a Dog by his Side.
( Vieux mendiant assis et son chien.)
He is sitting on a Jow bank on the right side of the print
and turned towards the left ; his head is uncovered ; he has a
ruff round his neck, his cloak is large and patched, the toes of
his left foot are seen through his shoe and his leg appears
bandaged ; he is warming his hands over an earthen pot
placed upon his knees ; a little rough dog is by his right side.
In the lower right corner is Rh 163 i.
Dimensions: 4,3 — 3,2 ("no — -o8i).
[Coll: BM. P. A. H.]
The monogram looks more like the letters Pl.
I long regarded this print as something more than
doubtful ; I should not now admit it but that I think it forms
one of a group of prints which were all more or less injured
by mismanagement with the acid.

66. An Old Woman in a Cottage. (The Onion
WOMAN.) {La femme aux ognons)
Represents an old woman seated, and turned towards the
left. She is very much bent together; her hands are clasped
and her elbows rest upon her knees ; her feet are placed upon

62 Rembrandt's Etchings. No. 66
a chaufferette, the left foot is bare; behind her appears a
roughly made wooden door, and on the wall to the left hangs
a string of onions. In the upper right is Rh 163 i.
Dimensions: 4,9 — 3,2 ('124 — "081).
Staty: ist. The plate measures 5,0 — 3,5 (-128— -089). The
monogram and date are wanting. [Coll: A. H.]
2nd. The plate is reduced, and the monogram and date are
added. [Coll: BM. C. P. A. H.]
Copy in rev. Attributed to Lievens, but it is a much more
recent work.
Wilson in rejecting this print has unfortunately attributed
it to Lievens ; I say unfortunately because, misled by his
decision, Tlie Onion Woman has been generally accepted,
at least by English amateurs, as an almost typical example
of Lievens' work, and has thus tended to bias their judgment
when criticising the doubtful and inferior technic which con
tinually appears in the later, and in some cases in the earlier
States of Rembrandt's prints. If the student will acquaint
himself with the peculiarities of technic which Lievens'
acknowledged prints exhibit, he will find that they show a
thinness, a comparative weakness, and a certain closeness of
work which is unlike the handling of Rembrandt. M. Charles
Blanc — and there is no critic whose opinion on this matter is
more entitled to respect — pointed this out in special reference
to the print before us ; he says, ' Ajoutons que la maniere fine
et maigre de Lievens, ses travaux serres, ne s'accordent pas
le moins du monde avec ces hachures hardies tracees d'une
main libre, sure et vigoureuse.' He would allow a certain
resemblance to Van Vliet, but reminds us that if The Onion
Woman is rejected, many other of Rembrandt's earlier prints
(ex. gr. Lazarus Klap, No. 72) must also be discarded. I do
not hesitate to attribute this print to Rembrandt, and believe
that, like many others, it owes its apparent coarseness of
execution not to the work with the needle, but to mismanage
ment in the after treatment of the plate, which was suffered
to remain too long in the acid ; the result was that it became
overbitten, and thus whatever excellence the original design
may have possessed was partially destroyed.

Nos. 67, 68 Studies and Portraits. 63
67. An Old Woman wearing a Dark Headdress
with Lappets. ( Vieille au capuchon)
A head three-quarters to the right, the light comes from
the left ; over a white cap which crosses her forehead she
wears a hood of some thick material like short coarse fur,
which falls on her shoulders like the headdress of a nun. The
fur which borders her dress rises high at the back of her neck,
but leaves her dress open in front ; a band passes round her
neck ; a little shading is seen on the right opposite the chin.
In the upper left corner is Rh 163 i.
Dimensions: 2,5 — 2,1 ("064 — '053).
States: ist. The neckband, and habit shirt immediately below
it, are unshaded; the hood, where it falls on the right shoulder,
is only slightly worked with short hatchings and lines from left
to right which do not reach its outlines ; there are no verticals
in the shading of the dress upon the breast below the fur. [Coll:
BM. P. A]
2nd. The hood is closely worked over, and vertical lines
appear in the shading upon the breast. [Coll: P. A.]
yd. The neckband and habit shirt are now shaded. [Coll:
BM. C. P. A. H.]

68. A Woman in a Veil ; the lower Part of the
Plate an irregular Oval. {Femme d la guimpe.)
A three-quarters face, turned to the right and shaded on
that side ; the head is covered with a kind of turban, from
which a band hangs loosely round the neck and under the
chin ; the lower part of the bust is finished in an irregular
oval with a clear space of half an inch below it to the edge of
the plate ; the background is slightly shaded upon the right
and above the head, while upon the left are two staight lines
extending from the top to the shoulder, crossing each other.
Date assumed, 163 1.
Dimensions: 2,8 — 2,8 ('071 — "071).
States: ist. As described. [Coll: BM. A.]
2nd. The plate is reduced, it now measures 2,8 — 2,2
(•oil — "056); there are no variations in the technic. [Coll:
BM. C. O. P. A. H.]
Copy rev. Very indifferent.
Copy rev. Harshly executed ; the shading on the dark side

64 Rembrandt's Etchings. Nos. 69, 70
of the face is of very regular, descending lines parallel to the
nose ; in the space below is R' inv. Cumano. sc. This copy also
appears as a counterproof, i.e. in same d. as the original.

69. Head and Bust, the Head nearly filling the
upper Right of the Plate. {Profit a barbe droite
et bonnet)
Head and bust of a man in profile to the right ; the head
is placed in the upper right of the plate. He wears a cap,
has short hair, a short thick beard, and a cloak or mantle of
which the cape falls back over the shoulders ; near the upper
left is Rh 163 1.Dimensions: 1,9 — 1,5 ('048 — "038).
[Coll: BM. P. A.]
A very doubtful print, hardly deserving a place even
among this group of careless studies.

70. A Beggar in a Ragged Cloak in the manner of
Callot. {Gueux d manteau dichiqueti)
He wears a curious pointed cap without a crown, his coat
is ragged, hanging in strips ; he is in profile walking towards
the left, his stick is seen in the space between his legs. The
background, along the left and top, is irregularly shaded,
mostly with short hatchings. Low down on the left is Rh
1631. Dimensions: 3,3 — 1,5 ("084 — '038).
States: ist. The lower part of the face and ofthe neck are un
shaded, as are also the back of the right leg below the knee, and
the shoe ; the fold of the cloak, where its outline touches the
stick, is white. [Coll: BM. C. P. A. H.]
2nd. The face is wholly shaded with diagonals from right to
left; the right leg and the shoe are shaded with single lines, the
fold of the cloak, where its outline touches the stick, is shaded.
[Coll: BM. C. P. A.]
yd. Cross lines are seen upon the face and upon the fore part
ofthe shoe. [Coll: BM. A]

No. 71 Studies and Portraits. 65
71. Small full-length Figure of a Beggar in a
Large CLOAK. ( Vieillard sans barbe)
He is turned to the right in a half sitting posture, though
what he rests against does not appear. He wears a soft cap
depressed in the middle, and a long cloak in several folds
with a collar of coarse fur ; his left hand is slightly raised, and
his fingers point towards the ground in front ; his shadow is
seen on the left foreground. At the top to the left is Rh 163 i.
Dimensions: 2,5 — 1,6 ('064 — '041).
An outline of this figure will assist in defining
the States. A~l
The Drapery is thus disposed:
The fold a hangs a little lower than his waist.
The fold b separates into two about the level
of his knee, the right outline cutting the out
line of the left leg.
The fold c is behind this.
The fold d is the fall of the cloak to the left,
cut by the plate edge.
States: ist. d is shaded only by a few irre
gular lines; the background is soiled and the
plate edges rough; the fur at the back of the neck only extends
over the fold a. [Coll: P.]
2nd. The fold d is now covered with coarse work which is
seen to extend over the lower part ofthe fold c. [Coll: BM. C.
P. A]
yd. The fold c is shaded ; the fur at the back of the neck
extends over a and b. [Coll : P. A.]
4th. The fold b is shaded; verticals and a narrow series of
diagonals, left to right, are seen to the right of a, and are con
tinued downwards on the trouser ; the back of the right leg is
also shaded. [Coll: BM. C. P. A. H.]
$th. The fold a is shaded, and additional work shades the
other folds. [Coll: P.]
Wilson has followed Bartsch in describing a ist State, in
outline, before the signature and date, on a plate measuring
3 in. by 2 in. ; and also a 2nd State, distinguished only by
some shading in the background. I have failed to find these
States or recognise any others than those above described,
but that these earlier States have existed is not improbable.
The print is one of those which show careless and hasty
execution, and is only found in many States because it fell
into other hands. The occurrence of these variations upon a
F

66 Rembrandt' s Etchings. No. 72

"<:>¦

plate so insignificant is very strong evidence in favour of my
assertion that Rembrandt himself rarely altered his plates.

72. Lazarus Klap; or the Dumb Beggar. {Le Lepreux.)
He is seen in profile turned to the left, sitting on a small
hillock and leaning forward, with his staff between his legs ;
in his right hand is a kind of castanet made of flat pieces of
wood, which when shaken strike together and make a noise
to attract attention ; on his head is a high fur cap ; his cloak
has three stripes along the bottom. At the top of the plate,
to the left, is Rh 1631.
Dimensions: 3,7 — 2,5 ('094 — '064).
States: ist. The single impression I have seen of this State
is printed on the back of an impression of Two beggars, a Man
and a Woman, side by side, No. 13. The only shading is upon
the front of the cloak and upon the right arm, where a few coarse
lines appear; the folds of the cloak are scarcely defined. The
impression measures 4,0 — 3,0 ('102 — '076). [Coll: P.]
2nd. The plate is 3,7 — ¦ 2,5 ( -094— '064); the left foot is rather
more than fo (-oo6) from the lower plate edge; the side of the
cap, the face, and the neck are white ; the cloak is only shaded
along the front, in the folds near the bottom, along the edge of
the turned-back border, and upon what looks like a ragged arm-
hole; the bank on which he sits is not shaded at the top.
Beneath the right arm is a place where the acid has failed. The
monogram and date are added. [Coll: BM. H.]
yd. The failure in the acid is corrected. [Coll: P. A.]
4th. The face is shaded with a vertical, a right-to-left diagonal,
and in front by a horizontal line; the neck remains white, the
shading, which looked like a ragged armhole, is burnished out.
[Coll: C]
$lh. The plate is reduced at the bottom to 3,5 — 2,4 ('089 —
•061); the foot comes to within -fo of the- lower plate edge; the
neck is shaded. [Coll: BM. P.]
6th. The turned-back fold ofthe cloak from behind the neck
downwards is worked upon, the bank is harshly shaded through
out, and the plate is slightly reduced. [Coll: BM. C. P. A.]
Copy. Same d., W. J. Smith; may be recognised by the
neatness with which the shading is executed.
Bartsch tells us that in earlier times a leper, called in
Holland ' A Lazarus,' was compelled to carry a castanet or
' Klap,' which he should shake to warn the passers by, but
that in his day it was used by deaf and dumb beggars to
attract attention.

Nos. 73, 74 Studies and Portraits. 67
73. Two Venetian Figures. {Deux figures vinitiennes.)
Two men, wearing long cloaks, with high caps on their
heads, are seen in profile walking side by side and in step,
from left to right ; their stockings have fallen down, they lean
forward as they walk, and look more like escaped galley
slaves than honest men. Date assumed, 1631.
Dimensions: 3,7 — 2,3 ("094 — '058).
States : ist. An unfinished etching ; the men's legs are com
pleted only to the knee. I have not yet seen this impression,
which, so far as I know, is only to be found in the collection at
the Albertina Museum at Vienna.1 M. Charles Blanc in his
remarks upon this print expressed his belief that an impression
in pure etching would be found ; the discovery of this ist State
at Vienna happily confirms his opinion.
2nd. The figures are completed as described. [Coll: BM.
- P. A]
Copy : Same d., by W. J. Smith. The shading is much more
regular than in the original ; the embroidered marks on the
sleeve of the figure to the left form the very distinct letters
P. C.
Doubts have been expressed as to the authenticity of this
print. I have no hesitation in ascribing it to Rembrandt.
The figures are very spirited and life-like, and their con
strained action is that of men who have worn chains and are
not yet accustomed to freedom.

74. A Beggar with a Crippled Hand, in the manner
of Callot. {Gueux dans le goilt de Callot)
Seen in profile turned to the right and extremely ragged ;
he wears a high cap, of which the crown and part of the back
are gone, but it rises and is pointed in front ; a long cloak
falls nearly to his knee ; his right hand, apparently crippled,
is supported in a sling ; the other hand, unseen, holds his
stick ; his knees are a little bent, and his back rounded.
Date assumed, 163 1.
Dimensions : 3,8 — 1,7 ('098 — '043).
States : ist. The shadows are only expressed by single lines,
except on the right thigh ; the hanging sleeve of the cloak, which
>
1 Herr Thausing, the Director of the Albertina, has kindly sent me a list of
the Rembrandt etchings in his care, but it has arrived too late for insertion.

68 Rembrandt's Etchings. Nos. 75, 76
falls in two folds like a double sleeve, is unshaded. [Coll :
BM. C. O. P. A. H.]
2nd. The plate is cut away at the bottom, so that its edge
nearly touches the sole ofthe foot ; that fold of the sleeve which
is to the left is shaded with strong downward lines. [Coll :
BM. C]
Both Wilson and Blanc have described a State, before_ the
plate was cut, in which the shadows are expressed by cross lines.
I have seen many impressions, but have not found this State.
yd. The plate is cut away at the top ; it is now 3,5 ("089)
high ; the cap is lowered and rounded ; the shaded fold of the
sleeve is so worked over with diagonals right to left that its out
lines are lost, and it can no longer be distinguished from the
cloak. [Coll : BM. C. P. A.]
Copy : Same d. of the yd State. It may be at once; recog
nised by the very careful accuracy of the shading. It is by
W. J. Smith.
75. A Beggar Woman with a Leathern Bottle.
{La femme d la calebasse.)
She is seen partly from behind, turned to the left and
leaning forward ; her face is in profile, and her left hand
raised towards her mouth ; she wears a flat hat tied under
her chin, and behind her hangs a leathern bottle ; her clothes
are very ragged ; below is a clear space -^ in. ('005) deep.
Date assumed, 1631.
Dimensions : 4,1 — 1,8 ('105 — -046).
States : ist. The plate is of irregular form, with ragged edges ;
there are no cross-lines on the shadow thrown by the figure
upon the ground to the left. [Coll : A]
2nd. The plate is cut straight and the edges smoothed ; cross-
lines appear in the shadow of the figure. A line is drawn
horizontally at the bottom of the plate marking off the clear
space. [Coll : BM. C. O. P. A. H.]
This very coarsely executed print is somewhat doubtful.
I only retain it because it resembles others which cannot very
well be rejected ; like them, the plate has been overbitten.

76. A Beggar sitting in an Elbow Chair. {Gueux
assis)
He is turned to the right, and seated in an elbow chair
with a high back, on the arms of which he rests his elbows,
his hands being joined together before him ; his head is bare ;

Nos. 77, 78 Studies and Portraits. 69
the arm and back of the chair are lightly shaded, and a
shading extends to the top on the left side. Date assumed,
1631. Dimensions: 4,5 — 3,1 ("115 — '079).
[Coll: BM. O. A]
Copy. Same d., Bibl. IX
A pencil sketch for this print, in rev., is found in the col
lection at Haarlem, signed and dated Rh 163 i.

77. A Man with a Short Beard and Embroidered
Cloak. {Buste d 'homme a bonnet fourri et manteau
brodi)
This is a half-length ; the body is turned to the right, but
the face is seen in front ; the beard is short and rough, the
head is covered with a high fur cap, and the body with an
embroidered cloak, with collar and edging of short fur ; the
shadow falls on the background to the left as high as the
shoulder. On the same side, towards the top, is Rh 1631,
though it is not very legibly engraved.
Dimensions: 5,7 — 5,1 ('145 — '130).
States : ist. The hand, which looks like a left hand to a right
arm, is seen coming from under the cloak ; the monogram and
date are wanting. [Coll: A.]
2nd. The monogram and date are added. [Coll: BM. C. O.
P. A. H.]
yd. The hand and arm are taken out. [Coll: BM. P. A. H.]
4th. The plate is cut away at the right, and measures 5,7 — 4,9
(-145 — -125). [Coll: BM. C. P. A.]
Copy. By De Claussin. I do not know this copy.
It is possible that the ist State described may have been
printed without the monogram and date, not that it was really
wanting upon the plate; there are other instances of such
omission ; still, as it appears never to have been there, I allow
the State to remain.

78. The Blind Fiddler. {Aveugle fouant du violin.)
A little figure of a beggar man standing towards the
right, and led by a dog which resembles a Skye terrier. He
wears a high fur cap, and has a ragged cloak hanging from
fais left shoulder ; he is playing on a fiddle, holding the bow
in his left hand. In the left background an old woman is

yo Rembrandt's Etchings. No. 79
seen entering a cottage, near which is a tree. In a clear space
below the subject, a little to the left, is Rh 163 1.
Dimensions: 3,1 — 2,1 ('079 — '053).
States: ist. The narrow outer fold of the cloak along the
back of the figure is unshaded ; the next fold to it is only partly
shaded. [Coll: BM. C. P. A. H]
2nd. Both the folds are shaded. [Coll: BM.]
yd. The whole figure is harshly reworked, mostly by very
regular lines ; on the skirt they are downward, on the upper
part of the cloak they are from left to right, gradually becoming
horizontal below, etc. This shading was not executed by
Rembrandt. [Coll: BM. C. O. P. A.]
Copy rev. In the upper right corner is No. 38 ; it is by
Novelli.

79. The Little Polander. {Petite figure Polonaise)
Seen in profile and turned to the right ; he wears a turban
from the centre of which rises a feather ; his right hand is
resting on the hilt of his short sword, and in his left hand he
holds a cane, The edges of the plate are soiled. In a clear
space below is Rh 163 i.
Dimensions: 2,3 — 0,8 ('058 — '020).
[Coll : BM. P. A.]
Copy. Same d. The shading is stiff and regular; below the
left wrist are three very short, harshly executed and parallel right-
to-left diagonals ; three regular lines also shade the right heel ;
by De Claussin.
Copy. Same d. Is more deceptive, being etched with a finer
point. In the original the skirt of the Polander's doublet, which
hangs behind over the sword, is shaded by irregular descending
lines ; in the copy these lines are in pairs, leaving three narrow
and regular white spaces between them. This copy, which is
nearly as rare as the original, is, I believe, also by De Claussin.
Of this little print I have only as yet met with five im
pressions, two of which are in the British Museum ; one, the
gift of the late Chambers Hall, Esq., the other acquired by
purchase. Of course, for so rare a print the competition has
been keen. At the Hibbert Sale, in 1809, it brought £10 ;
the same impression at the Pole Carew Sale, in 1835, was
knocked down for £53, passing into the Verstolk Collection ;
in 1851 it realised only £24 15^., a price which was still out
of all proportion to its merits.

Nos. 80—82 Studies and Portraits. 7 1
80. A Beggar standing to the Left, a small upright
Print. {Petit gueux debout)
He wears a large fur cap ragged at the top ; is seen nearly
from behind, and turned towards the left ; his knees are
slightly bent and his hands rest on a staff; a pouch hangs from
his waistbelt in front. Near the top on the right, faintly en
graved, is the monogram Rh. Date assumed, 1631.
Dimensions: 1,7 — 0,8 ('043 — '020).
[Coll: BM. C. P. A. H.]
Copy rev. by De Claussin. Being very lightly etched it might
pass for a counterproof; the upper part of the pouch is shaded
with cross-work in the copy; it is not so shaded in the original.
This is the smallest print we have which is attributed to
Rembrandt. M. Charles Blanc very truly says of it that its
rarity is its only charm. The impression at Paris has some
slight variations, which perhaps point to another State, and
the signature appears to be Rh in. I think it a very doubt
ful piece, but, as it has always been assigned to Rembrandt,
I retain it here.
81. Small Head with a High Misshapen Cap. {Esclave
d haut bonnet))
A small head and bust placed on the right side of the
plate ; the face is a three-quarters turned to the right ; the
bust, which is only sketched, is to the left ; the cap is very
high and of irregular shape, with indented outline and turned
up at the side with fur ; it touches the plate edge on the right
side. Date assumed, 1631.
Dimensions: 1,5 — 0,9 ('038 — '023).
States: ist. The shading on the right side of the cap does not
reach the top; a white space is seen on the fur. [Coll: BM.
O. A.]
2nd. The whole front of the cap is shaded very nearly to the
top. [Coll: BM. P. A. H.]

82. Sketches with a so-called Head of Rembrandt.
{Grijfonnements l/gers avec la tite nue de Rembrandt)
It is on turning this print so that the head, which is called
that of Rembrandt, is sideways, that we see the first sketches
made upon the plate. On the left is the figure of a woman

72 Rembrandt's Etchings. No. 82
in profile turned to the left, wearing a cloak with hanging
sleeves ; she holds a basket with both her hands, and before
her stands a child, seen from behind. Above at the top ofthe
plate is a slightly sketched head of a man, and in the left
lower corner is Rh 1631. Turning the print we have, a little
to the right, a head somewhat resembling Rembrandt, but
with thin hair, and, as Dr. Strater justly remarks, with the
appearance rather of a man of some sixty years of age, without
Rembrandt's bright eye and artistic bearing. At the left of
this head is part of the figure of an old man seen in profile
turned to the left, wearing a high cap narrowing towards the
top ; at the buttonhole of his cloak hangs a hat, which he
supports with both hands as if to receive alms.
Dimensions : 3,6 — 4,4 ('091 — '113).
[Coll: BM. C. O. P. A. H.]
Copy by De Claussin.
Copy referred to by Dr. Strater. I do not know either of
these. Copy. Same d., Bibl. IX.
In the Rembrandt Exhibition of 1877 this small sheet of
sketches was placed under the year 165 1 ; the figures are, how
ever, undoubtedly 1631 ; the impression, contributed by the
late H. Danby Seymour, Esq., though a very fine one, did not
show this date so clearly as do some others which I have seen.
From its very position upon the plate it is evident that this
date has no relation to the so-called Head of Rembrandt, but
refers to the sketches first described, the old beggar-woman
and child, which are placed immediately above it ; these two
figures belong to Rembrandt's earliest time, but certain lines
of shading seen upon them were put there afterwards when
the head was executed.
This head does not resemble any one of the known Por
traits of Rembrandt ; the nose is smaller in proportion to the
mouth, which again differs in shape and expression from the
same feature in the Studies ; the hair too is comparatively
sparse and thin. Dr. Strater of Cologne has suggested that it
is the likeness of Rembrandt's father. But the technic of this
head is of so much later date that if it is a likeness of Harman
Van Rijn, it was etched when he was no longer living.

Nos. 83, 84 Studies and Portraits. 73
83. A Sheet of Sketches afterwards divided into
FIVE. {Griffonnements d cinq tites et demi-figure.)
A leaf or sheet of sketches containing the five heads
described Nos. 84-88, together with a sixth head, lightly
sketched, and the head of a cat, which do not appear again on
separate plates. In the middle at the top is Rh reversed.
Date assumed, 1631.
Dimensions: 3,9 — 4,7 ("099 — -i2o).
States: ist. As described, only one impression is known.
[Coll: P.]
2nd. The plate has been lowered and divided. The part to
the right measures 3,4 — 3,1 ("087 — '079); it contains only three
figures, afterwards described Nos. 86, 87, 88. [Coll : BM. H.]
Whether the other part of the plate, which would measure
3,4 — 1,6 ("087 — '041), and on which were Nos. 84, 85, was
printed from is not known; no impression from it has yet been
discovered. The plate was then further divided, and each ofthe five figures
afterwards described appears on a separate plate.
From the upper left is No. 84, Bust nearly in profile to the right.
„ lower left „ 85, Bust, a man with aquiline nose.
„ centre „ 86, A beggar, a three-quarter length.
„ upper right „ 87, A Turkish slave.
„ lower right „ 88, Bust of a man crying out.
The technic of the central figure, No. 86, is of a later date
than the other work upon the plate. Probably after the first
sketches were executed the copper was laid aside without
having been printed from ; some time afterwards it was taken
up again, and in the vacant space was placed this three-quarter
figure, and a few impressions were taken. Still later, falling
into other hands, the plate was again divided, and each little
sketch appeared as a separate print ; on three of them, Nos. 85,
86, 88, further variations were executed, creating -new States
which would then have a marketable value.

84. Bust of an Old Man in Profile to the Right.
{Petit vieillard chauve, la bouche entr' ouverte))
A head and bust turned to the right, the light comes from
that side ; the forehead is bald, the beard projecting, and the
mouth slightly open as with an expression of attention ; a

74 Rembrandt' s Etchings. No. 85
little ornamental work appears upon the dress ; the back
ground is unshaded. Date assumed, 163 1.
Dimensions: 1,4 — 1,1 ("036 — "028).
This is one of the pieces from A Sheet of Sketches, No. 83 ;
it is the head on the upper left.
States: ist. As it appears upon the original plate, or upon
the plate after its first division, there are two patterns of embroi
dered work upon the bust. [Coll: BM. P.]
2nd. From the cut plate ; only the upper of the two patterns
of embroidered work remains. [Coll : BM. P.]
Copy. Same d. of 2nd State. The subject does not reach
the right lower corner of the plate ; three strong downward lines
are seen on the moustache immediately above the mouth.

85. Small Bust of an Old Man with an Aquiline
NOSE. {Petit vieillard a nez aquilin et haut bonnet))
A small bust, the face a three-quarter to the right, with
aquiline nose and a slight moustache. He wears a high fur
cap with a white border across the forehead, and a cloak of
fur also bordered with white ; his vest is crossed by a broad
belt or girdle. A left-to-right zigzag shading is seen behind
the figure to the left. Date assumed, 1631.
Dimensions: 1,4 — 1,1 ("036 — "028).
This is one of the pieces from A Sheet of Sketches, No. 83,
it is the head in the lower left.
States: ist. As it appears upon the original plate, or upon
the plate after its first division. [Coll : BM. P.]
2nd. From the cut plate; the top of the cap reaches nearly to
the upper border line; the shading behind the figure to the left
has disappeared. [Coll: BM. H.]
yd. Light spaces on the cheek and neck are worked over,
and the ear is concealed. [Coll : A.]
Afh. The fur at the back of the neck is now darkened, and
diagonals right to left cover the cap. [Coll : BM. C. P. A.]
$th. Additional strong downward shading appears upon parts
of the cap and bust. [Coll: BM. P.]
The variations which distinguish the 3rd and succeeding
Slates are of a later time.

Nos. 86, 87 Studies and Portraits. 75
86. An Old Man seen from behind. ( Vieillard vu par
le dos)
This is a three-quarter length, the face in profile to the
right, the body turned partly round in the same direction ; he
wears a large fur cap, higher in front, and which has an ear
piece or flap from which a string hangs down upon his
shoulder ; his hands appear to be resting upon a stick. Though
of later date than the other sketches upon the same plate, I
have for convenience placed it with them in the year 1631.
Dimensions: 2,8 — 1,7 ("071 — '043).
This is the central piece from the Sheet of Sketches, No. 83.
States: ist. As it appears upon the original plate or upon the
plate after its first division. [Coll : BM. P.]
2nd. From the cut plate. There is no variation in the work.
[Coll: BM. P. A]
yd. In the previous States there was an unshaded space at
the back of the neck, this is now worked over; the curved
lines at the side of the cap are prolonged to meet the fillet;
cross strokes shade what was the light part of the coat and skirt,
the back of which is darkened by diagonals from left to right.
[Coll: BM. C. P. H.]
4th. The lines are deepened with the graver ; a series of short
and fine hatchings appear upon the cheek, extending from the
ear nearly to the mouth; in worn impressions other additional
work can be detected. [Coll : BM. C. P. A.]
Copy rev. of yd State. A little projection appearing from
behind the shoulder like the top of a staff is wanting. This copy,
a very deceptive one, is by Denon.
The variations which distinguish the 3rd State were
probably not executed by Rembrandt, but are the work of a
later hand.

87. A Turkish Slave. {Esclave turc)
Head and bust of a young man in profile to the right ; on
the head is an upright cap without brim, squared, and a little
wider at the top. He has a slight whisker, and a thin mou
stache, and wears a falling ruff, which is longest in front. Date
assumed, 1631. Dimensions : 1,5 — 0,9 ('038 — "023).
This is one of the pieces from A Sheet of Sketches,No. 83 ;
it is the head in the upper right.

76 Rembrandt's Etchings. No. 88
States : ist. As it appears upon the uncut plate, or upon the
plate after its first division ; the upper part of the shoulder is
shaded with descending lines, and there is a zigzag shading
behind the back, to the left. [Coll : BM. P.]
2nd. The reduction of the plate has cut away the zigzag in
the left background, and the unshaded part of the bust. [Coll :
BM. C. O. P. A.]
Copy. Same d. By De Claussin. Very regular downward
lines are seen behind the ear. The plate was cut to resemble
the 2nd State, but this shading affords a sufficient distinction.

88. Bust of a Man crying out, turned to the
Left. {Juifd barbe frisie, la bouche ouverte)
The face a three-quarters turned to the left ; he has a short
curled beard, his mouth is open, and he appears to be crying
out ; he wears a cap with irregular outline, and an embroi
dered cloak. Date assumed, 163 1.
Dimensions : 1,6 — 1,4 ("040 — "036).
This is one of the pieces from A Sheet of Sketches, No. 83.
It is the head in the lower right corner.
States: ist. As it appears upon the uncut plate, or upon the
plate after its first division ; the shading of the bust on the right
ends irregularly, the outlines do not extend so low as the orna
mental work upon the shoulder. [Coll : BM. P.]
2nd. From the cut plate ; the outlines extend to the plate
edge, the front of the cap is shaded only by single irregular lines,
a small white space is on the right breast, the shading upon the
shirt is horizontal and only reaches part way down. [Coll : BM.
C. A. H]
yd. A few cross-lines, nearly vertical, and left-to-right dia
gonals, darken the front of the cap, which is now as deeply
shaded as the rest ofthe figure. [Coll : BM. P. H.J
4th. The lower part of the shirt, white until now, is shaded by
downward lines. [Coll : A.]
5th. A diagonal right to left covers the eyes and right cheek,
the white space on the breast is worked over, the shirt has an
additional shading of strong downward lines. [Coll : BM.
C. P. A. H]
Copy. Same d. Deeply shaded, the head is somewhat more
upright. An accidental scratch is seen on the bust, from the
collar half way downwards ; probably by De Claussin.
In the Amsterdam Collection is an impression on parch
ment of the 4th State; the parchment has shrunk so much
that the print is hardly an inch square. This is described by

Nos. 89, 90 Studies and Portraits. jj
Wilson (No. 301) as a different print ; he had evidently never
suspected it, but had followed the descriptions of Pierre Yver,
De Claussin, and Bartsch. M. Charles Blanc was the first
to recognise it as the same head as the one just described
(Bibl. VIII. p. 266), and therefore suppresses it. It is im
possible to believe that the variations which constitute the
3rd and later States were executed by Rembrandt.

89. A Peasant with his Hands behind him. {Paysan
d mi corps, les mains derriire le dos)
A peasant, a half length turned to the right, is seen in
profile ; his shoulders are high and rounded ; he wears a scanty
jacket and a sailor's rough fur cap. Near the top to the left
is Rh 163 1. Dimensions : 2, 3 — 2,0 ("058 — '051).
States : ist. As described. [Coll : BM. P. A.]
2nd. Cross-work is seen at the back of the neck, and from
thence downwards to the elbow. [Coll : P. A.]
yd. The nose, which ended in a point, is now rounded ;
there are a few lines right to left, not seen in earlier States, upon
the brim of the hat, and additional lines crossing the others
form a shadow under the hat and conceal the ear ; cross-lines
shade the neck, but a space on the side of the throat under the
ear remains white ; the turned-back front of the jacket is shaded,
and cross-lines cover the shading along the back, etc. [Coll :
BM. C]
4th. The plate has been reworked, a few fine lines from right
to ieft are seen upon the white space on the side of the throat ;
the ear again shows distinctly. [Coll : BM. C. P. A. H.]
Copy rev. Engraved too neatly to be deceptive ; it is by
Cumano.

90. An Old Man with a Large White Beard and
Fur Cap. ( Vieillard au grand manteau de velours noir)
A half-length figure of an old man seen nearly in front,
but his head turned a little towards the left ; his beard is large
and white ; he is wrapped in a large loose gown or cloak, and
wears a fur cap, which casts a shadow upon his face ; he is
seated in an arm-chair, on which his right elbow rests, so as
to throw the hand, which is placed in front, into an easy
hanging position ; his shadow falls on the background to the

78 Rembrandt's Etchings. No. 91
left as high as his elbow ; on the same side above the shoulder
is Rh_^ Date assumed, 1632.
Dimensions: 5,9 — 5,1 ('150 — "130)-
States: 1st. There is an irregular shaded space below the
hand, the left- to-right diagonals do not reach its outline. [Coll : P.]
2nd. This space is completely covered with work, the dia
gonals, strengthened by interlines, reach the hand. [Coll : BM.
C. P. A. H.]
yd. The outline of the cloak at the left of the shaded space
is now continued to meet the outline which, coming from the
other shoulder, passes below the fingers ofthe hand ; and what was
the lower part of the shaded space, but is now cloak, is worked
over with harsh verticals ; two small white spaces which were
seen, one a little below the wrist, and the other about -rV ('013)
lower down, have disappeared : see Malt L fig- 5- [Coll :
BM. C. P. A]
Copy rev. of the 2nd State. The shading is coarse and hard ;
half way up to the right is Rh jnv. The technic of this copy
resembles that of Van Vliet.
From the very careful finish which this print has received,
there can, I think, be no doubt that it is an actual portrait ;
elsewhere, Bibl. XXXI. p. 6, 1 have suggested that it is a like
ness of Rembrandt's father ; and although the dress is rather
that of a Jewish Rabbi than a quiet burgher, its date, and the
shape of the plate, as well as the technic, make it a not
unfitting pendant to the portraits of his mother.

91. The Persian. {Le Persan)
An elderly man, full length, with a large beard, his face a
three-quarters turned to the left ; he wears a cap of long fur
with a high feather, his short cloak has a wide fur border, under
it is an embroidered tunic fringed at the bottom, and open at
the breast, where there is seen a riband with a medal, his right
hand rests upon his cane ; in the left background is a slight
shading, and foliage in the right. Near the lower middle is
Rh 1632. The 3 and the 2 are reversed.
Dimensions: 4,2 — 3,1 (-108 — '079).
States: ist. The plate measures 4,2 — 3,5 (-108 — -089) ; it is
in pure etching. [Coll : A.]
2nd. The plate is reduced on the right side, the figure is
worked upon in dry point and has generally a fine effect ; the

Nos. 92, 93 Studies aad Portraits. 79
earliest impressions are known by the condition of the back
ground and the plate edges. [Coll : BM. C. O. P. A. H.]
The plate has fallen into other hands and been harshly re
worked ; impressions may be recognised by the coarse shading
on the head and legs, which now appear darker than the rest of
the body. In this state the print is not unfrequent, but the
work is so evidently recent that I have not cared to note its
occurrence in the large collections.
Copy rev. The plate is 4,8 (-123) high ; at the bottom is Rl
1632, possibly by Cumano.
Copy rev. Coarsely executed. The man's whisker on the
left side is shaded with cross-work.

92. Rembrandt's Mother, in a Widow's Dress. {La
mere de Rembrandt assise, aux gants noirs)
The face a three-quarters turned to the left ; she is seated
in an arm-chair with her hands crossed, and part of a round
table is seen before her, covered with a cloth ; across her
forehead, coming nearly as low as her eyebrows, is a veil or
band of network, a black hood with a white lining falls over
her head, her fur mantle is trimmed with fur of a finer tex
ture, a white standing collar or ruff is round her neck, open
in front, and she wears black gloves ; a little shading is seen
in the background to the right. On the left near the top is
Rembrandt, and below it/1 Date assumed, 1632.
Dimensions: 5,8 — 4,6 ("I48- — -118).
[Coll : BM. C. P. A. H.]
There are no States ; above the first letters of the signature,
close to the upper plate edge, is a small thumb pointing upwards,
which becomes indistinct in the later impressions.
This portrait of his widowed mother was, no doubt, the
artist's first etching after his father's death, when Rembrandt
ceased to sign his works with the monogram. See Preface
and Bibl. XXXI. pp. 2-4.

93. A Polander ; turned to the Left ; a Full
Length. {Polonais portant sabre et bdton.)
He is nearly in profile turned away to the left, has a long
moustache, and wears a cap from the front of which rises a
feather which bends backwards over his head. His sabre is
suspended by a sword belt which passes over his right
shoulder, from which also hangs a short cloak ; he rests his

80 Rembrandt' s Etchings. No. 94
hands upon a stick ; a little rising ground and foliage are
seen in the background to the left. Date assumed, 1632.
Dimensions: 3,2 — 1,7 (-o8i — "043).
States : ist. The outline of the seat of the trousers is a single
line ; the shoulder belt, where the sabre hangs, is incomplete,
the stick is irregularly shaded ; the outline of the distant bank
as seen between the stick and the man is a double line, above
which appears some foliage. [Coil : P. A.]
2nd. The outline of the seat of the trousers is a double line,
the outline of the shoulder belt is nearly completed ; this correc
tion is in dry point, and early impressions show burr. [Coll :
BM. C. P.]
yd. The bank and foliage between the stick and the man
have been burnished out, part of the inner line and the shading
of the stick is erased, and a few diagonals, right to left, cross the
shading upon the elbow. [Coll : BM. O. P.]
4th. The print is harshly reworked, the face and the elbow
are covered with cross-work, the whole shading on the left side
of the figure down to the boot is deepened. [Coll : H.]
$th. The stick has now one single line running down it in
place of shading ; the bank between the stick and the figure is
represented by a single clear outline, but the foliage is not re
introduced. [Coll : BM. P. A H.]
6th. The whole figure is very coarsely retouched with the
burin. I have only met with this State in private collections.
The plate had certainly left Rembrandt's hands before the
work which distinguishes the 4th State was executed.

94. Head of an Old Man wtth Dark Eyes.
[Not described.]
He is seen nearly full face, has very dark eyes, and is
looking intently downwards towards the left ; he has a beard
and moustache, and a little straight hair above a high fore
head ; both ears are seen and are prominent. The drapery
is etched without much attempt at form. The left back
ground is lightly worked from the shoulder nearly to the top,
and on the right a little shading is seen half way up the
plate. Date assumed, 1632
Dimensions/ 3,1 — 2,5 ('079 — "064).
[Coll : BM.]
Mr. Carpenter, late Keeper of the Prints in the British
Museum, attributed this print to Rembrandt, but remarked

Nos. 95, 96 Studies and Portraits. 8 1
that the character of the head very much resembles that
frequently seen in the paintings of the younger Teniers. It
is a clever study, and I have no hesitation in accepting it.

95. Head of a Bald Old Man, inclined to the
Left. ( Tite d demi chauve, fort baissie)
A small head and bust, the face a three-quarters turned to
the left and inclined downwards ; the head is bald in front
and the beard grizzly ; the shoulder on the right is only
partly shaded with left-to-right diagonals, and the background
is a little shaded in the lower left. Date assumed, 1632.
Dimensions: 1,7 — 1,7 ("043 — '043).
[Coll : BM. C. O. P. A. H.]
Copy. Same d., by Deuchar. The hair and beard, instead of
being thin, short, and straight, are thick and wavy ; the beard
ends in pointed locks.
Copy rev. In the upper left is L. G., in lower left R*. This
copy is by Le Gros.
There is an impression of this print at Amsterdam upon
a leaf of paper, 4,5 — 3,5 (-115 — -089).

96. Old Man with a Grey Beard", and his Hair
SHORT AND WAVY. {Vieillard a barbe blanche et
bonnet d rebord)
Bust of a man, a three-quarter face turned to the right,
bareheaded in the ist State, but wearing a cap in the later
ones ; his hair is short and curly, and his beard grey ; he
wears a cloak edged with fur. The light comes from the
right ; there is no shading in the background. Date assumed,
1632. Dimensions : The original size of the plate is not known.
States : 1st. As described. The only impression I have seen
has unfortunately been cut within the plate lines. It measures
2,0 — 1,8 (-051 — -046). [Coll: BM.]
2nd. The old man wears a cap with a turned-up border.
[Coll : P.]
yd. The plate is reduced, it measures 2,0 — 1,7 at the top,
1,6 at the bottom. (-051 — -043 and -041.) [Coll : BM. P. A.]
G

82 Rembrandt's Etchings. Nos. 97, 98
I am not very confident as to the position of this print,
possibly it should be placed a year earlier. The alterations
which mark the 2nd State show inferior work.

97. Grotesque Head of a Man crying out. {Petite
tete d'un homme qui crie)
This head appears to be that of a beggar or street-singer ;
he wears a conical cap of rough fur, his eyes are shut, and his
mouth open as if crying out or singing loudly ; the face is a
three-quarters turned to the right ; the beard is bristly and
reaches from ear to ear ; the dress is fastened with a button,
and turned back at the neck. Date assumed, 1632.
Dimensions: 1,4 — 1,1 ('036 — "028).
States : ist. The edges of the plate are rough and soiled, the
right shoulder is shaded with single lines. [Coll : BM. A. P.]
2nd. The plate edges are smooth and clean, the right shsulder
is shaded with cross-work. [Coll : BM. C. P. A. H.]
Copy rev. On a larger plate, and the subject enclosed in
marginal lines 1,4 — 1,2 ("036 — '031). A triangular white spot
appears within the mouth.
Copy rev. Probably taken from this copy, since the white spot
in the mouth is enlarged and disfigures it ; below the marginal
line is Cumano sc.
Copy rev. On a plate 2,4 — 3,1 (-o6i — '079); below to the
left is 300.
Copy rev. The right eye is lost in shade.
Copy rev. Below a marginal line is R* inv. The plate
measures 1,5 — 1,4 ('038 — "036). By Cumano.

98. A Grotesque Head in a High Fur Cap. {Profit
de vieillard grotesque)
This is a profile to the right ; the nose is turned up and
flattened at the end ; the head is covered with a high fur cap,
irregular both at the top and sides, and bound below with a
crossed strap. The plate is arched at the top ; the back
ground is clear. Date assumed, 1632.
Dimensions : 1,5 — • 1,0 ("038 — "025).
States : 1st. The crossed strap round the cap is unshaded ;
the back of the neck, the upper part of the ear, and the shoulder
are white. [Coll: BM.]

No. 99 Studies and Portraits. 83
2nd. The crossed strap has a few lines of shading ; the
shoulder is shaded with open left-to-right lines. [Coll : A.]
yd. Cross-lines shade the back of the neck ; a right-to-left
line shades the upper part of the ear, and covers the back of the
cap. [Coll : BM. P. A.]
4th. This shows marks of rework ; the shading on the shoulder
is very close. [Coll : BM. C. P. A. H.]
Copy. Same d. of 4th State, by Deuchar. Strong downward
lines shade the back of the cap, crossing the right-to-left
diagonals, which are very regularly given ; the work is not con
tinued to the edge of the plate.
Copy. Same d. On an oval plate 2,4 — 1,8 (-o6i — '046);
below is engraved R* inv., Cumano sc.
Copy rev. On a larger plate ; a projecting shadow is seen
below the chin ; at the bottom of the print is Rembrandt.
Copy rev. by Deuchar. The work does not reach the plate
edge ; regular cross-work shades the back of the cap.

99. Rembrandt with a Scarf round his Neck.
{Rembrandt avec une icharpe autour du cou)
Face a three-quarters, the body turned to the left ; the
light comes full upon the lower part of the left cheek and on
the left shoulder, the rest of the face and bustare in shade ;
the head is covered with a flat cap placed very much over the
right ear ; round the neck is a scarf, the ends of which hang
down behind ; a small epaulette is seen on the left shoulder,
behind which the long hair hangs loosely ; in the background
are a few right-to-left strokes low down on the right, and some
irregular shading on the left reaching as high as the chin.
Below the subject is a clear space -^ ("013) deep, in the
left of which is Rembrandt fi 1633.
Dimensions: 5,2 — 4,1 ('133 — '105).
States: 1st. The plate measures 5,5 — 4.7 ('140 — '119) ; it is
slightly wider at the bottom than at the top, the cap only is
finished, and the name and date are wanting. [Coll : A.]
2nd. The plate is reduced; the name and date are added.
[Coll: A]
yd. The finished plate as described. [Coll : BM. C. P.
A. H.]
Copy rev. measures 4,9 — 3,8 (-125 — '097). The subject
comes to the bottom of the plate ; the moustache does not hang
so low as the mouth or extend so far from the cheek as the
curly hair above it.
Copy rev. By Worlidge.

84 Rembrandt's Etchings. Nos. ioo, 101
I have seen worn impressions of the plate very coarsely
retouched. I think it not unlikely that the plate is still in
existence. Vosmaer (Bibl. XXXVII. p. 122) describes a portrait upon
panel at Gotha which resembles this etching, but has the
head uncovered and a fringed collar substituted for the scarf ;
this will be a repetition with variations of a picture, also on
panel, at Cassel, and which, being in a reverse direction to
the print, was probably the original picture from which the
etching was taken.

100. Rembrandt with the Bird of Prey. {Rembrandt
d I 'oiseau de proie)
A half length ; the body is turned towards the left, but
the face is nearly full ; on the head is a slashed cap with a
feather, and the dress has ornamental buttons on either side
and upon the sleeve ; upon the right hand is perched a falcon.
Date assumed, 1633.
Dimensions : 5,0 — 3,9 ('127 — '099).
States : ist. The plate has failed in the biting. This State is
very rarely met with, and is not in any of the large collections.
2nd. Coarsely reworked. M. Charles Blanc attributes this
completion of the plate to Van Vliet. [Coll : BM. P. A.]
yd. The whole of the background is shaded by very regular
horizontals. [Coll : BM. C. H.]
The ist State of this plate is the only one in which we
can recognise the work of Rembrandt ; it was so marred by
mismanagement with the acid that the impressions are poor
and ineffective. The rework which is seen in the 2nd State is
of very inferior character, and that which distinguishes the
3rd is of recent execution. If I had not seen the ist State I
should unhesitatingly have rejected the print.

101. An Old Woman etched no lower than the
Chin. {Tite de la mire de Rembrandt)
The head is a three-quarters turned to the right, shaded
on the left, and wearing a close-fitting hood which allows no
hair to be seen ; the background is slightly shaded above the

Nos. 102, 103 Studies and Portraits. 85
shoulder to the left ; the work is not continued lower than
the chin ; above the head is Rembrandt fi 1633.
Dimensions: 2,5 — 2,3 ('064 — "058).
States: ist. As described. [Coll: BM.]
2nd. The plate is reduced, and now measures 1,7 — 1,6 ('043
— '041). The name and date are added, as is also a little
shading in the left background. [Coll : BM. C. P. A. H.]
yd. The plate has been worked with the roulette ; this is
most clearly seen along the lower edge and upon the chin, where
it gives a tinted appearance. I do not think this work is by
Rembrandt, but by the same hand that worked upon the small
Flight into Egypt, No. 184. [Coll : BM.]
Copy. Same d., by Cumano. Not deceptive.
Copy rev. On a larger plate. Below is etched in a reverse
direction Rt Cumano sc.
Copy rev. The chin is fo in. ("004) above the lower edge of
the plate, which is 2 in. ('050) high.
Copy rev. The outline of the nose is a bold continuous
stroke. I suspect this copy is a recent one.

102. A Polander walking towards the Right.
{Figure polonaise)
A full-length figure seen in profile, turned to the right,
standing with his legs wide apart and the left knee bent ; he
wears a high cap which is broadest at the top, and a short
cloak trimmed along the border with fur ; a large pouch is
seen at his right side, below which hangs a sword ; his loose
trousers are ragged at the knee ; a bandage upon his left foot
allows both heel and toes to be seen. Date assumed, 1633.
Dimensions : 2,0 — 1,9 ('051 — '048).
States: ist. The plate is irregular and the edges soiled.
[Coll : BM. C. O. P. A. H.]
2nd. The plate edges are cut straight. [Coll: BM. C.
A. H.]
I do not feel very certain about the position of this little
print, but its date cannot be very far from that which I have
assigned to it. 103. A Skater. {Le patineur)
This print represents a man skating from the right to
wards the left ; his left foot is raised from the ice ; he wears a

86 Rembrandt's Etchings. Nos. 104, 105
flat fur cap, and crosses his hands upon a staff which rests on
his right shoulder. Date assumed, 1633.
Dimensions: 2,4 — 2,3 (-o6i — "058).
[Coll : BM. C. P. A. H.]
Copy. Same d. At the skater's girdle is a knife; this is
clearly defined in the original, in the copy it looks more like a
brush. I believe this copy to be by Le Gros. It is very
deceptive, and in one collection which I have examined is
catalogued as the original print.
Wilson tells us that Gersaint had never seen this print
when he made his Catalogue, and Pierre Yver described it as
presque unique ; it cannot, however, be considered very rare,
since I have met with ten impressions.

104. Two Travelling Peasants. {Paysan et paysanne
marchant)
Two peasants, a man and a woman, are represented walk
ing from left to right ; the woman has a child on her back, and
supports herself with a staff ; the man is on the further side ;
his hat is flapped, and he carries his stick under his arm.
Some rudely sketched trees are in the distance to the right.
Date assumed, 1634.
Dimensions: 2,5 — 1,9 ("064 — -048).
[Coll : BM. C. O. P. A. H.]
Copy. Same d., by Le Gros, who executed this copy at
Vienna in 1795. The variation by which it is usually distin
guished is that in the copy the front outline of the woman's
petticoat is not fully expressed. A better marked variation is
seen in the shading upon the woman's back, immediately above
her waist. In the copy this shading is entirely crossed by right-
to-left diagonals ; in the original these diagonals are only carried
halfway up. |)Iatj II. fig. 7.
Copy rev. Novelli, No. 23.

105. Rembrandt with a Drawn Sabre held upright.
{Rembrandt au sabre flamboyant)
A full front-face ; he wears a richly ornamented turban,
his hair is curly, he has small moustaches but no beard ; in
his right hand he grasps a sabre which crosses his breast and

No. 106 Studies and Portraits. 87
slopes over his left shoulder. The ermine collar of his em
broidered habit is enriched with a jewelled chain and order ;
the background is shaded on the left as high as the shoulder;
on the same side at the top is Rembrandt fi, and below it 1634.
Dimensions: 4,9 — 4,0 ("125 — '102).
States : ist. Upon the right side of the plate are two irregular
and deeply marked parallel lines; the blade of the sabre is
continued between these lines ; the acid has failed around and
below the right eye. [Coll: C. P.]
2nd. The plate is slightly reduced, part of the R in the name
is cut away, and that part of the sabre seen between the lines on
the right is burnished out. [Coll: BM. P. A. H.]
yd. The defective parts around and below the right eye are
worked over ; the whole print is retouched. [Coll : BM. C. P.
A. H.]
Copy rev. By Renesse; is marked R 1648.
I have seen some very fine impressions of the yd State bright
and full of colour. In this case the retouch was by Rembrandt's
own hand.

106. Rembrandt with Moustache and Small Beard.
{Rembrandt aux trois moustaches)
The head only ; a full face ; he wears a soft cap, the band
which surrounds it being incomplete over the left temple; his
hair falls only to the ear on his right cheek (i.e. the left side
of the plate), but on the other side is abundant and curly.
The light comes in from the right, the background is un
shaded. Date assumed, 1634.
Dimensions: 2,0 — 1,7 ('050 — "044).
States : ist. The right eye is larger than the left, so much so
as to disfigure the face; a very small slipped stroke crosses the
clear part of the lower right eyelid ; this with other minute work,
chiefly about the right corner of the same eye, has afterwards
been burnished out. [Coll: A.]
2nd. The eyes are more nearly the same size ; whatever differ
ence may appear in impressions of this State is due to a printing
effect, and as the plate becomes worn this difference is lessened;
the little slipped stroke has been burnished out, and some
additional work, not easy to describe, appears upon the hair and
cap; fine impressions of this state are not always the earliest.
[Coll: BM. C. P. A. H.]
Copy. Same d. On a smaller plate, made into an octagon
by taking off the corners; the work is very coarse. Deuchar.
Copy. Same d. On a plate 6,6 (-168 high).

88 Rembrandt's Etchings. No. 107
Copy rev. By De Claussin. I do not know this.
Copy rev. On a plate 5,7—4,2 (-145 — -108), also by De
Claussin and used as a frontispiece to his catalogue. He is said
to have copied it a third time, in rev.
Copy rev. Had it been in same d. this copy would have been
very deceptive : above the head is engraved in large characters
Rembr. There is an impression in the British Museum, below
which is written in faded ink ' Taken from the Escurial book) and
in pencil, in the handwriting of the elder Josi, is Vanderlinden.
Copy rev. Bears the date 1649.
Copy rev. At the bottom to the right is Rembrandt. I do
not know to whom to assign these copies, but they are very
early ones, and it is not unlikely they were executed by Rem
brandt's pupils.
Copy rev. The bust is completed.
Copy. Same d., Bibl. IX. ; very deceptive.
This very charming little print is always called a Portrait
of Rembrandt ; there is certainly some resemblance, but we
can hardly accept it as a likeness.

107. Rembrandt's Wife with Pearls in her Hair.
{La femme de Rembrandt, coijfie en cheveux)
A bust and pleasant rounded face seen nearly in profile,
turned to the right ; she has earrings and a double necklace
of pearls ; strings of pearls bind her hair at the back, and in
front the hair curls over her forehead. She wears a small
lace-edged shawl, has full sleeves tied at the middle, and a
short waist. The background is shaded about half way up.
Towards the top of the plate is Rembrandt fi, and below 1634.
Dimensions : 3,4 — 2,6 ('087 — -o66).
[Coll : BM. C. P. A. H.]
Copy rev. To the upper left is Rembrandt inv. Amstelodami,
to the upper right is W. Hollar fee. 1635, the W and H\nz.
monogram. Copy rev. Very poor, the background harshly shaded with
regular vertical and diagonal lines. I believe this is by Cumano.
Copy. Same d., Bibl. IX.
I have thought it right to alter the title of this print from
that given by Wilson, it is so evidently a portrait, or rather
' Study,' of Rembrandt's wife.

No. 108 Studies and Portraits. 89
108. Study of Saskia; called 'The Great Jewish
Bride.' {La femme de Rembrandt)
She is seated in an armchair, seen to a little below the
knee and turned towards the left ; round her head is a string
of pearls, from under which her hair, long and of beautiful
texture, falls over her shoulders ; her right hand is resting on
the arm of the chair in which she is seated ; in her left she has
a roll of paper ; to the right is a table on which lie other
papers and books ; the background represents stonework ;
upon the cloth which covers the table are in reverse the letter
R, and below it the date 1634.
Dimensions: 8,7 — 6,6 ('221 — -i68).
States: ist. The head and the long and beautiful hair alone
are introduced, the shadow cast upon the stonework in the right
background rises as high as the head. [Coll: BM. P. A.]
Wilson writes that he has seen impressions of this State taken
in a very grey tint, spotty and confused, and producing very
little effect. I have never yet met with one, but have no doubt
they exist; there are similar grey impressions of other important
prints; for instance, there is one at Amsterdam ofthe ist State
ofthe Hundred Guilder, and five at least are known ofthe Portrait
of Lutma : they were produced by passing a sheet of paper over
the plate after an impression had been taken off, possibly to test
the condition of the plate.
1 have seen nine impressions of this State. I find them
printed in somewhat differently toned ink, some being of a
greyish, others of a brownish tint ; none are so brilliantly printed
as are the impressions of the later plates, but for purity and
perfection of work there can be no doubt that this ist State of
the plate is to be preferred; when the ends of the hair are lost
and the incidence of the light is changed, much of the original
beauty of the print is gone.
2nd. The plate is finished ; the hands and sleeves are lightly
shaded ; the whole disposition of the stonework is altered,
and the shadow of the figure falling upon it only reaches to the
shoulder. [Coll: BM. A.]
yd. A diagonal from right to left covers the hands, the folds
of the right sleeve are similarly shaded; the papers on the table,
and the cloth that hangs from it, are covered with left-to-right
diagonals. [Coll: BM. C. AH]
4th. The stonework behind the figure to the right is divided
into courses by deep horizontal lines ; much of the plate has
been reworked. [Coll: BM. C. O. P. A]
De Claussin, speaking of the State (his yd) in which the
diagonals appear upon the hands, says that good impressions
are recognised by a blackish point, or spot, on the light part of

90 Rembrandt's Etchings. No. io
the left cheek. This is a curious blunder for so distinguished an
amateur to have made. The spot is seen in the very earliest
impressions, and it gradually diminishes as the plate becomes
worn; when it appears, as it frequently does, in a later State, it
tells us that either the plate has been retouched or the impres
sions have been tinted. The retouch is not confined to the
spot on the cheek; it is seen upon the chin and elsewhere; and
must always be regarded as the mark of an inferior impression.
Copy. Same d. of the ist State, by De Claussin; may be
distinguished by the fine and regular cross-work used in the
shadows, signed De Claussin f. 1820.
Copy rev. Has been catalogued as a study for this beautiful
print, Etude pour la grande marik juive, and placed among
Rembrandt's works. It was described by Bartsch, No. 341.
M. Charles Blanc, not willing to reject any print for which
connoisseurs have contended, admits it though with hesitation.
The piece is very coarsely executed, the features have an ex
pression of anxiety, the right eye is misplaced, and the mouth is
a little awry. The print, which measures 5,3 — 3,8 ('135 — '097),
somewhat resembles Bol's earher work I do not think it is his,
but believe it was executed at a later time. This print has brought
high prices; an impression at Josi's sale realising £19 8s. 6d.
Copy rev. Measures 6,3 — 3,7 ("159 — '094); this was after
wards reduced to 4,5 — 3,7 (-115 — '094): it is very coarsely
executed.
M. Charles Blanc (Bibl. VIII. II. 126) has an interesting
note upon this print, in which he recognises the likeness of
Saskia Ulenburg, Rembrandt's wife. It should be rather
regarded as a study than an actual portrait ; we see it repro
duced in the queenly figure of Esther in Rembrandt's painting
of the Feast of Ahashuerus, which has been engraved by
Schmidt. Another of Rembrandt's pictures, to which Smith
in his catalogue gives the title of Bathsheba, engraved by
Haid, represents a person so far resembling this Great Jewish
Bride that M. Blanc considers the etching is a reproduction
from it ; there is sufficient resemblance between this and
other studies to warrant the assertion that they are from the
same model, but we can hardly regard it as strictly a portrait.
The print probably obtained the title, by which it is com
monly known, of The Great Jewish Bride from a legend,
which I have however been unable to trace to its source, of
this having been a portrait of a daughter of Ephraim Bonus,
the Jewish physician. (For further notes see Bibl. XXXI.
PP- 13, I4-)
The ist State of the etching is so much finer than the

No. 109 Studies and Portraits. 91
finished impression that we may naturally inquire why
Rembrandt should have added the later work at all, and not
have been content to allow it to remain as it was ; the beauty
and naturalness of the hair is impaired by the introduction ol
the shading and of the dress, and has no longer the light and
graceful fall which is so remarkable in the unfinished State.
In the life of Rembrandt given in the introduction, men
tion is made of Saskia Ulenburg, the first wife of Rembrandt,
which it is not necessary I should here repeat ; and for fuller
information the student should refer to the account given by
Vosmaer : [Bibl. XXXVII.] and Eckhoff [Bibl. XIX.] Per
haps the most charming portrait known of Saskia is that in
the Gallery at Cassel : she is there represented in profile with
straight delicate nose and large eye, wearing a soft velvet hat
with a feather and a lace chemisette, with a string of pearls,
etc. It has been etched by Unger (Leipsic, 1872), and is I
think one of his most successful reproductions.

109. A Young Woman reading. {La liseuse)
A half length, sitting, and leaning upon a table covered
with a flowered cloth, reading a book which lies open before
her. She rests her left hand upon the book ; the right hand
is partly concealed by her dress. Her face is in profile, in
clined downwards and turned to the left ; round her head is a
flowered scarf tied behind, the ends hanging over her left
shoulder. Across the middle at the top is Rembrandt f.
1634. Dimensions : 4,9 — 4,0 ("125 — "102).
States: ist. A failure with the acid has produced a slight
defect upon the left eye ; there is a break in the outline at the
end of the nose ; the arm, above the elbow, is very small ; a line
drawn along the back of this part of the arm would, if continued
upwards, pass through the line of the shoulder within the plate.
The left plate edge is irregular. [Coll : BM.]
2nd. The defect on the left eye is corrected, the arm above
the elbow is widened ; if a line were now drawn along the back
of this part of the arm, it would, if continued, meet the line of
the shoulder, also continued, outside the plate. The left plate
edge is cut straight [Coll : BM. C. O. P. A.]
yd. A double line makes the outline of the nose continuous,
the plate has been retouched, dry point is seen on the lower rim
of each eyelid, the lips and the outline of the chin ; a slipped

92 Rembrandt's Etchings. No. no
stroke appears on the upper lip, and another connecting the
upper and lower lips. [Coll : BM. C. P. A. H.]
Copy. Same d. (very deceptive) of the yd State ; the slipped
strokes which belong to this State are wanting ; a scratch which
crosses the light part of the sleeve at the bend of the arm is
imitated, but one which begins where the dark and light parts
touch, and passes nearly across the light sleeve, is omitted, as is
also a 3rd scratch parallel to it.
Copy rev. Coarse and hard, the mouth appears distorted, it
is also printed as a counterproof. It is by Cumano.
Bartsch describes, as a print of the greatest rarity, No. 346,
Vieille femme miditant sur un livre. It is difficult to under
stand how so able a connoisseur could have been deceived ;
the print on which he based his description is in the Paris
Collection ; there is a duplicate of it in the British Museum ;
and I am told there is yet a third, which I have not seen.
The print, which bears the date 1638, was created by cutting
out the head in The Young Woman reading, and substituting
for it The Head of an Old Woman seen to the Chin, No. 6 ; if held
up to the light the deception is apparent, but the contrast
between the young hand and the old face should at once have
aroused Bartsch's suspicion. M. Charles Blanc, who makes
this very apposite remark, tells us that the supercherie was
effected by an amateur and artist Mons. Peters, whose collec
tion in 1786 passed into the Royal Library at Paris.

110. Jan Cornelis Sylvius (Janus Sylvius). {Jean
Corneille Sylvius)
He is seated to the left, but his face is turned nearly to
the front ; his beard is long and thin ; he wears a calotte, and
round his neck is a ruff ; his dress is bordered with fur ; on a
table to the left is an open book, on which his crossed hands
are resting. In the background, which is shaded throughout,
is a large column, and to the right of it an arch. Almost
hidden by the shading, above the book to the left, is Rem
brandt, and below it, f. 1634.
Dimensions : 6,5 — 5,5 ('i66 — '140).
Two States have been described, ist with the shadows clear
and transparent, and 2nd with the shadows reworked, etc.
So much in a shaded plate like this depends upon the printing,

No no Studies and Portraits. 93
that it is very difficult to verify these States, the purity or the
apparent reworking of the shadows must always be an insuffi
cient guide. I should distinguish the ist as that in which the
deep curved lines which shade the left arm of the figure are even
and regular [Coll : BM. C. A.], and the 2nd where these lines
having been deepened are, to a greater or less extent, uneven or
irregular [Coll : BM. C. O. P. H.] ; but this variation cannot
always be detected, so closely are these lines covered by coarser
work. More to the purpose is the very serious doubt whether
the heavy shading, especially that upon the dress, is by Rem
brandt at all, or whether we have not here the familiar work of
Van Vliet. Worn impressions are not unfrequent ; in them the
technic is more easily seen, and I think unmistakeably betrays its
origin. Copy rev. To the lower right is C. Dankerts excudit, and four
Latin verses below, beginning Sylvius en fanus etc. ; half way up
on the right side is Rem.
Copy rev. On smaller plate. Etched by E. Bland ; on a clear
space below is engraved Thou art the man, E. B. 26, 12, and
below is 1834.
It is interesting to remark that the disposition of the
background is similar, though in a contrary direction, to that
in the print called The Great Jewish Bride.
Jan Cornelis Sylvius was born in the year 1564, and at an
early age became a minister of the Reformed Faith. A recent
writer speaks of him as a man who had suffered for his opin
ions. I have not, however, found any confirmation of this ; on
the contrary, his life seems to have been singularly uneventful
and peaceful. He was for some years the regularly appointed
minister at Leeuwarden, and it was during his residence there
that he married Aaltje, the daughter of Pieter and niece to
Rombertus van Ulenburg, and therefore first cousin to Saskia,
afterwards the wife of Rembrandt. Sylvius after the death
of Rombertus was apparently entrusted with the guardianship
of Saskia, for we find his name as a consenting party to the
act of her marriage with Rembrandt in 1634. His death
took place on the 19th November, 1638, in his 75 th year. He
had a son, who was appointed to the church at Muiderberg
in 1635. Vosmaer tells us that two drawings by Rembrandt
of this church of Muiderberg appeared in the Muilman
Collection.

94 Rembrandt's Etchings. No. in
111. Portrait, unknown, of a Man with a Sabre.
{Rembrandt au sabre et d l' aigrette)
A portrait ; a three-quarter figure of some man unknown,
wearing a military habit and cloak with a gorget, and a small
fur cap, in front of which is a jewelled aigrette. He is stand
ing towards the right, but nearly full face ; his hair, long and
curly, falls to his shoulders ; he has a small moustache
and beard, and is resting his left hand upon the hilt of a
sabre, while his right is placed upon his hip. The shadow of
the figure is cast upon the background to the left. In the
upper part of the plate on this side is Rembrandt fi, and below
it 1634. Dimensions: 7,8 — 6,4 ('198 — '163).
States : ist. As described. Only four impressions are known.
The fourth, which has passed through the Muilman, Andrews,
Ploos van Arnstel, and Aylesford Collections, is in the possession
of R. S. Holford, Esq. It was seen in the Burlington Fine
Arts Exhibition of Rembrandt Etchings in 1877. [Coll: BM.
P. A]
2nd. Additional work appears upon the face and hair, chiefly
along the left cheek. The bust is covered with harshly executed
shading. This rework, especially that upon the hair, shows so
little artistic feeling that I do not believe it was done by Rem
brandt. The plate has been cut down into an oval form, angular
projections being left at the top, bottom, and sides. It measures
5,1 — 4,2 (-130 — -io8). The hands and the whole lower part
of the figure are cut away, as are also the signature and date,
which in an entirely different hand are now re-engraved in a
sloping direction low down in the right background. [Coll:
BM. P. A]
yd. The projections are cut away, and the plate is a regular
oval. Some of the work has been still further deepened ; very
little of the original beauty of the piece remains. [Coll : BM.
C. P. A. H.]
4th. The plate has been squared, but the impressions are so
utterly worthless that their occurrence need not be recorded.
Copy. Same d. of the ist State. The shading is of very
regular cross-work; ex. gr. below the right shoulder it is of
lines in four directions. There is no name of the copyist, but I
believe it to be by De Claussin.
Copy. Same d., by Schmidt. I have never seen this ; the
copy usually attributed to him is the next, in rev.
Copy rev. May be at once recognised by the accurately
drawn lion's head on the sabre hilt, the mane twisting round the
handle. It is by Cumano, and not by Schmidt, as is generally
asserted.

No. m Studies and Portraits. 95
Copy rev. By Hertel. His name is seen in the upper left.
Copy. rev. By Linton; dated 1848.
Copy. Same d. of the 2nd State. The regular and formal
shading is a sufficient distinction ; by De Claussin.
_ Copy. Same d. of the yd State. The same as the last, but
with the projections of the plate removed (I do not know
this). Copy rev. of the 4th State. Not deceptive.
Impressions of the yd State are found very badly printed or
overloaded with ink, and carelessly placed upon the mount, in
which condition they have been taken for copies.
If the student will carefully examine an impression of the
2nd State, he will observe that the oval plate mark is con
tinuous, except at the bottom, and that the projections at the
top and sides have also left their plate mark, showing that
the surface of the copper, which was outside the oval and
formed these projections, was planed down, and was no longer
flush with the rest of the plate. The explanation no doubt
is that the copper was cut into a medallion form to allow of
its being placed in a panel or box-lid, when these sunken
projections would be of use in keeping it in its place;1 and
at the same time much of the work was deepened in order that,
the lines being filled with some black pigment, the portrait in
its new position might be apparent. Later on, when prints
from Rembrandt's plates had acquired a considerable money
value, the copper would be removed from its setting and
impressions taken, still showing the projections, which soon,
for greater convenience in the printing, were removed, as
shown in the 3rd State, and the plate was still further re
worked. Another of Rembrandt's plates has been subjected to
similar treatment The portrait of Uijtenbogaerd, No. 1 14,
was a square, which in the 3rd State is cut into an octagon
with projections, and coarsely reworked ; but in neither case
do we suppose this was done by Rembrandt.
To make this use of engraved or etched plates was only
reverting to an earlier practice. The extent to which orna
mentation of this kind was carried was much greater than has
since obtained. We know that many of the smaller and
more highly finished paintings on panel of the Early Dutch
1 This explanation, so perfectly simple and reasonable, was suggested to me
by Mr. Fagan, ofthe Print Room, British Museum.

96 Rembrandt's Etchings. Nos. 112, 113
School were designed as ornaments for furniture, to be fitted
into the doors of cabinets and armoires, not framed and
hung on the walls of a room, and possibly some of Rembrandt's
earlier plates were intended to be used in a similar way, such,
for instance, as the little heads, Nos. 20, 98.
As regards the portrait itself, we can no longer regard it
as that of Rembrandt. M. Charles Blanc has drawn attention
to certain peculiarities in the features, the shape of the nose
and mouth, and the presence of a mole or wart, which do not
accord with any of the often-repeated studies or portraits of
himself. Elsewhere (Bibl. XXXI.) I have referred to his
suggestion that it is a portrait of Prince Adolphus of Gueldres;
it more probably represented some person then living, but
who that might be is as yet only a matter of conjecture.

112. A Beggar ; and a companion piece, a Man turned
TO THE Left. {Deux gueux en pendant)
First piece. Represents a beggar turned to the left ; his
face is a three-quarters ; his attitude and features are ex
pressive of one shrinking from intense cold. In the distance
to the left is seen a little figure with a pole on his right
shoulder, who is partly concealed by the foreground, but
appears to be skating ; near the top is engraved, Tis vinnich
kout (it is very cold) ; a little below is, Rembrand, and again
below this is / 1634. The last letter, t, of the name is
wanting. Dimensions: 4,4 — 1,7 ('113 — "043).
[Coll: BM. C. P. A. H.]
Copy. See next piece, No. 113.

113. A Beggar ; and a companion piece, a Man turned
to THE Right. {Deux gueux en pendant)
Second piece. Represents a man somewhat better
clothed, standing erect and turned towards the right; his
features are cheerful and smiling. In the right distance is a
man in a high pointed cap with his hands wrapped up, and
further away is the roof of a cottage with trees. At the top
of the print is engraved Dats niet (that is nothing), in answer

No. 114 Studies and Portraits. 97
to the words upon the other piece ; a little below is Rembran,
and again below is /. 163. The letters dt and the fourth
figure are cut off by the plate edge. Date assumed, 1634.
Dimensions: 4,3 — 1,5 ("no — "038).
[Coll : BM. C. P. A. H.]
Copy. Same d. This and No. 112 have been copied on one
sheet by De Claussin. The shading is of very much more
regular work than in the originals. On No. 112 cross-work
covers the ragged skirt from the waist to the knee, and is seen
on the lower half of the shadow on the ground. In No. 113
downward and left-to-right diagonals darken the right sleeve
from the elbow to the waist.
Copy. Same d. Both prints on one sheet inscribed f. Hollard,
I7SS- Copy. Same d. On one sheet Bibl. IX.
Vosmaer [Bibl. XXXVII. p. 149] says, 'Dans une vente a
Rotterdam parut un croquis de Rembrandt avec l'inscription
T'is vinnich kout. Ce croquis a probablement servi a l'eau -forte,
ayant la meme inscription, et dont le pendant porte la legende
Dats niet)
The sale to which he refers was that of M. Joncker's in
1842. The drawing was described as dated 1639; the 9 and
the 4 in old writing are often not unlike, and the date would
undoubtedly be 1634.
These etchings have been attributed to Solomon Savry,
whom a recent writer erroneously assumes to have been a
pupil of Rembrandt. There is nothing in their execution to
support this theory ; the figures are coarsely and carelessly
drawn, but, as I have shown before, we need not for that
reason doubt their authenticity. Their idea was probably
borrowed from S. Beham, who in 1542 designed and engraved
two little plates of a farmer and a labourer, on one of which
is the legend, Es ist kalt Weter; and on the other, Das
schadet nit ; but Rembrandt's plates are in no sense copies of
these prints.

114. Johannes Uijtenbogaerd. {Johannes Wttenbogardus)
The subject is executed in an oval squared at the bottom,
and upon an irregular upright plate afterwards cut to an
octagon. He is seated at a table, his body partly to the right,
but his face turned to the front. He wears a calotte, his
H

98 Rembrandt's Etchings. No. 114
gown is faced with fur, and he has a ruff about his neck ; his
hair is short and grey ; he rests his right hand on the arm of
the chair, the other is placed upon an open book which, sup
ported by other books, lies in a sloping position upon the
table ; beyond are other books thrown carelessly one upon
another. The name and date 1635 do not appear until a
later state. The background is clear in the early States.
Dimensions: 9,8 — 7,4 ("249 — -i88).
States : 1st. As described. The plate is rectangular, the ruff is
only outlined, the open book upon the table is of an oblong
form, i.e. of greater width than height, and the books in the
background are not well defined. [Coll : BM. A.]
2nd. The ruff is finished, and there is a little additional work
upon the face, which gives a more pleasing expression. On one
of the impressions of this State in the British Museum is seen
some work in chalk widening the curtain and filling the back
ground, possibly by the hand of Rembrandt himself. [Coll :
BM.] yd. The plate has been cut into an octagonal form measuring
8,9 — 7,4 ('226 — -i88), but two small projections are allowed to
remain, one on each side ; the background is worked upon and
an arch is introduced within which the shading is almost black ;
a curtain hangs down upon the right, but its folds are indis
tinctly expressed and its left outline is only sketched where it
rises above the line of the arch ; the large open book on the
table is now a folio of greater height than width. In one of the
angles at the top to the left, outside the subject, is Rembrandt ft.,
and in the other 1635, while below the print are four Latin verses
by Grotius, beginning ' Quem pia mirari. . .' [Coll: BM. P. A.]
4th. The projei tions are cut away and the plate edges are
regular. [Coll : BM. A. H. C]
$th. Retouched : the result is that impressions are heavy and
dull, the left outlines of the curtain are carried to the top of the
plate, so that the curtain covers the outlines of the arch on the
right side. [Coll : BM. C]
Copy. Same d. of $th State. On a large square plate, outside
the oval to the lower left, is Copied by T. F. Lewis.
Copy rev. and reduced to 6,3 — 4,2 ('161 — -108). In the
upper left is Worlidge ; in the upper right is fecit, 1757.
The early impressions of this plate, before the rework and
the dark shading in the background, are excessively rare.
While I write I only know one in private hands : it is in the
collection of his Grace the Duke of Buccleugh. The varia
tions which mark the 3rd State belong to a later time (see
notes to No. ill) ; they are in complete contrast to the first

Nos. 115, 116 Studies and Portraits. 99
work upon the plate, and were certainly not executed by
Rembrandt ; the plate, I am told, still exists.
Joannes Uijtenbogaerd was a celebrated preacher and
theologian who belonged to the sect of the Remonstrants,
followers of Arminius. He was born in 1657, consequently
was in his 79th year when this portrait was taken. A
portrait painted by Backer is still preserved in the Church of
the Remonstrants at Amsterdam. Under a portrait of him
taken by Rembrandt and dated April 13, 1633, is this note,
My portrait painted by Rembrandt for Abraham Anthoniszoon
[Bibl. XXXVII. p. 123]. He died at Amsterdam in 1644.

115. Three LIeads OF Women. {Etude de trois tetes de
femmes)
Towards the upper part in the middle of the plate is a
head full face ; the hair parted across the forehead, a few
locks hanging downwards ; a light veil of net or lace is
thrown over the head, and falls on each shoulder ; the extended
fingers of the right hand rest against the forehead. Below
this, a little to the right, is another head, almost in profile,
turned to the right ; the eyes lowered, the head-dress un
finished. The third head is to the left, and is only sketched in.
Shading is seen in the lower right of the background. Date
assumed, 1635. Dimensions : 5,0 — 4,0 ('128 — -102).
States: ist. One head only is engraved, that in the upper
part of the plate. [Coll : BM. P. A.]
2nd. The two other heads are added. [Coll : BM. C. P. A.]
Copy. Same d., Bibl. IX.
Mons. C. Blanc suggests that the head first placed upon
the plate is a study of Saskia, though the face is apparently
that of a younger woman.

116. AN Old Woman SLEEPING. {Vieille dormante)
Her head, seen in front very slightly turned to the right,
is supported on her left hand, both her arms resting on an
open book ; a pair of spectacles hangs on the forefinger of her
right hand ; her cap is a sort of turban in four tiers or wreaths,

H 2

ioo Rembrandt's Etchings. Nos. 117, 118
finishing in a point ; on her shoulders is a fur mantle. The
background is shaded, but is darkest on the left side, where
the shadow of the old woman falls upon the wall. This
shadow is supposed to be cast by a candle or lamp placed
low down in front to the right. Date assumed, 1635.
Dimensions: 2,7 — 2,1 ("069 — '053).
[Coll : BM. C. P. A. H.]
Copy. Same d. In the original is a slipped stroke across the
right sleeve from the edge of the plate upwards, with a slight
inclination to the left ; this is wanting in the copy which was, I
believe, executed by Bretherton.
Copy rev. The hard lines in the wrinkles of the face are
exaggerated and look like small slips of plaister. Novelli.
Copy rev. Below to the left is Rembrandt, and to the right F.
Novelli inc.
Copy rev. 3,1 — 2,4 ('079 — -o6i). There is a clear space
round the subject ; the right-to-left diagonals are irregular and
crooked instead of being delicate and very straight This copy
is by Andrew Geddes.
Copy. Same d. on wood, Bibl. IX.

117. The Mountebank. {Le charlatan.)
He wears a flat cap, and has a ruff round his neck ; a
basket is suspended before him ; he holds up a packet in his
left hand, his right is placed upon his side, and below it hang
a hawking pouch and a sabre ; his knees are a little bent.
Below in large letters is Rembrandt fi. 1635.
Dimensions : 3,1 ¦ — 1,4 ("079 — • "036).
[Coll : BM. C. P. A H]
Copy rev. Inscribed F. V. fecit (Vivares).
Copy rev. Inscribed f. G. Vliet, the J and G intertwined.
Copy rev. Inscribed F. Novelli, No. 41.
Copy. Same d., Bibl. IX.

118. Bust of an Old Man in a very high Fur Cap.
{Petit buste d tris-haut bonnet)
This little bust is seen nearly in front, but rather inclined
to the right ; on the head is a very high fur cap, coming
down upon the forehead and casting a shadow over the eyes ;
the bust is clear on the right side, and lightly shaded upon

Nos. 119, 120 Studies and Portraits. 10 1
the left ; the dress is fastened with a button on the left. The
background is unshaded. Date assumed, 1635.
Dimensions: 1,7 — 1,2 ("043 — "031).
[Coll : BM. C. P. A. H]
Vosmaer suggests that this is a study for one of the two
Jews who are kneeling in a picture of Simeon, painted in
163 1 ; but I think the print is of a later date, and belongs to
the year 1635.

119. A Man with Curling Hair, and his Under Lip
THRUST OUT. {Homme d bouche de travers)
His head is uncovered, his hair curly, standing away from
his head ; his brows are knit and his under lip thrust out ; the
bust is towards the right, but the head is turned so as to look
over the right shoulder ; the dress is sketched, only a few lines
of shading are on the top of the right shoulder ; opposite to
which in the background are a few slight scratches. Date
assumed, 1635. Dimensions: 2,5 — 2,4 ("064 — -o6i).
States: ist. As described. [Coll : BM. C. O. P. A. H.]
2nd. The face and neck are covered with fine roulette work,
the lines crossing in different directions ; this work is again seen
in the upper left of the plate ; the effect is to give a tint resem
bling burr. I think this roulette work is very early, but it was
not done by Rembrandt. [Coll : P. A.]
One of the two impressions of the ist State in the British
Museum Collection shows much more colour than the other ; it
has been tinted with a- very delicate brush. It is from the
¦ Cracherode Collection, and was formerly in the possession of
Mr. Thane, by whose hand this tinting was probably executed.

120. An Old Man with Short Straight Beard ; a
Profile TO the Right. {Profit de vieillard d
courte barbe)
A sketch of a head and bust in profile turned to the right ;
bald before, but with t;ufts of hair curled upwards behind, and
having a short straight and projecting beard which extends
from the ear to the chin. A few irregular strokes are seen

102 Rembrandt's Etchings. No. 121
on the right, apparently as a design for a background, and a
few on the left opposite the bust. Date assumed, 1635.
Dimensions : 2,6 — 2,2 (-o66 — '056).
States : ist. The plate edges are rough and irregular, especially
on the right. [Coll : BM. C. P. A]
2nd. The edges are polished, and the plate has been slightly
reduced. [Coll : BM. C. A. H]
I have seen an impression of the 2nd in which the plate edges,
though regular, have been tinted so as to imitate the ist State.

121. A Ragged Peasant with his Hands behind
HIM. {Paysan diguenilli, les mains derriire le dos)
He is standing nearly in front, his body turned a little to
the left, and his head bent forward and inclining to the right ;
he wears a cap with a peak, and under it is discovered a linen
cap to which hang two strings ; his ragged jacket is fastened
at the top with a string, and a little lower with a button, but
is open below ; in his hands, which are placed behind him, he
holds a stick. On the right of the impression are a few
scratches which may be intended to represent the trunk of a
tree. Date assumed, 1635.
Dimensions: 3,6 — 3,0 ("091 — '076).
States : ist. The edges of the plate are soiled and somewhat
irregular ; the outline of the right arm, which is seen to end
abruptly at about the level of the button that fastens the coat, is
not continuous ; the small part of the left hand seen close to
the stick is unshaded. [Coll : BM. C. O. A.]
2nd. The outline of the right arm is defined by a delicate
double stroke ; a curved line, in which burr is seen, an evident
slipped stroke appears at the lower end of the stick nearly
doubling its thickness. [Coll : BM.]
yd. The right side of the plate is cut away, it now measures
3,6 — 2,6 (-091 — -068). [Coll : BM. P. A]
4th. Two short diagonals left to right cross what is seen of
the left hand close by the stick. [Coll : BM. C. P. A. H.]
Copy. Same d. Described by Bartsch. Some irregular left-
to-right diagonals which partially shade the lower right corner
are wanting. The copy is said to be a deceptive one, and is
attributed to Le Gros, a clever amateur at Vienna who was etch
ing there in 1795. I have never met with this copy, so can only
give an illustration of the work in the original, with which the
student if he meets with the copy may compare it. tghite I.
fig. 6.

Nos. 122, 123 Studies and Portraits. 103
122. Three Oriental Heads. First Head, Full Face.
{Jacob Cats.)
This is a full face, showing both ears, the body turned a
little to the left ; on the head is a calotte, from under which
a single tuft of hair comes down upon the forehead ; he has a
thin short beard and moustache ; he wears a close-fitting cape
trimmed with fur, outside which hang a chain and a medallion.
A little irregular shading is seen on the lower right and along
the whole left background. In the upper middle of the plate
is Rembrandt, followed by some singular characters, and below
is the date 1635. gjMe II. fig. 8.
Dimensions: 5,9 — 4,9 ("150 — '125).
States : ist. The right side ofthe throat just above the collar
is unshaded ; there is also a clear space on the right shoulder
immediately below the chain. [Coll : BM.]
2nd. The neck is shaded, and a downward line, right to left,
is worked over the clear space on the right shoulder. [Coll :
BM. C. P. A. H]
My remarks upon this and the three following heads will
be found after the description of No. 125.

123. Three Oriental Heads. Second Head, a Pro
file TO THE LEFT. [Turc, au bonnet serri par tin
turban)
This is a profile, the head turned to the left and slightly
bent downwards ; the moustache and beard are thin and
bristly. On the head is a turban with fur rising above it,
and the dress appears to be entirely of fur. The background
is shaded with irregular hatchings nearly to the top ; above
the head is engraved Rembrandt, the e reversed ; the name is
followed by characters similar to those in the last piece,
forming the word which has been read Venetiis or Rhenetus,
and other characters which De Claussin read as fecit ; others
have read them Liev R. t. |)Iale II. fig. 9. Date assumed,
I63S- Dimensions: 5,9 — 4,9 ('150 — '125).
[Coll : BM. C. P. A. H]
Copy. Same d. By one of the brothers George or John
Smith, on a plate 5,9 — 5,0 (-150 — -128). It is a deceptive copy,

104 Rembrandt's Etchings. Nos. 124,125
but may be known by the shading on the side of the face in
front of the ear, immediately below the turban. This in the
original is intended for hair, and is worked in short, harsh strokes ;
in the copy it is downward shading, crossed by regular left-to-
right diagonals. Another variation will be seen in the few long
lines which outline the back being covered by a harsh zigzag ;
in the original the shading is of bold lines with downward right-
to-left strokes.
Copy rev. Said to be by Basan, but I think it is a much earlier
work. It is on a plate 6,1 ¦ — 5,2 ("155 — "133), and is very
heavily and coarsely shaded.

124. Three Oriental Heads. Third Head, a Profile
TO the Right. {Turc, au turban et a ! aigrette.)
This head is in profile to the right. It is of a man wear
ing an embroidered turban, the fringed ends of which hang
down behind, and in front is an aigrette fastened with a jewel ;
he has a moustache and a long dark beard. The background
to the right is almost covered with irregular cross-work, and
fantastic scrawls which curl and twist, and look like the work
of some childish hand. Near the top to the left is Rembrandt,
and^below the name are characters similar to those seen on
the two other plates ; below again is the date 1635. |Jlatc II.
fig. 10. Dimensions: 6,2 — 5,3 ('158 — '135).
[Coll : BM. O. P. A]
Copy. Same d. By Basan. The variations are numerous ;
one is seen in the mysterious characters below the name, phitt
II. fig. 11. The shading in the left lower corner in the copy
has a left-to-right diagonal as well as the right-to-left, which
is alone seen in the original. This copy is mentioned by
Bartsch.

125. A Young Man in a Mezetin Cap. ( Jeune homme
d toque de velours)
A head and bust ; the face is nearly in profile turned to
the left ; his hair is curly and of moderate length, and his
beard is short ; he wears a velvet cap and a dark dress. The
shading in the background reaches as high as the shoulder,

No. 125 Studies and Portraits. 105
and on the left, opposite the mouth, is the letter R. Date
assumed, 1635. Dimensions: 6,2 — 5,3 ('158 — '135).
States : ist. Before the introduction of a lock of hair on the
side of the face below the nose, and before the mass of hair
which falls below the chin upon the breast. Wilson adds, ' before
the signature) i.e. the letter R, but I have never seen such an
impression. [Coll : BM. P.]
2nd. With these additions ; parts of the outline of the top of
the cap have been strengthened ; a light space on the back of
the cap and another on the right lower border of the dress have
been worked over. [Coll : BM. C. P. A. H]
Impressions of the 2nd State are found nearly -fo wider than
the measure given above; but this I believe is due to an
obliteration of the plate mark.
Among the prints which we unhesitatingly attribute to
Lievens, and which will be described in a succeeding volume,
are four studies closely resembling the four heads which have
been just described. The study resembling the first head,
No. 122, is in reverse, and the lock of hair which hangs over
the forehead is wanting ; it is found in three if not in four
States ; the second study, resembling No. 123, occurs twice,
once in the same direction and once in reverse, this latter
being found in three States ; the third study, resembling
No. 1 24, is in reverse, but without the aigrette ; of this there
are two States ; the fourth study, of a young man resembling
No. 125, is in reverse, without beard ; of this there are three
States. That these four studies are by Lievens will not I think be
questioned ; they find their proper position among his other
prints. The resemblance which they bear to the four heads
which have been attributed to Rembrandt is so apparent, that
Wilson and others have not hesitated to speak of them as
copies. The author of a recent essay upon Rembrandt's work
[Bibl. XXI. p. 39] has, however, expressed his belief that both
sets are by Lievens, whom he places in the studio of Rem
brandt as a sectateur rather than as a pupil. I cannot give my
assent to either of these conclusions. A careful comparison of
the two sets of heads will I think convince the student that
those attributed to Rembrandt show a more skilful and artistic
technic ; there is more character in the heads themselves,

106 Rembrandt's Etchings. No. 125
and a more masterly hand in their treatment than in those
which we assign to Lievens. The question then arises, by
whom were they executed ? Were they first etched and then
reproduced by Lievens, or were Lievens' prints the originals,
and the four described etched in imitation of them ?
Referring to the description given of these four, it will be
seen that after the name of Rembrandt in the first appears a
word, at full length in No. 123, abridged in Nos. 122, 124,
and that upon the fourth, No. 125, is the single letter R.
The word upon the three has been read Venetiis, and on
this slight foundation has been erected the theory that
Rembrandt executed them in Italy. This supposition may
be at once dismissed, since we know that Rembrandt never
was in Italy at all. Another reading is renetus, a word
supposed to mean of the Rhine, a form of Rembrandt's
patronymic. This rendering is possible, but it is nothing
more. Vosmaer, a countryman of the great master, makes
the much more probable suggestion that the word is gere-
tuckierdt, which he translates retouched, and refers to the
inventory of Rembrandt's effects, in which inventory I find a
like word occurs no less than six times ; thus we have, Een
schilderije van een Samaritaen, door Rembrant geretukeert.
To his note upon this Vosmaer adds, // se pourrait en ce cas
que Rembrandt n'eut fait que retoucher ces piices, gravies peut-
itre par Lievens, ou bien qu'il ait repris ses propres planches et
les ait retouchees lui-meme [Bibl. XXXVII. p. 174, note]. For
the reasons which follow, while I accept his reading of the
word, I do not think his further explanation satisfactorily
disposes of our difficulty.
Rembrandt and Lievens had been pupils together at
Leyden under Lastman, some of the peculiarities of whose
style were appropriated and reappeared in the after work of
each. In the year 1630 Rembrandt removed to Amsterdam,
and in the same year we find Lievens in England, where he
seems to have acquired considerable reputation as a portrait
painter. When these prints were executed — and I see no
reason to question their date, 1635 — Lievens had left England,
and found full employment at Antwerp, where he certainly
remained some time. Overpowered, probably, by the genius
of Rubens, with whom he could not hope to compete, he
removed from Antwerp, but evidently to no great distance,

No. 125 Studies and Portraits. 107
since he has left numerous works executed in these years,
chiefly altar-pieces for neighbouring churches ; his Visitation
of the Blessed Virgin, now at Brussels, and his pictures in the
H6tel de Ville at Leyden, were of this period. Rubens died
in 1640, and either in this year or in 1641 Lievens completed
a large picture for the Hotel de Ville at Leyden. We do not
know how soon he returned to Antwerp, but an etched
portrait by him of Dr. Vander Steeren, who resided there, is
dated 1649 j and later still is a portrait of Heinsius, bearing
the address Joan Myssens exc. Antwerpice. It was not until
after this that we find him working at Amsterdam ; unless,
therefore, he made a short visit to Amsterdam in 1635, of
which we know nothing, and for which he had little leisure,
we must assume that he and Rembrandt did not meet again
after the days of their pupilage until at least the lapse of
twenty years. But in 1635 Rembrandt's fame as an etcher
as well as a painter was well established ; I suggest then, that
as a renewal of their former intimacy, Lievens, who had also
assumed the etching needle, sent his impressions of these four
plates to his old friend, who in return transmitted repro
ductions of them, varying and improving upon them as he
well could do, while imitating the style and manner they
displayed. The background of one of these prints of Lievens,
his third study, a head in profile with a flowered turban, to
which Rembrandt added an aigrette, was treated in a peculiar
manner. Lievens introduced a bank upon the left, at the
upper part of which is some foliage ; this foliage is represented
by little circles and spirals, designed in an almost childish
manner. Rembrandt, with a touch of humour, has exag
gerated and caricatured the execution of this part of the
plate, and in place of foliage fills the upper right with twists
and spirals, mere sports of the needle. Impressions of this
plate, described No. 1 24, are much more rarely met with than
are the others ; a fact for which I account by assuming that
Rembrandt did not care to preserve a plate which contained
work so unlike his own ; and I explain the introduction of
the word translated retouched, by assuming that it was added
to show that these were Rembrandt's rendering of Lievens'
studies, the single R upon the fourth merely marking his own
work. Before leaving these heads, I must not omit to notice that

108 Rembrandt's Etchings. No. 125
M. Charles Blanc in his catalogue places the head No. 122
among the Known Portraits, and believes it to be the likeness
of Jacob Cats, tutor to William, Prince of Orange. He founds
his opinion on the similarity, certainly a singular one, which
the old man represented in this print bears to a known picture
of Jacob Cats, taken by Govaert Flinck, afterwards engraved
by Schmidt. The painter has represented Jacob Cats giving
a lesson in history to his pupil William Prince of Orange,
afterwards William II , who is seated before him at a table ;
and not only does this accomplished amateur designate the
Oriental head No. 122 a portrait of Cats, but adds that the
boy who is receiving instruction is the original of Rembrandt's
etching No. 148, Jeune homme d mi-corps. I am sorry to dis
agree with M. Charles Blanc, whose volumes have afforded me
so much pleasure and information, and whose opinions must
always be treated with respect, but I am obliged to record
my dissent from his suggestions. There is another portrait
of Jacob Cats, painted by Mireveldt in the year 1635, and
engraved by Delff (it is No. 248 in the Amsterdam Gallery),
which represents an entirely different person to the Jacob
Cats painted by Flinck. M. Charles Blanc refers to this,
but believes, on the authority of Hoogstraten, that there were
two persons of this name ; we may therefore assume that
Mireveldt's portrait is of the other Jacob Cats, and discuss
only the possibility of this ist Head being taken from the
Jacob Cats whom Flinck has immortalised in the fine picture
referred to. I have seen this picture, and remark that it
differs from the head above described, No. 122, in the size of
the beard and moustache, in the softer and more rounded
features, and in the fact that it represents a very much
younger man. In 1635 Jacob Cats was 56 years of age, but
hardly appears so old in the portrait. The head which
Rembrandt has engraved, for as I have said I attribute it to
him, is of a man probably ten years older ; moreover, this and
certainly one of the other two are studies of the same original,
as is still more clearly seen in the prints by Lievens ; and
we have the fact that Lievens repeated his study four or five
times, besides introducing the head into one at least of his
prints, The Resurrection of Lazarus ; it there appears among
the figures to the left. The same model was also made use
of by Solomon Savry, though he may have borrowed the

No. 126 Studies and Portraits. 109
peculiarities of feature from one of these prints. With regard
to the other figure in Flinck's picture, that of William IL, and
which M. Charles Blanc believes to have been repeated in the
little etching No. 148, I feel less hesitation. William II. was
born in 1626, and was therefore nine years old when the
portraits of himself and Jacob Cats were taken. He is repre
sented as a well-grown boy. Now the etching is dated seven
years later, i.e. in 1641, when William was fifteen, and it
appears to me that the child whom Rembrandt has etched
could not have been more than from seven to nine years of age ;
his dress and appearance are certainly not that of a boy of
fifteen. There is a portrait of this same William 1 1., taken a
few years later, in the Museum at Amsterdam. He is repre
sented as a full-grown man, and, with all deference to M.
Charles Blanc, does not so closely resemble this etching that
I can believe they are intended for the same person. Who
this child was we cannot tell ; it is evidently a portrait, and
was possibly the son of some friend who visited Rembrandt's
studio or was intimate at his house. Further investigations
may enable us to distinguish him.

126. Bust of an Old Man, asleep. ( Vieillard d grand
bonnet, qui dort)
He is seen nearly full face, his body turned towards the
left ; his head is inclining and his eyes are shut, as if asleep ;
his beard is long and curled ; he wears a broad fur cap, bound
with a scarf that falls behind his shoulders ; his cloak, which
does not meet in front, is fastened across his breast with a
clasp. The background is shaded halfway up on the left, and
a few short and nearly vertical strokes are seen on the right
side opposite the neck. In the upper left corner is Rembrandt,
and above the last letter is an incomplete R reversed. Date
assumed, 1635. Dimensions: 4,4 — 4,0 ('113 — "102).
[Coll : BM. C. P. A. H]
Copy. Same d. by Worlidge. At the top to the left is T. W.
This print has been regarded as a somewhat doubtful
piece. It is engraved in the style of the Three Oriental
Heads, or, as Wilson expresses it, in the manner of Castiglione.

no Rembrandt's Etchings. No. 127
On the back of an impression in the British Museum is a
2nd State of the print called The White Mooress, a print
which I have withdrawn from Rembrandt's works.

127. Samuel Menasseh Ben Israel. {Menasseh-ben-
Isra'el)
He is a half length, and seen in front ; his moustaches are
long, his beard is thin and cut evenly below, and his hair is
short and straight. He wears a hat with a broad brim turned
up before so as to hide the crown, a wide collar covers his
shoulders, and his gown is open in front. The background
is shaded on the left a little above the shoulder. The subject
is squared at the top, but finished with a curve below. On
the right is Rembrandt fi., and below it 1636.
Dimensions: 5,9 — 4,2 ('150 — '108).
States: ist. As described. [Coll : BM. C. A. H]
2nd. The shading on the hat brim to the right, immediately
above the temple and the hair, is deepened by short, strong,
downward lines. The plate having been re-etched to give it
greater tone, in most impressions of this State the mark of the
vice is seen in the clear space at the bottom of the print ; the
presence of this mark must not, however, be relied upon ; I have
seen a 2nd State without it, having possibly been removed from
the impression. This 2nd State sometimes appears on a large
sheet of paper; there is one at Amsterdam measuring 12 — 8,0
(•305 — -203). [Coll : BM. C. O. P. A. H.]
After the plate had become worn, it fell into other hands, and
was changed into a mezzotint ; but before the final transforma
tion it yielded impressions with a tinted or dark background.
These variations are recent, and need not be regarded as States.
Samuel Menasseh Ben Israel, born in 1604, was one of
Rembrandt's intimate friends, living near him in the Breed
straat. He early established his reputation as an author ;
and it shows the high estimation in which he was held by
his co-religionists that he was deputed by them to undertake
a mission to the Protector Cromwell to obtain from him the
recall of the Jews to England. Among his published writings
is a book entitled ' Piedra Gloriosa,' etc., of which a descrip
tion will be found under No. 247, and for which Rembrandt
designed and excuted four plates. He died in 1657, and was
buried at Middelburg.

Nos. 128, 129 Studies and Portraits. 1 1 1
128. Rembrandt and his Wife. {Rembrandt et sa
femme.)
Rembrandt, a half length, on the right side of the print,
is seated at a table, on which rests his left hand, holding a
port-crayon in the attitude of drawing ; his face is a full
front, his body turned to the left ; he has moustaches and a
small tuft on his chin ; on his head is a flat, wide-brimmed
hat with a feather. Behind the table to the left sits his wife,
nearly full face, but turned a little towards the right ; the
back of her chair is seen against the left border of the print ;
the background has a little shading between the lower part
of the two faces. In the upper left corner is Rembrandt fi,
and below it 1636. Dimensions: 4,1 — 3,7 ('105 — '094).
[Coll: BM. C. O. P. A. H.]
There are rare impressions in which the portrait of Rem
brandt's mother, No. 53, 2nd State, is substituted for that
of his wife. Gersaint possessed one which he believed to be
unique : this is now in the British Museum, but four others
are known. They were produced by covering that part of
the plate where the wife's portrait was etched with thin paper,
leaving a blank space upon the impression ; the plate with
the mother's portrait was then printed from, the head, etc. of
Rembrandt being in its turn covered.
[Coll: BM. A]
Copy. Same d. The shading is of very regular cross-work ;
so regular and uniform is it, that it seems to form a band above
the eyebrows. The side of the chair on the left is upon the
plate line instead of being at a little distance from it. il|:rtc III.
fig. 15. Although not named, this is probably by Novelli. .
Copy. Same d. of Rembrandt's head only. This forms the
frontispiece to Gersaint's Catalogue, and is inscribed T. B. G.
seul. 1750.
Copy. Same d. of Rembrandt's head ; and instead of the
portrait of his wife, the head of Rembrandt's mother, in widow's
dress, No. 92, is introduced ; by De Claussin.

129. Rembrandt's Wife, and Five other Heads.
{Feuille de six tites, dont cinq de femmes)
The principal head in this sheet is that of a woman, placed
rather above the middle of the plate, turned a little to the

112 Rembrandt's Etchings. No. 130
left. She wears a veil, and a string of pearls is seen upon her
hair. Higher up on the left is a Turkish head in a turban,
with profile to the right ; on the right side is a female head,
lightly etched and full face, wearing a veil ; her partly closed
hand is upon her mouth ; below is another female face, turned
to the right, and looking downwards ; a fifth head is on the left,
a full face, covered with a large flat hat, tied under the chin ;
and a sixth is on the right side, uncovered, and turned a little
to the right, and shaded on the left. All the female heads
are studies bearing a greater or less resemblance to Saskia,
Rembrandt's wife. Low down, a little to the left, is Rem-
brandt fi, and below it 1636.
Dimensions: 6,0 — 5,0 ("153 — •128).
States : ist. As described ; the background is clear. [Coll :
[BM. C. P. AH]
2nd. Parts of the background show marks of a slight rubbing
with pumice stone ; it is seen across the name, and in the space
between the central head and that to the left. The first effect
of this rubbing, done no doubt to clean the plate, is soon worn
off, but scratches remain ; there is one from the division in the
turban of the Turk to the top of the woman's hair ; as this dis
appears, the sharpness of the impressions is lost. [Coll : BM.
C. P.]
130. Three Heads of Women, one asleep. {Trois
tetes de fiemmes, dont une qui dort)
High up on the left is a woman sleeping, with her head
resting on her left hand She wears an upper and an under
cap, which latter has a lappet covering her ear, and a band
passing under her chin. To the right is a second head,
seen nearly in profile, turned to the left, and covered with a
dark veil, drawn together at the back of the head. Lower
down in the middle is a third head, also seen nearly in profile,
turned to the left and looking downwards. At the top of the
plate is engraved Rembrandt, and under it/1 1637.
Dimensions : 5,6 — 3,8 ('143 — '097).
[Coll : BM. C. O. P. A. H]
Copy. Same d. of the finished head to the right of the plate.
It is harshly drawn. Below, to the right, is Francesco Novelli ;
to the left, Rembrandt in.
Copy lev. of two heads only; 3,0 — 3,5 (-076 — -089). This
is seen also as a counterproof : it is by Cumano.

Nos. 131, 132 Studies and Portraits. 1 1 3
Copy. Same d., BI. IX.
Early impressions show a light horizontal scratch, which
crosses the middle ofthe plate below the central head.

131. An Old Man, wearing a Rich Velvet Cap.
{Juifau bonnet agrafi de pierreries)
We have here a head and bust of an elderly man, turned
three-quarters to the right, wearing a mezetin cap, ornamented
with a band which passes over the top, and is fastened in front
with a jewel ; a fur mantle lies in thick folds upon his shoulder ;
his left hand is seen, and appears to rest upon the top of his
cane. He has a broad bushy beard. The light comes from
the right. In the upper left corner is Rembrandt, and below
it/. 1637. Dimensions: 3,7 — 3,2 ('094 — -o8i).
[Coll : BM. C. P. A. H]
Copy rev. and enlarged 5,7 — 4,5 {^45 — -II5)-
M. Charles Blanc believes that he recognises in this head
a study for a painting seen in the Museum at Munich of a
Jew seated in an armchair. I do not know the painting, but
from the careful finish of the print I am inclined to regard it
as a portrait, possibly the father of the young man who
appears in the following piece, No. 132.

132. A Young Man seated, turned to the Left.
{Jeune homme assis et rifiichissant.)
He is seated, at the right of the print, and turned towards
the left, on which side is a table with some books. He wears
a mezetin cap, and a loose gown bordered with fur, and round
his neck is an untied scarf with falling ends. The attitude
and expression are those of grave reflection. The background
is shaded nearly as high as the shoulders. At the top, to the
left, is Rembrandt, and below it/ 1637.
Dimensions: 3,8 — 3,2 ('097 — -o8i).
Two States have been described, but I am unable to define
with any accuracy more than one. The earliest impressions
show a little burr. [Coll : BM. C. O. P. A. H.]
Copy. Same d. The outline of the hair to the right, i.e. at
the back of the head, is a double parallel line ; the nose appears
I

114 Rembrandt's Etchings. No. 133
to have an indentation. The signature, instead of nearly
touching the upper plate line, has the tops of its longer letters
¦j^- ('004) away ; and this signature, etc. are in a tremulous hand,
while in the original the / is especially clear and bold. This
copy is by James Bretherton.
Copy rev. by Novelli. A copy not found among the series
published in 1791. M. Charles Blanc happily describes it as
' feeble.' Copy. Same d., Bibl. IX.
This little print is undoubtedly a portrait, but as yet no
clue has been obtained as to the original. A very fine im
pression from the collection of F. Seymour Haden, Esq. was
contributed to the Rembrandt Exhibition at the Burlington
Fine Arts Club in- 1877.

133. Rembrandt with a Flat Cap and Slashed Vest.
{Rembrandt au bonnet plat)
Face slightly to the left, body turned to the right, from
whence the light comes ; his hair is short and curly, his mouth
is tightly closed. He wears a flat cap, which inclines over
his right ear ; under a loose mantle is seen a slashed vest,
open at the top and tied with a riband ; the background is
clear, except a slight shading to the left, upwards, to the
level of the eyes, as if of a shadow cast by the figure. There
is an irregular clear space below about T%- in. deep. To the
left near the top, is very faintly engraved Rembrandt. Date
assumed, 1638. Dimensions: 3,7 — 2,5 (-094— -064).
States : ist. As described. [Coll : BM. C. P. A. H.]
2nd. The name is delicately re-etched in a -formal hand.
[Coll : BM. C. P.]
Copy. Same d. The subject is enclosed in marginal lines
2,6—2,3 ('066 — -058) ; the background is darkly shaded to the
level of the eyes. By Cumano.
Copy rev. Also by Cumano.
Copy 1 ev. Rembrandt's name is seen in reverse under the
shading to the right.
Copy rev. Tolerably good ; by James Hazard.
Copy rev. The head only; by Deuchar.

No. 134 Studies and Portraits. 1 1 5
134. Rembrandt in Mezetin Cap and Feather.
{Rembrandt au bonnet orni d'une plume)
Nearly full face, turned slightly to the left, the bust a
little to the right ; he wears a cap of the kind called mezetin
with a feather, and has moustaches and a thin beard ; the
bust is covered with a rich mantle embroidered and edged
with fur ; the left arm comes from under this mantle, the
wrist ornamented with a ruffle ; the hand, partly concealed,
is placed upon the breast. A few cross-strokes are seen
above the shoulder in the left background ; towards the top
on this side is Rembrandt fi, and below it, 1638.
Demensions: 5,3—4,1 (-135 — -105).
[Coll : BM. C. P. A. H.]
Copy. Same d., by De Claussin. The head only and the
fur collar. It appears upon the upper left of a large plate, on
which is also etched a head of an old man in a cap looking
to the left, and below are a mule and muleteer, to the lower left
is a sheep ; the shading in this copy is produced by regular
cross-work. Copy rev. On a larger plate. The hair, harshly worked, is
shaded on the left by regular right-to-left diagonals ; beneath
the chin again are regular diagonals, left to right ; this copy is
by Cumano, and is also seen in counterproof, i.e. in the same d.
as the original.
Copy. Same d., Bibl. IX.
Though this print is not uncommon, really fine impressions
are rare. When rich in tone and exquisitely clear, as is the
superb impression at Amsterdam, it is a work of singular
beauty ; but the delicacy of the technic and the harmony of
the shadows soon disappeared ; there is so great a variation
from this cause that two States have been described ; the
distinctive marks of the second being that it is without the
name, and with a slight variation in the outlines of the
features and in the expression ; but these are only the result
of the wearing of the plate. At some later period the plate
has been retouched, M. Charles Blanc suggests, by the hand
of Basan ; this retouch he says is seen in some small vertical
lines upon the right cheek.

u6 Rembrandt's Etchings. Nos. 135, 136
135. The Saint Catharine, or the Little Jewish
Bride. {La femme de Rembrandt— la petite mariiejuive)
A half-length standing, the face a three-quarters turned
to the right : her long light hair covers her back and
shoulders, and is confined round her head with a little band
set with precious stones or pearls ; she wears a loose gown
with wide sleeves, fastened close under her chin, and her
hands are joined ; in the lower right is seen part of a wheel,
such as is introduced in pictures of St. Catharine, and which
has given a name to the piece ; in the upper right is Rem
brandt fi., and below it,. 1638.
Dimensions: 4,4 — 3,1 ('113 — -°79)-
[Coll : BM. C. O. P. A. H.]
Copy rev. At the top to the right is Rembrandt f, 1638. The
shading generally is of regular work ; very accurate curved
parallels darken the hair and shade the cheek, cross-work is
seen beneath the hands, and regular verticals and diagonals
behind the figure ; this copy is by Jan Both, in some impressions
it bears his name.
Copy rev. Deep shading is seen on the chin and neck and on
the hair to the left, and regular cross-work inside the wheel ;
this copy has also been printed as a counterproof, that is in
the same direction as the original, inscribed No. 33. It is by
Novelli. Copy rev. An engraving by Hollar, easily recognised by the
technic. Copy. By De Claussin. I do not know it.
This very pretty little print is a study of Rembrandt's
wife ; impressions are not uncommon ; the best have a little
burr upon the band of gems and below the hands.

136. The Head of Rembrandt and other Studies.
{Griffonnements avec la tete de Rembrandt)
Towards the top, and a little to the right of this leaf of
sketches, is seen the head of Rembrandt only partly finished,
full face, and wearing a cap. On the left is a rude sketch
that cannot fully be made out. Upon turning the print,
placing what was the right side downwards, an old man and
an old woman, each leaning upon a stick, are discovered ;
their figures are bent ; the man is turning to the left, the
woman to the right. Above these is the head of an old

No. 137 Studies and. Portraits. 117
woman covered with a veil ; and below them, reversed, is the
head of an old man. Date assumed, 1639.
Dimensions : 4,0 — 4,5 ('102 — '115).
States : ist. As described. There are defects along the top
and sides, as if the etching ground had been rubbed away
before the acid was poured on. [Coll : BM. C. A.]
2nd. The plate is reduced at the top and sides, it measures
3,9 — 4,1 ('099 — "105) ; those parts which were injured by
the acid and were not cut away being burnished out. [Coll :
BM. C. P. A. H.]
yd. The plate has been still further reduced, only the head
of Rembrandt remains. [Coll : A.]
Impressions are found in which the background is tinted ;
only the cap, face, and figures remaining white. We cannot
fairly criticise this piece ; the face and hair of the principal
figure, even in the earliest impressions, show the coarse re
work of another hand, underneath which is seen the more
delicate touch of the master ; probably the plate in its true
first state was never used, but when executed was laid aside,
as injured, and was subsequently 'improved' and printed
from by the possessor.

137. Rembrandt leaning on a Stone Sill.
{Rembrandt appuyi.)
A half-length, the bust turned towards the left, but the
face is nearly full. He has long moustaches and a tuft, and
his hair, which is exquisitely worked, hangs in masses over
his shoulders. He wears a mezetin cap very much inclined
over the right ear, and a richly worked mantle ; he is placed
behind a piece of stonework, upon which his left arm is sup
ported ; the hand, on which is a glove, appearing from under
the mantle, while his right hand is seen upon his breast ; a
few strokes appear in the background to the lower right ; in
the left upper corner is Rembrandt fi., and below it, 1639.
Dimensions: 8,1 — 6,4 ('202 — '163).
States: ist. The band of the cap above the left temple is
not finished, the lightly executed hair appearing to pass over it.
[Coll : BM. P. A.]
2nd. The band of the cap is completed. [Coll : BM.
C. P. A. H.]

118 Rembrandt's Etchings. No. 137
I have seen an impression of this 2nd State in the collection
of Monsieur Dutuit, of Rouen, in which Rembrandt's name
and date, which should have appeared in the upper left, are
wanting ; a careful examination assured me that they had not
been removed from the impression, but that they were never
printed, simply because that part of the plate had been left
uninked when this particular impression, which is a very early
one and of great beauty, was drawn off. The occurrence of this
variation is a valuable reminder that the absence of name and
date does not necessarily constitute a State.
Wilson says that ' this plate has been very well retouched.'
I think some impressions of the 2nd show a retouch, but it is
very slight, and does not justify the creation of a yd State.
Copy. Same d., by Bartsch. Used as a frontispiece to his
catalogue. The best impressions are before the framework
which borders it in his large paper edition, 1747. [Bibl. V] In
a 2nd State he has surrounded the figure with a formal frame
work ; there is a broad, clear space below, within which, in a
yd State, appears, in Roman capitals, Rembrandt. Some parts
of the original are omitted in the copy.
Copy. Same d. The balustrade to the right is completed ;
in the lower left is engraved Rembrandt.
Copy. Same d., by J. W. Kaiser. This is used as a frontis
piece to a volume entitled Nederlands Schilderkunst, by Dr.
f. Van Vloten, Amsterdam, 1874. The same plate was used
by Mr. Scheltema, Bibl. XXXV.
Copy rev. of 2nd State by Novelli. The balustrade is
emitted ; it is No. 29 of his copies, and is inscribed below to
the right F. Novelli inc. 1791. It is also seen as a counterproof,
i.e. in same d. as the original, but is not deceptive.
Copy rev. by Denon. Low down to the left is Dn. 1783.
Copy rev. by Worlidge. His name is in the upper right corner.
Copy rev. on smaller plates by Burnet and Errard.
Copy rev., by Gersaint?
Copy. Same d., Bibl. IX.
I have seen five impressions of the 1st State of this print
in which the stone-work below and the balustrade behind the
figure have been to a greater or less extent worked upon in
pencil [Coll : BM. A.] Impressions of the 2nd State
similarly treated are not unfrequent. It is possible, I might
say probable, from the character of the added work that in
more than one of these the variation was executed by Rem
brandt ; but in two at least the pencil work was recent, and
the handling bold without being skilful, showing much more
the touch of Peters and of Thane than the execution of the
master.

No. 138 Studies and Portraits. 119
And here let me suggest to the student that he would do
well to regard with very great suspicion all the etchings on
which pencil marks or tints of Indian ink appear, yet which are
so commonly asserted to have been ' worked upon by Rem
brandt.' A practised hand will touch up and restore a faded
impression or one from the worn plate with marvellous
skill ; and a clever and unscrupulous draughtsman finds no
difficulty in adding a few bold pencil lines. When we
remember that these ' sophistications ' have been profitable, it
is fortunate that they have not been practised to a still greater
extent.

138. Wttenboogaert, 'The Gold Weigher.'
( Uyteubogaert)
He is represented sitting in his counting-house, nearly
full face, but the figure turned towards the left. His head
inclines a little over his right shoulder, which gives great
spirit to the attitude. His right hand, in which he holds a
pen, rests upon a large account book that lies open upon a
desk placed on the table before him, and in his left he holds
a bag of money which he is delivering to a man kneeling in
the front, who is prepared to pack it in a cask that stands open
at his left side. The Receiver's dress is of fine material richly
edged with fur, and he wears the velvet ' mezetin ' cap, in
which so many of Rembrandt's sitters are represented. In
the left background, above a door hatch, two persons are
waiting to enter. Among other accessories is, on the
opposite wall, a large arched picture of the brazen serpent.
In a clear space below the subject -^ in. (015) deep is to the
left Rembrandt fi. 1639.
Dimensions: 10,0 — 8,0 ('254 — '203).
States : ist. The face of the Gold Weigher is a blank ; light
diagonals from right to left cross the top of the upright cask, and
are continued down the sides of the cask, not, however, extend
ing across the top or side to the left; the money is distinctly
seen. [Coll : BM. P. A]
Wilson describes an impression of this 1st State which
had been in the Denon collection, and which was then in his
possession, in which Rembrandt had drawn in the head in a
masterly manner, but tlie features are not those of the finished
portrait, and had worked over the whole with bistre, giving the

120 Rembrandt's Etchings. No. 138
print the fine mellow effect of a painting ; he suggests that
Rembrandt had waited for the actual portrait of the Receiver,
leaving the vacancy for the face ; and in the meantime, in the
impression here noticed, had supplied a countenance to please
himself with the perfect effect. This most interesting impres
sion is now in the collection of the Duke of Buccleugh, as is
also a counterproof similarly completed.
2nd. The face is finished ; a few delicate curved lines on the
right, within the cask, are the only traces of the money ; the
inside of the cask is shaded with vertical lines not seen in the
ist State, which there take the place of the diagonals. [Coll :
BM. C. O. P. A. H]
There is an impression of this State in the British Museum
on thin paper, below which is written Capt. Baillie certifys this
to be the original Print of ye Banker Wittenbogard, commonly
called the Goldweigher, engraved by Rembrandt in 1639 ; and at
the back of the impression is, Presented by Thomas Wilson. This
is the Thomas Wilson, author of ' A Descriptive Catalogue,' etc.
A fine impression of this State in the collection of John
Webster, Esq, of Aberdeen, is without the name and date ; this
has not been removed from the impression, but it is evident
that a piece of paper had been placed over the name and date
upon the plate before the impression was printed. This im
pression appeared in the Rembrandt Exhibition of 1877, where
it was erroneously described as a yd State, the name and date
being erased, Mr. Webster has since kindly forwarded the
impression to me for further examination, and as the error in
description was my own, I have less hesitation in correcting it.
yd. The money is seen again more clearly marked, but only
on the right side. The shaded side of the cask is reworked
thus — It had a vertical, a horizontal, and a series of very regular
diagonal cross-lines from left to right and right to left ; a few
strongly given diagonals from left to right are now added, which
form a more acute angle with the verticals than do those first
described and which are still seen. Again, under the right leg
of the kneeling boy is seen the foot of the Receiver's chair.
In earlier States the vertical lines in the shading do not extend
by about fo in. (-002) so high as the level of the foot of the
chair ; in this yd State some strongly given verticals are added
which rise above the level of the chair foot, these lines are
thick below and end sharply upwards ; there are other signs of
rework, but they are not ,easy to describe. For variations see
|lintc II. figs. T2, 13. [Coll : BM. C. P. A. H.]
Copy. Same d., by Captain William Baillie. He has given
a more upright carriage to the head, which to those who know
the original will at once distinguish it ; there is a variation in the
folds of the mouth of the money bag held by the Receiver, see
|1latc II. fig. 14- Another is in the absence of right-to left
diagonals across the top of the cask. In the middle of the

No. 139 Studies arid Portraits. 1 2 1
clear space below is engraved Scilicet improbce crescunt divitice,
on the right is his monogram W. B. interlaced, to the left is
Rembrandt f. 1639. Impressions are found without the inscrip
tion and monogram.
Copy. Same d., by James Hazard, an English engraver, who
died at Brussels in 1787. There is no writing in the book
beneath the Receiver's hand. I have never seen this copy, but
am told it is badly executed.
Copy rev. Of no merit, possibly the copy by Van Bruges
referred to by Wilson.
The technic in this print of the Gold Weigher is of such
different quality that connoisseurs have agreed in assigning
the inferior work to another hand. The principal figure is
undoubtedly by the master, and the little figures to the left
are probably his ; but most of the details, if designed by
Rembrandt, must have been etched in by an assistant. The
contrast is very marked in the best impressions.
The name of the Receiver, like that of the Remonstrant
minister, is variously spelt Wttenboogaert, Uijtenbogaerd,
and Uijtenboogaert. To distinguish him from the minister
I have used the Dutch spelling as it appears in Rembrandt's
correspondence with Huijgens [Bibl. XXXVII. p. 196]. He
was the Receiver to the Estates of Holland, and lived at
Amsterdam. I have not been able to learn any particulars
of his history ; but some information could, no doubt, be
obtained.

139. An Old Man lifting his Hand to his Cap.
( Vieillard portant la main a son front))
The bust is in outline only ; the head, the hand, and the
arm are finished. The head is that of an old man with a
large beard wearing a velvet cap placed on one side ; his left
hand is raised, either in the act of saluting another, or to
shade his eyes from the light while he looks at some distant
object. Date assumed, 1639.
Dimensions: 5,4 — 4,5 ('138 — '115).
[Coll : BM. C. O. P. A. H.]
There is only one true State of this print, which is that
described ; the ist, as given by Wilson, varies so very slightly
in size, that it is unsafe to distinguish it as a State. Early

122 Rembrandt's Etchings. No. 140
impressions have the background discoloured, the plate-edges
rough, and the outlines of the bust full of burr.
One hundred and thirty years later, viz. in 1770, the plate
found its way into the hands of a print dealer, Trible, of Berlin.
He employed Le-Sueur to design, and George Fredk. Schmidt
to execute, certain additions to this head. They have represented
the old man, a three-quarter length, standing, having just risen
from his chair. He wears a cloak bordered with fur, with fur
cuffs and collar, and over his closely fitting under-dress is a
medallion, hanging by a chain ; he is in a library, surrounded
by shelves of books, etc. Only fifty impressions were taken, as
we learn from an inscription on one of them — Engravi par
Schmidt; 50 kpreuves seulement.
Copy. Same d. Very deceptive ; in the original, left-to-
right diagonals shade the right temple and forehead ; an acci
dental stroke crosses and shades the nail of the little finger ;
these diagonals are wanting in the copy, and the nail is partly
shaded with very short horizontals. It bears no name, but is
by James Bretherton.
Copy. Same d. The nose is thick and coarsely designed,
the eyes are almost lost in the shading ; above, to the left, is
Rt (1639). The technic and the form of the inscription cause
me to attribute this plate to Cumano. Though indifferently
executed, it will be seen that the copyist has hit upon the
probable date of the piece.
Wilson, from the position he gives this print, evidently re
garded it as a portrait.

140. A Jew with a High Cap ; a Full Length.
{Juifi d grand bonnet)
He is represented a little to the left of the piece, walking
towards the right, and wearing a high cap, the same width
from top to bottom, and crossed by a strap ; he leans, his
right hand upon a stick, and points forward with his left ; his
dress is ragged ; the upper leather of his shoe is separated
from the sole, allowing his toes to appear. In the middle of
a clear space below is Rembrandt f. 1639.
Dimensions: 3,3 — 1,7 ("084 — '043).
[Coll : BM. C. O. P. A. H]
Copy rev. On a larger plate. Novelli, No. 40.
Copied also by J. Overlaet upon a plate on which he has also
etched the woman from Two Beggars, a Man and a Woman
conversing, No. 37.

Nos. 141— 143 Studies and Portraits. 123
141. A Beggar standing, seen in profile to tle
Left. {Gueux debout.)
He is very ragged ; he wears a high cap with a coarse fur
border and a flap over his ear ; a pouch is at his side, and his
hands rest upon a clumsy stick ; an irregular line, carelessly
drawn, as if marking where the copper should be cut, crosses
the top of the plate, touching his cap, and is continued half
way down the right side. Date assumed, 1639.
Dimensions : 3,4 — 1,8 ('087 — '046).
[Coll: BM, C. O. P. A. H]
Copy rev. On a lower and wider plate, 3,1 — 2,2 ("079 — '051).
Copy rev. The scratch on the plate is wanting. Below, to
the left, is D. Deuchar fecit.
Copy rev. By Le Gros. The copy is not deceptive.

142. Three Beggars, a Man, a Woman, and a Child.
( Un gueux et sa femme.)
The man is to the right, the woman and the little child
are to the left of the print. He holds a staff in his left hand,
and has a pack upon his back ; the woman is seen in front,
with a broad hat ; the child is only sketched in outline. The
figures cast shadows on the left foreground, while along the
right side and across the top is a shading in a somewhat
arched form. Date assumed, 1639.
Dimensions: 2,6 — 2,7 (-o66 — "069).
[Coll: A]
The only impression known is at Amsterdam. It is a
pretty little print and full of burr.
Copy. Same d., Bibl. IX.

143. A Physician feeling the Pulse of a Patient.
{Midecin tdtant lepouls a un malade)
He is standing a three-quarters to the right ; wearing a
turban and a cloak edged with fur, with a broad belt above
his waist; with his left hand he feels the pulse of a sick
person, who is laid upon a bed, and seen from behind. Date
assumed, 1639.

124 Rembrandt's Etchings. Nos. 144, 145
Dimensions: 2,7 — 2,1 ('069 — '053).
[Coll : A]
Copy. Same d., Bibl. IX.
This very interesting sketch is a study in reverse for the
physician who is placed by the bedside in The Death ofi the
Virgin, No. 207. The print is excessively rare ; I have my
self only seen one impression — that in the Collection at
Amsterdam.144. Two Women in Separate Beds, etc. {Grijfonne-
ments gravis en diffirents sens de la planche)
Towards the lower right of the piece is a woman lying in
bed with her arms outside the bedclothes ; part of a curtain
is seen hanging down near her head ; below her arm is a
female head lightly sketched. To the left are two busts of
old men ; the foremost has a large beard, and wears a high
cap turned up with fur ; the other behind him is beardless,
and wears a slouched cap, they are turned towards the
right. Above the latter are an old man and an old woman,
seen to the waist, lightly etched ; they are directed towards
the left. On turning the print the bust of an old woman is
seen in the upper left, wearing a fur hat ; lower down is a
woman lying in a bed, apparently asleep. Date assumed,
1639. Dimensions: 5,3 — 6,0 ('135 — '153).
[Coll : BM. C. O. P. A H.]
The plate was afterwards cut An impression from part of
the cut plate 2,2 — 2,6 ('056 — -o66) is at Amsterdam. It con
tains the two men from the lower left of the original plate.
The various figures are sometimes found on slips cut from the
impressions of the whole plate. [Coll : C]
It has been suggested that in one of these reclining
figures we have a first study for that in the Death of the
Virgin, No. 207.
145. Portrait, unknown, of an Old Man with a
Divided Fur Cap. ( Vieillard au bonnet fendu)
His face is a three-quarters, turned to the right ; his beard
is large and bushy ; on his head is a high fur cap, divided in
the middle. He wears a cloak, open in front ; his breast is

No. 146 Studies and Portraits. 125
crossed by a broad girdle, on which he rests his right hand.
Three or four lines, executed in dry point, cross the lower
part of the print from -^ to T3¥ above the edge of the plate.
In the upper left corner is Rembrandt fi., and below it, 1640.
Dimensions: 5,9 — 5,4 ('150 — '138).
[Coll: BM. C. O. P. A. H.]
In the Sale Catalogue of Robert Dumesnil an impression is
described, Lot 244, having ' the mouth faintly marked and with
the burr.' The compiler of the catalogue adds, ' This State
leads me to think that there must be a prior State, where the
hand instead of being closed is placed on the chest.' I do not
see that there is sufficient ground for this suggestion ; late
impressions show some indistinctness about the hand, but in
earlier impressions it is clearly outlined ; these earlier ones show
burr in the folds of the drapery to both left and right, and in
the deep lines which cross the lower part ofthe plate, and also a
little about the hand.
Copy. Same d. in mezzotint. There is a slight difference in
the size of the plate.
Copy rev. Very poor. By John George Hertel.
Probably this is an actual portrait, although the original
is yet unknown. The costume is a semi-military or official
one ; the fur cap, singularly shaped, appears in pictures
of that period, and is nearly always worn by some one whose
place in the picture implies considerable social position. Thus
one of the foremost among those who are grouped before
Queen Tomyris, in Rubens' celebrated picture, is a soldier,
evidently of the highest rank, wearing just such a cap, and
looking on with the sublimest nonchalance while the head of
Cyrus is dipped into the pail of blood. It will be remarked
that Rembrandt has humorously placed a ragged and gro
tesque imitation of this cap on the heads of one or more of
his most abject beggars.

146. Cornelis Claesz Anslo. {Corneille Anslo)
He is seated in an armchair behind a table, upon which
are a pen-case and inkstand ; he holds a pen in his right
hand, which rests upon a book placed upright upon the table ;
with his left he points to another book lying open before him,
while he turns his head towards the left as if about to address
himself to some one. He wears a gown trimmed with fur, a

126 Rembrandt's Etchings. No. 146
ruff, and a broad-brimmed hat. Upon the back of a chair,
placed to the right, is Rembrandt fi., and below it, 1641. The
figure 4 is reversed. Dimensions: 7,3 — 6,2 (-i86 — '158).
States: ist. A reflected light is seen on the upper part of the
right cheek, the eye, and the forehead ; the lower part of the
hat-brim to the left is not outlined. The shading on the left
sleeve is mainly by a curved line in the direction of the arm,
from the elbow to the wrist, i.e. from right to left; a clear border
of rather more than -fo in. ("007) at the bottom allows only a
very narrow shading upon the front of the table. [Coll : BM.
O. P. H.]
2nd. The reflected light on the left cheek, etc., is worked
over, the right edge of the hat-brim is outlined, the left arm has
a curved cross-stroke from left to right, and the shading below
carries the subject to the bottom ofthe plate. [Coll : BM. P.]
yd. The reflected light on the cheek, etc., is restored by the
aid of the burnisher, and some rather coarse work appears on
the side ofthe face. [Coll : BM. C. P. A]
4th. The clear space at the bottom of the plate is restored by
the burnisher to nearly its first dimensions ; it measures, at the
right, rather less than more than fo ('007), and its upper border
is irregular. [Coll : BM. A]
The plate still exists, but does not seem to have been worked
upon, since impressions on modern paper have no variations
beyond what result from the worn state of the plate.
Copy. Same d. Attributed by Bartsch to Solomon Savry.
It has many variations ; among them is this, that the cushion-
tassel which is seen close by the table-cover to the left is in the
original shaded only by downward lines, while in the copy it has
strokes crossing in four directions. In the clear space below
are four Dutch verses, beginning Siets Ansloos beellenis, die van
Godts yver blaeckt, etc ; which may be thus translated, 'Behold
the portrait of Anslo, who is inflamed with zeal to God. His
heart, rejoicing in good, forsakes the delights of the world for
the edification, salvation, and consolation of the members of the
Church, who rely upon the aid of Him who is their Shepherd.'
In the British Museum is preserved the actual drawing by
Rembrandt for this portrait. It is in red chalk, of course in
reverse, and is indented along the principal lines, showing
where the style had traced them on to the prepared copper
beneath. This most valuable drawing was formerly in the
Galichon Collection, from which it was transferred to the
Hugh Howard, and was secured for the Museum before the
latter collection was dispersed. It bears the signature and
date, Rembrandt f. 1640.

No. 147 Studies and Portraits. 127
Cornelis Claesz Anslo was connected, though distantly,
with the family of Rembrandt. A Pieter Claesz van Me-
denblick, son of Claes Petersz, married in 1584 Marijtge,
Rembrandt's aunt. Another member of the Claes family
was named Rembrandt Anslo ; the Rembrandt was corrupted
into Reijer, hence, as M. Charles Blanc points out [Bibl. VIII.
vol. ii. p 36], the name Renier, which Gersaint was the first to
give to this portrait. Reijer's portrait has been painted by
Flinck, and bears no resemblance to this etching, which is a
likeness of Cornelis, a Mennonite Minister of Amsterdam.
I can learn no particulars as to his age or date of death.

147. Portrait. A Man with a Crucifix and Chain.
{Ecrivain dans le costume du seiziime siicle)
This is a half-length, and evidently a portrait. His hair,
light and abundant, is cut short over the forehead and hangs
in masses upon his shoulders ; he wears a small skull-cap or
calotte ; his dress is richly ornamented, the upper part,
apparently of linen, fits close to his neck, where is seen a
small turned-back white collar ; a mantle of fine fur is thrown
over his right arm. He holds a pen, with which he is
preparing to write on some paper lying before him, and his
left hand rests upon a book. A few books standing upright
are seen close by the left edge of the plate ; the whole of the
rest of the background is shaded. A clear space -^ in. deep
(•023) is seen below the subject, in the left of which is
Rembrandt fi. 1641.
Dimensions: 6,1 — 4,1 ('155 — '105).
States: ist. The small white collar does not appear, the upper
part ofthe dress being finished with a narrow band. The work
nowhere reaches the edges of the plate. Some short slipped
strokes, a continuation of the shading below the left elbow, and
the lower outline of the book, are seen in the clear space below
the subject. [Coll : BM. P.]
An interesting impression of this very rare ist State is in the
Collection of his Grace the Duke of Buccleugh. The collar has
been sketched in red chalk and afterwards partially erased. It
is possible this was done by the master himself as a suggestion
for the next State, which certainly is an improvement in this
• respect upon the ist.
2nd. The small white collar is added. The work is continued
half-way up the edge of the plate, on the right side, and along

128 Rembrandt's Etchings. No. 148
the whole of the left with the exception of two places, one at the
top of the book nearest to the plate-edge, the other in the upper
left corner ; the lower part of these books near the plate-edge is
shaded with descending lines from right to left, and verticals
deepen the shading behind the left elbow. [Coll : BM. C. O.
P. A. H.]
yd. The plate has been reworked with dry point, and the
shadow all round the figure is deepened ; the white space at the
top of the book to the left is covered with fine nearly horizontal
work ; the slipped strokes, etc., in the clear space below to the
right, have been burnished out. [Coll : BM. A.]
4th. The background is finished to the top ofthe plate. This
impression may be in some of the large collections, but I have
omitted to remark it. The plate had no doubt passed into
other hands when the yd State was created. I have met with
impressions both of this and of the yd State tinted with ink, in
which the artist (?) has not been careful to preserve even the
outlines of the figure and of the hair.
It would be very interesting to ascertain for whom this
portrait was intended. It is evident from the careful execu
tion that it is no fancy piece, but an actual likeness. I have
not been able to verify it, but hope that some student with
greater opportunities will succeed in doing so.

148. Portrait of a Boy, Half-length. {Guillaume IL,
enfant))
The face and figure are those of a child from seven to ten
years of age ; the head, which is uncovered, is nearly a profile,
turned to the left ; the hair is rather short, thick, and curly.
He wears a close-fitting, childish dress, fastened at the waist,
with waistband, full sleeves, and wide falling collar. The
background is not so much shaded as filled with irregular
scratches, which were on the plate before it was used for the
portrait. Near the top, to the left, is Rembrandt f 1641,
The final figure is not always visible.
Dimensions: 3,7 — 2,6 ('094 — -o66).
[Coll : BM. C. O. P. A. H.]
Copy. Same d. Below is engraved Le Fils de Rembrandt.
[Coll: A]
Copy rev. The . line of the jaw is hard and angular. By
F. Novelli ; his No. 32.
Copy. Bibl. IX.

Nos. 149, 150 Studies and Portraits. 129
In the earliest and best printed impressions not only is
the final figure of the date visible, but other slight variations
are seen ; the nose is thick and clumsy from a double outline,
which is either burnished out or disappears as the impressions
were taken off; there are not, however, variations sufficiently
important or distinctive to warrant the creation of a 2nd
State. M. Charles Blanc considers this a portrait of William II.
of Nassau, Prince of Orange. With this opinion Vosmaer
does not agree, though without giving his reasons for dissent.
For my own notes upon this portrait see page 109.

149. An Old WOMAN reading. ( Vieille portant lunettes
et Usant)
An old woman, a half length, seen nearly in profile, seated,
and turned towards the right. She wears a large cap, which
conceals her hair ; she wears spectacles, and holds an open
book in her hands, in which she is reading with great atten
tion. Some cross-work is seen in the background, on the
right, as high as her forehead, and a few scratches to the left.
The plate is much soiled, especially towards the top, possibly
from some injury with the acid ; the plate-edges, too, are
uncleaned. Date assumed, 1641.
Dimensions: 3,0 — 2,6 ('076 — -o66).
[Coll : BM. P.]
Copy rev. The spectacles are hung by a very evident string,
which comes from the middle of the hair over the forehead.
This copy appears also as a counterproof, and might be passed
off as the original. It is by Cumano.

150. Rembrandt's Wife — dying. {La femme de Rem
brandt malade)
A three-quarter length, seen nearly in front ; the head is
inclining forward, and slightly turned to the right ; the
expression is one full of pain and sadness ; a hood covers
her head, and hangs down on either side ; the rest is only a
sketch, but she appears to be propped up in bed, her hands
K

130 Rembrandt's Etchings. Nos. 151, 152
concealed under the clothes ; there is a little shading in the
background. Date assumed, 1642.
Dimensions: 2,4 — 2,0 ("061 — "051).
[Coll : BM. C. P. A. H.] .
In the Collection at Amsterdam is an impression which has
been tinted with the effect of deepening the shadows, but I do
not think it is an improvement.
Copy. Same d., Bibl. IX.
It was the happy discovery of M. Charles Blanc, that in
this very touching little sketch is preserved a portrait of
Rembrandt's dying wife; its probable date is the year of
her death, and though the features are worn and altered, as
we ourselves too often witness them in illness, we can yet
recognize the face of Saskia.

151. A Young Woman with a Basket. {La jeune fille
au panier.)
This is a three-quarter length, a profile, turned to the
left ; her hair is fastened into a knot behind, but falls a little
over her ear. Two bands passing round her back hair hold
in its place a flat cap which comes forward over her forehead ;
a tippet covers her shoulders ; she has a basket upon her
right arm, and below her left hangs a kind of pouch or
pocket ; her shadow falls on the background half-way up to
the left. Date. assumed, 1642.
Dimensions: 3,4 — 2,4 ('087 — '061).
States : ist. The plate is wider at the top than at the bottom ;
impressions show a little burr, a spot of it is seen at the corner
of the basket where it touches the dress ; the background is a
little scratched and soiled. [Coll : BM. P. A.]
2nd. The plate is cut square. [Coll : BM. C. P. H.]
Copy rev. Not deceptive.
Copy. Same d., Bibl. IX.

152. A Man in an ' Arbour. {Homme sous une treille)
An elderly man is represented sitting behind a table in
an arbour ; his face is to the front, but he is seated towards
the left ; he has a short beard : his head is covered with a
mezetin cap which is raised above his left ear, but falls over

Nos. 153, 154 Studies and Portraits. 1 3 1
his right ; his left hand rests upon the table, and he appears
to be pointing to some object with his right. A line in dry
point crosses the top of the plate about T^ in. below the
plate edge ; immediately below this to the left is Rembrandt
f. 1642.
Dimensions: 2,8 — 2,2 ("071 — "056).
[Coll : BM. C. P. A. H.1
Copy. Same d. The print is carefully finished, the pot of
flowers to the right is almost a study ; by Deuchar.

153. Three Peasants travelling. {Paysan avec femme
et enfant.)
A peasant in a slashed and puffed doublet (Bartsch says
with many seams or folds) and a high-crowned hat, the brim
of which projects over his eyes, is walking towards the right ;
he carries a knapsack on his back, has a stick in his left hand,
and with his right leads a little boy ; a woman with a child
at her back follows them. Placing the print sideways, so
that the left side is downwards, a peasant's head with a hat
is seen, but it is not always easy to make out, since it is
lightly executed, and only printed clearly on the best im
pressions. Date assumed, 1643. .
Dimensions: 4,5 — 3,6 ("115 — '091).
[Coll : BM. C. O. P. A. H.]
There are no States. The earliest impressions have the
background and plate-edges soiled, and are sometimes found on
India paper. The late M. de Brou gave me a description of an
impression in the collection of the Due d'Arenberg, showing
some coarse rework. The plate is, I believe, still in existence.
Copy rev. This is by Deuchar, who has introduced a laden
ass into the left foreground.

154. Sketch of a Tree, etc. {Griffonnement avec un
arbre.)
A tree is lightly sketched near the middle of the piece,
reaching almost to the top ; a little figure stands to the left,
and what appears to be the trunk of another tree close to the
left plate line. On turning the print, part of a man's head is
seen ; the cap and part of the face near the right eye are

132 Rembrandt's Etchings. No. 155
highly finished ; the left eye has been engraved, but removed
again with the burnisher ; a part only of the eyebrow remains.
Above the cap a single eye is engraved, and to the right a
small sketch of hair. Date assumed for the tree, 1643.
Dimensions: 3,1 — 2,7 ("079 — '069).
[Coll : BM. C. O. P. A. H.]
Copy. Same d., Bibl. IX.

155. Jan Cornelis Sylvius ; an oval Portrait.
{Autre portrait de Jean Corneille Sylvius)
The subject is an oval within a square plate. He is
represented leaning slightly forward, nearly a full front, but
his face a little to the left ; his right hand is held out as if
addressing an audience ; the fingers of his left are placed
within the leaves of a book which lies closed upon a table or
desk in front of him ; his hair and beard are thin and grey.
He wears a calotte and a gown lined with fur, which appears
at the short sleeves and turned back folds in front. Behind
is a broad pillar ; to the left a curtain is drawn back ; the
fold of this curtain, the extended right hand, and the book
respectively cast their shadows beyond the outline of the
oval. Within the subject at the top is Rembrandt, 1646.
Below the oval, divided from it by a line, is a clear space,
2,6 (-066) deep, in which are sixteen Latin verses, beginning,
Cuius adorandum docuit etc., while round the oval is a legend
referring to the portrait — Spes mea Christus etc.
Dimensions ¦ lThe plate is "'°~ 7'5 ('279 — ^9^)-
dimensions. |The oval is 7,5 — 6,3 (-191 — -161).
States: ist. The plate is soiled and shows numerous slight
scratches ; there is one, deeper than the rest, which begins
about an inch from the upper right corner, and descends dia
gonally to the right. The late Mr. Tiffin, so well known for his
extraordinary knowledge of prints, was the first to notice this,
but it was not until Mr. Holford opened for me his very choice
collection that I could verify Mr. Tiffin's observation. There
is, I believe, only one other impression on which this mark
appears— that in the Collection of the Duke of Buccleugh.
It is this latter impression of which Wilson speaks in his
Catalogue, p. 194, as being the finest known. It came originally
from some member of Sylvius's own family, and was acquired
by Josi from the De Bosch Collection, from which it passed

No. 155 Studies and Portraits. 133
through the Edward Astley and Aylesford into the Duke's pos
session. I must here correct an error which appeared in the
Catalogue of the Rembrandt Exhibition in 1877, which I need
not hesitate to do, since the mistake was my own. I had sup
posed that the impression then contributed by Mr. Holford was
the one described by Wilson, and therefore added a note to that
effect ; it was not until afterwards when I had made myself
acquainted with the Duke's collection at Dalkeith that I dis
covered my error. Mr. Holford's impression, which is of great
beauty, was also from the Aylesford Collection ; and it is to be
regretted that the compiler of the MS. Catalogue of his Lordship's
Rembrandts did not add a note to tell us through whose
hands it had passed before it entered his portfolios. Two finer
impressions than these described it is impossible to conceive;
full of burr, transparent even in the deepest shadows, and
exquisitely printed, no others will bear comparison with them :
they are absolutely unrivalled. The student should not fail to
remark that these impressions are not only the finest, but were
also the first taken from the plate; the theory that later im
pressions from a plate are generally superior is, in this instance
at least, shown to be untenable. I do not say that first im
pressions are invariably the best, but here there is no room for
doubt. I can only express my regret that there is not, to my
knowledge, an impression of this State in any public collection
to which the student may refer.
2nd. The scratch in the upper right corner is burnished out,
leaving in good impressions a lighter space upon the copper.
[Coll : BM. C. O. P. A. H.]
Copy rev. There is no shading upon the wristband of the
hand that holds the book ; in the upper right is F. Novelli inc.
1792. It is his No. 30.
Copy rev. The figure is placed within a window frame of
stonework. This is by Jean Frederic Bausse.
Copy. Same d., Bibl. IX.
In the Gallery of the Cardinal de Fesch was a portrait
bearing the name of Juste Lipse. Vosmaer relates [Bibl.
XXXVII. p. 260J that he discovered in this portrait the like
ness of Sylvius ; it was painted in 1644, Sylvius having died
in the year 1638. A pen-and-ink sketch, which may have
been used for this portrait, is described in the Catalogue of
Frenzel, in 1837, which passed with the rest ofthe Collection
into the possession of the King of Saxony. A study for the
print is in the British Museum ; it is drawn in sepia with a
reed pen, in an oval 7,5 — 6,5 ('191 — '166), and is in a reverse
direction; it came from the Howard Collection, and was
acquired by the Museum previously to the public sale. The

134 Rembrandt's Etchings. Nos. 156, 157
picture, once in the Fesch Collection, is now in that of Mr.
Carstenjen, of Cologne. For further notes on Sylvius, vide
No. 142.
156. An Old Man resting his Hands upon a Book.
( Vieillard en midi tation)
An old man, seen in profile, with a large beard, and wear
ing a close-fitting cap. He is turned to the right, resting his
crossed hands upon a book placed upright before him upon a
table ; in his right hand is a pen. Date assumed, 1646.
Dimensions: 5,3 — 4,2 ('135 — -io8).
States : ist. As described, before the work in dry point which
distinguished the 2nd State.
This impression was in the collection of Herr Karl E. von
Liphart, of Florence (see his Catalogue, No. 141 9).
2nd. The lines which define the shoulder, the back, and the
under part of the arm are worked upon in dry point which in
early impressions shows the burr ; below the collar on the back
of the shoulder is a left-to-right zigzag forming something like
the letters W W. [Coll : BM. C. P. A. H.]
Copy. Same d., Bibl. IX.
This print has been called An Evangelist meditating, but
I see no reason to remove it from this class.

157. A Beggar Woman asking Alms. ( Vieille mendi-
ante)
An old beggar woman is on the left of the plate, stooping
and turned towards the right ; she wears a close cap and a
short cloak ; her right hand is extended, as if asking for alms,
and she rests the left upon a stick ; behind her is a bank,
which reaches as high as her elbow. Low down to the left is
Rembrandt, 1646. Dimensions: 3,2 — 2,5 ("081 — "064).
[Coll: BM. C. P. A. H.]
In early impressions the edges of the plate are uneven and
soiled, but the subsequent alterations are not sufficiently im
portant to constitute a State.
Copy. Same d., by Deuchar, 3,1 — 2,1 (-079 — -053). In
the original, the shadow of the bag hanging at the woman's side
is expressed by left-to-right diagonals ; this shadow is wanting
in the copy, which is also unfinished about the feet.

No. 158 Studies and Portraits. 135
Copy. Same d. Etched on a plate 7,0 — 4,8 (-178 — "123).
On the same plate in the opposite direction is a copy of No.
31. The angles are marked by which the plate could be cut to
the same size as the original, and there are impressions from
the plate so cut. This copy may be known by the regular and
delicate cross-work which shades the hinder part of the old
woman's skirt. By De Claussin.

158. Ephraim Bonus. {Ephraim Bonus, dit le Juifi d la
rampe.)
He is represented standing on the lower steps of a stair
case, his right hand resting upon the balustrade. His hair is
short and dark ; . his features have a thoughtful expression, as
if deliberating on the case of a patient. He wears a wide-
brimmed and high-crowned hat ; a short cloak hangs upon his
left shoulder and is seen behind his right ; he has a broad
white collar and a white cuff at his wrist. Upon the fore
finger of his right hand is a large signet ring. The background
is shaded throughout. In the right lower corner, not very
easy to decipher, is Rembrandt fi. 1647. There is a clear
space 1,3 ('033) deep, as if for an inscription.
Dimensions: 9,5 — 7,0 ("241 — '178).
States: ist. The fingers are not shaded; the ring and the
stone are black; the lower part of the cloak, which hangs in
front on the right, has a clear light along its outline ; the ban
nisters, especially that to the left, are unfinished, and the vertical
strokes shading the handrail do not reach its lower outline.
[Coll : BM. A]
Only one other impression is known. It is in the Collection
of R. S. Holford. Esq. who contributed it to the Rembrandt
Exhibition of 1877.
2nd. A light vertical shading appears upon the fingers ; the
ring and the stone are white through the removal of the
burr ; the lower part of the fold of the cloak is worked over ;
the shading on the bannisters and verticals on the handrail are
completed. [Coll : BM. C. O. P. A. H.]
The variations which distinguish the 2nd State have certainly
added to the beauty of the print ; the effect of lowering the high
lights upon the cloak and the balustrade is to produce a greater
harmony of tone, and give less prominence to the unimportant
parts of the picture.
Copy. Same d., by Amand Durand, in 'The Portfolio,' April
1878.

1 36 Rembrandt's Etchings. No. 159
It will be seen that I have retained the usual title of
Ephraim Bonus for this portrait. It would seem to me mere
affectation to substitute for it a name by which he was
probably never addressed from the day he commenced prac
tice in Amsterdam. When the name appears below the
impressions of the portrait it is always Bonus ; thus in the
Rembrandt Exhibition of 1877 Mr. Holford contributed a
2nd State, placed on the same mount as his superb impression
ofthe 1st, below which was inscribed, in old ink of Rembrandt's
time, de jootschen Doctoor Bonus.
In the Gallery of Mr. J. P. Six, of Amsterdam, is a portrait
of Ephraim Bonus on panel, probably taken in the same
year ; and as it is in a reverse direction, this etching is no
doubt a reproduction of it. The picture is catalogued by
Smith No. 258, Vosmaer [Bibl. XXXVII. p. 542] {vide also
' The Portfolio,' April 1878, ed. by P. G. Hamerton).
Jan Lievens also etched a portrait of Ephraim Bonus.
He has represented him seated in a chair to the right ; the
likeness to the Jewish doctor is preserved as in Rembrandt's
portrait, though he appears as an older man. Lievens's work
was printed by Clement de Jonghe ; and below is the inscrip
tion, Dr. Ephraim Bonus Medicus Hebrceus etc.
Ephraim Bueno, or Bonus, by birth a Portuguese Jew,
established himself as a doctor of medicine at Amsterdam,
where in 165 1 he obtained the rights of a burgher. In early
collections of Rembrandt's etchings this portrait was known
under the name of Het Doctoortje (the little Doctor), and some
impressions of the plate are so inscribed. Scheltema speaks
of a Joseph Bonus, probably the father of Ephraim, who
attended Prince Maurice in his last illness in 1625.

159. The Portrait of Jan Six. {Le bourgmestre Six.)
He is represented a full length, standing on the right side
of the print, and leaning with his back to a window, the lower
casement of which is open. He is bare-headed, and his long
light hair falls upon his shoulders ; his close-fitting dress is
open at the top, with a large white collar, to which tassels are
attached. With both hands he holds a folio pamphlet, in which
he is attentively reading. This pamphlet, from its shape and
size, is no doubt a copy of his own tragedy of ' The Medea,'

No. 159 Studies and Portraits. 137
possibly the identical thin folio long preserved in the Six
family, and now in the Museum at Amsterdam. On the
chair opposite to him, on the left of the print, is a parcel of
the same folios, the upper one open, as if just delivered from
the printers. His cloak is thrown off, and lies partly in the
window seat behind him, and partly on a table to his right,
where also are seen his sword and belt ; while his cane leans
against the wall above the table, and his hat and a second
short sword are hung above. A curtain, drawn back about
the middle, hangs by the right side of the window. The floor
is covered with fine matting. Below the print is a narrow
clear space, in which is engraved to the left, Jan Six JE 29,
and to the right, Rembrandt fi 1647.
Dimensions : 9,7 — 7,5 ('246 — '191).
States : ist. Before the name and date, and before the in
scription ; a sill appears in the window, rising to about halfway
up his arm. Only two impressions are known. [Coll : P. A.]
2nd. The window sill is burnished out. The name and date
appear in the lower right, but the figures 6 and 4 are reversed.
This is generally found on yellowish paper. [Coll : BM. A.]
yd. The figures are placed correctly, and the inscription in
the lower left is added. On worn impressions some slight
additional work can be detected upon the hat and stick, but it is
not easy to describe. This yd State is generally printed on
thickish white or stained paper. [Coll : BM. C. P. H.]
Copy. Same d., by Basan. For the variations which dis
tinguish it, vide |}lah- III. fig. 16.
Copy. Same 3. Though not named, I do not hesitate to
attribute it to Worlidge. The broad dark shadows which form
a pattern on the wall below the window are wavy in the original,
and have an upward direction towards the left, parallel to the
lines on the floor ; in this copy they are not waved, and have
an upward direction to the right, making an angle with the lines
on the floor.
Copy. Same d. In mezzotint, by Richard Houston ; dated
1761. Copy. Same d., reduced in mezzotint. An oval on a square
plate ; dated 1762. The figure only is engraved, and seen not
quite to the knees. This copy is also by R. Houston.
Copy rev. Very poor. The shadow within the fold of the
book is black, inscribed Francisco Novelli inc. 1791. It is his
No. 25.
The plate of this beautiful portrait is still in existence. I
had the privilege of examining it in the summer of 1876, it
having been lent by the present owner, Mr. J. P. Six, for

138 Rembrandt's Etchings. No. 159
exhibition at Amsterdam. The more delicate work upon the
copper is much worn, and it would not now produce any
satisfactory impression. Gersaint, writing in 175 1, tells us
that no less than twenty-five impressions of the 3rd State
appeared in the Six sale [Bibl. I. p. 125], and probably more
have been struck off, since some very indifferent prints in this
State are occasionally seen. Impressions in the 2nd State
are extremely rare. One of the few in private hands was
contributed to the Rembrandt Exhibition of 1877 by R. S.
Holford, Esq.
As an example of etching, this print will well repay a long
and patient study. The accuracy of eye and hand requisite to
work up the shadows was something marvellous ; the lines
cross and recross in every imaginable direction, but are never
confused. While I write I have before me an impression of
the 2nd State, lent from a private collection. It is not
possible to conceive a more beautiful and more perfect
triumph of the etcher's art. The shadows even in their very
deepest are transparent ; the effects of direct and reflected
light on the face, on the hands, and on the folio are quite
beyond description ; and as the print is in almost as perfect
condition as when it came from the master's own hands there
is nothing to mar its beauty ; my only regret is that such
perfection cannot be multiplied a hundredfold that every
collector might possess it. But not only does this finished
beauty of the print win our admiration, the astonishing amount
of work excites our surprise ; how could Rembrandt ever
have found time to execute it ! He was busily employed
during these years on other subjects, yet here is work which
must, we think, have occupied perhaps many weeks in its
execution. Some have supposed that he entrusted a part of
the background to a pupil or assistant, and have even attri
buted to Ferdinand Bol much of the handiwork ; but not only
had Bol when this plate appeared been working for ten years
past on his own account, but he has left us etchings with
which to compare it, and we know from them that such
technic was entirely beyond his powers. If all this detail was
executed by an assistant we must for ever regret that so able
an etcher has left us nothing of his own, not even his name
that we might honour his memory ; but it is impossible that

No. 160 Studies and Portraits. 139
an artist of such merit could have remained undiscovered.
There is work of a similar character in the ist State of the
Artist drawing from a Model, No. 284, which it is equally
impossible to attribute to any but Rembrandt.
Jan Six, whose nanie is inseparably connected with that
of Rembrandt, was of a family which formerly belonged to
St. Omer in Cambray. Karel Six, a younger son of the house,
emigrated during the Huguenot persecution, and became re
sident in Amsterdam in 1585. His son Jan, born in 1575,
married Anna Wijmer, a lady of good Dutch family, and by
her had three sons and two daughters ; the sons were Karel,
Pieter, and Jan Six who became the friend of Rembrandt. Jan
was born in 16 18, and consequently was only twelve years old
when Rembrandt came to reside in Amsterdam ; Jan was
then living with his parents at their country seat of Elsbroek,
near the village of Hillegom. In the year 1655 he married
Marguerite, the daughter of Nicolaas Tulp, whose portrait
appears in the Lesson in Anatomy. In 1656 he became
Commissioner of Marriages, in 1667 was a member ofthe
Council ofthe States General of Holland, and not until 1691
was he Burgomaster; he died May 18, 1700, at the age of
82. Vosmaer [Bibl. XXXVII. p. 268 et seq.] devotes a whole
chapter to the relationship of Rembrandt with Jan Six, to
which I must refer the student ; see also the work of M. Charles
Blanc [Bibl. VIII. vol. ii. p. 86].
M. Charles Blanc describes another portrait of Jan Six
{Autre portrait du bourgmestre Six) found in the Collection
at Amsterdam, and believes he recognises in it the hand of
Rembrandt. The print is harshly worked with the burin and
in a technic so unlike that of Rembrandt that I cannot admit
it although M. Blanc's opinion was endorsed by M. Klink-
hammer. To me it appears to be a copy of one of the
etchings of F. Bol. (Bartsch, No. 12.)

160. Rembrandt drawing. {Rembrandt dessinant.)
He is seen full front, a half length ; he wears a high narrow
brimmed hat ; his dress is a plain coat open at the neck ; he
is seated behind a table, and holds a crayon in his right hand,
with which he is drawing on a sheet of paper placed on a book

140 Rembrandts Etchings. No. 160
before him and kept in its position with the other hand ; at
the left of the print is an open casement through which, in the
$th State, a distant landscape is seen, and in the 2nd State a
scroll is attached to the upper frame, on which is engraved
Rembrandt fi. 1648. Dimensions: 6,3 — 5,1 (-i6i — '130).
The height is 6,2 ('159) on the left side.
The States of this plate have been variously described :
M. Charles Blanc gives ten, allowing the existence of the ist,
2nd, 4th, and ^th of Wilson, no one of which have I been able
to verify. Wilson's ist is 'a slight etching without effect ; '
his 2nd is ' more worked on and the features are better de
fined ; ' of course, these States, really trial proofs, may have
existed, but they are not in the largest collections, nor can I
learn that anyone has ever seen them ; an impression, not
varying in technic from Wilson's 3rd State, and which, I
believe, was the actual impression which gave him the idea
of his 2nd State, was in the Aylesford Collection, and is now
in that of R. S. Holford, Esq. ; it has a greyish tone and is
altogether paler and less effective than that which he consi
dered the 3rd, but, as I have said, it presents no actual variation.
Wilson's 4th and $th are retained by M. Charles Blanc, but he
does not say that he has seen them ; and it is curiously sugges
tive, that while I have found eight impressions of Wilson's 3rd
(described below as the ist) and twelve of Wilson's 6th (de
scribed below as the 2nd), I have not seen a single impression
answering to Wilson's 4th or $th, nor can I point to an im
pression of his 8th State, though, from the fact that he corrects
Wilson's description, it seems to be known to M. Charles
Blanc. I have therefore retained this State, and have discarded
Wilson's ist, 2nd, 4th, and $th.
States : ist. The upper edge of the plate is uneven on the
left. [Coll: BM. O. P. A.]
Below Rembrandt's right hand, upon the book and paper, some
traces are seen of earlier work: fine shading or essays with the
needle, perhaps only an accidental injury to the varnish, but this
has been printed with the rest and remains until a very late
condition of the plate ; it is most distinct in the finer impressions.
2nd. The upper edge is cut straight. The left hand is covered
with fine left-to-right diagonals ; short verticals are seen on the

No. ioo Studies and Portraits. 141
upper part of the paper, held down by the hand, and which is
now divided into leaves ; the upper left of the side bar of the
window shows a few diagonals left to right, and the scroll with
the name and date appear. [Coll: BM. C. P.]
3rd. A left-to-right diagonal shades the right hand, and lines
in dry point with burr cross the left breast and shoulder, and the
middle ofthe left arm. [Coll: BM. O. A]
4th. Cross lines appear upon the cuff. The upper part ofthe
paper, both on the front and to the right, is shaded with fine
verticals. Described by Blanc.
$th. A landscape is seen through the window; cross lines
shade the left hand, and fine diagonals appear on the thumb
and forefinger of the right ; the scroll and side ofthe window are
covered with horizontals, and left-to-right diagonals shade the
front of the book under the paper. An additional fold of the
sleeve appears just above the right elbow, which seems to have
been introduced and then partly burnished out again. [Coll:
BM. O. P. H.]
6th. Additional work crosses the shoulders, giving the dress
the appearance of an academical gown. The deepening of the
shading upon the scroll almost conceals the name. [Coll: BM. C]
ph. The outer fold of the sleeve of the right arm, where it
cuts the window, has diagonal cross- work, and is well defined; it
had before this only slight left- to -right diagonals, and was ill
defined. [Coll: BM. O.]
Impressions with additional work are found, but they are not
worth recording. I suspect the plate exists or has existed until
a very recent time.
Copy. Described by Gersaint. Same d. In this copy, of
which I have found several impressions, the front of the book
beneath the paper is worked over with very regular horizontals
and left-to-right diagonals, but no other shading.
I do not think that any of the variations after the 3rd
State were executed by Rembrandt : the additional shading
only weakens the effect, and the introduction of the landscape
is the trivial completion of a picture which would only recom
mend itself to an inferior artist who did not see that in a
print already too full of uniform tone a large light space was
wanted ; he discovered his error when impressions appeared
from the plate, and endeavoured to correct it in the following
state by deepening the folds of the dress and the shading
about the window.
The student will not fail to contrast the gravity and plain
burgher dress of this portrait with the fanciful costume and
varied, often genial expression of the earlier studies of himself.

142 Rembrandt's Etchings. No. 161
The death of Saskia, though it had taken place six years
before, had affected his life, and given a different character to
his work.

161. Portrait of Jan Asselyn. {Jean Asselyn)
He is a half length standing, his body turned to the left,
but his face nearly full. He wears a high crowned hat with
a broad brim, turned up on the left side ; his long hair falls to
his shoulders ; he has a white collar fastened with a tasselled
string, and a loosely fitting dress confined at the waist with a
sash ; his left hand, holding a glove, is placed on his hip, his
right hand, also gloved, rests on a table upon which are his
palette and some books. In the lower right corner is seen a
part only of the name and date, Rembra, and below it / 1 ;
there is a clear space nearly 1,2 ('031) wide below the subject,
the upper part crossed by a deep line. Date assumed, 1648.
Dimensions: 8,4 — 6,7 {'213 — '171).
States: ist. Behind the figure is a large easel, on which is
an architectural drawing; a little shading is seen in the back
ground to the left of and above the easel. [Coll: BM. O. P. A.]
2nd. The easel is removed from the plate by means of the
burnisher, but its traces are still apparent. [Coll: BM. P. A.]
yd. The burnisher has been again used to clear away all
traces of the easel ; fine interlines are seen upon an upright
volume close to the left edge ofthe plate. [Coll: BM. C. O. P.
A. H.]
M. Charles Blanc tells an amusing tale regarding a manufac
tured ist State, for which vide Bibl. VIII. vol. ii. p. 37.
A very interesting and beautiful impression ofthe ist State
was contributed to the Rembrandt Exhibition of 1877 by
Edward Cheney, Esq. ; it is a faint impression worked off in
the same manner as the impressions of Lutma, No. 171, and
finished in crayon by the master. Below it is written in faded
ink Jan Asslijn A" 165 1; but this date refers to the work in
crayon, not to the date of the etching.
Jan Asselyn, or Jean Asselin, as he has signed himself on
a picture, A Charge of Cavalry, at Amsterdam, No. 5 of the
Catalogue, was born at Antwerp, in 161 o. Though a pupil of
Jan Meel and Ezaias Van der Velde, his manner is rather
that of Pieter de Laer, whom he met with in Rome ; he re
turned to Holland in 1646. He generally depicted Italian

No. 162 Studies and Portraits. 143
scenes, with ruins, and figures, and cattle in the foreground.
Such are those in the Louvre, which from the delicacy and
tenderness of the treatment, and the charming effect of sun
shine, make us regret that his paintings are so rare in the
Public Collections. He died in 1660. His nickname of
Crabbetje was given by the Flemish artists resident in Rome
on account of some contraction of the fingers.

162. Portrait of Lieven Willemsz van Coppenol ; a
smaller Plate. {Petit portrait de Lieven Coppenol)
He is represented half length, sitting at a table which is
at the left of the print ; he is turned to the left, but looks
towards the spectator ; he wears a calotte, has very short hair,
a small beard and moustache, and is clothed in a close-fitting
coat open in front. On the table are several sheets of paper,
which he keeps in their place with his left hand while he
pauses in tracing an oval with a pen in his right ; a boy with
his hat in his hand is standing behind him. Above the table
to the left is a window of which only the upper corner is seen ;
from this window comes the light ; there is an unlighted
candle upon the table ; a darkly shaded semi-oval, called in
Holland the Ox-eye, is seen above the boy's head to the right.
Below the subject is a clear space of about 1 inch ("025) in
depth, as if left for an inscription. Date assumed, 165 1.
Dimensions: 10,2 — 7,5 ("259 — "183).
States: ist. Coppenol's forehead is unshaded; the pen in his
right hand is short and entirely unshaded, as is also the tray of
the candlestick ; the upright stem of the candlestick shows a few
vertical, and the candle a few horizontal strokes ; the face of the
boy has a left-to-right diagonal, and his collar in the lower part
a vertical line ; the Ox-eye is not very distinct. [Coll : BM. A.]
In the British Museum Collection is an impression upon parch
ment which appears to have less work; it is not an earlier state
but is only indifferently printed. Wilson had a ist State in his
possession on China paper ; he says of it, ' the ink is purposely left
as a tint on portions of the spaces which would otherwise be
clear, and the boy's face is in shadow : the effect is one of Rem
brandt's finest' This impression, says M. Charles Blanc, was
bought by Wilson at the Baring sale for ^91; it came from the
Barnard sale in 1784, where it realised only pf 5. It is now in
the collection of the Duke of Buccleugh, but does not, I think,
merit Wilson's encomium.

144 Rembrandt's Etchings. No. 163
2nd. The pen is lengthened and shaded ; the under part of
the tray of the candlestick is shaded, and cross lines are seen on
the stem and on the candle ; a pair of compasses and two draw
ing squares hang against the opposite wall ; the shadow of the
longer square is formed of vertical and horizontal lines ; the Ox-
eye is distinct. [Coll: BM. C. A.]
A fine impression of this very rare State was seen at the Rem
brandt Exhibition of 1877, contributed by Henry Brodhurst, Esq.
yd. The forehead of Coppenol is shaded with fine downward
and right-to-left lines ; the face of the boy is worked over, and
from his eyebrows downwards is covered with horizontals and
right-to- left diagonals ; the light part of the boy's collar is very
slightly shaded. This is the usual state of the plate. [Coll : BM.
C. O. P. A]
4th. Instead of the Ox-eye the opposite wall is almost covered
with a large triptych of the Crucifixion ; the plate, which shows
marks of wearing, has been retouched. These alterations were
not by the hand of Rembrandt. [Coll: BM. P. A. H.]
5th. The triptych is imperfectly obliterated, a shading of
strong horizontals is seen under Coppenol's left hand, and the
shadow of the longer square is deepened by diagonals from left
to right. [Coll: BM. P. A]
6th. The Ox-eye is again introduced and the plate reworked.
[Coll: BM. C. P.]
Copy. Same d. of the 6th State. The shading is of very regular
cross-work ; below the subject to the right is the monogram of
Pierre Frangois Basan.
Copy rev. Of the 6th State. Left-to-right diagonals cover the
top of the chair; inscribed Francesco Novelli inc. No. 26, and
dated 1792.
An account of Coppenol is given after a second portrait of
him, No. 174.
163. Bust of a Young Man ; lightly etched. {Jeune
homme en chap eau)
The figure is only slightly sketched ; he is turned to the
left and wears a hat with a flat brim ; the shading on the hat
and forehead consists only of single lines from right to left.
Date assumed, 165 1.
Dimensions: 3,6 — 2,6 ("091 — -o66).
[Coll: A.]
The only impression known is at Amsterdam. M. Charles
Blanc thinks it is a sketch for the portrait of Clement de Jonghe,
an opinion with which I am content to agree.
Copy. Same d. Bibl. IX.

No. 164 Studies and Portraits. 145
164. Portrait of Clement de Jonghe. {Climent de
Jonghe)
He is seated, a full front, seen nearly to the knees ; he
wears a hat with a broad brim turned up at the sides, and
which casts a shadow upon his face; his cloak is open in
front, showing a close-fitting coat with wide turned-down
collar ; his right arm is supported by the elbow of his chair,
the left hangs downwards, and both his hands are gloved ; the
chair-back is seen on either side above his shoulders. The
shading in the left background reaches as high as this chair-
back, and in the right is confined to the lower corner, where
is engraved Rembrandt f. 165 1.
Dimensions: 8,2 — 6,4 ('208 — '163).
States : ist. A narrow white space is seen below the upper bar
ofthe chair ; the top of the upright is unfinished; the outer fold
"of the cloak, falling from the left shoulder, is unshaded at the
upper part and lightly shaded lower down ; there is no band to
the hat. [Coll: BM. C. O. P. A. H.]
2nd. The white space below the bar of the chair is worked
over, and the top ofthe upright is defined; the outer fold ofthe
cloak is covered by a right-to-left diagonal; the right eye is
curiously enlarged. [Coll: BM. P. A.]
yd. An irregular arch is sketched in above ; a few lines of
shading from right to left are seen below the right side of this
arch ; the eye is restored to its proper size, and a little narrow
band is seen upon the hat. [Coll: BM. P. A.]
4th. Short irregular hatchings and longer lines of shading
from left to right follow the line of the arch, below which appear
some essays with the point resembling foliage ; a small button
is seen on the narrow band ofthe hat. [Coll: BM. C. P. A.]
$th. The white space below the bar of the chair is restored
with the' burnisher ; the right side of the upright on the left is
made light; the breast of the coat has received additional
shading by downward strokes from the collar, but there is a
space between the third button, counting upwards, and the left
arm where the downward strokes are not given. [Coll: BM.
C. A. H.]
6th. The downward strokes are continued over this space
upon the breast ; the plate has been reworked ; the shading
below each hand has been deepened. [Coll: BM.]
Copy. Same d., 3rd State. Bibl. IX
The variations which constitute the 4th State are not, I
think, by Rembrandt ; the variations in the 3rd, being partly
corrections of an accidental injury, we cannot doubt were his.
L

146 Rembrandt's Etchings. Nos. 165, 166
Really fine impressions of this plate are not uncommon ; it is
beautifully etched on a very hard plate, which retained its
sharpness even into the later States.
Clement de Jonghe, an artist as well as a print dealer,
lived in the Calverstraat in Amsterdam : his name is con -
stantly found on impressions of the Dutch engravers of his
time. Vosmaer tells us that a fine etching by his hand was,
in 1864, in the Collection du Rosey, Vinus et l' Amour dor
mant sous des arbres, ipiis par un Satyr. I have not seen this
print.

165. Portrait of Titus, Rembrandt's Son. {Portrait
de Titus Van Ryn, fils de Rembrandt)
Portrait of a boy seen to the waist, nearly full front ; he
wears a soft cap ; his hair falls over his forehead and on either
side as low as the neck ; his hands are concealed by a mantle
which hangs from his right shoulder ; the left elbow is ex
posed ; the figure is little more than outlined. The background
is shaded above the shoulder to the left of the head and by a
few strokes low down on the right. Date assumed, 1652.
Dimensions: 3,0 — 2,8 ('076 — "071).
De Claussin was the first to suggest that, the portrait being
that of a youth and the technic in Rembrandt's later manner,
we have here probably a likeness of Titus, Rembrandt's son.
He was eleven years old in 1652, which we assign as the date
of the print. Impressions are rare, the finer ones are on India
paper and the backgrounds are sometimes tinted.

166. A Copse and Paling with Studies of a Horse, etc.
{Griffonnements avec un taillis et une e'tude de cheval)
In the upper left is part of a horse cleverly foreshortened
from behind ; higher up, quite in the left corner, is the profile
of a head turned to the right ; and towards the right side
another is seen full face, the lower part unfinished ; beneath
the horse is a sketch of foliage, a coppice or clump of trees
surrounded by a fence, reminding us of The Vista, No. 328.
Date assumed, 1652.

No. 167 Studies and Portraits. 147
Dimensions: 4,3 — 5,4 (-no — "138).
[Coll : BM. C]
Copy. Same d. Bibl. IX.
Only three impressions of this print are known ; that
which is in the British Museum was formerly in the possession
of Houbraken ; it is on India paper and full of burr, and was
long believed to be unique ; the other two were found at Cam
bridge, in the University Library. When by grace of the Senate
duplicates from this collection were sold at Messrs. Sotheby's,
May, 1878, one of these, selected as the inferior impression,
realised £305. The student should compare the technic of
these sketches with the Portrait No. 165, and with The Vista
among the Landscapes, No 328.

167. Jan Antonides van der Linden. {Jean Anto-
nides van der Linden)
He is represented standing, a half length and seen in front,
but slightly turning to the left ; his head is uncovered ; he
wears an academical gown with a broad white collar and
white cuffs, and holds a book. In the background are trees,
and to the left a balustrade, and above it in the distance an
arched doorway in a wall. A double line is drawn below the
subject from which a clear border, 2 in. ('051) deep, as if for
an inscription, extends to the lower plate edge. Date assumed,
Dimensions: 6,9 — 4,2 ("176 — -108).
States : ist. The extremities of the foliage to the upper left
are only in outline ; the central part of the left arm, from the
armhole of the gown to the elbow, is shaded only by diagonals
from left to right. [Coll: BM. C. P. A.]
2nd. The extremities of the foliage to the upper left are co
vered above by diagonals from right to left, and lower down by
nearly vertical lines ; some fine horizontal work appears above
and to the right of the arched doorway, but this does not reach
to the top. [Coll: BM. A. H]
3rd. The left-to-right lines on the sleeve above the elbow are
crossed by diagonals also left-to-right, cutting the others at an
angle. The horizontal lines are continuous to the top of the
wall over the arch, and the space between the balustrades di
rectly below the arch is covered with diagonals from right to
left. [Coll: BM. P.]
4th. Diagonals from right to left shade the gown below the

148 Rembrandt's Etchings. No. 168
wrist and sleeve ; the background above the head has been re
worked, and near the right edge of the plate it is now crossed
with a fine descending line from right to left. Impressions are
found — there is one in the British Museum — with a small space
in this shading on a level with the right shoulder, lighter than
the surrounding work, as if the plate had here been burnished;
but 1 regard it as from some failure in the printing, or perhaps
from an injury to the plate, not as a variation constituting
another State. [Coll: BM. C. A]
Sth. Additional shading appears on the right arm and the
gown ; the velvet facing has on that side become indistinct, and
is no longer in relief. (I enter this as a State partly from M.
Charles Blanc's description, but the variation looks more like a
printing effect than a true alteration in the work.) [Coll: BM.
C. O.]
6th. The whole plate has been reworked ; the expression of
the face is changed, it has become more rounded; the right cheek
has a swollen appearance, and the print has the character of a
mezzotint rather than of an etching. [Coll : BM. C]
M. Charles Blanc thinks that the changes made in the
plate after the 4th State are modern. My conviction is that
the plate left Rembrandt's possession before the variations
which constitute the 4th State were executed ; the same hand
which worked the 4th State of The Three Crosses and created
the later States oi Abraham Fransz, etc., is here apparent.
Jan Antonides van der Linden, born in 1609, was an
eminent physician, educated at Franeker, and at one time
practising in Amsterdam, where in 1637 he was appointed
Inspector of the College of Medicine ; he became Professor at
Franeker in 1639, and in 165 1 received a similar appointment
at the University of Leyden. He was at Amsterdam in the
year 1653, passing a 4to vol. on medicine through the press.
This date agrees with that which I have fixed for the portrait.
He is represented by Rembrandt standing in a garden, an
allusion, no doubt, to his having been the means of enlarging
the botanic garden at Franeker. He died at Leyden, March
1664.

168. Jacob Haring; Portrait known as 'The Old
Haring.' {Haaring le Vieux)
He is seated in a chair ; his face, nearly full, is slightly
turned to the left ; his elbows rest on the arms of the chair ;

No. 168 Studies and Portraits. 149
his left hand hangs down, his right is partly raised, as if he
held a pinch of snuff between his finger and thumb ; his hair
is white ; he wears a small calotte, has a broad white collar
with tasselled strings and white cuffs at his wrists ; his knees
and the upper part of his legs are seen ; behind him is a
window with a curtain drawn aside to the left : the chair in
which he is seated is the same as that which appears in the
portraits of Anslo, Fransz, Lutma, and Van Tholinx. Date
assumed, 165 5- Dimensions: 7,7 — 5,8 ('196 — "148).
[Coll : BM. C. O. P. A. H.]
Wilson describes three States of this piece, and in this he is
followed by M. Charles Blanc ; both agree in what they say of
the ist, that it is a mere unfinished sketch, though the latter
adds, ' full of spirit and feeling ' ; the 2nd State is described as
being without the division in the middle of the window ; I have
seen twenty-one impressions, but in no one of them is thire any
variation beyond what is due to difference in the printing.
Several of these impressions are of the very finest character, with
a richness and depth of tone which cannot be surpassed ; they
are on vellum, on India, or on white paper ; foremost among the
latter I rank an impression in the Collection of Henry Brodhurst,
Esq., which with its wide untrimmed margin formed one of the
gems of the Rembrandt Exhibition of 1877. Until an earlier
is found I cannot believe in any previous states, but I think it
not unlikely that a process which has yielded faint impressions
of the Lutma, etc. may have been practised with this, and that
a print answering to Wilson's description of a ist State may yet
be discovered; vide remarks on Lutma, No. 171.
Copy of the head only. Novelli, No. 24.
Copy. Same d., Bibl. IX.
The elder Haring held some position in the Court of In
solvents {Desolate Boedelkamer) at Amsterdam, the exact
nature of which I have been unable to ascertain. M. Charles
Blanc considers he was a concierge, an opinion endorsed by
my friend, Le Chevalier de Stuers, who has kindly made
inquiries for me in Holland. Possibly the goods of insolvents
were formally consigned to him, to remain in his custody
until a sale. I am not able to learn any particulars of his
history or of that of his son, the younger Haring, who suc
ceeded to his father's office.

150 Rembrandt's Etchings. No. 169
169. Thomas Jacobsz Haring ; Portrait known as
' The Young Haring.' {Haaring le jeune)
He is seen nearly full face, seated in an arm-chair and turned
slightly towards the left ; he rests both his hands on the arms
of the chair, holding his hat in the right hand ; the light
comes through a latticed window to the right, and falls full
upon his left cheek and collar, the rest of the subject is in
shade ; in the 2nd State a curtain rod is seen crossing the
window about a third from the top, the curtain is drawn to
the right side ; on the lower row of window panes is Rem
brandt fi, and below it/ 1655 ; the figure 6 is reversed.
Dimensions: 7,8 — 5,8 ('198 — '148).
States : ist. Before the introduction of the rod and curtain.
The portrait in this State is so darkly printed that the head, the
collar, and the left hand are almost the only parts of the figure
which are visible. [Coll : BM. P. A. H.]
The absence of the name and date has been given as a varia
tion which characterises the 1st State, but this is not a variation
which can be relied upon, for though the name and date, as in
the superb impressions in the British Museum and in the Col
lection of the Duke of Buccleugh, seem to be strongly etched,
they yet only partly appear in others of very nearly equal merit ;
thus in another impression of this ist State in the British Museum
the first part of Rembrandt's name to all appearance might never
have been engraved, and I know one fine ist State in which it is
not seen, and only a part of the date can be discovered ; the
explanation is, that the writing was so very delicately executed
in dry point that a few printings took off the burr, and the lines
disappeared. In the 2nd State the letters, etc., were reworked,
and are very legible.
2nd. The rod, the curtain, and the cuffs are introduced, and
the name and date are reworked. [Coll : BM. C. O. P. A.]
3rd. Much of the burr is removed ; a landscape picture with
arched top hangs on the wall behind ; the plate is much worn,
especially about the left wrist. [Coll : BM. A. H.]
There is in the British Museum a very faint impression of this
State, which appears as if it had been printed with some inferior
ink, which has caked and come away. At Cambridge is an
impression of this State cut into an oval.
4th. The plate is reduced ; the head and bust only remain.
It measures 4,7 — 4,1 (-120 — -105). [Coll : BM. C. P. A. H.]
$th. The plate has been cut into an oval form. Impressions
are so poor, and show so little of the original technic, that I have
not cared to record their occurrence. The lower part of the plate
has also been printed from. There is an impression at Amsterdam
which has been very curiously treated; only the hat and hand

No. 170 Studies and Portraits. 151
appearing upon this part of the plate, some ingenious artist
has etched the profile of a man under the hat, on which a lamp,
introduced into the upper right corner, casts a light.
Whether the variations which constitute the 2nd State
were executed by Rembrandt is, I think, open to doubt, but
I have no hesitation in attributing the creation of the 3rd
and, of course, the later States to other hands.
I have not been able to obtain any information regarding
the history of the subject of this portrait ; below an impres
sion in the British Museum is written, d'afslager Haringh, i.e.
Haring the auctioneer ; the writing is in brown ink and of an
early date.

170. Doctor Arnoldus Tholinx. {Le Docteur Petrus
van Tol)
He is seated behind a table in an arm-chair, the same
which appears in the portraits of Old Haring and Lutma, etc.
He is nearly full face ; his hair is short ; he has a moustache
and a square cut beard ; he wears a hat with a high crown
and broad brim ; his arms rest on the elbows of the chair ; in
his right hand he holds a pair of spectacles, his left is partly
hidden by the corner of a large clasped book which lies open
before him, beneath which is another book, and some loose
papers. Over a close-fitting coat he wears a loose gown lined
with fur, and has a large plain white collar. In the lower right
background are seen a square bottle, a small phial, and a flask
secured at the top with a bent pipe passing out of it. There
is a little shading in this corner, but the shadow of the figure
and the chair is cast on the background to the left. There is
a clear space below T%- in. ('023) deep. Date assumed, 1655.
Dimensions : 7,8 — 5,9 ('198 — '150).
States : ist. As described. Full of burr, portions of which
are seen upon the dress, etc., and also upon the beard, giving it a
ragged appearance. [Coll : BM. P. A.]
Only four impressions are known ; the fourth is in the Col
lection of the Rev. J. Griffiths, D.D., Warden of Wadham, and
was contributed by him to the Rembrandt Exhibition of 1877.
2nd. Much of the burr is removed ; the beard is square ; the
upper part of the left breast is shaded by a horizontal line not
seen in the ist State. [Coll : BM.]
This is one of Rembrandt's- rarest prints ; the plate must have

152 Rembrandt's Etchings. No. 171
been very soon destroyed, for the few impressions I have met
with are in the finest possible condition, and of great beauty.
Copy. Same d. of the 2nd State. The name of the copyist
does not appear, but it is no doubt by Basan. The shading is
utterly unlike the work of Rembrandt ; in the left background
it is composed of very regular even cross-work in four directions.
I have seen an impression tinted with Indian ink and somewhat
effective. Copy. Same d. of the 2nd State. Three cords form the hat
band instead of two ; the nail-head in the wall to the right is
wanting ; the eyes look to the right instead of directly forward
at the spectator. By Burnet ?
Copy rev. of the 2nd State. The small buttons down the
vest are omitted. It is No. 27 of Novelli.
Gersaint and Bartsch have erroneously given to this portrait
the name of Tolling, Avocat; in this they are followed by Wilson.
De Burgy, in his catalogue drawn up at The Hague in 1755,
calls it the Portrait ofi the celebrated Physician Peter van Tol,
a correction which M. Charles Blanc endorses. Vosmaer has
given us his true Christian name, Arnoldus. Tholinx was
Inspector of the College of Medicine at Amsterdam from 1643
to 1653, when he was succeeded by Johannes Deymann ;
among other duties of his office was that of exercising a super
vision over the new Dispensatorium„2. work compiled princi
pally by Tulp, whose portrait Rembrandt painted in his Lesson
in Anatomy.

171. Johannes Lutma. {Janus Lutma)
This is a three-quarter length, turned slightly to the left.
He is sitting in a high backed arm-chair, the same chair which
appears in other portraits by Rembrandt. He wears a
velvet cap pushed back from his forehead, and an undercoat
with a row of buttons down the front, and a sleeved gown.
His arms rest on the elbows of his chair ; in his right hand
he holds a little image or statuette, while on a table to the
left are seen a scallop shell, a box of gravers and a hammer
The name and date 1656 appear only in the 2nd State. I
have placed the execution of the ist State one year earlier
Date assumed, 1655.
Dimensions: 7,8 — 5,9 ('198 — '150).
Wilson describes four States of this print ; in this he has fol
lowed P. Yver and De Claussin. He describes the 1st Slate as

No. 171 Studies and Portraits. 153
unfinished, the aquafortis having failed ; the 2nd is as above. I
have seen five or six impressions faintly printed, and which I
believe have misled these writers. Two of these were shown
in the Rembrandt Exhibition of 1877. One, contributed by
R. S. Holford, Esq., is grey and colourless ; the other, lent by
E. Cheney, Esq., is beautifully worked over in crayon, probably
by the master's hand. Long and careful comparison has
convinced me that there is no difference in the work, though
some of the finer lines have not printed in the grey impressions.
There is also a grey impression in the British Museum Col
lection which the late Mr. Carpenter entirely declined to admit
as an earlier State ; fortified by such an opinion, we may there
fore safely reject it. These impressions were created by passing a
sheet of paper over the plate, to remove the ink before the
plate was prepared for another printing.
States: ist. As described. The impressions of this, the perfect
state of the plate when in good condition, are very beautiful.
Some are on India paper and have all the richness of tone which
the tint of the paper imparts. [Coll : BM. C. O. P. A. H.]
2nd. A window is introduced in the right background ; on the
sill is placed a water bottle ; in the upper left of this window is
Rembrandt, and below it/ 1656 ; on the wall above the table is
engraved in a different hand Joannes Lutma Aurifex, and below
natus Groningae. [Coll : BM. C. P. A. H.]
3rd. The plate is reduced in height, it now measures 7, 6
(•193), and has a clear space fo ('007) below; this impression
appeared in the Van Leyden Collection. [Coll: A]
Copy. Same d. of ist State, Bibl. IX.
Copy. By M. Charles Blanc.
Copy. An almost exact imitation of the 2nd State of this
print has recently been produced by the Photogravure process
of Messrs. Goupil; a slight difference in the size excepted, it is
hardly possible to point out any variation which distinguishes it
from the original, for which it might easily be mistaken. Before
issuing the impressions the publishers stamp each at the back to
guard against deception.
If the student will carefully examine the shading of the
background to the left of the plate, which is undoubtedly by
Rembrandt, and compare it with the shading on the wall to
the right, and the shading round the window, which appear
only in the 2nd State, he will I think agree with me that in
all this new work the hand of the master is ' conspicuous
by its absence.' I am rather surprised that no one has
made this observation before, or asked how it could possibly
be that Rembrandt, having completed so superb a print,
should deliberately mar the harmony of the piece and weaken

154 Rembrandt's Etchings. No. 172
its effect by the introduction of the background. I no more
believe that the variations in the 2nd State were by his
hand than I believe that the further maltreatment of the
plate was his. An etched portrait exists of the Goldsmith
which bears the inscription Joannes Lutma aurifex, and below
Joannes Lutma junior fecit A° 1656. The likeness strongly
resembles that in this portrait by Rembrandt, but cannot be
compared with it as a work of art. Is it possible that the
additional work on Rembrandt's plate was executed by the
younger Lutma ? The engraved inscription on this 2nd State
supports such a conclusion, though the work which distin
guishes it does not assist us.
Johannes or Jan Lutma was, as the inscription on the
2nd State tells us, born at Groninguen in the year 1584, but
lived at Amsterdam, where he acquired considerable renown
both as a sculptor and as a goldsmith ; he was known also
as an amateur and collector of prints and other objects of
art. His son, the younger Lutma, has left us etchings taken
from busts executed by his father.

172. Abraham Fransz, or Francen. {Abraham
Frans.)
He is seated in an arm-chair on the right of the print
with his back to a window, holding with both hands a print
which he appears to examine attentively ; his head is bare ;
he wears an embroidered coat with a broad white collar with
tasselled strings. Before him, crossing the middle of the print,
is a large table, on which lies a portfolio, and further away
are a skull, two vases, and a Chinese figure ; to his right upon
the wall hangs a triptych of the crucifixion, on each side of
which is an arched picture. Date assumed, 1656.
Dimensions: 6,2 — 8,2 ('158 — -208).
States : ist. He is in a curious attitude, seated upon a stool
with his left leg stretched out to the right corner of the piece :
above his head is a window curtain which is gathered up and
falls over the right door of the triptych and partly covers the
curved top of the picture frame on that side ; a beam of light
passing behind the figure falls upon the print which he holds in
his hands (the light on his face is reflected from this print).
The right hand is indistinct, we do not see how he holds the

No. 172 Studies and Portraits. 155
print. Only the Chinese figure and the skull are seen upon the
table. In this State his hair is light. Through the window is seen
an ill-defined effect of landscape, both of foreground and distant
foliage. This impression is probably unique. [Coll : BM.]
2nd. He is now seated in an arm-chair of which the perfectly
plain back reaches about midway between ' his elbow and his
shoulder, allowing the lower hinge of the casement to be seen
above it ; the beam of light no longer appears ; there is a bench
or window seat behind to the right, upon which lies a broad-
brimmed hat. [Coll: BM.]
3rd. The curtain is partly burnished out, the chair-back and
the hinge above are burnished in evident preparation for the
variations which will appear in the following State. This im
pression is probably unique. [Coll : A.]
4th. The back of the chair is raised and terminates in a
grotesque head, it hides the lower hinge of the window ; the
curtain is taken away ; a figure appears upon the back of the
print which Fransz holds ; his right hand is well defined as it
rests upon the top of this print ; the two vases are introduced ;
distinctly defined foliage is seen through the window ; this is
the finished impression and the finest, and is very rare. [Coll :
BM. C. A]
$th. The picture frame above his head is burnished over and
has become lighter, and a different ornamental work, looking
like a succession of ovals placed upright, is seen on the lower
frame of the triptych, and light spaces are apparent upon the
crown and brim of the hat which lies in the window seat.
[Coll : P. A.]
6th. Reworked ; the hair is dark, the figure seen at the back
of the print which Fransz holds has disappeared ; the shadow
cast upon the wall below the triptych is altered in its form, its
upper outline had been irregular, formed chiefly by horizontal
work, and not extending to the left beyond about the middle of
the book ; it is now hollowed below the print where the triptych
cuts the print, and from thence to the Chinese figure is a con
tinuous curve, and covered with coarse work from right to left.
[Coll : BM. P.]
The British Museum impression is on India paper with a large
margin ; below it is written J^an Francen apotheker kunst beminaer
(jr"an Francen apothecary and lover of art); but this writing is I
think of a more recent date ; and there is no evidence to show
that he was more than an amateur and dealer in objects of
art. 1th. The plate has been further reworked, a slipped stroke
appears on the left cheek, pointing diagonally upwards towards
the corner of the eye ; light spaces are seen on the window seat
and the upright of the hat as well as on the crown and brim.
[Coll : C]
8th. The light spaces on the hat are worked over, a single

156 Rembrandt's Etchings. No. 172
white spot close to the brim of the hat alone remains upon the
window seat. [Coll : BM. C. A.]
gth. The burnisher has been resorted to, to restore the high
lights on the hat and the window seat; it has also been used
on the background above and below the triptych. [Coll :
BM. C. A.]
ioth. The shadows are all worked in again, the hat is entirely
shaded, and the background reworked, etc. The back of the
print which Fransz holds is deeply shaded with close hori
zontal lines. [Coll : BM. P.]
I have described ten States of this print ; the plate exists and
has produced still more varied, and I may add more worthless,
impressions. It is not, I think, a successful print. In the
ist State Fransz is placed in a most awkward position, the beam
of light falling upon the print in his hands is ill-expressed, and
the uncertain treatment of the hands does not look like the work
of the master ; a corrected impression next appears, but the
low arm-chair is unsatisfactory; it is burnished out and a trial
proof is then taken, the 3rd State; next a handsome chair-back
is substituted, and the plate is finished, making the 4th State.
But not only is there a manifest weakness of design, the technic is
unsatisfactory : place the print where we will, it must come near
the Old Haring and Lutma, and the lightest verdict we can
pass is that the master was not at his best when he took the
portrait of Fransz. With the $th and succeeding States I believe
Rembrandt himself had nothing to do. This print belongs to
the year 1656, the year of Rembrandt's bankruptcy ; it may be
that Rembrandt carelessly executed the portrait of the dealer
who was turning over his treasures, valuing them for sale, while
on the table stood the vases of oriental porcelain, Twee Oostin-
dische backiens, and a porcelain statue which, with the skull
introduced so effectively in his Doctor Faustus, were in another
year to be dispersed : with them would disappear the copper-plate
on which he had wrought, and which, ignorantly retouched by
an unskilful hand, would be made to yield impressions for the
print-sellers in which the high lights were senselessly diffused,
and which, as it became worn, was again and again worked upon
until whatever charm the print originally possessed was gone.
Abraham Francen was an amateur and dealer in objects
of art, and from his having given his attestation to certain
papers connected with Rembrandt's affairs and those of his
son Titus was evidently a friend of the painter's. I am
unable to agree with M. Charles Blanc in placing this portrait
after the sale of Rembrandt's effects, but believe it to have been
executed early in the year 1656.

Nos. i73, 174 Studies and Portraits. 157
173. Rembrandt on a high and narrow Plate.
{Rembrandt gravant une planche).
This Study, for it is little more, bears some resemblance
to Rembrandt drawing, No. 160. The attitude is much the
same and the hands in a similar position. He wears a soft
cap with a feather passing across the front and projecting
over his right temple ; the eyes are only partly expressed ;
the features, while resembling those in Rembrandt drawing,
are of an older man ; a few lines only indicate the dress and
the table behind which he is seated ; the background is darkly
shaded at the top and sides to the level of the eyebrows. De
Claussin describes the figure as 'seated in a chair,' but certainly
no defined outlines of a chair can be detected. Low down, a
little to the left, is very faintly engraved Rembrandt fi. 1658,
with some traces of what may have been his age at this date,
but cannot now be deciphered.
Dimensions: 4,7 — 2,5 ('120 — '064).
I first saw an impression of this print at Paris early ' in
1877, in the Collection of M. Eugene Dutuit. The owner
kindly lent it for exhibition at the Burlington Fine Arts Club
in the same year. It is on China paper, and is that which
De Claussin described as in the Barnard Collection. A
second impression was in the possession of M. Van der
Kellen : his collection was dispersed in January ofthe present
year. This print appeared Lot 1327, and is marked 'Pike
douteuse) We know that Bartsch rejected it. Wilson and
M. Charles Blanc admit it, and I am convinced that they
were right to do so. Wilson tells us that Basan copied it, and
wrote underneath, Rembrandt gravant une planche. I have
never seen this copy, nor do I know whether it now exists.
[See Bibl. VIII. No. 228.]

174. Portrait of Coppenol ; a large Plate. {Grand
portrait de Lieven Coppenol))
A half length, a full face but the body turned towards the
right ; his hair, which appears from under a calotte, is short
and grey, and he has a small moustache and imperial. His

158 Rembrandt's Etchings. No. 174
dress is a kind of cassock with a row of small buttons up the
front, over which is an open gown or cloak falling back with
a tassel attached to the cape. He has a plain white collar
about his neck, ahd beneath his right cuff we see an under
sleeve and a narrow shirt wristband. He holds a sheet of
paper before him with both hands, and has a pen between the
fingers of his right. Date assumed, 1658.
Dimensions: 13,4 — 11,4 ('341 — "290).
Two States of this print have been described, with the
white background. A ist, in which the column on the left
is shaded only half way up, and the right sleeve is white,
the impressions known being at Paris and Amsterdam ;
the 2nd, in which the shading on the column extends three
quarters of its height, and the sleeve is covered with single
lines. There are, however, no technical variations between the
impressions above referred to and those found in the British
Museum, at Cambridge, and in the Collection of the Duke of
Buccleugh and in that of Mr. Holford, which last was contri
buted to the Rembrandt Exhibition of 1 877. The Cambridge
impression has the background curiously tinted ; Mr. Reid
believes that this was done by Rembrandt himself using a stick
of Indian ink as a crayon.1
States : ist. The column at the right is shaded upwards to
about -fo in. (-020) from the upper plate line ; the right sleeve is
lightly worked over ; immediately above the inner bend of the
elbow this work is of right-to-left diagonals, with a series of
short hatchings upon them, also from right to left, and running in
that direction, to mark a fold or crease in the sleeve ; the turned-
back cuff has cross lines, its edges or borders are only lightly
outlined ; the inner sleeve is shaded by cross-work, the shirt
wristband is not outlined ; a triangular space formed by the out
lines of the hand, the body, and the sheet of paper is covered with
horizontal lines, and has a left-to-right diagonal only half way
up. %)l?U III. fig. 17. [Coll : BM. C. P. A.]
2nd. A large curtain fills the background ; the upper part of
the fold to the extreme right is shaded only by horizontal and
diagonal lines left to right ; the right arm is worked over, notice
ably at the part described in the previous State, by regular de-
1 Bartsch only recognises one State with the white background : ' Dans la
premiere epreuve de cette estampe le bras droit et la main ne sont que legerement
ebauches a l'eau-forte ; la seconde epreuve montre ces memes parties bien termi-
nees a la pointe seche, et tout Ie fond noir y est ajoute entierement avec cet outil.'

No. 174 Studies and Portraits. 159
scending lines ; the white wristband is outlined, and the small
triangular space is entirely covered with cross lines from left to
right. |la . III. fig. 18. [Coll: BM. P. A. H.]
This is the perfect and finished State ; it is nearly as rare
as the ist, and is of great beauty, the transparency of the
shading in the curtain to the left is singularly fine. An impres
sion was contributed to the Rembrandt Exhibition by Henry
Brodhurst, Esq.
3rd. The right arm is now closely worked over with regular,
close, and somewhat harsh lines chiefly from right to left ; the
cuff is covered with similar work from left to right ; this cuff casts
a heavy shadow, and along its curved edge three buttons are
seen ; the lower part of the inner cuff is shaded with strong
lines ; the triangular space is shaded with right-to-left descending
lines to half its height. [Coll : BM. O. P. A. H.]
Alfred Morrison, Esq., contributed an impression of this State
to the Rembrandt Exhibition ; it is, like the earlier States, ex
tremely rare.
4th. The outer fold of the curtain to the extreme right is
shaded by a series of very marked descending lines commencing
almost from a point which is about fo in. ('015) from the top
right-hand corner ; these lines follow the curve of the fold.
[Coll : BM. C]
$th. Reworked ; additional descending lines are seen on the
folds of the curtain on the right ; these new lines also begin
from the upper edge of the plate fo ("015) from the right corner,
but are continued over a space of about two inches towards the
left. [Coll : BM. C. A]
6th. The plate is reduced, it measures 6,3 — 5,3 (-i6i — '135);
only the head is seen. [Coll : BM. C. P.]
Copy. Same d. of the 2nd State, by Denon. I have only
seen one impression of this copy ; the variations which distin
guish it from the following are very slight, ^hk III. fig. 19.
Copy. Same d. by Basan, of the 1st State with the white
background ; he executed a 2nd State with a dark back
ground. To save lengthened description, I have given a
tracing of a distinctive variation. %\\\it III. fig. 20. In one
of the large collections this copy is by an error attributed to
Denon. Copy. Same d. of the ist State. In the upper right is a
monogram composed of the letters W M interlaced (William
Morley), and below it April 1834. I have seen an impression
of this taken off on old paper, probably the fly leaf of a book,
and without the inscription, erroneously attributed to Basan.
For a variation, vide lU.rii III. 21.
A careful examination of the technic, and comparison
with the other etchings of this date, have led me to place the
execution of this print in the year 1658 instead of in the year

160 Rembrandt's Etchings. No. 174
1661, as suggested by Vosmaer. Certain inscriptions below
some ofthe impressions have possibly influenced his decision,
but these inscriptions are only found upon a later, reworked
State, the $t&, as described above. They are in the undoubted
handwriting of Coppenol, and at the most only tell us when
that particular State existed, but give no clue to the date of
the ist. One of these is at Amsterdam. It has four Dutch
verses, which may be thus translated : Behold Coppenol, that
wonderful writer, by Rembrandt ; though old, this diligent hand
surpasses any other in energy, even as the swiftest boat outsails
the slowest vessel on the Y. And below them is Lieveji van
Coppenol scripsit, anno 1661, cetatis suce 62. Another impres
sion is in the British Museum ; it has six lines as follows : —
One word instead of many. This is Rembrandt 's masterpiece.
His hands and eyes scarcely appreciate their good fortune in
being allowed to adorn papers with human features and charac
ters. O Coppenol! nothing is wanting here but Life, and one
thing more. What f A crown on the pen and laurels round
the head. To this is added, Lievens van Coppenol scripsit, An" 1664,
sEtat suce 65. A third was in the Barnard and Hibbert
Collections, and is now in that of John Webster, Esq. The
inscription runs : Art lives in man in various ways. This is
the likeness of the master of calligraphy ; and below to the left,
Lieven van Coppenol scripsit, 1667; and to the right, Six de
Chandelier composuit.
Beside the two etchings Nos. 162 and 174, Rembrandt
has left us no less than three painted portraits of his
friend. One of these, taken in 1632, is at Cassel; another
is described as in the Ashburton Collection. A likeness was
also engraved by Cornelius Visscher on a plate measuring
11,5 — 9,3 ('292 — "236). In the Catalogue of the works of
Visscher, by the late Mr. William Smith, No. 93, four States are
described ; there is, however, a $th, slightly reduced ; I have met
with an impression printed on a large sheet of paper, and headed
in type, Gedichten op d'afbeeldinghe en Pennekonst van Mr.
Lieven van Coppenol; below which is the portrait of Coppenol
and to the left is the inscription C. de Visscher ad vivum
delineavit tribus diebus ante morte ultimam manum imposuit,
A" 1658. On either side, and below the portrait, are printed
Dutch verses in praise of Coppenol, to which are the names

No. 174 Studies and Portraits. 161
of Anna Maria van Schurman, Catharine Questiers, J. Cats,
Constanter, and C. Boey.1
Lieven Willemsz van Coppenol was born in 1598. He
practised for many years as a writing-master in Amsterdam,
where his beautiful calligraphy earned for him a renown
which such eminence would not now command. Coppenol
was evidently a popular man ; his features show him to have
been kindly disposed and genial, but no facts of his private
life have, so far as I know, been preserved, nor do we know the
date of his death ; as is shown by the inscription quoted
above, it was some time after the year 1667.
1 The date of Visscher's death is usually given as 1670, and I have a note of
having met with an impression of one of his plates with a date later than 1658.
The late Mr. William Smith, on the strength of the inscription to his portrait of
Coppenol, fixes it in 1658, and so able an amateur would not have been likely to
overlook any fact which would militate against his conclusions.

M

l62

SECOND CLASS.

SCRIPTURAL AND RELIGIOUS COMPOSITIONS.
Numbers 175 to 254.

IN the following Table, drawn up for the convenience of
amateurs, the Subjects are placed in the order assigned to
them by M. Charles Blanc : —

Old Testament Subjects.

of Joseph

Adam and Eve
Abraham entertaining the Angels
Abraham sending away Hagar and Ishmael
Abraham caressing Isaac .
Abraham conversing with Isaac
Abraham's sacrifice .
Jacob and Laban
Four prints from a Spanish book
Joseph telling his dreams
Jacob lamenting the supposed death
Joseph and the wife of Potiphar
The triumph of Mordecai
David on his knees .
Tobit seen from behind .
Tobit blind ; a larger print, with the dog
The Angel ascending from Tobit and his family
New Testament Subjects.
The Angel appearing to the shepherds
The Nativity 
The Adoration of the shepherds ; a night piece
The Circumcision ; with the net
The Circumcision ; a small upright print .
The Presentation ; in the vaulted temple .
The Presentation ; in Rembrandt's dark manner
The Presentation ; with the angel .
The Flight into Egypt ; a small upright print .
The Flight into Egypt ; a night effect
The Flight into Egypt ; a sketch
The Flight into Egypt ; the Holy Family crossing a
The Flight into Egypt ; ' in the style of Elzheimer '
A Repose in a wood ; a night effect .
A Repose ; in outline .....
The Virgin and the Holy Child in the clouds .
A Holy Family ; or the Virgin with the linen .

rill

No: 206250
204203
220
246212247
205 189192
228 232180
226 213

191
238230239 179
208
243 178184
227 181
240
236221218211 182

Scriptural and Religious.

163

arched print

Guilder '

The Holy Family ; with the serpent 
Jesus disputing with the Doctors in the Temple ; a sketch
The same subject ; a larger sketch .
The same subject ; a small upright print .
Jesus and His parents returning from Jerusalem
Jesus Christ preaching, called ' The Little La Tombe
The Decollation of St. John the Baptist .
The Good Samaritan ....
The Tribute to Caesar ....
The Prodigal Son 
Jesus Christ driving out the money changers
Jesus and the Samaritan woman at the well ; an
The same subject ; called ' At the Ruins '
The Resurrection of Lazarus ; a small print
The same subject ; a large print
Jesus Christ healing the sick. ' The Hundred
Our Lord in the Garden of Olives .
Our Lord before Pilate ....
The Ecce Homo 
Our Lord crucified ; called ' The Three Crosses '
Our Lord on the Cross ; an oval plate
The Crucifixion ; a small square plate
The Descent from the Cross ; the injured plate
A repetition of the Descent from the Cross
The Descent from the Cross ; a sketch .
The Descent from the Cross ; a night piece
The Virgin mourning the death of Jesus .
Jesus Christ carried to the tomb
Jesus Christ entombed ....
Our Lord and the disciples at Emmaus ; a small print
The same subject ; a large print
Jesus Christ in the midst of His disciples
St. Peter and St. John at the gate of the Temple ;
St. Peter and St. John at the Beautiful Gate
St. Peter . 
The Martyrdom of St. Stephen .
The Baptism of the Eunuch Religious Subjects.
The Death of the Virgin .
St. Jerome sitting at the foot of a tree
St Jerome kneeling ; an arched print
St. Jerome kneeling ; a square print .
St. Jerome writing, near the large tree
St. Jerome; unfinished .
St. Jerome ; called in the dark manner
St. Jerome seated ; with a large book
St. Jerome kneeling ; an outline
St. Francis praying ....

sketch

241 24S231 177
244 229209 185196
201 198253 195
215 188224251
248 200
235 222 193 186
187
216242 202217233 194
237225 249
¦ 254
, 219 197
. 210

. 207
. 190
• 183
¦ T99
• 223
¦ 234
. 214
. 176
¦ 175
¦ 25?

164 Rembrandt's Etchings. Nos. 175, 176

175. St. Jerome, an Outline. (Not described.)
He is represented kneeling and turned to the right ; a
skull lies before him upon a rock ; to the left is sketched the
head of a lion. Much of the work is in outline. Date assumed,
1629. Dimensions: 15,1—13,1 (-384—- -333).
[Coll : P. A]
Bartsch says of this piece, On n'y voit point de nom, mais
cependant il est incontestablement gravi par Rembrandt. M.
Charles Blanc rejects it ; M. Vosmaer says it is one of the
earliest studies for a painting of St. Jerome in the Suermondt
Gallery. The painting is in rev. and dated 1629. My own
opinion would be against attributing this print to the master;
I retain it out of deference to Vosmaer.
The British Museum has a pen-and-ink drawing of this
print ; the original is very roughly executed, but, for the
reason assigned above, it may be accepted.

176. St. Jerome seated, with a Large Book. {Saint
Jirbme en miditation)
An old man with a grey beard is sitting, turned to the
right, his face a full front ; he holds a pen in his right hand,
and with his left grasps the arm of the chair upon which
he is sitting, while his right arm rests upon a book which
lies open upon a table, on which to the left other books are
seen. His dress is merely sketched in, though there is some
shading on the back of the right arm and on the shoulder.
The table and books show lines in various directions, and there
are a few hatchings in the background to the left rising to
the top of the plate. The light comes from the right. Date
assumed, 1629. Dimensions: 9,4 — 7,9 ('238 — "200).
[Coll : P. H.]
Copy. Same d. 9,3 — 8,0 ("236 — '203). By W. J. Smith.

No. 177 Scriptural and Religious. 165
Pierre Yver, in his Catalogue-Supplement 1756, was the
first who noticed this print. Bartsch has taken Yver's descrip
tion, adding that it is in the same style as the St. Jerome
which he describes in his No. 106 {vide No. 175). M. Charles
Blanc entitles it a St. Jerome ; and Vosmaer says that it is a
study for the St. Jerome in the Suermondt Collection. In
deference to these opinions I have placed it in its present
position. There is a photograph of this print in the British Museum,
kindly presented by M. Charles Blanc.

177. Jesus disputing with the Doctors ; a small
UPRIGHT PRINT. {J 'isus parlant aux docteurs)
The Holy Child is standing to the right of the print, on
the upper of two circular steps, addressing Himself to a
Doctor of the Law, who is seated at a table and wearing a
turban. Towards the left, behind the table, is a bald-headed
old man ; two others, still further to the left, are seen in front
of the table, one of whom, nearest the edge of the plate, has
his head, shoulders, and hand unshaded ; a figure at the end
of the seat to the right of these two has the lower part of his
back unshaded. In a clear space below is Rh 1630 (not 1636,
as described by Bartsch etc.).
Dimensions: 4,3 — 3,1 (-iio — '079).
States: 1st. As described. The circular steps are only out
lined, and their rise shaded by zigzags and irregular hatchings.
[Coll : BM. C]
2nd. The figure of the old man on the left, and the back as
high as the waist of the figure nearer the centre, are worked
over ; the rise of the steps is further shaded with lines parallel
to their length. [Coll : BM. P. A.]
3rd. The plate is reduced to 3,5 — 2,6 ('089 — -066); the
monogram and date and the two figures near the left plate-edge
are cut away ; two little figures are introduced between the bald-
headed man and the doctor with a turban. [Coll : BM. C. P.
A. H.]
Copy of 3rd State. Regular diagonals are seen on the back
of the Child and upon the doctor behind Him. No. 15 of F.
Novelli.

1 66 Rembrandt's Etchings. Nos. 178, 179
178. The Presentation ; with the Angel. {Prisenta-
tion au temple, dite avec I'ange)
The subject is placed to the right of the print ; the Blessed
Virgin is near the centre with St. Joseph on her right hand,
both kneeling before Simeon, who is seen between them sitting
and holding the Infant in his arms ; above the Virgin is Anna
the prophetess with her hands joined together; an Angel with
expanded wings appears over Anna's left shoulder, looking
full in her face, and pointing with his left hand to the Holy
Child. There are several spectators, and in the right back
ground is a flight of steps leading to an inner part of the
Temple, with some persons standing or kneeling upon them.
In the left foreground is part of the figure of a cripple with a
wooden leg ; this figure is partly cut away by the plate-
edge. In the middle of a clear space below is Rh 1630.
Dimensions: 4,0 — 3,1 (-102 — '079).
States: ist. The plate is 4,7 — 3,1 ('120 — '079). There is a
clear space above the subject as well as below it. [Coll :
BM. A.]
2nd. The clear space above is cut away, and the plate is
reduced. [Coll : BM. C. P. A H.]
In the collection of the Due d' Arenberg at Brussels there is
an impression of the ist State in which some details in the left
background are wanting. The late M. De Brou regarded this
as an earlier State, but a careful examination led me to the
conclusion that the impression had only been imperfectly printed ;
the plate-edges and background are soiled.
Copy rev. Novelli ; in upper right is No. 16.
Copy rev. By Watelet.
Copy rev. A very poor performance. No name.

179. The Circumcision ; a small upright Print.
{Petite circoncision)
Two priests are seen in the middle of the print : the one
on the left holds the Infant upon his knees ; the other, habited
in a cope, is to the right, and performs the rite of circumcision.
In the foreground on this side is the Blessed Virgin, and on
the opposite side is another figure, both kneeling. Above the
Virgin is St. Joseph, stooping, with joined hands, and looking
towards the Child, whose head is encircled with a glory;
higher up on the left is an altar, on which is a vessel of incense,

No. 180 Scriptural and Religious. 167
and beside it is a Levite holding a crozier in his left hand.
Date assumed, 1630.
Dimensions: 3,5 — 2,5 ('089 — '064).
[Coll : BM. C. P. A. H.]
In very early impressions the effect of burr on the Child's
mouth injures the expression.
Copy. Same d. The rays round the head of the Child are
regular and pointed like a toothed wheel ; the Child's mouth is
closed, and the face inexpressive. Deuchar.
Copy. Same d. 3,3 — 2,4 (-084 — -061). Van Vliet.
Copy rev. 3,3 — 2,5 (-084 — -064). These two copies are re
ferred to by Zani. I have not seen them, but take his measure
ments. Copy rev. On an oval plate.
Copy rev. By Novelli ; his No. 8.
Copy rev. An accidental descending scratch crosses the head
of the figure immediately behind the back of the stooping figure
to the right.
180. TOBIT; SEEN FROM BEHIND. {Tobie aveugle)
Represents an old man dressed in a long and ragged
cloak, a high cap and slippers, stooping and supporting him
self with a stick. He stretches out his right hand towards a
door which opens on the left. Date assumed, 1630.
Dimensions: 3,1 — 2,2 ("079 — '056).
States: ist. This measures 3,2 — 2,7 (-o8i — -069). There is
a doorway in the right background and some buildings, not very
distinctly drawn. On the left is another door, of which both
posts are seen. The whole piece is confused and spotty, and
the plate much soiled. [Coll : A.]
2nd. The plate is reduced ; the door and the buildings to the
left are cut away, as is the left doorpost on the other side.
[Coll : BM. P. A]
3rd. The upper part of the doorway on the left is shaded
throughout by left-to-right diagonals. [Coll : BM.]
4th. The old man's slippers are shaded with a stiff vertical
line ; there is other additional work. [Coll : P. A]
Copy. Same d. The shading of the left doorpost and the
front of Tobit's skirt are in very regular vertical and left-to-right
diagonals. This copy is by W. J. Smith.
Copy. Same d. Bibl. IX.
This and the next should be compared with Rembrandt's
studies of beggars of this year.

1 68 Rembrandt' s Etchings. No. 181
181. A Flight into Egypt ; a Sketch. {Fatte en
Egypte, griffonnie)
The Virgin is seated on an ass with the Infant in her
arms ; St. Joseph precedes them, holding the ass by the bridle
and walking towards the left ; he has a stick in his left hand,
his coat, ragged at the elbow and skirt, is fastened at the
waist by a girdle from which some joiner's implement hangs ;
the background is scratched and spotted. Date assumed,
1830. Dimensions: 5,3 — 3,3 {"*¦$% — 'o84)'
Stales: ist. As described. [Coll: P. A.]
2nd. The plate is reduced and arched at the top ; it now
measures 3,1 — 2,0 ("079 — "051). Only the figure of St. Joseph
remains, and part of the head of the ass seen to the right ; St.
Toseph wears a high cap, a few short coarse lines mark his beard,
his right leg and foot are only shaded in front, his left foot is
unshaded, his left hand, which holds the staff, is unworked, and
his right has only lines along it in one direction ; the shading
above his head reaches as far as the centre of the arch. [Coll:
BM. C. P. A]
3rd. The shadow behind the left heel and the outlines of the
left foot are worked over with dry point; a few fine interlines are
seen in the beard. See f!!ntc IV. fig. 22. [Coll: BM. P.]
4th. A descending line shades St. Joseph's face, cross strokes
appear on his left shoulder and hand, and similar shading upon
his right hand and upon the skirt of his coat. The back of his
right leg and the heel, below which is seen a small triangular
shadow, are covered with verticals, and a diagonal crosses the
fore part ofthe left foot. [Coll: BM. P.]
$th. The back of his right leg and his right heel are further
shaded with right-to left diagonals. [Coll: BM. C. A]
6th. St. Joseph now wears a flat cap, the shading above ex
tends to the left side of the arch, a cross line appears on his left
foot. [Coll: BM. P. A.]
There is a further variation which might constitute another
State ; the rent in the back of his coat has been enlarged, the
variation is perhaps an accidental one. The impression is in
the British Museum.
Copy. Same d. of 3rd State by W. J. Smith. It may be dis
tinguished by the accurate cross shading upon the fore part of
the left thigh, contrasting with the coarse irregular lines of the
original. Copy. Same d. of ist State, BibL IX.
This Flight into Egypt is a very coarsely executed sketch,
a first study perhaps for some more important work. The

No. 182 Scriptural and Religious. 169
variations which constitute the later States were probably
executed by some other hand ; I should certainly not attribute
them to Rembrandt.

182. A Holy Family; the Virgin with a Basket
OF LlNEN. {Sainte Famille, ou la Vierge au linge)
The Virgin is seated a little to the right, near the foot of
a bed of which one of the posts and a part of the curtain are
seen. The Holy Child is lying upon her knees, and is sup
ported at the breast by her right arm ; her left shoe has fallen
off, and her small bare foot is exposed ; her head-dress and
attire generally are gracefully disposed. St. Joseph is seated
to the left, reading ; beside the Virgin is an open basket with
linen, and below the step or low stool upon which it is placed
is the monogram Rh. Date assumed, 1632.
Dimensions: 3,8 — 2,8 ('097 — "071).
[Coll : BM. C. P. A H.]
Wilson describes two States of this piece : the ist, in which an
open arcade is seen in the middle of the background; the 2nd,
where the arch is worked over. M. Charles Blanc also describes
these two States, and adds that the 1st is easily recognised.
There certainly are impressions in which a shaded arcade
appears, others again in which it can with difficulty be made
out ; when seen, it springs from the upper part of the Virgin's
head, and is continued to the face of St. Joseph ; but it is not, I
believe, due to any additional work, nor is its absence accounted
for by work removed from the plate ; in fact, I believe a series
could be made from the first, where it is apparent, to the last,
where it has disappeared. Probably this darkened arcade was
intended as a relief to the background, but has gradually become
uniform with the rest of the shading by the act of printing. I
should say, then, that in the earliest and best impressions the
arch can be seen, in the later ones it has disappeared ; but it is
not possible to define the exact stage of the plate when the
change takes place.
Copy rev. At the corner of the step on which the Virgin is
sitting is engraved Rt, and below, very delicately engraved, is
D — n, 1873 (Denon).
This Holy Family has by some been regarded as a doubt
ful piece, and I own that I myself at one time felt some hesi
tation in attributing it to Rembrandt, the composition seem
ing to partake rather of the Italian than the Dutch school,
but on further consideration I have decided to retain it. Bol,

170 Rembrandt's Etchings. Nos. 183, 184
who has been suggested as the author of this pretty little
print, has also etched a Holy Family in which the position and
attitude of the Blessed Virgin are similarly treated ; there is,
however, no resemblance whatever in the technic of the two
pieces. I have placed this print late in the year 1632, comparing
it with some of Rembrandt's more finished work at this time.

183. St. Jerome kneeling ; an Arched Print.
{Saint Jirbme en priire ; piice cintrie)
He is represented kneeling, turned to the left ; his hands
are raised and joined together, while he looks upwards in an
attitude of prayer ; before him lies an open book ; he wears
the dress and hood of a monk, with a cord about his waist ;
the background is a rocky scene, to the right is the forepart
of a lion. Low down to the right is Rembrant ft. 1632 (the
d omitted). Dimensions: 4,3 — 3,2 (-no — -o8i).
States: ist. The line ofthe arch is not continuous, the work
is not carried to the right edge of the plate, and there is no
shading beneath the arch to the upper left.
The only impression I have seen of this State was shown to
me by the late Mons. De Brou ; it is in the collection of the
Due d' Arenberg, at Brussels.
2nd. There is shading beneath the arch to the upper left.
[Coll: BM. C. P. A. H]
3rd. The outline of the arch on the right side is reworked and
continuous ; the work is carried to the right edge of the plate,
which in other places is retouched. [Coll: BM. C. A. H.]
In nearly every impression which I have seen of the 3rd State
the shading in the upper left has been tinted with a brush ; the
foliage to the right, and the lion, should be compared with similar
work in the St. Jerome No. 190.

184. The Flight into Egypt ; a small upright
Print. {Fuite en Egypte)
The Holy Family are crossing to the left ; St. Joseph,
assisting his steps with a staff, leads the ass, holding the
bridle in his right hand ; the Virgin with the Child in her lap
is seated upon the ass ; the baggage, to which a mallet and

No. 185 Scriptural and Religious. 1 7 1
saw are attached, is fastened behind her ; the trunk of a large
tree rises to the left. In a slip marked off at the bottom, and
into which the work extends, is Rembrandt inventor et fecit,
1633, preceded by the figure 9.
Dimensions : 3,5 — 2,4 (-o88 — '063).
States: 1st. Lightly and delicately etched; the background is
uncleaned. [Coll: BM. C. P. A. H.]
2nd. Reworked in a hard manner, especially upon the face of
the Virgin ; the upper part of the print, chiefly on the left, is
covered with fine horizontals, apparently executed with a roulette.
[Coll : BM. A. P.]
Copy. Same d. The foliage of the large tree and of the
lower trees in the background is very carefully executed.
Deuchar. Copy. Same d. Very hard and coarse. In the slip below,
which is shaded with fine verticals, is Rembrand in fecit.
Copy. Same d. Very poor. Inscribed Remberandt in fecit.
Copy. Same d. of 2nd State. With the roulette work ; the
teeth of the saw are numerous and regular.
Copy rev. In an oval. By Van Vliet.
Copy rev. In clear space below is Ex Watelet.
Copy rev. in an oval. Below is rembra?idt inventor.
Copy rev. At the bottom to the right is A° 1633, the 6
reversed. Copy rev. 3,5 ("089) wide. A group of trees in left back
ground. Deuchar.
Copy rev. Inscribed to left F. Novelli, to right No. 1 3.
This is a very doubtful piece [see my Notes, Bibl. XXXI.
p. 12]; the design was probably by Rembrandt, as was also the
etching which outlines the composition, but the detail is pupil-
work ; it is a suggestive fact that of the ten copies, an unusual
number, five at least are of Rembrandt's own time ; conveying
the idea that this, like one or two others, was a design fur
nished by Rembrandt for the use of his pupils, and it may be
that the most promising etcher of these pupils, Ferdinand
Bol, completed the piece which Rembrandt had begun. The
form of signature, it will be observed, is the same as that
under the $th State of The Good Samaritan, No. 185.

185. The Good Samaritan. {Le Bon Samaritain)
The Good Samaritan is represented standing at the top
of a flight of steps, giving his instructions to the innkeeper,

172 Rembrandt's Etchings. No. 185
who appears in his doorway. In the central foreground a
boy is holding a horse, which is turned towards the left, while
a servant is lifting the wounded traveller from its back. A
man in a cap and feather is seen leaning out of the window
to the left, to whom the traveller is relating his misfortunes
and his rescue. In the lower right is a dog, and close to the
plate-edge on the same side is a cask, and above it a trough
with some hay. In the central background a woman is
drawing water from a well. Below the subject is a clear
space in which, in the %th State, is inscribed, Rembrandt
inventor et feecit 1633.
Dimensions of the plate, 10,2 — 8,6 ("259 — -2i8). Dimensions
of the boi-der lines in which the subject is enclosed 9,5 — 8,0
(•241— -203).
States : ist. The tail of the horse is white, the wall seen above
it is unshaded, the hay in the trough is lightly sketched ; in the
clear space at the right, just above the trough, outside the
subject, is seen a small branch of foliage with a little shading
above it, and in other places, chiefly in the foreground, the work
has extended beyond the border lines. The back of the boy
who holds the horse shows marks of a failure with the acid ; this
only distinguishes it from the 2nd State. [Coll : BM. P. A. H]
In the impression of this State in the British Museum some of
the foliage in the upper part near the projecting woodwork of
the house is wanting ; this, however, only arises from a slight
failure in the printing. At the top, just within the subject, is
written in faded ink P. marriette, 1667. The Amsterdam im
pression is cut within the plate line, but enough remains to show
the occurrence of the little branch.
2nd. The shading on the back of the boy, where the acid had
failed, has been reworked. The late Mr. Carpenter remarked
some new work upon the turban of the Samaritan and the
hair of the wounded man, but it is work too slight to assist in
the definition of a State. [Coll : BM. C. A]
The British Museum impression has been mutilated ; upon a
slip of paper pasted below is written, On the tail and wall and
steps, J. M. 1677. Though this writing is assumed to be by
Marriette, it is not in the same hand as the writing on the ist
State. 3rd. The horse's tail is shaded, its neck has been worked
upon with diagonal lines left to right, the hay in the trough is
darkened, and the plate reduced. [Coll : BM. A.]
4th. The wall above the horse is shaded, the little branch etc.,
are burnished out. [Coll : BM.]
$th. In the clear space below is engraved Rembrandt inventor

No. 185 Scriptural and Religious. 173
et feecit, 1633. In several places there is evidence of rework.
[Coll : BM. C. P.]
Copy. Same d. and same size ; of the 4th State. By Solomon
Savry. For distinctive variations see ,jj late IV. fig. 23.
Copy rev. By Errard. The plate is 16,0 — 10,5 (-406 — -266).
Copy rev. Also by Errard. It bears the inscription Rinbran
inventor, C. Errard excudit. Cum Privel. Regis.
Copy rev. Regular verticals are seen on the wall above the
woodwork of the porch. No. 1, Novelli.
Copy. By Denon.
Copy. Same d. of ist State, Bibl. IX.
Among the inscribed works of Jan Van der Velde is a
Good Samaritan) which probably influenced Rembrandt in
the composition of this print [Vosmaer, Bibl. XXXVII.
p. 123]. The subject is somewhat differently treated ; it is a
night effect, but otherwise has the same general design. Mr.
Haden [Bibl. XXL] assigns the plate to a pupil, suggesting
that it is the work of Rodermont or Bol. It would be
impossible to accept it as the work of the former, his technic
is so peculiarly his own, and bears no resemblance whatever
to anything in this print ; the latter has left us signed and
dated work with which to compare it, and I cannot say that I
think the evidence is conclusive as to the whole of the plate,
though I am willing to accept his decision as to the inferior
parts of it, which, though worked with a bolder hand, are not
unlike parts of the little print No. 1 84, The Flight into Egypt,
and apparently have their counterpart in some of Bol's later
work. But I believe that the main design is undoubtedly by
Rembrandt, as is also a large part of the technic. The Sama
ritan and the host upon the steps, the general outlines of the
building, the foliage above, the pretty little group at the well,
and even the clumsy horse and the wounded traveller, are
beyond what Bol or any other pupil of Rembrandt's at this
date could have executed ; the foreground, the dog, the cask
etc., were, I do not doubt, worked in by an assistant. As to
the additional work which distinguishes the later States there
need be no hesitation ; the shading which is introduced is an
1 In this print, which measures 7,5 — 6,7 ('190 — '171), the building is placed
to the left ; the door is approached by a flight of steps, at the foot of which stand
the host and the Good Samaritan. It is inscribed J. v. Velde fecit, F. de Wit ex
cudit, but has no date.

174 Rembrandt's Etchings. No. 186
injury to the composition, while the inscription is certainly
not in Rembrandt's hand.
A design for this Good Samaritan in rev., measuring
u,5 — 7>2 ('292 — "183), is among the Rembrandt Drawings
in the British Museum. The injured man is being lifted off
his horse in the centre to be carried up the steps to the right,
at the top of which stands the host holding a candle. This
drawing was purchased from Woodburn, and, I believe, is
authentic.

186. The Descent from the Cross. {La grande
Descente de la Croix)
The light comes from above, and falls upon a group of
disciples who are engaged in taking down the dead Body of the
Saviour from the Cross. In the upper part a man stands upon
a ladder placed against the Cross, and is carefully lowering
the Body by means of a linen cloth which he holds in his
right hand ; below him, upon the ladder, another man is
standing, and upon a shorter ladder on the other side is a
third man ; these two are supporting the Body by the arms.
At the foot of the Cross it is received by two other disciples.
To the left of the print stands, in profile, a Jew wearing a
turban and a fur cloak, his right hand resting on a stick : this
is Joseph of Arimathea. To the right one of the holy women
spreads an embroidered cloth upon the ground to receive the
Body, other spectators are behind, and in the distance, on
either side, buildings are seen. The subject is circular at the
top, but the plate is square. Below the right foot of Joseph
of Arimathea is engraved Rembrant (the d omitted) ft., and
below the name is 1633.
Dimensions: 20,2 — 15,8 ('513 — -'402).
[Coll: BM. P. A]
Only three impressions of this plate are known. When
Wilson wrote his Descriptive Catalogue two were in the
Collection at Paris. One of these, says M. Charles Blanc, was
parted with as a duplicate to De Claussin, and after being
successively in the collections of Dumesnil and Verstolk it
found a home at Amsterdam.

No. 187 Scriptural and Religious. 175
The plate, judging from the work that remains, must have
been engraved throughout with the utmost spirit and delicacy ;
unhappily it utterly failed in the biting, and proved to be so
hopelessly spoilt that it was thrown aside that the subject
might re-appear on another plate. It is, of course, impossible
to say whether the whole of the work on this plate was
executed by Rembrandt's own hand ; probably much of the
minor detail was entrusted to a pupil, but the injury is so
great that we cannot decide upon it with any certainty.

187. The Descent from the Cross. {La grande Descente
de la Croix)
This print is so far a repetition of the preceding that the
same general description will suffice ; some slight alterations
are made in the relative positions of the figures and their
distances from the edges of the plate, and rays of light
coarsely depicted are represented falling from the upper part
of the scene upon the group below ; the subject is also made
square instead of arched at the top. Below is a clear space
¦fo ('013) deep in which is engraved, a little to the left,
Rembrandt cum pryvP 1633.
Dimensions: 20,7 — 16,2 ("527 — "412).
States: ist. Two men are standing at the foot of the Cross to
receive the body ; the stocking of the nearer man is not yet
shaded with horizontal lines ; a small space is seen on each bare
leg of the man behind, which has only diagonals left to right,
and the calf of the left leg has, in this State, no horizontal lines.
[Coll : A] ~
2nd. The stocking on the leg of the nearer of these men is
covered with horizontals, which are now also seen on the calf
of the leg close by, and a second series of diagonals, left to right,
are seen on the calf ofthe other leg. [Coll : BM. C. P. A]
Upon this 2nd State De Claussin observes : ' It has not
the delicacy and brilliancy of the ist State, although deeper in
tone, which makes me suppose that Rembrandt must have re-
bitten it, especially in those parts which are most shaded, where
it is found of a hardness {durete) which it has not in the other.'
3rd. In the lower right is the inscription Amstelodami Hen-
drickus Vlenburgensis excudebat. [Coll : BM. C. P. A.]
4th. The much-worn plate is coarsely retouched, and the
inscription is Amstelodami fustus Danckers excudebit. [Coll :
BM. C. P.]

176 Rembrandt's Etchings. No. 187
Copy. Same d. This not unfrequent but very indifferent copy
may at once be recognised by the flat and shapeless foot of the
bare-legged man who is receiving Christ's Body; below is
engraved Rembrandt f cvmpryvl. 1633. I believe the copyist to
have been Leopold George Hertel. An outline of the foot is
given. Ihu IV. fig. 24. ...
Copy. Same d. Zani [Bibl. XLII. vm. 171] describes a
copy by Hertel (whom he styles Gio. Giacomo), and adds that
upon some impressions is found an address by him; I have
seen an impression, which certainly varies from the one above
described, which bears an address to Jacob Hertel, ending
Fructidor anno XI °.
Copy. Same d. reduced ; by Hess.
Copy rev. and reduced. Signed le Bas, 1775.
Copy rev. and reduced ; by Mercatus. I have not seen this,
and take the description from Zani.
An important question has been raised as to the extent
to which we have in this print the work of Rembrandt. The
first to cast any doubt upon its authenticity was P. J. Mariette,
whose inedited notes were published in Paris, 1857-8 [Bibl.
XXIX. tom. iv. pp. 351-2]. He says that the acid failed in the
biting of the first plate, which is dated 1633 ; and that then
Rembrandt commenced a second plate, on the same scale from
the same design, which was successful, and which is the one
described above. He adds that this second plate has been
strongly worked on with the burin to produce a good effect,
but does not believe that this work was by Rembrandt {mais
je ne crois pas que ce travail au burin soit de Rembrandt ; il
est trop proprement execute) ; and he remarks upon the
difference in size ofthe two plates.
The contrast between the work on these two plates is
worthy of attention. It would indeed be hard to believe that
the hand which created the first was to any great extent
employed upon the second ; the signature and date of the
latter are unlike those on the first, and the addition of the
words cum pryvil., only once again found on all these etchings
{vide Ecce Homo, No. 200), and that on the 3rd State, possibly
points to its having been executed at a later date, though
certainly not by the same assistant or pupil as the one who
worked upon the Ecce Homo. It would be impossible in
either case to say positively who the assistant was ; I am
inclined to believe that the heavy burin work in this Descent
from the Cross and the engraver-like shading of the back-

No. 188 Scriptural and Religious. 177
ground, and the technic in many more important parts of the
print, such as the group in the lower right, were by Van Vliet,
and in favour of this view I refer the student to his signed
work, as well as to the fact that Vliet was at this time in
Rembrandt's studio : but a great part of the inferior work
has no such special character, either here or in the Ecce Homo,
that it can be assigned to one pupil rather than to another.
Mr. Haden [Bibl. XXI. pp. 37-41] has attributed the work to
Lievens, but the student must entirely dismiss this suggestion,
since we know that Lievens never worked with Rembrandt
either as an assistant or a pupil. See my Notes [Bibl. XXXI.
pp. 8-16].
A reproduction of the lower parts of this print and of No.
186 is given by Mr. Haden in the paper above referred to.

188. The Resurrection of Lazarus : a large print.
{La grande Risurrection de Lazare)
Our Lord, placed a little to the left and turned towards
the right, is represented standing in a dignified attitude upon
a large flag-stone which formed the cover of the tomb of
Lazarus ; His left hand is raised, His right rests upon His side.
A group of six figures is behind Him, their actions expres
sive of astonishment. Lazarus is below, to the right of
Christ, in the act of rising from the tomb ; towards the lower
right is one of the sisters, the other is on the further side of
the tomb stretching out her arms towards her brother ; to
the left of the latter are four figures, one starting back in
terror, the others watching the scene. Above our Lord some
heavy folds of drapery form a canopy, within which, high up,
are suspended the turban, the sword, and the bow and quiver
of arrows of Lazarus. On the rock, left exposed near the
middle ofthe piece, is Rh v. Ryn.f Date assumed, 1633.
Dimensions: 14,5 — 10,1 ('368 — '257).
States : ist. There is a clear space below the eye on the right
cheek of the man who starts backwards in terror on the further
side of the tomb, and who is bareheaded ; the background
behind and above him is unshaded ; the old man to the left of
this one wears a calotte ; the leg of our Saviour from the
dress to the instep is not outlined ; the border, or arched
N

178 Rembrandt's Etchings. No. 188
frame, which surrounds the subject is irregularly drawn, and
presents many unshaded spaces. [Coll : BM.]
The impression in the British Museum came from the collec
tion of the Baron Denon ; it had been in the possession of the
Zanetti family of Venice, in whose hands this and more than
400 other Rembrandt prints had been preserved since about
the year 1680, when an ancestor acquired the collection of J. P.
Zoomer. It is a trial proof, and is, I believe, unique.
2nd. The clear space on the face of the frightened man is
worked upon ; the background behind and above him shows a
fine diagonal line from left to right ; the arched frame is
darkened by deep and regular lines, and its outline is sym
metrical. [Coll: P. A]
3rd. A light space appears on the forehead of the man in
profile with raised hands behind Christ on the left. [Coll:
BM. A.]
There is an impression of this state in the British Museum
in which some bold pencil work is seen upon and above the
figure of the woman in the lower right ; on the back of the print
is work of the same character, indicating an entire alteration in
the attitude of the figure, which however is not the alteration
shown in the next impression.
4th. The figure of the woman in the lower right has been
taken out, and replaced by another stooping forward, and seen
in profile ; the mouth of the sister who is on the further side of
the tomb is enlarged by some minute work at the corners ; a
shadow appears under the left hand of Lazarus ; the arched
frame is made deeper at the bottom and on the left by shading,
which is less dark than the frame, and indicates its thickness.
[Coll: BM. P. A.]
§th. Not only are the features of the woman on the further
side of the tomb altered, but she has a light head-dress ; the
ledge of the frame surrounding the subject is more clearly
defined ; and there is some retouching on the two little figures
seen below the right arm of the frightened man. [Coll : A.]
M. Charles Blanc divides this State into two, calling them
$th and 6th, but I have been unable to verify his two States.
In the impression of the 5th State at Amsterdam, the head of
the frightened man having come off badly in the printing, has
been touched with a fine brush and Indian ink, giving an
appearance of a large hairy cap or turban ; it is possible that
this was a suggestion for the next state.
6th. The frightened man wears a cap or turban ; in early
impressions of this state a spot is seen beneath the nose of the
woman on the further side ofthe tomb. [Coll: A. H.]
1th. The old man with a beard, whose head appears in the
background to the left of the frightened man, wears a turban
instead of a small calotte, and a cap is seen on the head of the
little figure nearest to him. [Coll : P. H.]

No. 188 Scriptural and Religious. 1 79
8th. The nearly worn-out shading which remained upon the
little faces has been scraped away, the tool has left some nearly
vertical lines in its place ; the features have then been drawn,
and look as if they had been executed with a pen upon the
impression itself; the marks of the scraper soon disappear
together with much other fine work. [Coll: BM. C]
gth. The plate is entirely retouched ; the little heads just
spoken of are shaded with a right-to-left diagonal ; there is close
and regular cross- work upon the hand, the face, shoulder, and
dress of the woman on the further side of the tomb ; and the
shading on the bust of the old man with a beard close to
the little figures extends to the outline of the face nearest to him,
whereas in the previous States there was here a clear space.
[Coll : BM. C. P.]
The plate is still existing, it has been barbarously retouched
and probably is occasionally printed from ; the gth State just
described carries the plate quite far enough, it is not worth
while describing the worn and ruined impressions which show
later work.
Copy. Same d. ofthe $th State. This was first described by
Bartsch, and, except to those who are well acquainted with the
original, is very deceptive. I have met with it in two collections
marked as the original print ; the usual test of the copy is the
presence of a vertical stroke in the clear space after the / in the
name, not seen in the original, but there are impressions in
which this vertical has been carefully erased ; a surer test is in
the outstretched hand of the woman in the lower right, of which
I have given a tracing. |)late IV. fig. 25.
Copy. Same d. 14,0 — 9,0. Not deceptive.
Copy. Same d. Inscribed I. H. C.
Copy rev. A square plate. Inscribed J. J. K. exc. Lazzaro
Veni Foras. M. Kussel sculpsit. (I take these from Zani, Bibl.
XLII. vi. 302.)
Copy rev. Very dark and ugly. In a clear space below is
Cumano ; in some impressions this is cut away.
Copy rev. A dark piece, almost a night scene, very poor ; it
is by Elias Hard. W*D •
M. Vosmaer [Bibl. XXXVII. p. 142] speaks of a picture
by J. de Wet or de Weth, la- Risurrection de Lazare, dated
1633, in the museum at Darmstadt, conceived and executed in
a style which reminds him of Lastman. Whether Rembrandt
was inspired by this picture he does not say, nor does he raise
any question as to the authenticity of the print.
Elsewhere [Bibl. XXXI. pp. 10, 11] I have expressed my
opinion that this piece is to -a large extent the work of Van
Vliet. The student must not compare it with the work of

180 Rembrandt's Etchings. No. 189
Van Vliet in which little or no influence of Rembrandt can be
traced, his Trades etc., but with his best work, such as his
St. Jerome and some of his finer heads ; he should notice the
similarities in attitude, in the drawing of the hands, and in
the execution generally ; and also remark the peculiarity of
the signature van Ryn, which only once again appears on an
etching attributed to Rembrandt, No. 189, Jacob lamenting
the Supposed Death of Joseph, but is used six times by Van
Vliet on prints acknowledged to be designed by Rembrandt.
In this Resurrection we have, I believe, the composition of
the master, and in the drawing of the Christ and of Lazarus,
and upon the curtain, we may recognise his hand ; but the
greater part of the plate is by the pupil, who worked upon it
under Rembrandt's supervision, and corrected and altered it
until the well-worn copper was thrown aside, to be taken up
again at a later time and still further disfigured.

189. Jacob lamenting the Supposed Death of Joseph.
{Jacob pleurant la mort de son fils Joseph)
To the left Rachel is standing upon the step of the door
with her hands extended in an attitude of distress. Jacob,
sitting at her feet and lifting up his hands, expresses the sud
den sorrow which seizes him at the sight of Joseph's coat,
which is displayed by the two brothers Simeon and Levi, who
bring the account of Joseph's death. One of them points with
his left hand towards the place where they pretend Joseph
has perished. A little to the right in the lower part of the
plate is engraved Rembrandt, and below is van Ryn fiet. Date
assumed, 1633. Dimensions: 4,2 — 3,2 ("108 — -o8i).
[Coll: BM. C. O. P. A. H.]
Copy. Same d. Very deceptive ; referred to by Bartsch. A
marked variation is seen in the little window to the right of the
door ; the original has two horizontal bars, the copy has three,
making four panes in the height instead of three. In the original
the first letter of Rembrandt's name is a continuous line, but not
so in the copy.
Copy. Same d. The name of the copyist appears on the
lintel of the door. R. Cooper, 1757.
Copy. Same d. By Deuchar. The distance to the right
shows some ill-drawn mountains.

No. 190 Scriptural and Religious. \ 8 1
Copy. Same d. By S. Lewis. On a larger plate ; on the step
in the foreground is Rembrandt and below van Ryn fecit.
Copy. Samed. By Gherard Dou. Described by Zani. [Bibl.
II. viii. 85.] I do not know this copy.
Copy rev. Upon the stone work is Rembrandt and below it
van Ryn in., and to the right GG.
Copy rev. With three panes in the window. C. Campion.
The history is given Genesis xxxvii. I have elsewhere
[Bibl. XXXI. p. 10] expressed my doubts about this print.
Though the piece is commended by Bartsch, and the compo
sition is probably the work of Rembrandt, I do not think
that the technic shows his hand. It is not improbable that
the first of the copies above described was by Van Vliet, after
a design by Rembrandt, and that this print is Van Vliet's.
repetition of it on another plate after the first had been sub
jected to the criticisms of the master. The signature is
peculiar, it only occurs once again in these etchings, and in
that one, the larger Resurrection of Lazarus, No. 188, we
recognise much of Van Vliet's work. The hand and features
of the old woman and parts of the foliage above are of a
better character than is usual with Van Vliet, showing, as
does his etching of a St. Jerome, how strongly Rembrandt at
this time influenced his technic.

190. St. Jerome sitting at the Foot of a Tree.
{Saint Jirome Usant au pied d'un arbre)
He is sitting on a bank high up in the print, at the foot of
a tree, and turned towards the left, leading in a large book
which lies open upon his knees ; below, a lion is crossing
from left to right, and in the right corner is a skull. Low
down to the left, almost concealed by the shading, is Rem
brandt fi, and opposite, to the right, is 1634.
Dimensions : 4,3 — 3,5 (-no — '089).
States : ist. The shadow on the tree thrown by the figure of
the saint is defective, having failed in the biting. [Coll: BM, C.
O. P. H]
2nd. The defect in the shadow has been worked over. [Coll:
BM. C. P. A]
Copy. Same d. Very deceptive. Rembrandt's name and
the date are omitted.
Copy. Same d. Very poor. By Campion. No name or date.
Copy rev. In the foreground, below the hind legs of the

1 82 Rembrandt's Etchings. No. 191
lion, is Rembrant in. 1630. The upper part of the tree trunk
has a wavy look, like shot silk. This I believe is by Solomon
Savry. Copy rev. The skull in the corner is a meaningless white
patch.
In every description hitherto given the date is entered
1654 ; if it really were 1654 I should feel no hesitation in dis
carding the print, since neither in composition or technic does
it compare with Rembrandt's later work. It is not so entirely
unlike his earlier work as to be summarily dismissed, and
therefore, after very careful consideration, I have decided to
retain it, believing that the composition shows the hand of
the master, who probably also etched the figure, but entrusted
the filling in to another who worked under his direction.
There is a quiet sense of repose and a breadth of treatment
in the design of which no one of his pupils at that date was
capable. The student should compare the leaves and foliage
in the foreground with like work in the print called Adverse
Fortune, No. 262. The drawing of the lion, a sort of heraldic
beast, has been objected to as unworthy of Rembrandt ; it is
no worse than the lion in the St. Jerome, No. 183, and we
must remember that his wonderful studies of lions were
executed at a later period. We do not know that he had even
seen a lion in 1634; later, when he drew from the life, his
delineation of animals is marvellous. There is in the British
Museum a sketch of an elephant in broad pencil ; a photo
graph could not represent the folds of the skin more perfectly,
and its trunk is absolutely mobile ; but in 1633 or -4, picturing
an imaginary scene, he may have thought the conventional
lion would be sufficient, and it is really not much inferior to
the sleeping lion in the St. Jerome of Albrecht Diirer.
I think we may attribute the detail of this print to Bol ;
though his work, at a later date, is of a less finished character,
the technic in this was not beyond his capabilities, when
working under the eye of the master.

191. The Angel appearing to the Shepherds.
{L ' Annonciation aux Bergers)
This is a night piece. In the upper part of the print to
the left is a luminous space in which cherubim are seen sur-

No. 191 Scriptural and Religious. 183
rounding the Holy Dove, from Whom the light proceeds ;
below them an Angel, standing upon a cloud with his left
hand raised towards heaven, is revealing to the shepherds the
birth of our Lord ; the shepherds and their flocks seen in the
foreground are in attitudes expressive of amazement or terror
at the sudden light which breaks in upon them ; the glory
illumines the figures, the cattle, and part of the foreground,
and likewise touches the extremities of the trees ; in the left
distance a river is discovered, crossed by a bridge, with a city
on the hill beyond ; on the right, trees and shrubs clothe the
bank. At the lower right within the subject is engraved
Rembrandt fi. 1634.
Dimensions: 10,2 — 8,6 ('259 — -218).
States : 1st. The trunk ofthe principal tree is white, as is also
that part of the sky which is illumined by the glory where the
Angel and cherubim are seen ; the Angel is only in outline ; the
lower part of the print is unshaded, the figures and cattle are
merely sketched in ; the name and date do not yet appear. Of
this State, which is a trial proof, only two impressions are
known; one of them is in the Museum at Dresden, the other
forms part of the Cracherode collection bequeathed to the
British Museum. [Coll: BM.]
2nd. The upper branches only of the central tree are white,
the Angel's robe is still unshaded, but the half of his right wing
nearest to his body, and the whole of what is seen of the left
wing, are lightly worked over. This state apparently is as rare
as the 1st. I only know two impressions ; they are both of
the greatest beauty. [Coll : BM. A.]
M. Charles Blanc, following Wilson, here describes a 3rd
State, distinguished by light diagonals upon the two cows
escaping to the right, and by the upper branches of the tree
remaining unshaded ; ' an impression,' he adds, ' is to be seen at
the Museum at Amsterdam;' but such an impression is not
there now. In the British Museum there is an impression of
the following State, in which the shading upon the highest branch
of the tree has been removed by scraping; this ' supercherie '
probably misled Wilson, and hence the error.
3rd. The Angel's wings are shaded, a line from left to right
appears on the sleeve below his right hand, and again on the
drapery below the sleeve ; the upper part of the tree in the
centre is shaded by diagonals from left to right, and diagonals in
a similar direction are seen upon the cows escaping to the right.
^llate V. fig. 26. [Coll : BM. C. O. P. A]
In the earliest and best impressions the arches of the
bridge in the left distance are well defined. There is a

184 Rembrandt's Etchings. No. 192
singular beauty about the whole of this background which is
entirely lost in impressions from the worn plate ; the water,
the wooded bank, and the town on the hill are all exquisitely
rendered, and the effect of the unnatural light in which they
are seen, a reflection of the Heavenly Glory like a flash of
summer lightning, is most wonderful. Probably no finer
impression of this plate exists than that which was contri
buted to the Rembrandt Exhibition of 1877 by St. John Dent,
Esq. I cannot conclude my remarks upon this piece without
directing the student's attention to the extreme naturalness
of the composition. Granted that the figures are rudely
drawn, and that there is a want of dignity in the supernatural
appearance of the Angel, still there is an intense reality of
conception about the whole which at once removes it from
vulgarity and shows the consummate powers of the master.
The little figures which surround the Angel are in attitudes
expressive of exuberant joy, while the Angel alone stands in
calm solemnity ; the shepherds and their flocks start up in
amazement, the animals, a moment before lying down in
quiet repose, fall over one another as they dash wildly in all
directions to escape. The whole scene is expressive of in
stantaneous action.
A very beautiful rendering of this scene by Govaert
Flinck is among the treasures in the Louvre {Ecole allemande,
No. 171) ; the composition and even some of the figures are
taken from this etching, and the beautiful transparency of the
background is successfully imitated, but it is wanting in the
effect of a sudden surprise, which is so powerfully shown in
the print. The picture is worthy of careful study ; its
divergence in handling and colour from the work of Rem
brandt is instructive.

192. Joseph and the Wife of Potiphar. {Joseph et
la Femme de Putiphar)
The wife of Potiphar is lying upon a bed, the curtains of
which are drawn up at the head, part of the embroidered
quilt rests upon the floor ; Joseph turning away endeavours
to escape towards the left. Below his foot is seen Rembrandt
fi 1634.

No. 193 Scriphtral and Religious. 185
Dimensions: 3,6 — 4,5 (-091 — '115).
States: 1st. Between the head of Potiphar's wife and the left
arm of Joseph is a little white unshaded space ; the back of the
bed to the right is rounded. [Coll : A. H.]
2nd. The little white space is worked over with a few hori
zontal lines, the back of the bed to the right is finished almost
in a point. [Coll : BM. C. P.]
Copy. Same d. In a clear space below is Rembrand del N.
50. I. g. Hertel exc. A. V. (Augusta Vindelicorum).
Copy rev. Inscribed Rembrandt f. c. 1634. The bed-clothes
are brought up nearly to her waist. I have seen an impression
of this copy on which is written P. Mariette, 1667.
Copy rev. Very poor. No name.
The plate is still in the trade, and has been re-worked.

193. The Crucifixion; a small square Plate.
(Jisus en Croix),
One Cross only is introduced ; it is that upon which the
Saviour is crucified, and is to the left of the print, almost in
profile ; one of the Maries is seen at the foot of the Cross, the
other to the right is supporting the Virgin, who has fallen to
the ground ; in the foreground, clad in a long robe and
turban, and seen from behind, is Joseph of Arimathea ; some
buildings are discovered in the distance to the right. At the
top, in the middle of the plate, is Rembrandt fi. Date^
assumed, 1634. Dimensions: 3,7 — 2,6 ('094 — -o66). '
[Coll : BM. C. O. P. A. H.]
M. Charles Blanc has described three States, the ist with the
background soiled, the 2nd darkly tinted, and the 377/ in which
the tint is effaced. The print is not an unfrequent one, though
fine and early impressions are rare. The variations remarked
upon are, I believe, entirely due to the printing, the ink having
been purposely allowed to remain for the sake of effect, and
there is no true variation upon the plate. The background in
some instances is very darkly coloured [Coll : BM.] ; in others
it is only partially tinted [Coll: A. H.]; in others it is almost
clear [Coll: BM. C.]; or again it is coarsely and irregularly
smeared over, or has been carefully cleaned ; but whatever the
difference, there is, I consider, only one true State. M. Blanc
believes that these tricks with the plate were never done by
Rembrandt but belong to a later time, an opinion in which I
heartily concur. The only good impressions are those with a

1 86 Rembrandt's Etchings. Nos. 194, 195
slightly soiled background ; the student will estimate their
quality by the condition of the work.
Copy. Same d. 4,5 — 3,2 (-115 — -081), with a narrow clear
space all round ; in the centre near the top is Rembrandt, below
the subject to the left is Copy by S. Leans.
Copy. Same d. The three rays which fall from the right are
carefully drawn, and appear like an obelisk. The name is
weakly engraved, and reads Rembannk.
Copy. Same d., Bibl. IX.

194. Our Lord and the Disciples at Emmaus : a
SMALL Print. {Les Pilerins d Emmaus — en petite
dimension.)
Our Lord, Whose head is encircled by a nimbus, is seated
to the right at a table ; the two disciples are opposite to Him,
and a dog is by His side. 0ne of the disciples, wearing a
high cap, is sitting to the left in an elbow-chair with his
hands raised and joined ; the other holds a shoulder of
mutton in his left hand, and is about to use a knife with his
right, when he is arrested by the solemn act of our Saviour,
on Whom he gazes with surprise. In a clear space below the
subject is Rembrandt fi. 1634.
Dimensions: 4,1 — 2,9 ('105 — '074).
[Coll : BM. C. O. P. A. H.]
Two States are described by M. Charles Blanc, but I am
unable to verify them ; the finest and earliest impressions show
very delicate verticals on and below the foot of Christ as seen to
the right of the table leg, and also below the breast of the dog ;
there is one such impression at Cambridge ; this work very
quickly disappears ; the plate was coarsely retouched at some
later time, and a slipped stroke is seen through the table foot,
left-to-right, in some, but not in all retouched impressions ; the
amateur must be guided by the quality of the work. I believe
the plate still exists.
Copy rev. In the clear space below is An" 1636.
Copy rev. On smaller plate, very coarse.
M. Vosmaer refers to copies by J. H. Suhrland in i755,and
J. L. C. Van den Berch van Heemstede. I know nothing of
these.

195. The Samaritan Woman — at the Ruins. {La
Samaritaine, dite aux Ruines)
The plate, to the left, is filled by a large ruined building,
the entrance to which is up a flight of steps in an arched

No. 195 Scriptural and Religious. 187
corridor ; the well is on the right, at the foot of these steps ;
above the well, attached to the wall by strong timbers, is the
pulley round which passes the chain for lowering the bucket.
Our Saviour sits on the left of the well, and, with His right
hand raised, is addressing Himself earnestly to the Samaritan
woman who stands on the other side, holding the chain in
her right hand, and resting the other upon the edge of the
well. To the right the disciples are seen returning from the
city of Sychar, which is in the distance. At the top, on the
same side, is Rembrandt fi. 1634.
Dimensions: 4,8 — 4,1 ('123 — -io6).
The plate is slightly wider at the bottom.
M. Charles Blanc describes three States of this piece, quoting
the authority of the late M. Weber of Bonn [Bibl. VIII. vol.
i. p. 162]. But as he does not point to any actual variations, in
tended or accidental, but only to a worn condition of the plate
for the distinctive marks of his 2nd State, I am unable to agree
with hirn. I recognize only two States of this print.
States: ist. Two very delicate lines, meeting at the right
and diverging towards the left, are drawn across the top of
the print ; a similar line is seen along the bottom, passing
through the foliage in the foreground. Very delicate vertical
shading appears above the little window at the top ; the lower
rim of the bucket, farthest from the woman's hand, is unshaded.
In later impressions these fine lines disappear ; first the lower,
afterwards the upper ; and the vertical lines above the little
window are fewer and shorter ; any variation in the shading
above the left foot of Christ is an effect of printing. [Coll: BM.
C. P. A.]
I have seen a fine early impression of this State printed in
red ink.
2nd. The bottom rim of the bucket nearest to the woman's
hand is shaded by a fine diagonal line ; some fine horizontal
shading is seen at the end of the low wall farthest away from
the place where our Saviour is seated — that is, more towards
the middle of the print ; there is a slipped stroke across the
centre of the foreground from left to right. Still later impressions
show marks of retouch. The plate exists, and is occasionally
used ; some impressions are found printed on modern paper.
[Coll : BM. C. O. P. H.]
Copy. Same d. The sky has been filled with very harshly
executed clouds. Rembrandt's name is introduced on the ground
below the wall.
Copy. Same d. Might be taken for a retouch. The shadows
are heavy and dark, especially upon the figure of Christ ; the
* woman has a smirk — it is hardly to be called a smile ; numerous

5 Rembrandt's Etchings. Nos. 196, 197
fine interlines shade the outer rim of the wall close to Christ's
knee. I believe this copy is by Bretherton.
Copy. Same d. The name, at the top to the right, is feebly
and shakily engraved.
Copy. Same d. Very poor ; the name does not appear.
Copy rev. Below the woman is Rembrandt, and above is
Carlo Nicolo Cochin.
Copy. Same d. ist State, Bibl. IX.

196. The Tribute Money. (Le Denier de Cisar)
Our Lord is seen in the midst of the Pharisees answering
their questions as to the lawfulness of paying the tribute to
Caesar. His left hand is placed upon the hand of the
Pharisee whom He is addressing ; with the right He points
upwards as He says, ' Render unto Caesar the things which
are Caesar's, and to God the things which be God's.' Date
assumed, 1634.
Dimensions : 2,9 — 4,1 ('074 — '105).
[Coll : BM. C. P. A. H]
Three states have been described ; the variations which dis
tinguish the ist and 2nd consisting of less or more work upon
the Jew seated to the right, and in the 3rd of a retouch ; but I
cannot satisfy myself that there is more than one true State.
The plate is still in existence ; it was one of those which came
into the hands of the widow of Jean the printseller, and was
then re-worked ; impressions are not unfrequent ; some are
tinted, and have a large margin.
Impressions of this and of other plates are sometimes found
printed in red ink. They have almost invariably a modern
look ; and if casually met with would be regarded as recent.
Among others there is one of The Tribute Money at Cambridge ;
it was in the Library Collection, and therefore must have been
printed within fifty years of Rembrandt's death.
Copy rev. The Jew who shows the money has an aquiline
nose ; below the plate to the right is F Novelli. It is his
No. 9.
197. The Martyrdom of Saint Stephen. (Marlyre
de Saint Etienne)
The Holy Martyr St. Stephen is on his knees in the
middle of the piece, he wears a loose fitting dress, one of his
feet is bare ; rays of light are represented falling from heaven
upon his head. Above him stands a Jew who is about to cast
a large stone ; a second Jew, holding the embroidered robe of

No. 198 Scriptural and Religious. 1 89
the Saint with his right hand, is about to strike him with
another stone which he grasps in his left. Low down to the
left, in a space clear for the purpose, is Rembrandt fi. 1635.
Dimensions : 3,8 — 3,3 ('097 — -084).
[Coll : BM. C. O. P. A. H.]
M. Charles Blanc has described a 2nd State of this print.
The plate still exists and has been coarsely reworked ; impressions
are not unfrequent, and I am not prepared to admit them. The
notice of a 2nd State first appeared in the Sale Catalogue of
Van der Zende, edited by M. Guichardot, Paris, 1855. There
is _ a very early impression of the ist State at Cambridge,
printed in red ink.
Copy rev. ; in a clear space below is Jan de Ridder na Rem-
brand.
198. Jesus Christ driving out the Money Changers.
(Jisus chassant les vendeurs du temple)
The scene is laid within the Temple, the arched roof of
which is supported by many pillars ; from the ceiling on the
left is suspended a chandelier. Our Saviour, from Whose hand
proceeds a glory, is in the middle foreground ; He has over
turned a table at which sat a money changer, who is securing
a bag with money, and while several pieces are sliding off his
table he looks up with fear at the hand armed with a scourge
which is uplifted to strike him. The picture is one of hurry
and confusion ; among other figures is one to the right, that of a
man who holds an ox by a rope, and is thrown down and
dragged along the ground. Behind all this, in the back
ground, we see the high priest sitting in judgment upon an
offender, who is placed before him kneeling. At the lower
right is Rembrandt f. 1635.
Dimensions: 5,4 — 6,6 ("138 — 'I68).
States : ist. The upper part of the face of the man who is
dragged by the ox is clear, as is also the sole of his foot ; his
mouth is of natural size. [Coll : BM. C. P. A. H]
2nd. The upper part of the face of this man is worked
upon, the sole of the foot shows some spots of acid ; the mouth
is enlarged to much more than its natural size. [Coll : BM. C.
P. A. H.]
Copy rev. The details of the background are finished and
show dark outlines, the chandelier and chain shaded are with
regular cross-work, etc. It is by Deuchar.
Copy rev. Etched in a hard coarse manner ; in the lower left
is Rembrandt f. 1633.

190 Rembrandt's Etchings. No. 199
This plate, like some others, seems to have fallen into the
hands of those who have busied themselves in manufacturing
States. An impression is found without the chandelier, while in
another the whole of the vault has been burnished out, and a
small landscape, that from The little Resurrection of Lazarus,
printed in ; these variations, it is needless to say, were not the
work of Rembrandt, but probably owe their origin to a much
later time.
Zani was the first to remark that in the Christ in this
print we have a reproduction in a reverse direction of the
figure of Christ in a similar scene by Albrecht Diirer. (The
Little Passion on Wood, Bartsch, No. 22.) Rembrandt, if this
etching is his, must have copied from Diirer directly upon the
copper. I have given tracings of these figures, flafe V.
fig. 27, placing both in the same direction for the purpose of
comparison ; the superior character of Durer's work is most
apparent. Connoisseurs have been somewhat divided in their estimate
of this print ; it is full of faults, the grouping is a little
confused, the faces are singularly wanting in expression,
at least such expression as is worthy of Rembrandt, and the
technic is inferior ; on the other hand it has qualities in which
he was pre-eminently distinguished above all etchers of his
school ; the spirited action ofthe crowd is admirably rendered,
all is life and motion in the foreground, while the introduction
of the scene in the distance is eminently suggestive of the
contemptuous indifference with which the chief Jewish autho
rities regarded our Lord.

199. St. Jerome kneeling. (Saint jirbme a genoux)
He is represented kneeling, with his hands joined to
gether, and turning towards the right ; the lion stands beyond
him in the same direction, occupying the whole breadth of
the plate. A closed book lies on a bank to the left, and
upon it is placed a jug, above which the background is lightly
shaded ; the rest of the background is clear. Towards the
upper right is very faintly engraved Rembrandt, and below
the name/! 1635, the last figure being scarcely legible.
Dimensions : 4,5 — 3,2 ('115 — -o8i).
[Coll : BM. C. O. P. A. H]
An impression at Amsterdam is tinted with Indian ink.

No 200 Scriptural and Religious. 191
Copy rev. The light falling on the head has a natural effect
in the original, and the handle of the jug is angular ; the light in
the copy looks like a fillet or band around the head, and the
jug handle is rounded.
Copy rev. The plate is higher, and Rembrandt's name
appears twice in the clear background to the left. This copy is,
I think, by Basan.
Copy rev. On a smaller plate. In the upper left is Rem
brandt. A. De Vos fee. 1677.
The lion in this print is not quite so bad as in the
St. Jerome sitting etc., No. 190 ; but it compares unsatis
factorily with Rembrandt's later drawings. The print is dated
1635, but for this I should have placed it rather earlier.

200. The Ecce Homo. {Ecce Homo)
In this admirable composition Our Lord is represented
standing with His eyes raised towards Heaven, manacled
and partially unclothed, and wearing the crown of thorns.
Below, to the right, Pilate is seen, having apparently just
risen from his chair, his left hand extended as if expostulating
with a group of angry Jews, who are insisting that he shall
crucify his prisoner. One of these Jews grasps a reed ;
another, with repulsive face, plucks Pilate's robe to attract
his attention ; again another, lower down to the left, stretches
out his hand towards the crowd which fills the left of the
picture, as if to restrain their fury, that those nearest to Pilate
may make themselves heard above the din. The guards are
disposed around and behind Christ ; a canopy is seen above,
and architectural details almost fill the background, while to
the left rises a column, on which is placed the laurel-crowned
head of the Roman emperor. Below the subject, in a clear
space yL inch (-oio) deep, is lightly inscribed Rembrandt fi 1636
cumprivele et, but this does not appear until the 3rd State.
Dimensions : 21,7 — 17,6 ("550 — "447)-
Before describing the five States of this print mention must
be made of a beautiful design for the composition, ' en grisaille,' '
described by Smith (Smith's Cat. vii. 37), and now in the pos
session of Lady Eastlake. It was formerly in the collection of
the Burgomaster William Six, at whose sale in 1734 it brought
1 Smith calls this en grisaille. This term is only correctly applied to a picture
executed in white and grey.

192 Rembrandt's Etchings. No. 200
70 florins, about ,£7. It has since passed through the collec
tions of Mr. Goll, Mr. Brondgeest, Mr. Emmerson, and Mr.
Jeremiah Harman. The composition is in reverse direction to
that ofthe plate ; and though recent, work by an inferior hand
appears, chiefly upon the central group, there is no doubt that
this is Rembrandt's original composition for the etching. In
this ' grisaile ' the canopy is seen to extend half across the pic
ture. Immediately below, and partly concealing the figure of
the Saviour, and nearest to Pilate, is the repulsive face of a man
in a coarse fur cap ; his ear and cheek are concealed by the
open hand of a man whose bald head is partly covered with a
linen cap, and who is to his right in the ' grisaille,' to his left
in the print ; between these two rises the reed. If the hand
of the first man be looked for, it will be seen below, pluck
ing the robe of Pilate ; the upper outline of the arm of the
second man, to which the open hand belongs, forms a line
extending from the wrist of this open hand to his eyebrow.
Above the outline of this arm, filling up the space between the
two heads, and crossed by the reed, is a lighter space, which,
in the ' grisaille ' is evidently intended for a flap or backward
continuation of the cap worn by the first figure. A sketch in
outline will render this at once apparent. SHlsrte VI. fig. 29.
Turn now to the print for which this grisaille is the design.
States : ist. The figures of Pilate and of the five Jews who
are pressing around him are not introduced ; that part of the
plate remaining perfectly blank ; the canopy, as in the grisaille,
extends half across the top of the scene, but is not kept in
shadow ; the small portion of the sky which appears in the
upper left is boldly and effectively etched ; but the print, so far
as is completed, is wanting, especially upon the left, in shade,
and is too uniform in tone. [Coll: BM. A.]
There are two impressions of this State in the British Museum ;
one of them shows the corrections of the master's hand ; half
the canopy is blotted out, the folds of its curtain behind Pilate's
chair are deepened in shadow, and the lights on the left and in
the background are lowered ; these corrections are executed
in bistre with a brush.
2nd. The canopy above the chair of Pilate is lessened by
one-half, and the shadows suggested in the corrected trial proof,
which we call the ist State, are introduced, as are the figures
which were then omitted : but a curious error appears in the
space between the heads of the two men which, speaking of the
grisaille, I have endeavoured to describe. It was intended here
to represent a continuation of the cap of the first man ; instead
of this a space is seen lightly shaded with right-to-left diagonals.
If now the eye is carried forward to the other side of the second
head, an arm is seen really belonging to this second figure, but
its upper outline apparently continuous with that of the lightly
shaded space just described, and itself shaded in a similar

No 200 Scriptural and Religious. 193
manner ; the result is, that this arm and hand stretching out to
the right are actually made to belong to the first described figure
in the coarse cap, and the presence of the hand below plucking
Pilate's robe is, of course, not accounted for. JJiatc VI. fig. 29,
the upper sketch. [Coll: P. H]
3rd. The obvious mistake is corrected, and the offending
shoulder, closely worked over, disappears. [Coll: BM. C. P.]
4th. The head described above as the second, and which is
partially covered with a linen cap, and had been only lightly
and irregularly shaded, is now worked over as high as the
temple with a very regular left-to-right diagonal ; this is intended
to express the shadow cast upon his face by the high cap of the
Jew to the left. [Coll: BM. A. C] $)lafe VL % 29> the lower
sketch. $th. On the left of the clear space below is engraved Rem
brandt pinxit, Malboure excud. Rue St. J 'agues, and on the right
is Au-dessus de St. Benoit a V Imprimerie de taille douce (i.e. above
the St. Benoit, at the copper-plate printer's). [Coll : BM.]
The plate had long left Rembrandt's possession when this
inscription was placed upon it, and impressions taken.
Zani [Bibl. XLII. vii. 301] enumerates nine copies ; three of
these are in reverse on smaller plates ; one in the same direction
he attributes to Sebastian Savry. I am quite unable to identify
all the copies he mentions.
Copy. Same d. Of the 2nd State with the offending shoulder ;
in the clear space below is Rembrandt f. 1636 ; the figures 6 and 6
are reversed. The error of supposing this light space in the
grisaille was intended for a shoulder to the first head becomes
even more obvious in this copy. It is without name, but I
think I am right in ascribing it to Leopold George Hertel.
Copy. Same d. 20,5 — 16,9 (-520 — -429). Not deceptive.
Copy. Same d. 20,6 — 17,0 (•522— -431).
Copy. Same d. On smaller plate by Savry (Zani).
Copy rev. and reduced by George Malbeste.
It has long been a question among competent critics as
to what extent this finely designed print is the work of
Rembrandt, or how much of it was entrusted to an assistant
or pupil. It has never, I believe, been suggested that the
design was by any but the master ; without the evidence of
the grisaille, we are satisfied that the composition is far too
grand to have been created by any other than Rembrandt ;
it is the very unequal execution of the print which has given
rise to doubt. Josi is said to have first raised the question.
Mr. Carpenter, late Keeper of the Prints in the British
Museum, kindly directed my attention many years ago to
o

194 Rembrandt's Etchings. No. 200
those details which he believed were by a different hand ;
and more than one distinguished artist has so strongly ex
pressed himself upon the inferiority of the technic in some
parts of this large print that its doubtfulness has become
almost traditional in the British Museum Print Room. The
existence of the grisaille and the different States enable
us to form our conclusion. The original design was entirely
by Rembrandt, its transference to the plate was also by
him, and much of the detail is due to his hand, but a pupil
or assistant was employed ; it was for the guidance of this
assistant that the bold and masterly directions seen in the
priceless ist State in the British Museum were executed, and
again for this assistant that the manifest error in the 2nd
State was corrected ; but we cannot doubt that Rembrandt
himself continually worked upon the plate ; the group formed
by Pilate and the four Jews nearest to him, and the figure of
the Saviour rising above them, were certainly his, although
even here some weaker handling appears ; the heads in the
foreground and the work which covers the sky in the later
States (not that which first appears upon it), the filling-in of
the background and to the right, are altogether inferior. I have
elsewhere [Bibl. XXXI. p. 16] recommended the student to
shut out all but the pyramidal group in the centre, and look at
it as if executed en vignette. Had this, and no other part of
the plate been known, the imperfections in the technic would
never have been noticed, nor should we have inquired what
other hand had touched the plate.
There is nothing whatever in the inferior work which
gives any reliable clue to the assistant who was employed.
Some of the finer work is not unlike Bol, who, in 1636, was
still with Rembrandt. I should pass over without remark
the assertion that it was by Lievens if Mr. Seymour Haden,
himself an etcher, and therefore entitled to be heard in dis
cussing the technic of a print, had not so unhesitatingly
assigned to him the authorship of the plate [Bibl. XXI. p. 41]
and referred for evidence to the prints to which Lievens' sig
nature is attached. I have before shown, pp. 106-7, that Lievens
was never a pupil or a worker with Rembrandt, and, in fact,
was not a resident at Amsterdam until a later time ; he could
not therefore have been employed upon this plate. Who it
was who executed the inferior work can only be a matter of

Nos. 201,202 Scriptural and Religious. 195
conjecture ; for, as I have before urged with regard to an
other plate, there is nothing so distinctive in the manner of
this work as to afford a clue.

201. The Prodigal Son. {Le Retour de D enfant
prodigue)
The prodigal son is seen upon his knees on the steps of
his father's house ; his only covering is a ragged cloth tied
about his loins ; his father is bending over him with an ex
pression of tenderness, and his mother is seen above looking
from a casement ; to the right a servant is coming out of the
house with clothing, and behind him the elder son is seen.
In the distance, through an arch to the left, we observe a
peasant with cattle, and farther away some buildings upon a
hill. Below the left foot of the father, upon the step, is Rem
brandt fi 1636. Dimensions: 6,2 — 5,4 ("158 — '138).
[Coll : BM. C. P. A. H.]
Copy rev. On the step below the foot of the father is Rem
brandt f. 1636, the final 6 reversed (in a counterproof the whole
signature would have been reversed). I attribute this copy to
Solomon Savry.
Copy rev. On a smaller plate. Very poor.
I have reason to believe that the plate still exists.

202. The Virgin mourning the Death of Jesus.
{La Vierge de douleur)
She is a half length turned to the right ; upon a stone pro
jection in front of her lie the nails and the crown of thorns
over which she appears to be sorrowfully meditating. Date
assumed, 1636. Dimensions : 4,4 — 3,5 ('113 — '089).
[Coll : BM. O. P. A.]
Wilson and M. Charles Blanc have described two States, the
ist, in which some harshly engraved work is seen beneath the
chin and arms of the Virgin ; the 2nd, in which it has been re
moved with the scraper. In an impression at Paris these lines,
filled with burr, produce an unpleasing effect ; in the few im
pressions I have seen this burr gradually disappears, being, as

196 Rembrandt's Etchings. No. 203
the printing proceeded, removed partly by the scraper. Possibly
impressions exist before this dry point work was introduced, but
I have not seen them.
Copy. Same d. In the original the shading upon the fore
head is markedly irregular, while in the copy the lines might
have been ruled, and the downward lines are nearly vertical; the
shading generally is of the same character. This copy is by W.
J. Smith. In some impressions his initials are seen a little to
the right in the upper part of the plate.
M. Charles Blanc suggests that the plate is by Bol ; if an
impression were met with for the first time in a miscellaneous
collection, it would not, I think, be attributed to Rembrandt ;
the worn prints which occasionally appear are still less like
his work.

203. Abraham caressing Isaac. (Abraham caressant
Isaac)
An old man with a large beard is seated on a cushion
placed upon a bank; he is full face, but his body turned to the
right ; he wears a flat cap hanging over at the sides and a
robe trimmed with fur. Between his knees is a little boy
laughing and looking to the right, holding an apple in his
left hand ; the old man's right hand caresses the boy's chin.
Low down to the left is Rembrandt f. Date assumed, 1636.
Dimensions : 4,6—3,5 (-n8 — -089).
[Coll : BM. C. A.]
Bartsch placed this among the Old Testament subjects ; in
this he is followed by M. Charles Blanc ; Wilson, agreeing with
Gersaint, removed it to the class of Fancy Pieces. The style of
composition and the technic somewhat resemble Abraham
sending away Hagar, but I cannot think it a piece entirely free
from doubt, and but for the expressed opinion of others should
have been inclined to attribute it to Bol. In late impressions
some scratches in the right background disappear, and a scratch
crossing the child's left shoulder and continued to the apple
possibly points to the existence of a second State. From the
occasional occurrence of harshly reworked impressions the plate
is probably in the trade.
The foliage to the left resembles that in the foreground of
the print called Adverse Fortune, No. 262.

No. 204 Scriptural and Religious. 197
204. Abraham sending away Hagar and Ishmael.
{Agar renvoyie par Abraham)
Abraham, standing with his right foot on his door-step as
if about to return into the house, extends both hands while
he dismisses Hagar and Ishmael, who are slowly moving
away towards the right ; Hagar, covering her face, appears to
be weeping ; through a window to the left Sarah is seen
leaning out with a smile of satisfaction ; and, partly concealed
by the low hatch of the door, Isaac is watching his brother's
departure ; a little dog is placed upon the steps with its
forefoot raised as if hesitating whether to go or stay ; trees
and buildings fill the background. At the top to the right is
Rembrandt, and below it j. 1637.
Dimensions: 5,0 — 3,8 ("128 — "097).
[Coll: BM. C. O. P. A H.]
In the earliest impressions, the eyes of Abraham and Sarah,
having been finished in dry point, are black and without expres
sion ; the latest impressions on the other hand show marks of a
retouch ; a second State has been described, but I cannot
detect any variation except this retouch, which is not due to a
printing effect ; and the retouch is so delicately introduced and
so gradually that it is impossible to fix where the second State
should begin.
Copy rev. The size of the original. In the upper left is I. de
Ram. exc. A 2nd State of this copy has the further inscription
Gherardo Dou a. f. RR. This is very faintly executed and
placed above the other (referred to by Zani).
Copy rev. Hagar's eye is open, not shut as in the original ;
on the step behind Abraham's foot in the lower right corner is a
monogram formed of the letters MB.
Copy rev. Inscribed MBR — 1706.
Copy rev. By the same hand, inscribed MB — R (all these
are, I believe, by Franc M ieris the younger).
Copy rev. Inscribed Novelli, No. 19.
Copy rev. In a clear space below to the right is Rembrandt
inv. By Richard Cooper.
Copy rev. In four States, ist, Ishmael only is finished ; 2nd,
Abraham is finished ; 3rd, the plate is complete and in the
upper right is inscribed Rembrandt. On the 4th is No. 29. This
copy is by Worlidge.
Copy. Same d., Bibl. IX.
A study for this print is among the Rembrandt drawings
in the British Museum, reversed, and in some respects dif-

198 Rembrandt's Etchings. No. 205
fering from the etching. It measures 7,4 — 9,3 ('188 — *236)
and was formerly in the possession of Woodburn.

205. Joseph telling his Dreams. (Joseph racontanl
ses songes)
Jacob is seated in an elbow-chair on the left, listening to
the recital of Joseph, who appears in the middle of the piece
in an attitude expressive of the words he is uttering. ' Behold
we were binding sheaves in the field, and lo ! my sheaf arose
and also stood upright, and behold your sheaves stood round
about and made obeisance to my sheaf,' Genesis xxxvii. 7.
In the background to the left is a bed on which Rachel the
mother of Joseph is lying; Dinah his sister is sitting to the
right, with her back to the spectator, having an open book in
her hand ; Joseph's brethren are grouped behind ; one stand
ing wears a turban ; another to the right, seated nearest to
Joseph, turns his head away with contempt at the idea of
making obeisance to his younger brother ; on a stove under
Jacob's chair is engraved, though not to be easily deciphered,
Rembrandt fi., and below, 1638.
Dimensions: 4,4 — 3,3 ('113 — "084).
States : ist. The curtain in the background, the upper part of
the door, the face and turban of the person who stands behind
Joseph, and in general all the heads in the background, are
white or lightly shaded ; other parts, especially in the foreground,
are also lightly shaded. [Coll : BM. C. P. A. H.]
2nd. All these parts are worked over. [Coll : BM. C. P.
A. H.j
Copy. Same d. ist State, Bibl. IX.
This scene forms the subject of a spirited study en grisaille ;
in the Coll. of Mr. J. P. Six van Hillegom. The picture is in a
reverse direction to the etching, and though not dated is cer
tainly of Rembrandt's earliest time. Joseph is placed in pro
file, and the grouping is rather differently disposed, but the
seated figure of Jacob is accurately reproduced upon the cop
per. A drawing of this latter figure in red chalk, also in
reverse, undoubtedly by the master's hand, was contributed
by W. Mitchell, Esq., to the winter exhibition 1877-8 of the
Grosvenor Gallery. It bears the monogram Rh, and the date
1 63 1. From the character of the technic, it is probable that

No. 206 Scriptural and Religious. 199
this is not the true date of the drawing but of the grisaille
from which it was taken ; the drapery, the aged hand, the
attitude and expression, are much more admirably rendered
than in the etching which was directly copied from it upon
the prepared plate.

206. Adam and Eve. {Adam et Eve)
They are represented in Paradise. Eve standing in the
centre of the print holds the forbidden fruit and is persuading
Adam to eat ; her husband, standing to the left and partly
resting upon a bank, seems to refuse to participate in her sin ;
to the right is a tree upon which Satan is represented under
the figure of a large winged serpent, his head hanging down
and holding another apple in his mouth ; in the distance to
the right an elephant is seen. There is a clear space below
the subject, in which is engraved Rembrandt fi 1638.
Dimensions: 6,4 — 4,6 ("163 — -n8).
States: ist. The upper outline of the bank against which
Adam is resting is lightly engraved and not continuous. [Coll :
BM.] 2nd. The upper outline of the bank is strongly defined.
[Coll: BM. C. P. A. H.]
All who have described the 2nd State of this print have agreed
in describing as a variation, the shading upon a small space in
the inner part of the thigh of Eve. The distinction is one I
have never been able to detect, but I have found impressions
(there is one at Paris) in which I remarked a slight tint of ink
upon the lower part of the body and upon the thighs, which I
believe has misled amateurs.
One of the three impressions of the 2nd State at Amsterdam
has also been tinted. I have seen two others on which Indian
ink has been used. The only true variation is in the outline of
the bank, above described, and the only impression I know of
the ist State is that in the British Museum. This impression
has the additional interest of having been worked upon by
Rembrandt ; a tree is introduced in Indian ink, rising from the
bank to the left, and meeting the foliage at the top, thus framing
the central group and throwing it into relief.
Though the figures of Adam and Eve are ugly and uncouth,
the print must not on that account be rejected, or its real excel
lencies overlooked ; the management of the lights, direct and
reflected, upon the limbs bears the unmistakable impress of the
master. Copy. Une copie fort trompeuse is referred to by Bartsch, who

200 Rembrandt's Etchings. No. 207
pictures a variation by which it may be recognised. A much
more marked variation is in the upper part of the tree to the
right; $u\t V. fig. 28. The eye of the elephant is black in the
copy, white in the original ; impressions are generally cut close
at the bottom, when they are not there is seen engraved No. 29
du Catalo. This copy was probably by Basan.
Copy. Same d. Described by Zani [Bibl. XLII. part ii.
vol. ii. p. 239], measuring 5 p. 7— 4 p. 3 and inscribed Rem
brandt f. 1638.
Copy in rev. Measuring 6 p. 1—4 p. 3, also described by
Zani, and attributed by him to Gherard Dou.
I have not been able to find either of these, but I have seen a
counterproof of the 2nd State which has possibly been mistaken
for a copy.
Copy. Same d., Bibl. IX.

207. The Death of the Virgin. (La Mort de la
Vierge.)
The Blessed Virgin appears at the moment of death. St.
Joseph and the Holy Apostles who, according to the legend,
were miraculously brought from their distant mission, or
temporarily restored to life again that they might be present
at this solemn scene, are grouped around the bed ; St. Joseph,
raising her pillow, holds a handkerchief to her face, St. Luke,
standing by, presses his fingers upon her wrist as feeling for
her pulse ; a tall woman, with hands raised and clasped,
stands at the foot of the bed ; St. John is behind her ; to the
left a Jewish priest sits at a table reading from a large book,
and close by the bed head on the left is the High Priest, his
arms hanging down and his hands clasped while he looks
with mournful attention upon the dying Virgin ; by his side a
boy holds a large crozier ; in the right background a man,
whose features are not unlike those of Rembrandt himself, is
represented drawing back a curtain. Angels and cherubim
are roughly sketched above. Low down to the left is Rem
brandt 1639 ; below the subject is a clear space -fa ('01 5) deep,
as if for an inscription. Dimensions : 16,1 — 12.4 ('409 — '315).
States: ist. An arm-chair seen in the lower right is only
partially shaded ; the upper part of its left arm, the back, and
the bar which connects the legs, are but slightly worked. Trials
of the needle and slipped strokes are seen, chiefly in the right

No. 208 Scriptural and Religious. 201
corner, crossing the line which borders the subject below, and
extending into the clear space. [Coll : BM. P. A.]
2nd. The upper part of the left arm of the chair is darkened
with deep lines in the direction of its length, a horizontal crosses
the verticals on the back, ornamental cross-work borders the
seat, and the bar which connects the legs is strongly shaded.
[Coll : BM.]
The impression in the British Museum is very fine ; the shade
introduced into the lower right produces an extremely good
effect. 3rd. Only differs from the 2nd in this, that the scratches or
trials of the needle etc., in the lower margin, are burnished out.
[Coll: BM. C. O. P. A.]
We may no doubt regard this as the finished plate, the ist
and 2nd States being trial proofs.
4th. The worn plate has been retouched, and in many places
the lines are deepened. A fine vertical shading is seen upon
the bed-post immediately against the right hand of one of the
disciples whose hands are resting on the bed. [Coll : BM. C.
Copy rev. By Dc Non. On a plate of the same size. Near
the chair on the left is Rembrandt 1639, and in the lower right is
Z>— n(ii83).
Copy. Referred to by Vosmaer. I do not know it.
The water-mark in the paper on which some impressions
are printed is a fleur-de-lis rising above a shield.
Although I have retained the title which this print has
always borne, and following my predecessors, have described
it as representing Tlie Death of the Blessed Virgin, I have
done so with considerable hesitation ; the figure upon the
bed is rather that of a man than of a woman, and the presence
of the High Priest is also somewhat anomalous, but as I am
quite unable to suggest another explanation, I allow the com
position to retain its name.

208. The Presentation in the Vaulted Temple.
(Prisentation au Temple. Piice en largeur.)
Simeon to the right is kneeling on one knee with the
Holy Infant in his arms, the Blessed Virgin is kneeling before
the aged prophet and above her is seen St. Joseph holding a
pair of doves ; a broad beam of light proceeding from the
upper left corner falls upon the Child ; several persons
behind and at the side are watching the scene. Foremost

202 Rembrandt's Etchings. No. 208
among them in the middle of the piece is Anna the prophetess,
with a crutched stick in her hand ; the Holy Dove appears
hovering above her head ; this dove is very clumsily drawn ;
higher up is a sketch for another, as if intended to take its
place in a later state. In front to the left are two Jews con
versing, and at their feet is a dog. The background repre
sents the inner part of the Temple, where many Jews are
assembled. Date assumed, 1639.
Dimensions : 8,4 — 11,4 ("214 — '290).
States: ist. Simeon's head is uncovered, his robe and that of
the Virgin are only partially shaded, St. Joseph is bareheaded,
and from a printing effect his beard appears larger than in sub
sequent impressions. There is an almost clear space in the
upper margin above the broad ray of light which falls upon the
central group. [Coll : BM. C. O. P. A.]
N.B. St. Joseph's beard 'appears larger.' This difference in
its size is used as a ' remarque ' by Wilson, and later still by M.
Blanc. It is only an apparent difference, and does not arise
from any variation in the work ; it is the effect of burr upon the
upper part ofthe bust of St. Joseph which disappears with printing.
2nd. Simeon's head is covered with a calotte, his robe and
that of the Virgin are richly shaded ; the effect in a good im
pression is far better than that in the 1st State. [Coll: BM. C.
O. P. A. H.]
A very fine impression of this State was shown at the Rem
brandt Exhibition in 1877 from the collection of R. Fisher, Esq.
3rd. The clear space near the upper margin has been worked
over with horizontal and diagonal lines ; the edge or outline of
the beam of light, the vault, and the pillar behind St. Joseph are
strongly defined, and in other places the plate has been re
touched. [Coll : BM. C. P. A.]
4th. St. Joseph wears a turban, the plate is much worn and
the effect is poor.
Though this State is spoken of as a common one, I have
never yet met with an impression.
The plate on which this print was executed was one of
those softer plates in which the work rapidly broke down and
became what is technically termed rotten. The variations
which mark the 3rd State are chiefly intended to repair or
conceal the defects thus occasioned, and may possibly have
been executed by Rembrandt himself. The water-mark of
some impressions is a fool's head with a cap and bells.

No. 209 Scriptural and Religious. 203
209. The Decollation of St. John the Baptist.
(La Dicollation de Saint Jean- Baptiste)
The Baptist, his garment of camel's hair about his waist,
with closed eyes, and hands joined together, is kneeling to
the right of the print, his features and attitude expressive of
the resignation with which he awaits the fatal blow ; to the
left is the executioner bared to the waist wielding a heavy
sword, as in the act of striking ; behind to the left are guards ;
to the right Herod and the daughter of Herodias with atten
dants are seen, and close by the right plate edge is a negro
slave holding the dish which is to receive the Baptist's head.
Low down to the left is Rembrandt fi. 1640.
Dimensions: 5,1 nearly — 4,1 ('129 — '105).
States : ist. The plate was so delicately executed or so insuf
ficiently bitten that it printed very faintly, and all impressions,
except the very earliest, are worn and, to some extent, indis
tinct ; in this ist State the pikes or spears carried by the soldiers
in the left background cannot always be distinguished, and only
in the best impressions are the clothes of the executioner and
St. John fully outlined. [Coll: BM. C. O. P. A. H.]
2nd. The spears or pikes of the soldiers are reworked, the
garments of the executioner and St. John are outlined, and other
parts ofthe plate show a retouch. [Coll : BM. A.]
Copy rev. In the right lower corner is engraved Rembrandt,
but the date is omitted, two spears in the background are very
clearly defined. This copy is by David Deuchar.
I do not remember having seen more than two, or at the
most three, really good impressions of this Death of St. John ;
one of these is in fhe collection of Mons. E. Dutuit, and ap
peared at the Rembrandt Exhibition of 1877. A very spirited
sketch is found amongst Rembrandt's drawings in the British
Museum of the decapitation of three criminals ; to the left is a
group not unlike this of St. John and the executioner ; but
more interesting still is the fact that the actual design for the
Baptist's figure exists, a design which greatly surpasses the
print, both in drawing and in expression ; contributed by F.
Seymour Haden, Esq., it was placed with the print in the
Exhibition of 1877.
N.B. Another ' Decollation ' has been described by
Bartsch, No. 93. It is a coarsely executed print, to some
extent injured in the bjting, and will appear in its proper
place among the works of Lievens.

204 Rembrandt's Etchings. Nos. 210, 211
210. The Baptism of the Eunuch. {Le Baptime de
l' Eunuque)
The Eunuch has alighted from his chariot, which is seen
in the background, and is kneeling about the middle of the
print, turned to the right ; a Moorish page stands behind
holding his mantle, while St. Philip, a venerable man with
large beard, is baptising him ; to the left is a horseman armed
with a spear, watching the ceremony with an expression of
contempt ; the little rivulet from which the water of baptism
is taken is at the right, it forms a low cascade and settles into
a pool at their feet ; trees and distant buildings on a hill are
seen above. Low down in the right corner is Rembrandt, and
below it/ 1 64 1.
Dimensions : 7,2 — 8,4 ('183 — "213).
States : ist. The little cascade is only partly shaded, fine im
pressions show burr in the centre, and to the left. [Coll : BM.
P. A.]
2nd. The little cascade is closely shaded, chiefly with down
ward lines right-to-left. [Coll : BM. C. P. A. H.]
For the variation which distinguishes these States see Sj3lnfe
VI. fig. 30. A copy is referred to by Zani, Bibl. XLII. ix.
210. I do not know it.

211. The Virgin and the Holy Child in the
CLOUDS. {La Vierge et I' Enfant sur des nuages)
The Blessed Virgin is represented kneeling on her left
knee, her hands clasped as she supports the Infant in her
arms ; her head is raised in an attitude of devotion. Upon
the drapery which covers her left knee appears the head of a
child, reversed, which had been left upon the copper when
Rembrandt began his subject ; half way between this head
and the bottom of the plate is Rembrandt f. and under it
1 64 1. This name and date are almost lost in the shading.
Dimensions: 6,6 — 4,2 ('i68 — '108).
[Coll : BM. C. P. A. H]
Two states of this print have been described by M. Charles
Blanc, but he does not say that he has seen the 2nd and refers
for it only to the catalogue of Van den Zande, Paris, 1855.
In De Burgy's Catalogue mention is made of two states, the
variation consisting in some differences in the mouth of the
Virgin. I have examined many impressions but have not dis-

Nos. 212, 213 Scriptural and Religious. 205
covered the variations which justify the creation of a 2nd State.
By some oversight the catalogues from Bartsch downwards
describe the signature as Rt (in error for Rh) instead of Rem
brandt f.
Copy. Same d. This may be recognised by the accuracy of
the cross- work in the shadows ; it is without name, but is by W.
J. Smith. 212. JACOB AND LABAN. (Jacob et Laban)
On the left is a house with a deep porch projecting over
the door, the lower half of which is shut, and a man in a high
crowned hat is leaning out. In the foreground are a dog and
three figures, a woman and two men, in Eastern dress. To
the right of the house rises a tree which reaches to the top
of the plate. In the upper right in reverse is Rembrandt f.
1641. Dimensions: 5,7—4,5 ('145 — ""S)-
States: ist. The connection between the upper and lower
parts of the foliage which rises to the right of the house is ex
pressed by two almost meaningless outlines. [Coll : BM. C. P.]
2nd. Delicate lines representing leaves and branches are
sketched along the right side of the outlines connecting the
upper and lower foliage. For the variation which marks these
states see |taft VII. fig. 31. [Coll : BM. C. O. P. A. H.]
Copy in rev. A bird which flies away frcm the top of the
porch is finished with head and beak ; it is a mere sketch in the
original. The long line of the 6 in the date is curved over
the 4.
The plate still exists, and has recently been printed from ;
it has been used by P. G. Hamerton, Bibl. XXLII.
Bartsch and Wilson have classed this among their Fancy
Pieces. I have followed M. Charles Blanc in placing it with
the Scripture subjects, accepting for it his title of Jacob and
Laban, and referring it to Genesis xxxi. 36 etc.

213. The Angel ascending from Tobit and his
FAMILY. {L'Ange disparait devant la famille de Tobie)
The Angel Raphael is represented ascending from Tobit
and his family, after having revealed himself upon their offer
ing him half their substance as an acknowledgment for the
services he had rendered to Tobias in his expedition, and the

206 Rembrandt's Etchings. No. 213
restoration of sight to his father. Rembrandt has chosen the
moment in which the Angel, of whom only the lower limbs
are seen, is ascending to heaven, rays of light issuing from
him ; to the right is a large open trunk, and on the same side
is a servant who holds the bridle of the ass which had carried
it in the expedition to the country of the Medes which the
Angel and Tobias had just performed ; in the middle of the
piece Tobias is prostrating himself ; by his side is the dog by
which he is always distinguished ; his wife Sara is behind him
upon her knees ; his mother Anna is standing in the back
ground, her features expressing astonishment, and her hands
raised and extended ; Tobit, with hands joined, kneels to the
left ; a servant is looking from the window, two others are at
the door, one of them carrying a tray and a jug. On the
ground, rather to the left, is Rembrandt f. 1641.
Dimensions : 4,1 — 6,1 ("105 — '155).
States: ist. As described. An early impression printed in
red ink appears in the Cambridge collection. [Coll: BM. C.
O. P. A. H]
2nd. Some vertical shading appears in the background behind
and above the ass. On the shoulder of Tobit is some delicate
work right-to-left in dry point ; a shading of short right-to-left
strokes is seen along the lower side of an irregularity in the left
foreground. This state is comparatively rare. [Coll : BM. P.]
Wilson, on the authority of De Claussin, describes a ist State
of this print, in which the head dress of Sara is clear without
any shading, adding that the only impression known was that
seen by De Claussin in the collection of Mons. Robert at Paris
[Bibl. VI. pp. n, 12]. I know two impressions which answer to
Wilson's description ; one of them is in the British Museum and
has been catalogued as a. ist Stale ; the fine lines upon the cap
of Sara and on the sleeve of Tobias, and still more the shading
inside this sleeve below the wrist, are apparently wanting. In
the same collection is a brilliant impression in which all this
work appears ; this has been entered as the 2nd State ; while an
impression with the vertical shading etc., has been called the
3rd. The fine work, however, was on the plate when the so-
called ist State was printed, and by careful examination its traces
can be detected. I have examined thirty-three impressions,
and in no one of them is the delicate work absolutely wanting,
though often very weakly printed, while in the few impressions
of the true 2nd State it appears clear and distinct, as if the plate
had been ' packed ' in the press.

Nos. 214, 215 Scriptural and Religious. 207
214. St. Jerome: in Rembrandt's dark manner.
{Saint Jirbme en miditation)
He is represented sitting in a darkened room ; to the
right is a table on which lies a large open book, and near to
it are a crucifix and a skull ; while below, not easily dis
covered, is the figure of a lion. He supports his head with
his left hand, his elbow resting upon the table ; the only light
admitted into the piece is from a window high up at the right
side of the plate ; to the left is a broad winding staircase
leading to a room above. In a narrow clear space below the
subject is Rembrandt fi. 1642.
Dimensions : 6,0 — 6,8 (nearly 6,9 at the bottom) ('153 — '174)-
States: ist. The line of the curtain hanging to the right of
the window forms a gentle curve towards the left. [Coll : BM.
C. P. A. H.]
2nd. This line of the curtain is burnished out, and the line
curves inwards towards the right. [Coll : BM. C. P. A. H.]
For the variation which distinguishes these states see Slate
VII. fig. 32.
M. Charles Blanc describes a 3rd State, with variations caused
by rework. I have seen such impressions, but the retouch is
so coarse, and so certainly effected since the plate left Rem
brandt's hand, that it is hardly necessary to do more than refer
to them ; impressions from the worn plate have very little merit,
with this retouch they have none.
Impressions of the 1 st and 2nd States of the utmost beauty
were shown at the Rembrandt Exhibition of 1877 from the
collection of J. Webster, Esq.
A similar subject, although differently arranged, appears
twice among Rembrandt's paintings ; the Saint with the
accessories of spiral staircase, and the window with its
oval pane, are reproduced ; both these were formerly in the
De Venci Collection ; they have been engraved, the one
by Ludovicus Surugue in 1754, the other by Longhi.

215. The Resurrection of Lazarus : a small Print.
{La petite Risurrection de Lazare)
The scene is laid at the foot of a rocky height through an
opening in which a distant town is seen ; the attitude of
Jesus Christ, who stands on the left, is full of grace and

208 Rembrandt' s Etchings. No. 216
dignity ; below Him, to the right, Lazarus is depicted rising
from the tomb ; the spectators are grouped to the left ; one
of the sisters of Lazarus is in the lower part of the print on
this side ; below her is Rembrandt, and lower down/! 1642,
the last figure reversed.
Dimensions : 5,9 — 4,5 ('150 — '115).
[Coll : BM. C. O. P. A. H.]
In the earliest impressions fine work in dry point is seen
behind the shoulder of Lazarus, to the right, and also on the
stone above the hand and touching the breast of the woman ;
this dry point should show traces of burr ; in worn impressions
it nearly, if not quite, disappears. A second State has been
described, but I have not been able to verify it. It is possible
that a State exists before the dry point work above described,
but I have not yet found it.

216. The Descent from the Cross: a Sketch.
(Descente de Croix)
In the middle of the piece is seen the Body of our Lord,
which the disciples are letting down from the Cross by a
sheet which is passed beneath the arms ; one arm is already
freed and hangs down ; a disciple upon a step ladder on the
left is withdrawing the nail with which the right hand of the
Saviour is fastened ; on the lower left is seen the Virgin, she
has fainted and is supported by one ofthe Maries, while another
with dishevelled hair stands weeping near the Cross. St.
John grasps the sheet into which the Body is being lowered ;
near the right corner is the crown of thorns, and lower down
on the same side is Rembrandt fi. 1642.
Dimensions : 5,9 — 4,6 ('150 — -n8).
[BM. C. P. A H.]
The earliest impressions have burr on the group to the
left, on the crown of thorns, on the drapery at the foot of the
Cross, and on a skull and bones near the central foreground.
M. Charles Blanc quotes the opinion of an amateur, that this
sketch is imitated from a woodcut by a German master of the
time of Albrecht Diirer.

Nos. 217, 218 Scriptural and Religious. 209
217. Jesus Christ's Body carried to the Tomb.
{Jisus- Christ porti au tombeau.)
On the right of the print the Body of the Saviour is carried
by four of the disciples upon a hand bier towards a rocky
sepulchre, which is seen upon the left ; among the mourners
is the weeping Virgin ; the sepulchre is at the foot of a high
rock or hill, upon a distant slope of which, to the right, are
some spectators of the scene ; the piece is little more than a
sketch. Low down, a little to the right, is Rembrant ; the d
omitted. Date assumed, 1645.
Dimensions: 5,2 — 4,2 ('133 — •108).
[Coll : BM. C. O. P. A. H]
A second State of this print has been described, but I have
not been able to verify it ; early impressions show a little burr
below the bier, on the face of one of the bearers, and in the left
foreground. Copy rev. ; by Novelli. His name appears twice in the lower
part of the plate, and his monogram, FN., intertwined, in a little
circle in the lower left.
Copy on reduced scale ; by Burnet.
Vosmaer remarks that the foreshortened Body bears some
resemblance to the corpse in The Lesson in Anatomy. This
is, I think, merely a coincidence.

218. A Repose: in Outline. {Repos en Egypte, au
trait).
The Holy Family are seated on a bank beneath an over
hanging rock ; St. Joseph, in an easy attitude, with his left
leg crossing his right knee, holds an apple in his left hand, and
in his right a knife, and is looking earnestly upon the Child
as the Virgin, in whose lap He rests, gently raises the linen
which covers Him ; a saddle lies to the right ; to the left are
the stump of a tree and two birds. In the lower left is Rem
brandt f. 1645. Dimensions: 5,1 — 4,5 ('130 — '115).
[Coll : BM. C. P. A. H.]
Copy. Same d. Bibl. IX.
Though always faintly printed, the plate having been
p

210 Rembrandt's Etchings. Nos. 219, 220
insufficiently bitten, it is a charming composition, and full of
expression.

219. St. Peter. {Saint Pierre)
He is seen in front, kneeling, wearing a loose dress, and
holding a key in each hand ; his right is supported by a staff,
his left rests on a rock beside him. Low down to the right
is Rembrandt f. 1645.
Dimensions: 5,2 — 4,6 ('133 — "118).
[Coll : BM. C. P. A. H]
The biting of this plate having failed, impressions are
always extremely faint. In the best the plate-edges are
soiled.

220. Abraham with his Son Isaac. {Abraham parlant
a Isaac))
Abraham is represented explaining to Isaac the command
which he had received from Heaven ; his right hand is on
his breast, with his left he points upwards ; Isaac, standing
before him to the right, in an attitude of attention, sustains
with both hands a fagot which he has just taken from his
shoulder, and placed with one end upon the ground ; behind
Abraham, to the left, is a vessel containing lighted embers.
A somewhat carelessly drawn arch forms an upper border to
the subject ; in later impressions the upper part of this arch
to the left is worn away. In the lower corner on this side is
Rembrant (the d omitted), and below it 1645.
Dimensions: 6,2 — 5,1 ("157 — T30).
[Coll : BM. C. P. A. H]
Copy rev. The faces are weak, and the name and date are
wanting. Zani [Bibl. XLII. vol. iii.] attributes this copy to
Gherard Dou ; early impressions are well printed, and full of
burr. Copy rev. Coarse and ineffective ; Novelli.
Copy rev. Beneath Abraham's foot is Rembrandt, and in
a clear space below C. Campion, 1764. Zani has referred to both
of these copies ; they have no merit

Nos. 221, 222 Scriptural and Religious. 2 1 1
221. A Repose in a Wood ; a Night Effect. {Repos
en Egypte ; effet de nuit)
The Virgin is seated on the ground in front, partly turned
towards the left ; the Holy Infant is in her lap ; St. Joseph,
on higher ground, is immediately behind her, resting his right
elbow upon a bank, and his left hand upon his knee. By his
head to the left hangs a lantern. Date assumed, 1647.
Dimensions: 3,6 — 2,3 ('091 — '058).
States : ist. St. Joseph's cap and breast are shaded with fine
diagonal lines from right to left. [Coll : BM. P.]
2nd. A cross stroke from left to right crosses St. Joseph's cap,
and a second curved diagonal from right to left is seen upon his
breast. [Coll: C. P. A.]
3rd. The head and neck of an ass appear in the shading upon
the right [Coll: BM. C. P. A H.]
Copy in rev. ; Novelli, No. 16 of the 3rd State. St Joseph's
breast is not shaded.

222. The Crucifixion ; an Oval Plate. {Jisus en
croix entre deux larrons.)
Our Lord on the central Cross is placed nearly in profile ;
the thief to the right is seen in front, and the one to the left
from behind ; against the left-hand cross, which is darkly
shaded, rests the reed, at the end of which is a sponge. There
are many soldiers and spectators ; two women are seated on
the ground to the right, and behind them appears the fore
part of a horse. Date assumed, 1648.
Dimensions: 5,3 — 3,9 (-135 — -099).
States : ist. The end of the dark cross to the left, which nearly
touches the plate-edge, is square, and towards this end is shaded
only by a few vertical and horizontal lines. [Coll : BM. C. O.
P. A H]
2nd. The end of this arm of the cross is rounded, and fine
interlines are seen between the four or five horizontals which
had shaded it ; retouching in dry point marks the line of the
horse's shoulder, the outline of his near foreleg and the pommel
of the saddle ; other work in dry point is seen. [Coll : BM.
C. H.]
This plate, said to be made of brass, is still in existence.
I have found retouched impressions on paper which has a

212 Rembrandt's Etchings. Nos. 223, 224
suspiciously modern appearance ; and as in these the dry point
and fine interlines which distinguish the 2nd State are not
clearly seen, the amateur should be on his guard.

223. St. Jerome writing, seated near a Large
Tree. (Saint Jirdme icrivant)
A large old tree appears filling the middle of the print ; it
divides into two as it rises near the top of the plate, and
throws out a branch towards the right. St. Jerome is seated
to the right beyond the tree, his hat lying on a bank at his
right side ; fie wears spectacles, and is writing in a book
placed on a board, on which, to the right, is seen a skull ; on
the left side of the tree appears the head of a lion. Upon
what looks like the top of a plank fence, below the trunk of
the tree, is Rembrandt f. 1648.
Dimensions : 7,1 — 5,2 (-i8i — '133).
States: ist. The name and date, and the plank on which they
are inscribed, are not yet introduced. [Coll : BM. P. A.]
2nd. The plank with name and date are added, the lion's face
and the plants at the foot of the tree are lightly worked over.
[Coll : BM. C. O. P. A. H]
Copy. Same d. Bibl. IX.
The dry point work showing burr in this piece is probably
of later date than the rest, which bears a resemblance to
Rembrandt's work in 1642 ; see for instance the piece called
Jacob and Laban, No. 212 ; I am not aware of any impression
in pure etching, but a proof in this State may possibly exist
in which only the tree trunk would appear, and before the
introduction of the figure of St. Jerome etc.

224. Jesus Christ healing the Sick, commonly
known as 'The Hundred Guilder Plate.'
(Jisus-Christ guirissant les Malades, autrement 'La
Pike de Cent florins))
Jesus Christ is seen in front, nearly in the centre of the
piece, His head surrounded by a nimbus which extends for
some distance above and on either side ; His left elbow rests
on some stonework, and the hand is held up, while He

No. 224 Scriptural and Religious. 2 1 3
stretches His right hand towards the people who surround
Him. In front is a sick woman lying upon a mattress on the
ground ; above her an old woman raises her wasted arms in
an attitude of supplication ; another woman, on the left, ap
proaches, carrying a child ; a woman on the right leads for
ward an afflicted old man, and implores assistance. Many
spectators are grouped to the left, some of them apparently
disputing as to the source of the miracles they witness ; con
spicuous in the foreground is a figure in a turban and long
robe, with his hands, in which he holds a staff, ciossed behind
him ; near the right border of the plate is an Ethiopian with
a camel, and in the corner is an ass with its head hanging
down ; in the left foreground is a dog. The light comes
from the left, the right of the print is deeply shaded. The
plate is irregular, being a little larger at the left and along the
top. Date assumed, 1649.
Dimensions : 11,0 — 15,2 ("279 — '385).
Three States have been described. M. Charles Blanc has
added a 4th before the plate was reworked by Captain Baillie ;
his 3rd State exhibits some spots of oxide upon the hand of the
man to the left, who is leaning against the wall, and upon that of
the Pharisee who is listening to him. I have most carefully
studied the many impressions which have come before me, and
can only recognise two true States before the plate came into
the hands of Baillie.
States : ist. As described above. [Coll : BM. P. A.]
2nd. Part of the burr on the left has been removed by the
scraper. The shading of the neck and ears of the ass is crossed
by left- to-right diagonals. [Coll : BM. C. P. A. H.]
Four superb impressions of ' The Hundred Guilder ' were con
tributed to the Rembrandt Exhibition of 1877. Two of these,
in the 1st State, were from the collections of Mr. Holford and M.
Eugene Dutuit ; two, in, the 2nd State, of singular excellence and
beauty, printed on white paper, and retaining an unusual
amount of burr, were from the portfolios of the Rev. Dr.
Griffiths and Mr. Richard Fisher.
So much interest attaches to the ist State of this print that a
few notes on the several impressions will be acceptable.
Only nine impressions aie known ; one of these is what is
termed ' a maculature,' i.e. an impression taken upon a sheet of
ordinary paper passed over the plate during the process of
printing to remove the ink : it is in the Collection at Amsterdam.
The eight, all upon India paper, are of the greatest possible
beauty and in the finest condition.
Two are in the British Museum, acquired by bequest from the

214 Rembrandt's Etchings. No. 224
Hans Sloane and the Cracherode Collections : with them ap
pears a counterproof on India paper, also from the Cracherode
Collection. A third is at Paris ; it is framed and so cannot be properly
examined. It is a very beautiful impression with large margin; it
came from the Collection of M. le Chevalier de Beringhen.
A fourth is at Amsterdam ; on the back is an inscription
in old ink, now concealed by the mounting, which reads, Vereering
van myn speciaele vriend Rembrand legens de Pest van M. Antony,
i.e. gift of my respected friend Rembrandt for ' The Pest' of Marc
Antonio ; while a further inscription in a somewhat more recent
hand tells us that this was written by Rembrandt's friend, the
well-known Petersen Somer.1
The fifth of these impressions is at Vienna, preserved in
the Royal Library (K. K. Hofbibliothek). Upon the back of
this is written in red crayon, in a hand of Rembrandt's own
time, de 6 print op deplaat, and below f. 48 gulden, that is to say,
the sixth impression from the plate, 48 guilders.
The remaining impressions are a sixth, in the Collection of his
Grace the Duke of Buccleugh. It was formerly in the posses
sion of Messrs. Helle and Glomy ; it passed from them to Mr.
Major in 1750, and afterwards through the hands of Sir Samson
Gideon to Mr. Pond. It bears on the back the following in
scription in the handwriting of John Barnard : ' This Print,
which belonged to Mr. Pond Painter was sold in the collection
of his Prints for 26/. i$s. 6d. to Mr. Hudson Painter the 25th
April 1766, and was then esteemed to be the finest in England
J. B.' It also has the monograms of Lord Aylesford and of
Edward Astley. This is the impression which Wilson described
as in the possession of Lord Aylesford.
The seventh is in the Collection of R. S. Holford, Esq. It
came from the Hibbert and Esdaile Collections, in which latter
it was seen by Wilson. It is a superb impression, but I have
not been able to trace its earlier history.
The eighth is that in the possession of M. Eugene Dutuit; it be
longed to Jan Petersen Somer (Zomer, or Zoomer), whose collec
tion of Rembrandt's etchings, numbering 428 pieces, passed at his
death into the hands of Signor Zanetti of Venice ; his descendants
transferred the whole, this print included, to the Baron Denon.3
1 If the inscription is that of Zoomer, this exchange must have taken place
some years afterwards, or the biographers are in error in fixing 1641 as the date of
Zoomer's birth.
2 The sale of the Denon Cabinet was advertised for February 12, 1827, and
following days. Dibdin in his Biographical Tour relates that he had seen in this
collection two impressions of The Coach Landscape and two of the Larger Cop-
petwl with the white background ; but only one of the latter appears in the sale
catalogue. The Baron Denon died April 27, 1825. He executed about thirty
engravings and etchings, among them a copy of The Good Samaritan, No. 185,
which I have not been able to find. (See Notice sur Denon, Encyclop. 1825 xxvii.
In the Gazette de Beaux Arts, 1859, p. 239, the sale is incorrectly stated to have

No. 224 Scriptural and Religious) 2 1 5
The next owner of this print was Samuel Woodburn, who resold
it to the Baron Verstolk de Soelen ; at his sale in 1847 it was
secured by Sir Charles Price, and was exhibited at Manchester
in 1857. Mr. Palmer next held it, his purchase costing him
1,180/.; and a year later it entered the extensive and choice
collection of M. Eugene Dutuit
As regards the relative excellence of the finest examples of
the ist and 2nd States critics are not agreed. The occurrence
of the burr in the wedge-shaped light which falls upon the left
side of the print is thought by some to interfere with and unduly
break up this light, and its partial removal, it is argued, is an
improvement ; others, again, contend that the exquisite trans
parency of the shadows in the earliest impressions, and the
wonderful beauty of the nimbus around the Saviour's head, are
seen to less advantage in the later ones, and the removal, even
to a partial extent, of the burr lessens the relief in which the
figures to the left were first placed. It is certain that the finest
impressions of the 2nd State, such as those belonging to Dr.
Griffiths, Warden of Wadham, and Mr. Fisher, to which I have
referred, are in no way inferior to the earlier State, either in the
darker shadows or in the coruscating light of the nimbus, while
they retain sufficient burr to give clear definition to the figures
on the left. Later impressions rapidly deteriorate until we arrive
at what has been called the 3rd State. I have made notes upon
twenty-five with the diagonal lines on the neck of the ass, and
I believe, if they could all be brought together, a regular grada
tion might be observed from the superb prints above named to
one which is now in the British Museum, and formerly belonged
to Sir Thomas Lawrence, in which the background is entirely
wanting in transparency and its form obscured, and to one in
private hands, still more worn down, and which shows marks of
injury to the plate (possibly the 4th State of M . Charles Blanc),
and which presents but the shadow of the beauty which dis
tinguishes the earliest.
The plate afterwards came into the hands of Captain Baillie,1
by whom it was entirely reworked. Although not to be com
pared with the original, for which no connoisseur would ever
mistake it, it has some merit, and has not unfrequently been
passed off as Rembrandt's 2nd State upon those who are not

taken place in 1826.) There were two persons of this name, the Abbe Jean
Claude Bichard de St. Non, born in Paris 1730 ; died in 1792, he was an amateur
engraver and author. See Nagler. Bibl. XXXII. The other, above referred to,
was the Baron Dominic Vincent Denon, born 1 747 ; he attended Napoleon I.
into Egypt ; on his return he was appointed chief of the Imperial Museum ; he
died in 1825.
1 William Baillie, born at Carlow, 1783, at one time a captain in the 17th
Light Dragoons, an amateur engraver and etcher, died Dec. 18 10. A collection
of 113 engravings by him after pictures etc., in the Earl of Bute's and other
galleries, was issued by J. and J. Boydell. See their Catalogue, .1803.

216 Rembrandt's Etchings. No. 224
acquainted with the master's own work. Among other varia
tions, a very apparent one may be noticed. In the original,
about an inch above the Jew with a high cap, who stands on
our Saviour's right hand, are three dark shadings, the upper
one not clearly defined, which mark the fading away of the
rays which proceed from His head. In the retouched plate
there are^/wrwell-defined and pointed shadows tapering towards
the left; another variation is that in the original these rays,
covering a space from His right arm upwards to about the level
of the head of the man in a high cap, are in a hardly separable
mass, while in Baillie's retouched plate they are divided into
four distinct bands or groups.
This reworked plate was afterwards divided into four pieces,
from which impressions were taken ; a complete set is somewhat
rare. They are —
I. The part in which are the figures of the Saviour and of
some of the sick who surround Him; it measures 10,9 — 7,6
(¦276 — '192), and is found in two States: ist, a square; 2nd,
the top is arched, the dog is effaced, as is also the foot of the
sick person lying across a handbarrow.
II. The part containing the sick man upon a wheelbarrow on
the right side of the print, his foot cut away by the plate lines,
7>5— 4,8 ('192 — -122).
III. The Jew from the left corner in turban and cloak,
5>6 — 3,°('i42 — -077).
IV. The seven figures above this Jew, spectators of Christ's
miracles, 2,1 — 2,9 ('054 — '075).
Copy. Same d. By Worlidge 10,8 — 15,4 ('274 — '391).
The lines that divide the stonework in the vaulted arch to the
right are perfectly horizontal, in the original they slope gently
to the right ; the nimbus around our Saviour's head is wanting in
transparency and resembles the spokes of a wheel. This copy is
found in two States : ist, the whole of the left, and much of
the foreground, is incomplete ; in the 2nd, the plate is finished,
and has the initials T W in the lower right corner, and below
them the date 1758.
Though I have for sufficient reasons purposely avoided all
description of modern copies, I cannot avoid referring to that
which has been executed by Leopold Flameng. It is certainly
the finest reproduction of Rembrandt's later work that has ever
yet been executed ; and if it fails to equal the original, it is
because that original is unapproachable. Flameng's work ap
pears in two States : the 1st is a trial proof ; the impression
before me is taken on India paper, and contains only the work
on the right, the figure of the Saviour being incomplete. The
2nd State is the finished print.
M. Charles Blanc [Bibl. IX. 49] has given us a facsimile of
a sketch by Rembrandt for the sick woman placed on a

No. 224 Scriptural and Religious. 2 1 7
mattress at Christ's feet : this sketch is in the Collection of
M. P. Descamps.
Before leaving this print something should be said as to the
title by which it is commonly known, ' The Hundred Guilder
Print ' (La Pike de Cent florins). Bartsch [Bibl.V. 74] has a long
note upon it ; he tells us that a dealer in Italian prints offered
some engravings by Marc Antonio to Rembrandt, fixing the
price of the whole at 100 florins, but that Rembrandt, instead
of purchasing them, proposed an exchange, which was
accepted, and the dealer departed, contented with his bargain.
If the inscription, above quoted, upon the Amsterdam print
is authentic, it would seem that the transaction took place
late in Rembrandt's life, and the ' Italian ' dealer was in reality
the collector Zoomer, who only gave one of these Marc
Antonio prints, The Pest, in exchange, showing that Rem
brandt's Healing the Sick did not represent the value Zoomer
placed upon the whole of those he had offered for 100 guilders.
We find, too, that the impression at Vienna was bought for
48 guilders, something under 4/. of our money ; even that
would be a high price in those days for a recent work.
About the middle of the last century Van der Gutch, whom
Dibdin describes as ' a sort of fashionable print dealer in his
day,' sold to a son of the well-known Dr. Richardson a
' Hundred Guilders' for 5/. 15J. 6d. ; it is on record that the
Buccleugh 1st State sold in 1769 for a little under 27/. It
is reasonable, therefore, to suppose that the legend of Rem
brandt obtaining a hundred guilders for his print is non
proven) The question is an important one, since it enables
us to form an idea of the very low prices which Rembrandt
must have realised by the sale of his minor works in this class,
and negatives the assertion of his having, in his earlier days,
largely increased his income by the sale of his engravings.
Bartsch adds a curious extract from the priced catalogue of
1 In Albrecht Durer's Diary of his journey to the Netherlands in 1520-1, he
says, ' I have sold a wood Passion (ein Holz-Passion) for 12 stivers, and an Adam
and Eve for 4 stivers.' A stiver was the 20th part of a Dutch gulden, which
would represent in modern money about eight and fourpence. The price for the
Adam and Eve was therefore about one and eightpence. At the sale of the col
lection of Julian Marshall, Esq., A.D. 1864, a fine Adam and Eve realised 41/. iar.
It would now command a considerably higher price. In the same Diary Diirer
relates that he gives I stiver for his washing, and 2, 3, and on one occasion, 6
stivers for Trinkgeld.

218 Rembrandt's Etchings. Nos. 225, 226
M. Tonneman, whose sale took place in 1754 at Amsterdam :
from this we learn that the Hundred Guilder was not then
esteemed the most valuable of Rembrandt's etchings. The
Portrait of the Burgomaster Six realised 316 florins, that of
Tholinx 251, of The Goldweigher 137, while the Jesus Christ
healing the Sick brought only 151. I have verified this
extract by a reference to Tonneman's Catalogue.

225. Jesus Christ in the midst of His Disciples.
{Jisus apparaissant d ses disciples)
Our Lord, standing a little to the right in profile, His head
surrounded with a nimbus, is addressing St. Thomas, who, to
the left, is kneeling before Him. Two other disciples, to the
right, are also on their knees ; one at the left is seated in an
arm-chair ; the others are grouped around. At the lower
middle is Rembrandt, 1650. The piece is only sketched.
Dimensions: 6,4 — 8,3 ("163 — -2ii).
[Coll : BM. C. O. P. A. H]
Early impressions have burr chiefly upon the right.
This print, says Wilson, was called by Gersaint Christ
healing the Sick, and is so classed (No. j6) in his Catalogue.
Yver, in his Supplement, considers this and No. 68 of Gersaint
to be the same. Daulby has continued the error in his Cata
logue by not having considered the subject of it, though he
remarks upon Gersaint's imperfect description. Curiously
enough the greater number of the impressions I know have
slipped, at the left side, in the printing.
It has been suggested that the largely extended nimbus
from the head of Christ filling so large a portion of the plate
has reference to the beatified state of our Lord after His
Resurrection. The nimbus in The Hundred Guilder is of
unusual size ; it too may have a meaning, and imply that
the Saviour, as a worker of miracles, was then appearing in
His Divine character.

226. Tobit blind, with the Dog. (Tobie aveugle)
An old man supporting himself with a stick is walking
towards the left, and feeling with his right hand to find the

No. 227 Scriptural and Religious. 219
door ; at his foot is a little dog. In the background to the
right is a large open fireplace with fish hung to dry ; there is
a chair and a spinning wheel which he has thrown down in
his haste to meet his son ; on the floor in front is Rembrandt
f. 165 1. Dimensions: 6,4 — 5,1 ('163 — '130).
States: ist. The left eye of the old man is unfinished and
appears nearly white. The cap, the face, and beard are crossed
with very faint diagonal lines, so lightly executed that they
are not seen in later impressions ; the background is soiled.
[Coll: BM.]
2nd. The eye is reworked and darkened ; the faint lines
shading the cap etc., have disappeared. [Coll : BM. C. O. P.
A. H]
I do not insist upon these States. It is somewhat doubtful
whether the faint lines described in the ist State were incised
into the copper or are a printing effect ; practical etchers whom
I have consulted are not agreed. In the best impressions burr
is seen in the folds of Tobit's dress and upon the sides and top
of the fire-place.
Copy rev. Deep right-to-left diagonals shade the inside of
Tobit's hand ; below is Rembrandt fee, and to the right Sardi
inc. 1 97 1 (sic).

227. The Flight into Egypt ; a Night Effect.
{Fuite en Egypte ; effet de nuit)
The Virgin, having the Infant closely covered up in her
lap, is seated on the ass which St. Joseph, who walks on the
far side, is leading by the bridle ; he carries a lantern in his
right hand, which casts the only light introduced into the
piece ; they are crossing to the left. At the lower right is
Rembrandt fi. 1651 ; the 6 is reversed.
Dimensions: 5,0 — 4,3 ("128 — "no).
States : ist. Left-to-right diagonals shade the back and skirt
(to the right) of St. Joseph, the shoulder (to left) of the Virgin,
and the head, neck and near foreleg of the ass ; the lights on
the foreground are partly shaded with lines radiating from the
lantern ; the hind legs of the ass are parallel ; the upper part of
the sky, in the right, is shaded partly with horizontals, above
which are diagonals left-to-right, only a few scattered right-to-
left strokes appearing. [Coll : BM. P. A.]
One of the three impressions of this State in the British
Museum is darkly printed and has been taken for an inter
mediate State ; the plate was purposely left uncleaned before

220 Rembrandt's Etchings. No. 227
printing; the impression itself has also been worked upon, traces
of white will be seen intended to heighten the lights in the fore
ground and on the saddle bow of the ass.
The Paris impression of this State varies from that in the
British Museum, but the difference is so trifling I have not made
it into a 2nd State. In the Museum impression the under lip of
Joseph is curiously projecting ; in that at Paris, which is singu
larly well printed, a short strong line is seen cutting away the
projecting lip : this appears as clearly in the counterproof.
2nd. The parts which were unshaded are now covered with
very delicate close work, cross diagonals are seen on St. Joseph's
back and skirt, on the Virgin's shoulder, and on the head, neck
and near foreleg of the ass ; a deep shadow, of delicate cross-
work, cast by one ofthe bars ofthe lantern, is seen on the front
of St. Joseph's skirt; fine right-to-left lines shade the nose of
the ass ; the lights in the foreground are subdued, being entirely
worked over with fine lines; the off hind leg of the ass is
brought forward ; there are impressions, as at Paris and Amster
dam, where from printing effect the off hind leg is not seen at
all. [Coll: BM. C. O. P. A. H.]
3rd. Close right-to-left diagonals cover the upper part of the
sky. [Coll : BM.] In ^lati VII. fig. 33 is the earlier shading,
by which it may be compared.
There is an impression of this State in which a crescent moon
has been introduced in the upper right. The surface of the
paper has been removed, leaving a white space in a crescent
form. 4th. The nose of the ass is crossed by fine, left-to-right
diagonals ; irregular but nearly horizontal work is carried across
the upper part of the sky ; further work lowers the light on the
figures and on the foreground. [Coll: BM. C. O. P. A. H.]
In an interleaved Bartsch I have found a note upon the intro
duction of the crescent moon into impressions of this print.
The writer describes how a piece of paper of this form was
placed upon the plate before printing, and that two such im
pressions are in the Imperial Library at Vienna ; and then refers
to the substitution of a part of the landscape from the Little
Resurrection of Lazarus, No. 215. This is followed by a note in
ink in the handwriting of Wilson. ' There was a similar super-
cherie in the Collection of Ploos Van Amstel. He had marked
it (incorrectly) as unique. The right corner was supplied by a
counterproof of the right corner of 72 (Bartsch). The effect
was very bad. It was bought by Mr. Tiffen at Amsterdam in
1824 and brought to England.' This impression with the sub
stituted landscape is now in the British Museum.
Copy rev. Of ist State. It is by F. Novelli, No. 14 of his
series.

Nos. 228, 229 Scriptural and Religious. 2 2 1
228. The Triumph of Mordecai. {Le Triomphe de
Mardochie)
Mordecai is conducted in triumph by Haman ; he is
riding on the king's horse, clothed in the Royal apparel and
holds a sceptre in his right hand ; the procession is repre
sented leaving the king's gate ; to the right King Ahashuerus
and his Queen Esther are seen looking on from the Palace,
while Haman, placed in front, with a countenance full of per
plexity and dissatisfaction, extends his arms and seems to
proclaim, ' Thus shall it be done to the man whom the king
delighteth to honour.'- This print is in parts highly finished,
in others is little more than a sketch. Date assumed, 165 1.
Dimensions: 6,8 — 8,4 ('174 — '213).
The plate is a little higher on the right. [Coll : BM. C. O.
P. A. H.]
M. Charles Blanc describes a 2nd State, lle contour de la barbe
de Mardochee est cerni par de petits traits fins et courts, riguliere-
ment penches de gauche a droite) I have not seen this State, but
the latest impressions of the plate show such signs of wear that
the retouch is probably a recent one : it is said that the plate
still exists.
Copy. Same d. reduced 4,7 — 5,8 (-120 — '148). Below in
the centre is fo° 34, but no name of the copyist. It appears as
a book plate on page 32 of the Fourth Impression ' of a folio-
entitled ' Some yeares travels into Africa and Asia the Great,
etc.,' by Sir Thos. Herbert, Bart, (folio, London, 1677). The
context relates to the history of Prester John. I am indebted
to David Laing, Esq., of Edinburgh, for calling my attention to
this copy.
Copy rev. Printed in brown aquatint and reduced, signed
J. Elias Hard.
Copy. Same d. Bibl. IX.

229. Jesus Christ preaching ; . Called the ' La
TOMBE.' {Jisus-Christ prichant)
Jesus Christ, with both His hands lifted, is standing in the
middle of the print upon a square piece of stonework, preach
ing to the people who are grouped around Him in various
attitudes ; they are apparently assembled in the courtyard of
some house or public building, entered by an archway, seen
to the right, through which other houses in. the street outside
are discovered. In the middle foreground a boy is repre-

222 Rembrandt's Etchings. No. 229
sented lying down and tracing something on the ground with
his left forefinger, a top and a string are by his side ; to the
right of this boy a woman, seated on the ground, holds a child
on her knees ; at her right a man is also seated on the ground
leaning on his elbow ; above him is an old man with a large
beard in a stooping posture ; between this old man and the
Saviour is a woman resting her head upon her left hand ; in
the foreground to the left is a man in a large cloak wearing a
turban ; altogether there are 26 figures in the print. Date
assumed, 1652. Dimensions: 6,2 — 8,2 ('158 — "208).
The State described by Barts h, without the top, has long been
recognised as a superchcrie. The impression is at Paris, the top
and string by the side of the child who is lying on the ground
have been skilfully erased ; the print is now framed and seen
under glass, and so the marks of the erasure cannot clearly
be detected, but the print ought not to deceive, for although
a good impression it is not one of the best or earliest, and should
at once have excited suspicion. The early impressions are full
of burr. The presence of this burr upon the right sleeve of the
figure in cloak and turban standing to the left has been used to
distinguish the impressions, and was in Holland considered a
true variation : when the burr is there the sleeve is black, when
the burr is worn away the shading of this sleeve is not darker
than the surrounding parts. I do not think the burr on this
sleeve was removed by the scraper so much as by the ordinary
process of printing, for I have found impressions from which it
has been only partially removed ; it is, however, a distinction
which should be remarked by the amateur. The extent to which
a lighter shading above the right hand of Christ is observable
should also be taken into account in estimating the quality of
the print, in later impressions it forms a disfiguring patch. The
impressions with the black sleeve are in all the best collections.
[Coll : BM. C. O. P. A H.]
The ' white sleeve ' impressions are much inferior in brilliancy.
[Coll: BM. C. P. A H.]
The plate afterwards fell into the hands of Pierre Norblin,
who has coarsely retouched it I do not, however, consider
this a State.
Copy. Same d. There are numerous slight variations ; the
two represented in ^late VII. fig. 35 will be sufficient to dis
tinguish it. This copy has been erroneously attributed to
Dietrich, but is by James Bretherton.
Copy rev. Very poor. Cross-work is used to produce the
dark effect upon the sleeve ; in the original this shading is pro-

No. 230 Scriptural and Religious. 223
duced by single lines of dry point in the direction of its width ;
this copy is by Novelli.
Copy. Same d. ; Bibl. IX. with the black sleeve.
In the British Museum Collection is an impression in
which the head of the old man in The Travelling Musicians,
No. 264, is substituted for the head of the man in the left fore
ground, and in the right hand corner is seen the little dog
from the same print, only in reverse. The operator has first
covered those parts of the plate where he would make the
substitution with thin paper, and taken his impression, and
then has similarly covered the whole of the second plate,
except the part to be printed from, and again used the press ;
the dog in reverse must have been taken as a counterproof.
There is an impression at Cambridge in which the head of
The Man lifting his Hand to his Cap, No. 139, is printed
upon the stonework upon which our Lord is standing. Pos
sibly we owe these supercheries to the inventive genius of
Mons.. Peters, who so successfully deceived Bartsch, and who
is spoken of by M. Charles Blanc [Bibl. VIII. ii. p. 203].

230. The Adoration of the Shepherds; a Night
Piece. {U Adoration des Bergers)
This print is executed in what has been styled ' Rem
brandt's dark manner.' The Holy Family form a group at
the lower part of the print to the right. The scene is a
stable. The Virgin, with her head resting upon a pillow and
half asleep, is drawing back her veil with her right hand,
aroused by the entrance of the shepherds, who form a group
to the left, the foremost of them carrying a lantern ; by her
side the Holy Child is lying asleep ; St. Joseph, seated to the
right, looks up from the book he is reading. The main light
comes from the right, its source is unseen, it illumines the book
in St. Joseph's hand, the pillows and the faces of the Virgin
and Child ; the secondary light is from the lantern carried by
the shepherd, it falls on the face of the woman nursing an
infant, who leans forward from the left and allows us indis
tinctly to discover the heads of two oxen, and beyond them
the other shepherds. Date assumed, 1652.
Dimensions : 5,9 — 7,8 ("150 — '198).

224 Rembrandt's Etchings. No. 230
States : 1st. The upper part of the book from which St. Joseph
is reading, the lower part of the Child's face, the pillows of the
Virgin and the narrow sleeve border which touches her hand are
white ; a single fine line from right to left shades her face and
hand, and a fine line from left to right is seen across her cap; a
mass of light fills the space behind this group to the right
[Coll : BM.]
N.B. There are two impressions in the British Museum which
vary so much that they might at first sight be taken for different
States ; in one the slippers which hang above St. Joseph's head,
and a brush of reeds still higher in the print, are clearly seen ;
in the other the upper part of the impression has been printed
so darkly that the slippers and brush are in shade and hardly to
be distinguished.
2nd. The bright lights upon the pillow and the Infant's face
are lowered ; very delicate cross strokes cover the Virgin's face
and hand and the narrow border of her sleeve ; her cap is still
further shaded with a cross stroke, and the mass of light behind
is much subdued. [Coll : BM. P.]
3rd. The Virgin's cap, again worked upon, leaves a white
band across her forehead ; Joseph's cap, which was upright, is
now made to slope backwards, it is bordered with fur and has a
flap over the ear. [Coll : BM. C. P. A]
4th. A double outline is now seen to the Virgin's sleeve just
where it touches her hand; the reeds or coarse straw behind
her have been harshly reworked and are not distinguishable
from the darker shadows behind. [Coll : BM. C. P. A. H.]
$th. St. Joseph's cap is coarsely reworked, his eye shows re
touch and is of large size in proportion to his face ; the eyes of
the Virgin are represented as wide open, the reeds rising above
her head have been harshly reworked and the form of the stall
behind becomes apparent. [Coll : BM. C. A.]
6th. The planks which form the stall are defined by horizontal
lines, one of the posts to which they are fastened is seen, the
lights upon the pillow are heightened ; still later, for so much is
due to printing effects that clear definition becomes impossible,
the nail-heads in the planks appear and a coarse retouch
destroys all that remained of the master's work Impressions
are not uncommon, and are often found worked up with a brush
so as to resemble a mezzotint
I have no hesitation in assigning the variations which
mark the 4th and later States to some other hand than that
of Rembrandt. Whether he was the author of the 3rd is, I
think, open to doubt. The 2nd is the finest condition of the
plate.

Nos. 231, 232 Scriptural and Religious. 225
231. Jesus disputing with the Doctors; a larger
Plate. (Jisus-Christ au milieu des docteurs)
Jesus Christ stands nearly in the centre, turned to the
right ; He has both hands a little raised, and is addressing
Himself to three doctors of the law, placed to the right, one
of whom is seated in the foreground upon a cushioned chair,
the other two are sitting at a table ; beyond them are six
figures who appear to be spectators, and who are within a
kind of gallery ; in the left foreground a man is seated on
the floor, he is seen from behind and is leaning upon his right
elbow ; above and beyond him others are grouped. Low
down to the left is Rembrandt fi. 1652.
Dimensions : 5,0 — 8,4 ('128 — '213).
States: ist. As described; in early impressions there is burr
on the hair of Christ where it touches His right shoulder, on the
high cap of the figure immediately behind Him, on the corner
of the stool, and on the heads in the upper right, etc. l^his burr
is soon worn away. [Coll : BM. C. O. P. A.]
2nd. Some accident has caused defects in the copper, chiefly
along the top and right side of the plate. [Coll : BM. C. P.
H.] 3rd. The plate has been reworked and presents the appear
ance of a mezzotint.
Copy of ist State. Bibl. IX.
I regard the impressions of the ist State as the only ones
which were printed by Rembrandt ; the copper was then laid
aside, and when again used, probably at a much later time,
was found to have been injured. It afterwards passed into
the hands of Captain Baillie, who completed it as a mezzotint.

232. David on his Knees. {David en priere)
He is represented upon his knees in a long night dress,
turned towards the left, with his elbows resting upon his bed
and his hands raised and joined together in prayer, his harp
lies near him upon the floor ; on the ground in front, nearly
hidden by the shading, we read Rembrandt fi. 1652.
Dimensions: 5,6 — 3,7 (-143 — '094).
States: ist. A white space is seen upon the curtain just
where it touches the canopy close to the left marginal line ; the
.Q

226 Rembrandt's Etchings. No. 233
edges of the plate, especially to the right, are rough, and the
shading on this side does not uniformly reach the edge ; there
is some burr in early impressions. [Coll : BM. C. P. A.]
2nd. The white space to the left is worked over, the right
edge of the plate is still somewhat rough, the shading on this side
has been added to ; a scratch or slipped stroke of the needle
crosses the back of David's night dress. [Coll : BM. C. P. H.]
Among the Rembrandt drawings in the Louvre is the
sketch (No. 8635) for this print, executed in red chalk with
bold strokes of black in the shadows ; the paper bears the
signatures of P. J. Mariette and Peter Crozat.

233. Jesus Christ entombed. (Jisus mis au tombeau)
In the foreground of the print the disciples are seen
lowering the Body of their Master into the tomb ; to the left
are the three Maries weeping, above them is Joseph of
Arimathea leaning upon his stick ; two persons behind him
complete the group. In the background is an arched vault,
with a wall of stonework in front, upon which are two skulls,
and higher up is a larger arch reaching to the top of the print.
Date assumed, 16$ 2.
Dimensions : 8,3 — 6,4 (-2ii — '163).
States: ist. In pure etching, the background only partially
shaded; the low arch over the skulls has a well-marked outline
rising -flr in. ('012) above the stonework. [Coll : BM. C. P. A.]
2nd. The print is now reworked and darkened. A semicir
cular arch is seen behind the skulls ; it rises from the stonework
on the left and descends a little to the right of the skull placed
towards that side; the sleeve, face and hand of Joseph are
worked over, as is also the white space between the Virgin and
the disciple nearest to her. [Coll : A.]
There are three impressions of this State at Amsterdam, two
of which are on parchment. After very careful examination I
am convinced that the circular arch is a true variation and not a
printing effect as might very naturally be supposed.
3rd. In place of the semi-circular arch is a low arch rising to
A hi. (-020) above the stonework ; it is wider than the semi
circular arch, and the skull to the right is nearly in its centre.
The whole background is covered with work crossing and re
crossing, except in the upper right-hand corner, where are seen
a single diagonal from left to right, and an irregular vertical
which only rises a little way above the lines which form the
upper arch. [Coll : BM. C. P. A. H]

No. 234 Scriptural and Religious. 227
4th. A horizontal zigzag appears in the upper right corner
covering the lines of the arch and the verticals, but not extending
above those verticals. Impressions in this State vary in the
printing : thus there are four in the British Museum, one of
which is printed without any tint upon the plate ; a second is
tinted, but high lights are introduced ; another is more deeply
coloured, but still allows the figures to be seen, while in the
fourth the group to the left is almost concealed. [Coll : BM.
C. P. A]
For the variation in the shading in the upper right see Slate
VIII. fig. 36.
I do not believe that the variations which constitute the
4th State were by Rembrandt, still less that these fanciful
impressions were printed by him. The amateur will occa
sionally meet with impressions not only of this but of the
3rd State which have been tinted by hand : there is one at
Amsterdam which came from the Verstolk Collection, in
which two Gothic windows fill the background, the upper
part of the window to the right corresponding with the line
of the arch.

234. St. Jerome ; an Unfinished Piece. (Saint Jirbme;
pike dite Saint Jirbme dans le gout d) Albrecht Diirer.)
He is seated on a bank to the left, at the foot of a tree
the top of which has been broken off, and on which perches a
bird ; a large branch is growing towards the left, forming a
shelter for the Saint, and a clump of trees behind affords a
deep shade. He rests upon his left elbow and is reading in
a book which he holds in both hands ; the upper part of his
face and hat only are finished. On higher ground, a little to
the right, stands a lion in a spirited attitude, seen from behind ;
his forepart and mane are worked with dry point. In the
distance to the right are a large house and a church with a
clump of trees on either side, and below is a fall of water
which tumbles down among rocks to the lower right ; over
the waterfall is a wooden bridge with two figures at the
further end of it. Date assumed, 1653.
Dimensions: 10,2 — 8,2 ("259 — -208).
States: ist. The upright supports of the wooden bridge are
drawn, the left with three, the right with two lines, and are in
pure etching. [Coll : BM. C. P. A. H]
Q 2

228 Rembrandt's Etchings. No. 235
There is a superb impression of this State in the British
Museum; it has a broad margin in which are written four lines,
beginning hier zit yeronimus, etc. : ' Here sits Jerome, buried
while in life ; he fears neither the lion nor the bear, nor the sad
wilderness ; but sits thus reading of the gifts of heaven while
the world pursues that which passes away.'
2nd. The upright posts of the bridge are reworked ; that to
the left is formed of five principal strokes, that to the right of
three ; fine impressions of this State are so full of burr that these
lines can hardly be counted, but the presence of the burr which
covers them will distinguish the State. [Coll: BM. C. P. A. H]
The figures of the Saint and of the lion are so far superior
to the other parts of this composition, especially the foliage
to the left, that it need not surprise us if some day we find an
impression of the scene without these figures, just as the
original of The Flight into Egypt in the manner of Elzheimer
has been discovered. I am very strongly of opinion that
other work has been erased to make way for the figure of the
Saint, and that the traces of this work will be as plainly
apparent as are those of Tobit and the Angel in The Flight,
No. 236 — when we know where to look for them.

235. Our Lord crucified between two Thieves ;
otherwise known as ' the three crosses.'
{Les trois croix)
The Crucified Saviour is represented nearly in the centre
of the print, but a little to the right ; on each side, at equal
distances and nearly in profile, are seen the two thieves ;
lower down to the left of the Cross of Jesus Christ are two
mounted horsemen armed with spears ; a third horseman, the
centurion, dismounted, and seen from behind, is kneeling on
one knee and looking towards our Lord, with his arms ex
tended and hands a little raised ; his horse is held by an
attendant to the left, close to whom is a fourth horseman
mounted. In the middle foreground two Jews are apparently
hastening from the Calvary, and on the left a man, who
seems to be overcome by the spectacle, is being led aWay
between two others. Near the Cross, to the right, are seen
the Mother of Christ and the disciples, one of whom embraces
the feet of his Master ; the Blessed Virgin, fainting, is sup-

No. 235 Scriptural and Religious. 229
ported by the holy women, who are seated on the ground ;
dark foliage shades the foreground to the right, behind which,
only partly within the plate, are seen the head and high cap
of one whom we may assume to be the Chief Priest, standing
there unobserved to witness the execution. Deep shadows
partially conceal the work upon the plate to the right and
left, while from above the Cross of the Saviour broad rays,
widening as they descend, light up the central group.
The moment represented is the conclusion of the three
hours' Agony, when the darkness which has overspread the
land is dispelled by the light which suddenly streams down
upon the Cross. There is an effect of something startling
and unexpected about the whole of this superb composition ;
the Figure on the Cross is not of one who is dying, but of one
just dead ; the hardly closed eyes and fallen jaw displaying
the teeth testify that the end has come. Upon the instant
aneous return of the light, the centurion falls upon his knee,
the Virgin sinks backwards in a swoon ; one near her is
startled by her cry, another raises her hand to shade her eyes
from the sudden gleam ; one spectator covers his face with
his hands, others look back with a movement of affright ;
two of the Jews who had derided the Sufferer turn away to
escape ; even a dog, seen to the left, turns its head in terror,
as it hastens to follow. It is indeed a wonderful picture, and
one which exhibits in the highest degree the genius of the
master. The signature and date, Rembrandt fi. 1653, do not
appear until the 3rd State.
Dimensions : 15,1 — 17,8 ('383 — 451).
States : ist. As described ; the face of the man who is being
led away to the left is unshaded ; the face of the spectator to the
extreme right is also unshaded; his cap or tiara has only a
diagonal line from left to right, a few irregular horizontals
appear upon his neck, below which are finer nearly vertical
lines. |ll-,ttc VIIL fig. 37. [Coll: BM. P. A]
2nd. A series of harsh horizontals, close along the plate-edge,
shade the back of the tiara of the figure on the extreme right,
and are continued downwards to the neck; his cheek and neck
are covered with a left-to-right diagonal, which also crosses the
nearly vertical shading below. [Coll : BM. P.]
3rd. The head of the man led away to the left is shaded ;
the head of the man to the extreme right is covered with dry
point and almost concealed in shadow ; a deep shading, repre-

230 Rembrandt's Etchings. No. 235
senting probably the opening rocks below the foliage to the
right, has additional work ; other parts have been retouched,
and the name and date are added. Late impressions of this
State are worn and poor. [Coll : BM. C. P. A.]
4th. The composition is entirely changed, the figures on the
crosses do not even remain the same ; that on the right is con
cealed in the darkness which envelopes it, the others are harshly
reworked. The groups below are altered ; some of the more
important are effaced, and all is now obscurity and confusion.
The horse to the left is rearing, another in a different attitude
is substituted for the horse of the centurion, and a clumsily
drawn figure with a high headdress or turban divided into three
is placed upon it. One of the two Jews descending the Calvary
remains, but is reworked ; traces of the other can be discovered
by examination. The disposition of the light and shade is
equally varied ; heavy burin lines, whose purpose it is not easy
to understand, are seen in the foreground, and stiff parallels,
vertical and diagonal, deepen the shadows. [Coll : BM. C.
P. A]y
$th. Near the lower middle of the foreground is engraved
Francis Car else excudit. [Coll : BM.]
Copy. Same d. 13,4 — 10,1 ('340 — '257). The composi
tion varies in many respects from the original, but is taken
from the impressions before the alterations. At the foot is in
scribed Bickham, The second thought by Rembrandt (there is
some other word concealed by the shading). It is possible
that there is a State of this copy on a larger plate, but I have
not seen it.
Copy. Same d. 13,6 — 15,3 (-345 — -390) of 'the Altered
Plate.' The Jew in the foreground hastening away is seen full
face, in the original his head is in profile. This copy is found
in a 2nd State, the plate reduced to 13,4 — 10,1 ('340 — '257).
Low down in the middle is inscribed, The two crosses first
thought by Rembrandt, this by Bickham.
It will be remarked that George Bickham, the author of these
most indifferent copies, calls 'the Altered Plate' 'the first) and
the earlier impression ' the second thought ; ' a confusion of ideas
which it is not easy to explain.
Before the alterations were effected which constitute the
4th State, the plate had become much worn ; late impressions
of the 3rd are met with in which the lines appear thin and
ragged, and the greater part of the burr has disappeared.
Whether Rembrandt, when he designed the scene, intended
that a large part of it should remain a vigorous but unfinished
sketch can only be a matter of conjecture ; it may have been
that he rapidly outlined many of the figures, proposing to
rework them when he saw what would be the effect of the

No. 236 Scriptural and Religious. 231
composition as a whole ; or, which is not impossible, he
entertained the idea of using this as a study for some still
more important work upon canvas.
It has been asserted that the 4th State, described above,
that which is called the Altered Plate, is Rembrandt's true
completion of the design, 'the final expression of the per
fected plate ' [Bibl. XXI. p. 49]. With this opinion it is
impossible for me to agree ; I have always regarded the
rework as hopelessly inferior, and have no hesitation in
ascribing it to some other hand. Let the student compare
an impression of the Altered Plate, part by part, with an
impression of the ist and 2nd States, or a good impression
of the 3rd ; let him remark on the variations effected in the
Sacred Figure upon the Cross, and the rearrangement and
details of the groups below, the obliteration of the dying
thief upon the right (one of the most ably drawn figures in
the whole scene) ; let him notice the utter weakness or entire
absence of expression, the confused afoarrangement of light
and shade, the feebleness of the ruled lines, and the uncertain
purpose of the deep strokes across the foreground, only the
more imbecile if, as has been suggested, they are intended
to represent the rending of the rocks — and then form his
own conclusions as to the value of the work.
This new work was neither designed nor executed by
Rembrandt. The plate had been sufficiently used even
before it left his hands ; passing, like other plates at his sale,
into the possession of a stranger, it was at a convenient time
printed from, and when found to be too much worn to yield
profitable impressions, was defaced by some inferior artist
who could neither understand the conception nor imitate the
technic.
236. The Flight into Egypt; called 'In the Style
of Elzheimer.' {Fuite en Egypte, dite dans le
goilt d Elzheimer.)
The landscape represents a valley which opens in the
centre of the print, bounded on either side by hills clothed
with hanging woods, which as they recede disclose a distant
plain, with a winding river and buildings and towers almost
lost in the haze ; the plain is terminated by a chain of

232 Rembrandt's Etchings. No. 236
mountains. In the near foreground on the right the Holy
Family are discovered, St. Joseph leading the ass on which
the Blessed Virgin and the Child are seated; they come from
the right and are about to descend into the valley below.
Date assumed, 1653.
Dimensions : 8,3 — 11,2 (-211 — -284).
States: ist. As the plate was completed by Hercules Seghers.
To the right, where the Holy Family and the foliage above them
are afterwards seen, Tobias and the Angel are represented ;
Tobias in front dragging the fish, and behind him the Angel
leaning forward with an air of protection ; the head of the Angel
reaches to within 1,4 inch ('035) from the top of the plate, the
upper outline of his wing to about ^ in. (-oio); these figures
are out of all proportion to the size of the plate. I only know
one impression, which is probably unique. [Coll : A.]
2nd. The figures of Tobias and the Angel are erased, and in
their stead is Rembrandt's boldly sketched group of the Holy
Family, with foliage above designed or partly reworked to con
ceal the traces of the original figures ; the erasure has not, how
ever, been complete, the Angel's wing is still clearly apparent in
the upper foliage to the right, the outlines of his left leg and foot
are seen behind the near hind leg of the ass, and the staff which he
carries, reaching to the right edge of the plate, is not obliterated ;
the outlines of Tobias' left knee and foot can also be detected ;
the foliage above is incomplete and presents many clear spaces;
two dead and naked branches stand out from it to the left ;
the upper one of which has two branchlets forming an angle with
the main stem, whereas there are three in later States. See iUrttc
VII. fig. 34. The space between this and the lower dead
branch is scratched and spotted by the action of the pumice-
stone which removed the head of Tobias, and in the deep rift in
the trees, directly above the head of the Virgin, are other marks
of erasure. An improvement in the landscape is effected by
bringing the river rather nearer, giving it an additional ' reach,'
by the aid of the burnisher. [Coll : BM.]
This State is excessively rare. The British Museum impres
sion is printed up<jn parchment ; it was in the Aylesford Collec
tion, and was purchased by the elder Josi in 181 5 ; at his sale,
March, 1829 (lot 73), it was bought by Mr. Ward for 35/. 14^.
A still finer impression on vellum was also in Wilson's own
collection, and is now in that ofthe Duke of Buccleugh.
3rd. Additional work on the foliage covers the clear spaces ;
the upper naked branch to the left has a third branchlet above,
forming an angle with the main stem. [Coll : BM. C. O. P. A.]
A curious printing effect is seen in an impression of this State
at Amsterdam. A third tower appears between the other two in
the distance ; the variation is an accidental one, but the effect is

No. 237 Scriptural and Religious. 233
good. M. Charles Blanc has noticed this impression, and it is
referred to in some MS. notes on the Amsterdam Collection,
which were taken by Wilson on the occasion of his visit there,
and have been kindly submitted to my inspection by Mr. W. F.
Tiffin. 4th. The lights upon the figures, on portions of the foreground,
and on the distant foliage to the left, have been heightened by
the burnisher. There is an appearance of corrosion in the sky,
varying in different impressions, but chiefly seen about the
middle ofthe plate. [Coll: BM. C. P. A. H]
efh. The corrosions in the sky have been burnished out.
The spots and scratches between the naked branches to the left,
and those also in the rift towards the top, are gone ; the best im
pressions are those in which this polishing is imperfectly done;
the plate is now much worn. A still later impression shows
harsh work upon the trees to the left, and the lights still further
heightened. The variations in this and the 4th State were pro
bably executed at some later time ; the corrosions in the plate
are very suggestive of its having been long laid aside.
The original of this print was a picture painted by Adam
Elzheimer, and engraved by the Count de Goudt (Utrecht,
1 61 3). In the engraving Tobias and the Angel are seen upon
the left, walking towards the right ; behind them are dark
masses of foliage. In the centre of the print is a plain with
distant buildings ; on the opposite side are hills and hanging
woods. It is evident that Seghers had this print before him
when he executed his plate, for two little figures, a cow, and
a man leaning upon a stick, which appear in De Goudt's
engraving are accurately reproduced [Bibl. XXXI. p. 18,
etc.] 
237. Our Lord and the Disciples at Emmaus. {Les
Pilerins d' Emmaus.)
Our Lord, sitting behind a table under a canopy, is seen
in the middle of the piece. He holds a piece of bread in
each hand as in the act of blessing, by which He becomes
known to His disciples ; the rays of a large nimbus surround
His head ; on the table is a dish with a joint of meat upon it,
and close by is a half-filled goblet. Startled by the sudden
revelation, the disciple on the left rises hurriedly from his seat,
and is seen with hands joined and lifted up ; the other, on the
right, half extends his arms in an attitude of astonishment ; a
man on this side going down the steps looks round, attracted

234 Rembrandt's Etchings. Nos. 238, 239
probably by some ejaculation of surprise from a disciple, or
by the unexpected light thrown by the nimbus ; behind him is
a dog. Low down to the left is Rembrandt f. 1654. Wilson,
and after him M. Charles Blanc, read 34, but this reading is
an error. Dimensions: 8,3 — 6,3 ("211 — "161).
States : ist. The rays emanating from the head of Christ are
interrupted, as are also the outlines of the hat which hangs at
the back of the disciple upon the right. [Coll: BM. C. O. P.
A H.]
2nd. The defective parts are worked over, the outlines of the
hat are complete ; in early impressions much burr is seen in
these touches ; by the time this burr has disappeared, the im
pressions are worn and poor. One of the finest I know is in
the Cambridge Collection. [Coll : BM. C. P. A]
Copy rev. of the 2nd State. In the clear space below is Georg.
Leop. Hertel exc. A. V.2
Copy, on a reduced scale ; by Burnet.

238. The Nativity. {La Nativiti)
In this is represented the inside of a stable, the Virgin
Mary is placed in the centre of the piece with the Holy
Infant in her lap, St. Joseph, on her left hand, is seated upon
an overturned wheelbarrow, behind him are seen two oxen in
their stalls ; to the Virgin's right are the Shepherds looking
at the Infant over a barricade ; a lamp placed above the
head of the Virgin lights up the scene. At the bottom to
the left is engraved Rembrandt fi. Date assumed, 1654.
Dimensions: 4,1 — 5,1 ("105 — '130).
States: ist. A white space is seen in the dark shading at the
top to the right, the result of a failure with the acid. [Coll :
BM. C. P. A. H.]
2nd. This space is worked over. [Coll : BM. C. P.]
Copy of ist State, Bibl. IX.

239. The Circumcision ; with the Cask and Net.
(La Circoncisiofi)
The Blessed Virgin is seated about the middle of the
piece with her hands joined in prayer, St. Joseph, turned
towards the right, is by her side, holding the Child on his
knee ; two persons, one of whom is kneeling, are witnessing

Nos. 240,241 Scriptural and Religious. 235
the ceremony, others are behind ; three-fourths of the piece
is lighted by rays from above, the rest is in shadow. On the
left is a ladder, at the foot of which is a cask, and by its side
hangs a net. In the upper corner at this side is Rembrandt f.
1654; the inscription and date are repeated below the net.
Dimensions: 3,7 — 5,7 (-094— -145).
States : ist. A blank space is seen at the upper part of the
plate near the middle, and another at the left corner, just above
the net ; both are results of failure with the acid. [Coll : BM.
C. O. P. A. H.]
2nd. These blank spaces are worked over. [Coll : BM. C,
P. A]

240. The Flight into Egypt ; the Holy Family cross
ing A Rill. (Fuite en Egypte ; passage de
t'eau)
The Holy Family are crossing a stream in which St.
Joseph is seen up to the knees, leading the ass with his right
hand, and holding a staff in his left ; their course is to the
right. The background is rocky ; foliage, but no sky, is seen.
Low down to the left is Rembrandt fi 1654.
Dimensions: 3,7 — 5,7 ("094 — "145).
[Coll : BM. C. P. A H.]
Copy. In same d. Rembrandt's name and the date 1655
are added. The outlines of the staff which St. Joseph holds
are not continuous above and below his hand.

241. The Holy Family; with the Serpent. {Sainte
Famille ; ou la Vierge au chat)
The Blessed Virgin is seated in front with the Child in
her lap, her hands are joined, and she leans forward as if
asleep, her head touching that of the Child ; to the left is an
arm chair upon a step with a canopy above it ; upon the step
lies a cat ; to the right is a stone chimney piece with embers
on the hearth ; St. Joseph looks in at the window behind ; a
serpent is seen coming from under the Virgin's foot. In the
lower middle is Rembrandt fi 1654.
Dimensions: 3,7 — 5,7 ("094 — '145)-

236 Rembrandt's Etchings. No. 242
States : 1st. Some places near the top to the right are un
shaded, from a failure with the acid. [Coll : BM. C. P. A.]
2nd. These places are worked over. [Coll : BM. C. O. P. A. H.]
The introduction of the allegorical serpent is a sufficient
reason for changing the title usually given to this piece. I
have met with the following note in an interleaved copy
of Daulby's Catalogue which is worth recording : ' It is
singular that none of the compilers of catalogues, in their
description of this print, should have noticed a circumstance
which certainly gives it considerable interest ; for once Rem
brandt has ventured on allegory with success, and the serpent
is very happily introduced, trampled under the foot of the
Virgin.'
242. The Descent from the Cross ; a Night Piece.
{Descent de Croix au flambeau)
The scene is laid on elevated ground to the left of the
piece. In the lower middle is a bier, over which a woman
with a headdress like that of a nun is spreading a sheet
to receive the Body which the disciples are taking down
from the Cross ; a man close by the Cross holds a torch
which casts its light upon the group, the rest is in darkness ;
Joseph of Arimathea is partly seen to the right. The walls
of Jerusalem are dimly shadowed in the distance. Upon the
border of the winding sheet, towards the left, is Rembrandt,
1654. Dimensions: 8,3 — 6,4 (-2ii — "163).
[Coll : BM. C. O. P. A. H.]
Copy rev. inscribed Novelli, No. 2. Rembrandt's name does
not appear, and the copyist's own signature and the number are
sometimes absent.
Copy on a reduced scale ; by Burnet.
Early impressions are known by the sharpness of the
work, and the presence of burr ; the amateur should be upon
his guard against those in which an artificial tone has been
produced by tinting, they are generally inferior impressions.
There is one at Cambridge in which the torch has a white
flame, while the whole of the rest of the print looks as if it
had been steeped in coffee. The plate is said to be still in
the trade.

No. 243 Scriptural and Religious. 237
243. The Presentation ; in Rembrandt's ' dark man,
NER.' {Presentation au temple ; dite en manihe noire.)
On the right is the High Priest sitting upon a throne
approached by steps ; the Holy Infant is presented by
Simeon kneeling, the heads of both the prophet and the
Child are surrounded with a glory ; the Blessed Virgin and
St. Joseph kneel at the left. In the centre of the piece
another priest is standing, wearing a cope and jewelled head
dress ; he holds in his right hand a richly ornamented crozier ;
on either side a spectator looks from a kind of gallery be
tween the pillars. The light comes from above, but its source
is not seen. Date assumed, 1654.
Dimensions: 8,3 — 6,4 ('211 — '163).
[Coll : BM. C. P. A. H]
In the earliest impressions there is so much burr that only the
central group can be made out ; the best of these are on India
paper, where the figures are more distinct the effect is weakened ;
I have seen an impression at Paris where there is some delicate
work on the face of the Virgin and upon the column behind her,
which may imply rework, and so constitute a 2nd State.
M. Charles Blanc calls attention to the fact that in some
impressions of this plate after the burr was worn away, the
effect was restored by spreading the printing ink upon the
plate with the finger, and this, he believes, was done by
Rembrandt himself [Bibl. VIII. i. p. 113]. I have found
impressions in which colour was left upon the plate even in
its earliest stages ; there is one in the British Museum, which
is very effective. Such an impression is not, however, to be
preferred. With regard to the source of the light. It has been
described as coming from the Child. This is a mistake ; it
comes from some point outside the upper left of the plate,
and is meant, no doubt, for an illumination from Heaven.
It first catches the embossed work and jewels on the crozier
and headdress of the priest who stands behind ; it leaves his
face in deep shadow, but touches his beard and breast ; the
folds of his robe, gathered in front with his left hand, partly
shade the Child's face, but the light freely reaches the rest,
falls full on the upturned face of Simeon, and gives prominent
relief to the figure of the High Priest before whom he kneels ;

238 Rembrandt's Etchings. Nos. 244,245
it must, however, be owned that the idea is imperfectly carried
out, and that the incidence of the light is not very accurately
defined.
244. Jesus and His Parents returning from Jeru
salem. {Jisus rameni du temple)
The Holy Family are walking towards the right, Jesus in
the middle, a little dog is running in front. Behind the
Virgin to the left rises the trunk of a tree, to the right the
landscape represents a bridge with cattle approaching it, and
houses on either side, in the distance is a castle on a rocky
eminence. Low down to the right is Rembrandt fi. 1654.
Dimensions: 3,7- — -5,7 ("094 — "145).
[Coll : BM. C. O. P. A. H]
Copy. Same d. In the lower right is Rembrandt, 1654.
This copy may be known by the careful shading which repre
sents the burr in the original. It is by Denon.
Copy rev. On a smaller plate, by Burnet.
This print is not uncommon and is frequently found well
printed, full of colour, and often with a large margin; the
finest impressions are on India paper and are rich in burr.
The disposition of the background is in the style of Poussin
or in that of Campagnola.

245. Jesus disputing with the Doctors ; the
Smaller Print. {Jisus-Christ disputant avec les
docteurs)
Jesus is seated, a little to the left, among the Doctors of
the Law, with one of whom in front He appears to be con
versing; another with a high cap in the centre of the piece
has rather the grotesque appearance of an old cobbler with
his leathern apron than a Jewish Rabbi ; a tall figure to the
right is seen in profile, a little old man behind him is leaning
on a stick ; four spectators are to the right looking over a
partition covered with drapery, others again are to the left.
At the top, above Jesus' head, is Rembrandt fi. 1654.
Dimensions: 3,8 — 5,7 ('097 — '145).
[Coll : BM. C. O. P. A. H.J

Nos. 246, 247 Scriptural and Religious. 239
Early impressions show some burr on the few shaded parts,
the best are on India paper, and have the background soiled.
Copy rev. By Novelli.
Copy rev. By Denon. I do not know this copy.
I have seen a modern copy of this print so exactly imitat
ing the original that only the practised eye of a connoisseur
could detect a variation.

246. Abraham's Sacrifice. {Le Sacrifice d 'Abraham)
Abraham is on one knee in the centre of the piece ; in
his left hand he holds the sacrificial knife, and with his right
he covers the eyes of Isaac, who is also kneeling, directed
towards the right, and leaning over the right knee of his
father ; a vessel is placed below to receive his blood ; an
Angel with outstretched wings descends behind Abraham and
arrests both his arms; the attendants and a laden ass in the
middle distance are partly concealed by the foreground. A
rocky landscape with two little figures descending a hill forms
the background to the right. At the lower corner on this side
is Rembrandt fi. 1655, the d and the figure 6 reversed.
Dimensions : 6,2 — 5,2 ('158 — '133).
[Coll : BM. C. P. A. H.]
Copy rev. Attributed by Zani to Gherard Dou. It is a copy
full of feeling and rich in colour, though very inferior to the
original. To distinguish it readily from a counterproof we
notice that in the original the tail of the ass is pointed and does
not touch the line of the foreground by -^ inch, but that it is ¦
broad and touches that line in the copy. For a further variation
see IfcbAt VIII. fig. 38.
Copy rev. The name of the copyist is on the plate ; Novelli.
Copy. Same d. Bibl. IX.
Though there are no States, impressions differ from effects
of printing, the best are very rich in burr. A very fine one
from the Collection of Richard Fisher, Esq., was seen in the
Rembrandt Exhibition of 1877.

247. Four Prints for a Spanish Book. {Quatre Sujets
pour un livre espagnol)
These four prints were etched on one plate; they were
executed for a Spanish volume of 259 pages, i2mo, written
by Menasseh Ben Israel.

240 Rembrandt's Etchings. No. 247
It will be most convenient to consider the prints in the
order in which they appear upon the uncut plate, as follows.
I. Upper left. The Image which Nebuchadnezzar saw in
his dream. (Daniel, cap. ii.)
II. Upper right. The Vision of Ezekiel. (Ezekiel,
cap. i.)
III. Lower left. Jacob's Dream. (Genesis, cap. xxviii.)
IV. Lower right. The Combat of David and Goliath.
(1 Samuel, cap. xvii.)
The uncut plate measures 10,9 — 6,3 (-277 — -161).
States : ist. Upon it in the upper left was first engraved No.
I. Tlie Image seen by Nebuchadnezzar. There is an impression
from this in the Paris Collection, which has unfortunately been
trimmed. [Coll: P.]
2nd. Further shading, to be described in its place, was added
to No. I., and the 1st States were etched of Nos. II. III. IV.
In the lower left, below the border line of I. II. III., and within
the subject of IV, is Rembrandt f. 1655. [Coll: BM. P. A.]
3rd. Variations were made in Nos. I. II. III. [Coll: B. A. C]
The plate was then cut into four parts and further impressions
taken from each.
The description and States of the four several pieces into
\i*hich the plate was divided are as follows.
I. The Image which Nebuchadnezzar saw, etc. —
The Image clothed only about the loins, with a band or fillet
round the head, and a short mantle hanging behind and sus
pended by a string which crosses the breast, is placed above
a pedestal ; the legs, broken off close to the body and again
at the knee and ankle, are falling to the left ; part of a globe
is seen at this side, and the stone ' not made with hands '
which has broken the limbs is in front of it ; from the right
edge of the plate dark lines representing rays fall towards the
left upon the pedestal, and in the angle formed by these is a
roughly shaped rock from which the stone proceeded.
States: ist. The shading behind the head and shoulders of
the image is of clearly defined lines and interlines having a
direction from left to right. This impression was first recognised
by M. Charles Blanc, it is in the Collection at Paris, and is pro
bably unique. [Coll : P.]
2nd. The background around the head and bust is darkly
shaded with numerous lines and interlines ; the figure now
stands in bold relief. [Coll : BM. C. O. A]

No. 247 Scriptural and Religious. 24 1
3rd. The; legs are now attached to the body and broken only
at the ankle ; the globe to the left and the large stone in front
of it are partly concealed under additional work, and are no
longer defined ; a globe in the lower right hides the rays and
the roughly shaped rock ; from this globe proceeds a stone
which, striking upon the feet of iron and clay, breaks them to
pieces; a horizontal stroke further deepens the shading behind
the left arm and side of the image. [Coll : BM. A.]
These 3 States are found either on the entire sheet or are im
pressions which have been cut from it.
4th. From the cut plate ; the fillet or band is widened and
now nearly touches the eyebrows ; this is done to allow space
for a word, which appears in the next State, to be engraved;
the right ear is also concealed. On an impression at Paris, first
described by M. Charles Blanc, the names engraved in the next
State are written by Rembrandt, probably as a guide to his
work. [Coll: P.]
5th. Upon the forehead is engraved Babel, on the upper part
of the right arm Per si,. on the upper part of the left Midi, across
the navel Grceci, along the right leg Romani, on the left Maho-
metani. [Coll: BM. C. A. H,]
II. Ezekiel's Vision. — At the upper part of the print is
a glory, in the descending rays of which is seen the Almighty
surrounded by angels who are engaged in acts of adoration ;
in the lower half of the print, in shadow, are the four strange
animals described by the prophet ; the two hinder ones to the
right are, in early impressions, difficult to be made out.
States: ist. Two diagonal lines, apparently of smoke from an
incense burner, are seen from left to right above the heads of
the angels to the left ; these lines do not reach the left edge" of
the plate. |Uate VIII. fig. 39. [Coll: BM. O. P. A]
2nd. These diagonal lines are continued to the edge of the
plate. [Coll: BM. C. P. A. H]
3rd. As the last, except that the impressions are now taken
from the cut plate. [Coll : BM. C. P.]
Copy rev. By Denon.
Copy. Same d. Bibl. IX.
III. JACOB'S LADDER. — In the upper part of the print
angels are represented upon a ladder, illumined with a glory ;
half way down the print Jacob is discovered lying on the
ground upon his back asleep, his head resting on his left hand
and his staff under him near his feet.
States .- ist. The plate is so full of burr that the figure of
Jacob is hardly to be distinguished; the poles of the ladder are
R

242 Rembrandt's Etchings. No. 248
dimly seen, but they do not come lower than the place where
Jacob is lying. [Coll: BM. O. P. A.]
2nd. The poles of the ladder, not yet well defined, reach the
bottom ofthe plate. [Coll: BM. P.]
3rd. From the cut plate; the cross bars of the ladder are
introduced extending from one pole to the other ; in this State
the burr is worn away and the impression is uniform and dull.
[Coll : BM. C. O. A.]
IV. David and Goliath. — David is placed on the
right of the print, preparing to hurl a stone from his sling.
Goliath is on the left in a cuirass and helmet, with a shield on
his right arm. The higher ground on which the combatants
are placed partially conceals the opposing armies, a few heads
of soldiers only being seen above the foreground.
States: ist. There are no cross strokes upon the shield of
Goliath. [Coll : BM. C. O. P. A.]
This is the only State in which the subject appears upon the
uncut plate.
2nd. The variation consists only in the impression having
been taken from the cut plate. [Coll: A.]
3rd. The centre of the shield is shaded with cross strokes.
gllatc VIII. fig. 40. [Coll: BM. C. H.]
The book for which these plates were executed is entitled
Piedra gloriosa de la° estatua de Nebuchadnesar con muchas y
diver sas authoridades de la S.S. antiguos sabios Compuesto par
el Hacham Menasseh Ben Ysrael. Amsterdam, $415 (a date
corresponding to 1655 A.D.). I have seen an impression of
this rare volume in the Collection of Mons. Dutuit at Rouen.

248. Our Lord before Pilate. {Jisus-Christ presenti
au peuple)
Rembrandt has placed the chief group upon a balcony in
front of the Judgment Hall, approached by a doorway in
the centre ; this building fills the background and apparently
forms one side of a courtyard, a part of the sides, right and
left, being seen in the print. Pilate, standing a little to the
left, has a wand in his right hand, and with his left points to
Jesus, Who stands in the middle of the piece, with His hands
tied before Him. The balcony is crowded with attendants,
and many spectators are grouped in front ; conspicuous
among them is a man, in the left foreground, wearing a cap

No. 248 Scriptural and Religious. 243
with a large plume of feathers, who appears to be haranguing
the people, while with his left hand he points to the Accused.
In a later State, the 6th, over a door to the right is engraved
Rembrandt f. 1655.
Dimensions: 14,1 — 18,0 ('357 — '457).
States: ist. Measures 15,2 — 18,0 (-385 — '457)- The China
paper used for this and the next State, not being easily procured
of the size required, some impressions were printed on sheets to
which, at the top, a slip about an inch wide is attached. Pro
bably it was to avoid this necessity that the plate was reduced.
[Coll: BM. O. P.]
2nd. The thigh of the man to the left of Pilate has an addi
tional shading from left to right; some close horizontals and
some nearly vertical work deepen the shadow in the upper part
of the door in the recessed part of the building to the left.
[Coll: BM. P.]
3rd. The plate is lowered by about an inch ; a blank space
above the* window in the building, to the extreme left, is filled
with a balustrade, and this building casts a diagonal shadow
across the recess ; the face of a woman, seen at a window above
the doorway in the recess to the left, is crossed by a left-to-right
diagonal line. [Coll: BM. P.]
4th. Vertical lines are introduced in the dark shading of the
window in the recess to the right. [Coll: BM. P. A.]
$th. The whole of the figures below the balcony are effaced ;
the door in the recess to the left is worked upon and made to
appear like the entrance to an arcade ; other important varia
tions will be observed, and many of the worn-out lines are
harshly reworked. [Coll: BM.]
6th. The name and date appear above the doorway in the re
cess to the right ; two deep arches are introduced below the
platform, and a large bearded bust is sketched in between them;
other alterations are introduced. [Coll : C. A.]
1th. The bearded bust between the two recently introduced
arches is now coarsely shaded with horizontals. [Coll: BM. C.
P. A]
The student will not fail to observe that the extraordin
arily rich dry point work, which tells with such striking effect
in the earlier States, has very sensibly decreased, even in the
3rd; in the 4th State the lines are thin and ragged; after
this I do not believe that Rembrandt's hand once touched
the plate, but that the variations of the $th and succeeding
States are entirely the work of others. The date, though
added at some later time, is probably the true one, or at least
points to about the year when Rembrandt executed the print

244 Rembrandt's Etchings. No. 249
It has been urged that there is a higher artistic conception
of the scene shown in the removal of the crowd which filled
the foreground, and which, from its prominence in the earlier
States, threw the group upon the balcony too much into the
distance, and that Rembrandt ' himself became aware of this
and altered his composition ; with this conclusion I entirely
disagree. The print, full of beauties as it is, has the great fault of a
want of depth ; it is too flat, and it was with the intention of
correcting this error and throwing his composition more into
a concave form that Rembrandt introduced the buildings to
the right and left, and afterwards the shading which distin
guishes the 2nd, 3rd and 4th States. The removal of the
whole of the figures below the balcony only increases the
original error ; the group above is brought full to the front,
and the whole idea of the scene is destroyed. The attempt,
shown in the 6th Stale, to correct the evident faultiness of the
new design is even less successful. The arches and the colos
sal bust between them have a most incongruous effect, fully
justifying the criticism of Bartsch, that the work substituted
for that which is erased is extremely bad ; ' car ce qu'il a mis
a leur place, est fort mauvais) [Bibl. V. p. 80.]
We have no clue to the artist who effected the alterations
in the plate, probably it was the same person as he who dis
figured the Three Crosses ; there is the same coarse and
inefficient handling, and the same inability to comprehend
the master's inspiration. It is not unlikely that the proxi
mate cause of the erasure of the group in the foreground was
some serious defacement of the work upon the plate, which
the artist, unable to restore, prudently decided to remove.

249. St. Peter and St. John at the Gate of the
Temple. (Saint Pierre guirissant le paralytique)
Upon a step to the right of the print is seated a cripple,
turning towards the left, lifting his right hand as if asking
alms of the two Apostles, who are standing and bending
downwards ; both are habited in cloaks ; St. John, in shadow,
himself looks not unlike a beggar ; the background shows the
arches of the Temple, the entrance being at the lower part to

:Nb. 250 Scriptural and Religious. 245
the left, where two Jews are seen ascending the steps ; the
piece is very coarsely sketched. Date assumed, 1655.
Dimensions: 8,8 — 6,7 ('223 — '171).
[Coll: BM. P. A]
There is a rudeness and vulgarity about the figures in this
piece which have led amateurs to doubt its authenticity, I
have, however, no hesitation in accepting it ; though carelessly
executed, and though the figures of the Apostles, especially
that of St. John, are wanting in dignity, and one of the hands
so clumsily designed that it is not easy to decide to which
Apostle it belongs, it is a print which improves upon acquain
tance, and I am not alone in regarding it as a veritable work
of the master. Whether I have done right in placing it so
late as 1655 is, I own, a matter about which I do not feel so
certain, although my decision is supported by more than one
able connoisseur.
250. Abraham entertaining the Angels. {Abraham
relevant les anges)
The Angels are represented seated at a table placed before
the door of Abraham's house ; behind the door, to the left,
Sarah is seen, as if listening to their conversation ; the central
Angel, a venerable old man of dignified appearance, repre
sents the Almighty; He holds a cup in His right hand and is
extending His left towards Abraham, who, with his left hand
upon a water jug, stands at the foot of the table to the right,
in an. attitude of humility, prepared to minister to his guests.
Behind the group at table is a boy, Ishmael, leaning over a
low wall and drawing a bow, in evident unconcern at the
presence of the Angels ; low down to the left, almost con
cealed by the shading, is Rembrandt fi 1656.
Dimensions : 6,3 — 5,2 ('161 — '133).
[Coll : BM. C. O. P. A. H.]
The finest impressions are full of burr and on India paper. The
late Mons. De Brou, librarian to the Due d' Arenberg, at Brussels,
very courteously called my attention, early in 1876, to an im
pression in which were variations which he thought constituted
a 2nd State. I have satisfied myself, by careful examination,
that these variations are due to a printing effect.
Copy. Same d. Bibl. IX.

246 Rembrandt's Etchings. Nos. 251, 252
251. Our Lord in the Garden of Olives. {Jisus au
jardin des Oliviers)
Our Lord, Who is represented, at the right of the plate,
upon His knees, sinking down in weariness and sorrow,
is supported by an Angel, who, with one knee upon the
ground, is placed about the centre, his extended right arm
preventing the Saviour from falling. Lower down, on the
left, the Apostles are sleeping upon the ground, and in the
distance, on the same side, the soldiers are seen entering the
garden to apprehend Jesus ; above them a tower of the city
appears ; higher up the moon is partially obscured by clouds.
In the lower right is engraved Rembrandt fi. 165. There was
not space to add the fourth figure, and the inscription is so
buried in shading as to be hardly legible. Date assumed,
1657. Dimensions: 4,4 — 3,3 ('113 — '084).
[Coll: BM. C. O. P. A. H.]
The finest impressions are on India paper and full of burr,
later ones have been very frequently tinted, and sometimes this
v is so skilfully done that the deception is not easily detected.
Copy rev. Harsh left-to-right diagonals shade the garment
of the Saviour from the elbow to the thigh. Inscribed franc
Novelli, 1790, No. 21.
A drawing by Rembrandt, which may have formed a
study for this piece, is in the Museum at Dresden.

252. Saint Francis, praying. {Saint Francis d genoux)
Saint Francis is on his knees, turned to the left, his joined
hands resting on an open book, which lies before him on a
large stone placed at the foot of a tree ; to the left stands a
crucifix, behind and above which is deeply shaded foliage.
Towards the right a monk is kneeling ; he is seen from behind
and placed under a thatched hovel. The whole of the back
ground to the right is in the ist State a blank, but in the 2nd
appears a landscape with buildings. In a space enclosed
within a line at the lower right is Rembrandt fi. 1657. In
the 2nd State this name and date are repeated.
Dimensions: 7,1 — 9,6 (-i8i — '244).
States: ist. As described, the space between Saint Francis
and the tree is unshaded, the right side of the plate is blank and

No. 252 Scriptural and Religious. 247
the name and date are engraved in small letters. TColl: BM.
P. A]
The impression in the British Museum is on a sheet of parch
ment, which had probably done duty as the cover of a book and
is too small for the plate, not reaching its edge either below or
to the right ; that at Paris is on yellowish paper and is a superb
print, though a little too loaded with ink ; one printed on vellum,
in the Collection of His Grace the Duke of Buccleugh, is equally
fine, but none of these approach the magnificent impression on
yellowish paper at Amsterdam.
2nd. The space between St. Francis and the trunk of the tree,
to the left, is shaded with vigorous dry point work, apparently
representing the entrance to a cave, additional foliage appears
also in the lower left; the right side of the print, hitherto a
blank, is completed by the introduction of some buildings, etc. ;
the name and date are repeated upon and partially conceal the
writing previously etched. [Coll : BM. C. P. A. H.]
A 3rd State is said to exist, distinguished by further work ; I
have never seen it, nor do I know in what the variations consist
I have seen an impression of the 2nd taken from the plate when
most ofthe burr had been removed and which had been cleverly
worked over with a brush and Indian ink ; it is not unlikely that
the State described to me as a 3rd was one similarly treated.
It is not easy to explain the full intention of the work
which distinguishes the 2nd State ; although the dark cavern
and the powerfully expressive foliage on the left increase the
gloom and lend greater solemnity to the scene, the introduc
tion of the buildings to the right is certainly not an improve
ment ; on the contrary, though etched with a master hand, it
weakens the whole composition. The ist State conveys an
idea of solitude and retirement ; the Saint is seen in prayer
before a crucifix erected in the deep recesses of a forest, his
companion, also on his knees, is placed within the rudely
thatched hut, which alone affords them shelter; the very
absence of landscape on the right side of the print is sugges
tive ; but in the 2nd State the whole idea of solitude is
destroyed ; they are worshipping by the road side, in sight of
human dwellings, liable at any moment to be interrupted by
accidental intrusion or vulgar curiosity. The technic of this
new work upon the right is also somewhat perplexing, it has
the character of pure etching ; and not only is it found
slightly to overlap the rich dry point work of the 1st State,
but it would, if found alone, be placed under an earlier year
than 1657. Is it possible that another plate has been used,

248 Rembrandt's Etchings.^- No. 253
and the printed sheets taken from it been -again - passed
through the press .with the plate of the St. Francis ? The
question is beset with difficulties, and I do not, as yet, feel
that any satisfactory explanation can be offered.

253. Jesus and the Samaritan Woman; an Arched
Print. {La Samaritaine)
Our Lord is seen to the left. He is seated behind an up
right stone placed at the back of Jacob's Well, and while He
addresses the woman standing opposite, He extends His opened
left hand above the water, as if saying, ' he that drinketh of this
water shall thirst again,' etc. The Samaritan woman is nearly
in the middle of the print. She is turned to the left, hef arm
passing through the handle of a bucket, which rests upon the
edge of the well. The background to the left is filled with
massive and timeworn stonework, in which, high up and rather
to the right of our Saviour's head, is a rectangular shaded space
like a window. In the right background is the town of Sychar,
and in the middle distance we see the disciples ascending the
hill. Upon the upright stone, on which the Saviour rests His
right arm, is engraved, but not until the 3rd State, Rembrandt,
and below it 1658. Dimensions: 4,9 — -6,3 ("125- — -i6i).
States : ist. The plate is 8,1 ('205) high; a clear space of 3,2
(•081) is seen above the subject. [Coll: BM. C. A.] The
Cambridge impression is unfortunately cut down.
2nd. The plate is reduced, the clear space above being cut
away. [Coll: BM. C. O. P.]
3rd. The shadow of the woman cast upon the stonework is
burnished out, as is also the window above; cross lines, right to
left, shade the upper foliage to the left ofthe well; the woman's
hair is lengthened on her right, the name and date are added.
[Coll : BM. C. P. A. H.]
Copy rev. By C. Campion.
It should be remarked that in the 3rd State a different
expression is imparted to the features of Christ from that
which they bear in the 1st. The change is not an improve
ment, but the plate had no doubt passed out of Rembrandt's
hands before the variations which constitute this 3rd State were
executed. The possessor of the plate, which was still in good
condition (fine impressions are found on India paper retaining
much burr), thought, no doubt, he would improve it by his

No. 254 Scriptural and Religious. 249
erasions and additions, but was unwise in attempting the
latter if he supposed his technic would ever be mistaken for
that of Rembrandt.

254. St. Peter and St. John at the Gate of the
Temple. {Saint Pierre guirissant le paralytique)
The scene is laid within the arched gate of the Temple,
which extends the whole width of the plate. A cripple, seen
from behind, is seated upon a step rather to the left. In
front of him stands St. Peter, wrapped in a mantle, with both
his arms extended ; St. John, to the right, is In a similar
habit, having his stockings fallen down to his ankles ; specta
tors are seen to the left, and in the background appears an
amphitheatre with crowds of people surrounding a wide flight
of steps which lead to an altar, on which a sacrifice is
burning ; to the left, under a .canopy, are the High Priest and
his attendants. Upon the step on which the cripple is seated
is Rembrandt. fi. 1659.
Dimensions: 7,1 — 8,5 (-i8i — '215).
States : ist. St. Peter wears under his mantle a stiff drapery
like a breastplate ; its border below his right arm has an inward
curve, and from its lower corner, above his left thigh, a diagonal
shadow extends upwards.' towards his left arm, about -A in. ("005)
in length. ' SBlafe VIII. fig. 41. The pavement in front of the
step has only horizontal lines and diagonals from right to left.
[Coll. BM. A] . ' " '
, 2nd. The outline of the drapery beneath St. Peter's arm is
straight, the shading at the corner beneath his left arm extends
about T% in. (-012) upwards. [Coll : BM. C. O. P. A. H.]
3rd. The diagonal, right-to-left, shading upon the arch to the
upper left is now prolonged to about -^ in. (-oo8) beyond the
point where the canopy touches the arch ; in earlier States it was
about the same distance short of this point. Fine vertical shading
covers the foreground, extending nearly to St. John's skirt and
leg; a delicate diagonal is seen from left- to right on the right side
ofthe foreground. [Coll: BM. C. P.]
¦ 4th. The diagonal shading on the arch to the left now meets
a band of stonework which crosses, the arch ; irregular and
coarse vertical strokes shade the foreground, especially to the
right , these strokes conceal the finer work, and are continued
quite closely t0 the skirt and leg of St. John. The whole piece
shows much rework. [Coll. BM. P. A.]
The variations which mark the 3rd and 4th States are not
the work of Rembrandt, but belong to a later time.

250

THIRD CLASS.
GENERAL AND FANCY COMPOSITIONS.
Numbers 255 to 302.
255. A Man standing towards the right.
{L Homme)
He is standing, turned a little to the right ; he wears a
cap turned up with fur, and carries a large bundle at his back
and a pouch by his right side. Low down is Rh 1630.
Dimensions: 3,3 — 2,0 ('084 — '051).
[Coll: BM. P. A. H.]
In early impressions the plate-edges are rough.
Copy rev. By Van Vliet, dated 1631.
Copy rev. 2,8 — 3,3 (-071 — -084). This is the copy described
by Bartsch. I have not seen it.

256. A Woman sitting upon a Hillock. {Femme nue
assise sur une butte)
An ill-drawn fat and clumsy woman, unclothed, seated
upon a hillock or bank, full face, but her body turned to the
right ; her hair hangs over her shoulders, her left arm is raised
and rests upon some linen, and her right upon the clothes on
which she sits. Date assumed, 1631.
Dimensions: 7,0 — 6,3 ("178 — "161).
[Coll : BM. C. P. A. H.]
Copy. By Hollar. Described by M. Charles Blanc. I do not
know this copy.
A study for this etching, in black chalk washed with
bistre and heightened with white chalk, was formerly in the
Collection of the Baron Verstolk de Soelen, and is now in
that of John Malcolm, Esq., of Poltallock (No. 773).
Doubts have been expressed as to the authenticity of this
print; it is not questioned because the woman is ugly and
uncouth, but because the drawing is tame and spiritless, and

Nos. 257, 258 Fancy Compositions. 251
shows a weakness of line which we do not find in Rembrandt's
better work. In its favour may be urged that it is a very early
print, and that in the management of the shadows, ex. gra.
the reflected lights on the right cheek, etc., there is an artistic
conception and power higher than that attained by any of
Rembrandt's pupils.
The same model, apparently, has been used in the etching
called La Coupeuse d'ongles, a print which Bartsch (No. 127
of his Catalogue) attributes to Rembrandt. This print will
appear in a succeeding volume, among the works of F. Bol,
under its proper title of Bathsheba.

257. A Woman beneath a Tree. {La femme)
She is crouching beneath the trunk of a large tree, which,
with a bush, takes up nearly the whole left of the print ; her
face and neck are shaded by her hat. In the clear space
below is Rh 163 i.
Dimensions: 3,2 — 2,5 ("081 — "064).
States: ist. With the name and date. [Coll : BM. P. A. H.]
2nd. The monogram and date are effaced. I give this on the
authority of M. Charles Blanc. I have not myself seen it.
Copy. rev. On a larger plate. In the right hand corner is
R. 1643 ; said to be by Van Vliet
Copy. Same d.; said to be by De Claussin. I know nothing
of this, but record it on the authority of Wilson.

258. Diana bathing. {Diane au bain)
She is sitting on a bank by the trunk of a large tree, with
her feet in the water, and turned to the left, but nearly full
face ; her arms rest on a richly embroidered garment placed
on the bank at her right, and she is about to grasp her quiver,
which lies along the upper part of this garment ; a light
dress is underneath her, of which a sleeve hangs down and
nearly touches the water. The background is dark and filled
with foliage. To the right near the bottom of the plate is
Rh. f. Date assumed, 1631.
Dimensions: 7,0 — 6,3 ("178 — -i6i).
[Coll : BM. C. P. A. H.]

252 Rembrandt's Etchings. Nos. 259— 26*1
259. Danae and Jupiter. {Dana'i et Jupiter)
She is lying asleep on a bed, her head towards the right
of the print, her right arm is extended and rests upon her
body, her left arm is stretched out sideways, the hand
hanging over the side of the bed ; the bedclothes are thrown
back, and do not reach her knees ; behind the bed stands a
Satyr, resting his right hand on the bed, and around him falls
a shower of gold. In the middle of the bedhead is Rh.
Date assumed, 16*31.
Dimensions : 3,3 — 4,4 ("084 — '113)-
States: ist. As described. [Coll : BM. C. P. A. H.]
There is an impression of this State at Paris without the motio-
gram ; this has been described as the true ist State. I do not
think the monogram has been removed from the impression, but
a slight discolouration on the exact spot where it should appear
induces the belief that some scrap of paper was on the plate
covering the monogram when the impression was printed.
2nd. The sleeping woman is covered above her knees. The
plate-edges are now smooth and regular. [Coll: BM. C. P. A.}

260. The Ratkiller ; an Injured Plate. {Autre
vendeur de mort-aux-rats.)
He is seen in profile towards the left of the print, looking
towards the right ; he holds a packet of the poison in his
hand, as if offering it for sale. By his side a pole is fixed in
the ground, at the top of which is a round cage from which
some dead rats hang. Date assumed, 1632.
Dimensions: 4,9 — 3,2 ("125 — -o8i).
[Coll : P. A. H]
This is called a study for the following print, or, as De
Claussin expresses it, ' Rembrandt, dissatisfied with this,
re-engraved the subject.' It is a very coarsely executed
print, and if by Rembrandt was so injured by some mis
management with the acid as to be completely ruined.

261. The Ratkiller. {Le vendeur de mort-aux-rats)
The ratkiller, in profile to the left, is standing at the door
of a cottage, holding in his left hand a pole with a cage at
the top of it containing live rats ; one is seated outside the

No. 262 Fancy Compositions. 253
cage, and two dead" ones are -hanging from it ; a rat is also
seated on the ratkiller's left shoulder. He wears a high hat
and a coarse fur cloak hangs over his right shoulder. He is
accompanied by a deformed boy or dwarf, who carries a box
of ratsbane ; the ratkiller offers a packet of it to a man who
is leaning over the doorhatch of the cottage, but who puts it
away from him with an air of disgust. By the side of the
door, close to the left plate-edge, appear the dead trunk of a
tree and a broken cask ; a cottage and trees are in the distance
to the right. Low down on the same side is Rh 1632, the 3
and the 2 reversed. Dimensions: 5,5 — 4,9 ("140 — '125).
States: ist. As described. [Coll: BM.]
2nd. The foliage" above the head of the ratkiller is shaded by
right-to-left diagonal lines. [Coll : BM. C. O. P. A. H.]
Copy. Same d. A scratch passes from right to left through
the lower part ofthe ratkiller's sword and through his leg below
the knee, and below the foot of the boy turns downwards. By
Bretherton. Copy. Same d., very poor ; on the foreground to the right is
Gerret van Schagen exc.
Copy rev. good. In the foreground to the left is .S'. Savry
excudit. Copy rev. 5,5 — 4,5 ('140 — "115). Inscribed Rh C. Vischer
excudebat. ¦
Copy rev. Within the subject is Rembrandt fe, No. 6, Francis
Novelli incid. This is one of Novelli's best copies.
Copy rev. of the head and shoulder only, with the rat ;
1,5 — 1,3 (-039 — '032). This appeared in the Serrati Collection
Catalogue, No. 320, as 'a very curious print of part ofthe figure
of the ratkiller ; behind him is engraved R. 1630) A similar
impression appeared at Sotheby's in Feb. 1826. It is not a
successful imitation, and may possibly have been by F. Bol.

262. Adverse Fortune. {La Fortune contraire)
A vessel is seen on the right crowded with people, con
spicuous among whom stands a large female figure, undraped,
and seen from behind, who hoists the sail with her left hand
and expands it with her right. On the shore is a man
crowned with laurel, on a horse which has fallen down ; he is
looking after the vessel, which is just leaving the shore-
Above is seen, upon a column, the double head of Janus, to
the left is a temple, and while some persons are ascending

254 Rembrandt's Etchings. No. 262
the steps two others appear to be forcing open the door;
others below are seen in attitudes of prayer or alarm. To
the right other vessels are seen. On the side of the vessel on
which the figure stands is Rembrandt fi 1633.
Dimensions : 4,4 — 6,6 ("113 — "168).
States: ist. The plate is nearly T\in. ("on) wider on the left,
the acid has failed in the dark shading, seen through the partly
opened doorway on the left. [Coll: P.]
2nd. The plate is reduced on the left side, shading covers the
name of Rembrandt on the vessel. The back of the woman and
her left leg are crossed by very regular left -to-right diagonals,
and right-to-left lines appear on the wall, between the pedestal
of Janus and the steersman of the vessel. [Coll: BM. C. P.
A. H.]
3rd. The defect in the acid in the dark opening of the door
way is partially repaired by diagonals from right to left, which
are continuous with the short diagonals in the same direction
upon the edge of the door ; there are marks of other rework ;
the Dutch text is found on the back of some impressions. [Coll :
BM. C. O. P. A. H.]
This print was executed for a folio of 235 pages, on the
title-page of which we read Der Zee-vaertlof Handelende etc.,
in vi boecken beschreven door E. Herckmans. Tot Amsterdam
bij Jacob Pieters. Wachter op den Dam, 1634. There are,
altogether, 17 engraved plates, not including the one on the
title-page; the 12th of these — page 97 — is this, above de
scribed. M. Charles Blanc tells us that in this print is represented
the Battle of Actium, that the vanquished hero is Antony,
and that the double-headed bust and the temple are allusions
to the temple of Janus, the doors of which, on the recurrence
of peace, were closed by Augustus. Mr. C. Vosmaer gives an
entirely different explanation ; he considers that in it are
represented the incidents which befel St. Paul when rescued
from the Jews, and sent, upon his own appeal, for trial to the
Emperor at Rome [Bibl. XXXVII. pp. 124-5], and, with
great reason, urges that there is nothing in the text to connect
the print with the history of Antony, while in Herckman's
poem there is an account of the voyage of St. Paul. The
print in itself has very little merit, the leaves and weeds in
the foreground bear a striking resemblance to the forms of
the foliage in the St. Jerome, No. 190, and are evidently by

Nos. 263, 264 Fancy Compositions. 255
the same hand, the composition of the piece is probably by
Rembrandt ; but I do not think the design was carried out by
him, I should be inclined to attribute the work upon the plate
to Bol. 263. The Travelling Musicians. {Les musiciens
ambulants)
An old man with a ragged cloak and high hat is standing
to the left, playing upon a hurdy-gurdy, which he holds under
his right arm, while with his left hand he turns the handle ;
behind, in the middle of the piece, is a boy blowing the bag
pipes ; a little dog in front is tied to the old man's girdle with
a string. Over a door-hatch to the right are seen a peasant
and his wife, the latter holding up a child to listen to the
music. The light comes from behind these persons and falls
on the musician ; the background is chiefly in shadow. Date
assumed, 1635. Dimensions: 5,6 — 4,6 ('143 — "118).
States: ist. As described. [Coll: BM. C. P. A H.]
2nd. Shading is seen on the brim and front ofthe old man's hat;
the front of the boy's cap and the middle and lower right of the
woman's headdress are lightly worked, fine curved lines are seen
on the breast of the child. [Coll : BM.]
Bartsch says this piece is called in Holland L'Aveugle,
because the man is blind ; Daulby and Wilson describe the
boy as blind. In the most clearly printed impressions the
old man's eyes are wide open, and he is looking full in the
face of the peasant, with whom he is apparently conversing,
while the boy, absorbed in his occupation, is looking down
wards. In a late state of the print called Christ preaching to the
people, No. 229 of this Catalogue, use has been made of this
plate ; see p. 223.
The print has very little merit and might be discarded.
I have not done so, not knowing to whom I should assign it.

264. The Pancake Woman. {La faiseuse de koucks.)
An old woman, frying pancakes, is seen in profile sitting
in the middle of the piece in front of a stove, and turned
towards the right ; with her right hand she holds a pan upon

256 Rembrandt's Etching's. No. 265;
the fire ahd with her left is turning the cakes; in front of her-
is a child, seated upon the ground and crying in fear of a dog,
which tries to snatch away the cake which the child holds in
both hands ; behind, to the left, is a woman with a child on
her knee ; other children are in the background. In the
middle of a clear space below is Rembrandt fi. 1635.
Dimensions: 4,3 — 3,1 (-no — '079).
States : ist. This is only partially shaded ; the old woman's
cap, sleeve and apron are white. [Coll : BM. A]
2nd. The plate is finished. The old woman's cap, worked
with a broad point, represents some kind of coarse woollen
material, and shows a few diagonals right to left, nearly parallel
to the brim. [Coll : BM. C. P. A. H.]
3rd. The cap is worked over with downward lines, which Cross
the diagonals ; there is other rework, but not easy to describe,
since it chiefly consists in deepening the lines. [Coll : BM. C.
P. A]
4th. The plate has been further and more harshly retouched ;
at the top, to the left, is Tom II. , and on the right pag 122.
M. Charles Blanc says that this paging was added to the plate
by Basan when he wished to make use of the print to illustrate
his ' Dictionary of Engravers.' The plate was part of the pro
perty of the widow Jean ; the lettering has been again erased,
and impressions, in which it is wanting, occasionally appear.
Copy rev. The shading on the woman's knee is by lines
which follow the outline, instead of by regular right-to-left
diagonals: Novelli, No. 17.
Copy rev. ofthe ist. State before, the shading. The subject is :
surrounded by marginal lines, and the name in the clear space
below is omitted ; but for this it might easily pass for a counter-
proof. Copy. Same d. On wood, by Boetzel. Bibl. IX.
There is an engraving of this subject by Visscher, dif
ferently treated.
265. Youth surprised by Death. {La Jeunesse surprise
par la Mort.)
On the left is seen a young man in profile, gaily dressed,
with a fur cap and feather, leading by the hand a young
woman, who has her back to the spectator ; she has a short
dark boddice with long hanging sleeves, and a skirt of a lighter
colour, apparently of silk, and holds a rose in her right hand ;
a broad flat hat with a feather is placed upon her hair, which"
flows loosely over her shoulders. To the right of the print a

No. 266 Fancy Compositions. 257
skeleton rises from a vault directly in their path, holding an
hour-glass in his bony right hand. In a clear space, ^ in.
(•010) below the subject to the left, is Rembrandt, and below
it./. 1639. Dimensions: 4,3 — 3,1 (-no — '079).
[Coll: BM. C. 0. P. A. H.]
Copy. Same d. Bibl. IX.
The title of this print is somewhat misleading, the youth
ful couple are not ' surprised,' in the usual sense of the word,
at the grave which suddenly opens in their path, or at the
spectral figure issuing from it ; it is evident that they are not
aware of the presence of the ghastly object. It is in this
spirit many of the designs in the early ' Dances of Death ' are
conceived, the spectre frequently is shown in close attendance
upon his victim, without exciting any apparent sensation of
fear or of astonishment, only because his proximity is unob
served. This charming little print thus becomes a touching
memorial of an unexpected sorrow, the death in the autumn
ofthe previous year of Saskia's second child; the dresses of
the two persons bear a resemblance, which can hardly be
accidental, to those in which, at this particular date, Rem
brandt depicted himself and his wife. The flat cap and long
feather of the Portrait of Rembrandt, No. 151, dated 1638,
are here reproduced, as is also his loosely flowing hair ; while
the hat and feather, the treatment of the hair, the peculiari
ties of the dress, with a low body and wide sleeves closely
gathered a little above the elbow, recall the beautiful portraits
of Saskia which belong to this date and are preserved in the
galleries at Antwerp and Cassel.
Among Rembrandt's drawings is a Dance of Four Skele
tons, their hands joined together and their faces outwards ; one
wears a woman's fashionable hat, and another a velvet mezetin
cap and feather. This drawing, as well as the etching
described above, are referred to by Douce in his ' Dance of
Death,' p. 198. 
266. SKETCH OF a DOG. {Etude de chien)
Upon this plate, placed low down to the left and turned
to the right, is the sketch of a dog, of which only the head is
finished. Date assumed, 1640.

258 Rembrandt's Etchings. No. 267
Dimensions: 4,6 — 5,9 ('118— ^"150).
[Coll : A]
Copy. Of the head only. Bibl. IX.'
I regard this print as a very doubtful one ; the only im
pression known is that in the Collection at Amsterdam.

267. The Little Dog sleeping. {Le Chien endormi)
The dog is represented lying asleep with its head to the
fight of the print ; it has a collar, to which is fastened a strap,
which lies upon the ground in front. Date assumed, 1640.
Dimensions: 1,5 — 3,2 ('038 — "oSi).
States: ist. The plate mark is only seen along the top and
the right side, so its original size is unknown. What remains
measures 2,5 — 4,2 ('064 — -io8). The little dog is in the upper
right corner. [Coll: BM.]
This impression appeared at the Hibbert sale in 1809, when,
for a few shillings, it was acquired by De Claussin ; he again
sold it at a small advance to a London print dealer, from whom
the Duke of Buckingham purchased it for 61. At the dispersal
of his Grace's Collection in 1834 it realized 61/. ; though tempted
by the offer of a much larger sum the owner for awhile refused
to part with it, but when his whole collection was sold The Little
Dog was secured for the British Museum at a cost of 120/.
Bibl. XLI. vol. i. pp. 11 6-7.
2nd. The plate is reduced to 1,8 — 3,5 ("046 — '089). [Coll:
BM.] 3rd. The plate is further reduced. This is the State in which
the print is usually found. [Coll : BM. C. O. P. A. H.]
Copy. Same d. of the 2nd State. By Folkema. In the
Copy the shading in the top left corner reaches the plate-edge,
in the original a space of about -£$ in. remains white ; there is
also a variation in the right lower corner.
It is an open question whether The Little Dog sleeping is
the work of Rembrandt at all. Impressions are always faint
and grey, the plate having been insufficiently bitten. Assum
ing it to be by the master, the delicacy of the execution and
the feebleness of much of the work make it very difficult to
decide in what year it should be placed ; parts of the technic
seem to resemble that in the Decollation of St. John the
Baptist, No. 209, and the little landscape, No. 303, but I am
by no means satisfied that it is in its proper position.

No. 268 Fancy Compositions. 259
268. The Flute-player. {L'Espiigle)
In this print are represented a shepherd and a shepherdess
with their flock of sheep. The shepherdess, who wears a
broad hat, sits upon a bank on the left side of the print,
making a garland of flowers ; the man is lying on the ground
towards the right, foreshortened, leaning upon his elbows and
playing the flute ; his hat lies on the ground beside him, and
on his left shoulder a little owl is perched ; behind him a
shepherd's crook is placed against the trunk of an old spread
ing tree ; sheep are to the right. At the bottom of the plate,
a little to the right, is Rembrandt fi. 1640.
Dimensions: 4,6 — 5,6 (#n8 — "143).
States: ist. A youthful head in profile is seen in the tree
close by the right of the shepherd's crook, the foliage above the
hat of the shepherdess is covered with work of the same tone as
the shading at the back of the hat ; the rock at the shepherd's
left, from the back of the owl down to the hat lying on the
ground, is unshaded; the water weeds at the left lower corner
consist mainly of three large and not well-expressed leaves ; the
work is not continued to the plate-edge on the left side. There
is neither name nor date. [Coll : BM. C]
2nd. The shading above the hat of the shepherdess has been
burnished out, and its place taken by foliage in dry point on a
white ground; a band of a few short hatchings crosses the
middle of the rock by the shepherd's left arm ; the name and
date are added. [Coll : BM. C. P. A.]
3rd. The foliage above the hat of the woman is again worked
over, and no white spaces of the groundwork are seen. [Coll :
BM. P. A]
4th. The face in the tree has disappeared, its place is supplied
by some few indications of foliage ; the rock by the shepherd's
left arm is worked over from the back of the owl half-way down;
the three leaves of water-weed in the left corner are erased, and
their place taken by two well-expressed dock-leaves, piale IX.
fig. 42. The work above them is continued to the left edge cf
the plate. [Coll : BM. C. P. A. H.]
Copy rev. Well executed. In the lower middle of the plate
is Rembrandt. Copy rev. Indifferent. In the lower part ofthe plate a little
to the left is Rembrandt fecit. (This is copied, not from the
original, but from the copy above described.)
Copy rev. of 3rd State. At the bottom to the right is T de
Ram exc, and to the left of this again is Rembrandt. This copy
is by Gherard Dou.

260 Rembrandt's Etchings. No. 269
Copy rev. of the 1st State, very deeply shaded. Below the
subject to the right is Cumano ex.
Copy. Same d. ofthe ist State. Bibl. IX.

269. A Man playing Cards. (Le Joueur de Cartes)
He is seett in front, wearing a cap of soft material, which
is inclined over his right ear, his hair is long and wavy ; he is
seated behind a table holding his cards in his left hand, and
is drawing one out with his right. The player's head and
shoulders cast a shadow upon the right and upper part of the
background, the whole of which is worked over ; a lighter
space remaining on the right. Half-way up on the left side,
underneath the shading, is Rembrandt fi. and below it, 1641.
Dimensions : 3,6 — 3,2 ( '09 1 — -o8 1 ).
Bartsch only knew one state of this piece. Wilson described
two. M. Charles Blanc gives three. M. Ambrose Firmin-Didot
enumerates four; in his Sale Catalogue, April-May 1877, are
the following : —
899. Premier Hat non decrit a I 'eau forte pure.
1,00. Premier Hat, avant differents travaux dans le fond, et
avant que la planche ait Hi raccordee.
901. Second Hat, non decrit avant les contre-tailles dans toute la
partie dufond.
902. Troisieme Hat.
The name of Firmin-Didot carries such weight that I feel a
little hesitation in saying that among these four there is no really
new State. 899 was the true 1 st State, as described below ; 900
only differed in being printed with darker and coarser ink, and
in the deeper shading showed a slight but very suspicious tinge
of brown, and a want of sharpness in some of the lines ; it might
be a variation ofthe ist, but not a new State. 901 was the 2nd,
as described ; and 902 the reworked plate.
States : ist. The work in the background does not, by about
T\j inch, reach the upper edge of the plate, and ends irregularly,
especially at the right corner; the shadow of the head and
shoulders is somewhat grey in the best impressions, in others it is
much darker, an effect due to the use of different printing ink.
[Coll. BM. C. P. A. H.]
2nd. The work is finished regularly along the top ; the shadow
on the background is deepened by dry point ; diagonals from
right to left are seen quite in the upper right-hand corner, where
none existed in the ist State. [Coll: BM. P. H.]
3rd. The shadow is lost in the uniform rework of the back
ground; verticals and diagonals cover the light space to the right.
[Coll : BM. C. H.]

Nob. 270, 271 Fancy Compositions. 261
M. Charles Blanc considers that both the 2nd and 3rd
States show the rework of other hands, an opinion with which
I fully agree. The plate, in 1802, was in Basan's possession,
and afterwards formed part of the property of the Widow
Jean ; there are late impressions on which Watelet's name
appears, others in which his or some other name has been
engraved and afterwards worked over ; I need not say that
all such reworked impressions are worthless. The ist im
pressions printed in a greyish tone, and these only, are from
Rembrandt's own press ; I believe that all others belong to a
later time.

270. The Draughtsman. (Le Dessinateur)
This represents a young man seated behind a table, hold
ing an inkstand in his left hand and a pen in his right, and
who, by the light of a candle at his side, is drawing from a
bust placed upon a book on the table ; behind the bust are
two high cupboards or presses, on the top of which are port
folios. Date assumed, 1641.
Dimensions: 3,7 — 2,5 ("094 — '064).
States: ist. Pure etching, with a light effect. [Coll : BM.C.A.]
2nd. Reworked with dry point, especially on the side of the
bust. [Coll: BM. P. H.]
Copy rev. 3 in. high. The cupboards are lowered, so that
they may come within the subject.
Copy rev. On a larger plate ; by Hazard.
The plate still exists ; the rework which marks the 2nd
State is of a recent date.

271. The Schoolmaster. {Le maitre d'icole)
The front of a house is represented with an arched door,
the lower part of which is closed ; a woman is within, leaning
upon the hatch, and by her side is a child whose head only is
seen ; on the left, in shadow, is an old schoolmaster sur
rounded by children. On the open upper hatch of the door
is Rembrandt fi. 1641. The light comes from within the
building to the right.
Dimensions: 3,7 — 2,4 ('094 — "061).
[Coll : BM. C. P. A. H.]
Copy rev. Harsh and ineffective ; by Hazard.

262 Rembrandt's Etchings. Nos. 272, 273
272. The large Lion Hunt. {La grande chasse aux
lions)
A little to the right a horse has fallen down with his rider
under him, another horse ridden by a man in Turkish dress is
rearing above ; the rider casts a spear at a lion, which is
escaping to the left, and is attacked by three other horsemen,
one of whom has a sword, the others have bows and arrows ;
in front of this another lion is stretched upon its back,
pierced with an arrow ; to the right are four more horsemen,
who appear to be emerging from a wood. At the upper part
of the plate, above the foliage, is Rembrandt fi. 1641.
Dimensions: 8,8 — 11,7 ('224 — '297).
[Coll : BM. C. P. A. H.]
M. Thibaudeau informs me that an earlier undescribed
State, before some of the dry point work, appeared at the
Didot sale. I unfortunately did not remark this State when
I examined the Collection.
Early impressions have burr, chiefly upon the neck and
arm of the fallen man in the foreground, and upon the figures
to the right, etc. Late impressions have a clear background,
and are generally, if not always, printed upon modern paper.
This and the three which follow have been described as
' in the manner of Rubens ' ; they are spiritedly drawn, and
though they are not pleasing prints, and their authenticity
has been questioned, I am not disposed to discard them from
Rembrandt's work.

273. A small Lion Hunt with a Lioness. {Chasse
aux lions)
A horse which is rearing, to the left, is ridden by a Turk,
who with his left hand casts a javelin at a lion ; a little be
yond is a lioness tearing a man whom she has dragged from
his horse, which is seen escaping in the centre ; another com
bat with lions is sketched in the right background. Date
assumed, 1641. Dimensions: 6,2 — 4,9 ("158 — '125).
States: ist. The plate is very irregular on the right side; its
widest part is just above the near hind foot of the lioness, which
is T% inch ("005) from the plate-edge ; the background is
soiled. [Coll : BM. A]

Nos. 274, 275 Fancy Compositions. 263
2nd. The plate-edges are cut straight, the right edge comes
within -^ inch ("003) of the hind foot of the lioness. [Coll :
BM. C. P. AH.]
Copy. Same d. Bibl. IX.
This plate is believed to be still in existence.

274. A Lion Hunt ; a Companion Piece to No. 273.
{Chasse aux lions ; dans le gout de Rubens.)
A man who has fallen down with his horse, to the left of
the print, is attacked by a lion ; he defends himself with a
javelin, while a second horseman comes to his assistance from
the right, and makes a stroke at the lion with his sword.
Date assumed, 1641.
Dimensions: 6,2 — 4,6 ("158 — •118).
[Coll: BM. C. P. A. H.]
Early impressions have the background soiled and show
burr, but the soiling, which resembles the effect of pumice,
is easily imitated. The plate is still in the trade.

275. A Battle-piece. {Sujet de bataille.)
The details of this piece are somewhat confused. A horse
is seen galloping in the foreground, and to the right are
mounted Turks with swords and javelins, who appear to be
attacking a troop of soldiers seen at a little distance on the
left. Date assumed, 1641.
Dimensions: 4,1 — 3,1 ("105 — -°79)-
States: ist. A spotty indefinite effect of shading, produced by
irregular and zigzag lines, is seen in the background ; the whole
piece has a confused appearance. [Coll : A]
2nd. The shading in the background is effaced, and visible
traces of the erasure in a grey tint remain. M. Charles Blanc
calls attention to a white patch upon the background, resulting
from rubbing it in a vertical direction ; the foreground is
covered with horizontal strokes similarly produced. [Coll :
BM. C. P. A]
3rd. The background is cleaned with the burnisher. [Coll :
BM. C. P. A. H.]
Like the preceding the plate still exists.

264 Rembrandt's Etchings. No. 276
276. A Student in his Chamber; called 'A Man
MEDITATING.' {Philosophe miditant)
This piece is executed in what is called Rembrandt's
• dark manner.' To the right is a table at the left of which
a man is seated ; before him is an open book, and above it a
lamp is fixed to the wall throwing a faint light upon the
subject ; the student is nearly full face ; he wears a flat cap,
his left elbow rests upon the table, and the left hand is raised
to his forehead in an attitude of meditation, his right rests on
the arm of his chair. A curtain hangs down the right side.
Date assumed, 1 642.
Dimensions: 5,8 — 5,3 ('148 — '135).
Wilson describes four States of this print, M. Charles Blanc
recognizes six ; so much is due to printing effects that the
variations are very difficult to distinguish ; with the assistance
of G. W. Reid, Esq., Keeper of the Prints in the British Museum,
I have, I believe, finally arranged them.
States : ist. The outline ofthe flame is defined and ends in a
point, the whole shading in the background and elsewhere is
clearly and sharply worked, showing a transparency even in the
darkest parts ; the curtain has a single fold on the right, falling
in front of the upright partition. [Coll : BM. C. A. H.]
2nd. The flame of the lamp is blunted ; the shadow of the
tray of the lamp has been reworked, producing a somewhat
blurred effect ; the curtain is still seen with one fold in front of
the partition. [Coll : BM. C. P. A. H]
In the British Museum is a duplicate of this State, in which
some scratching is seen upon the flame, and a tint has been used
to vary and deepen the shadows ; but a careful examination in
bright light reveals that there was no variation in the work on
the copper beyond that described ; the ink used in tinting has
partly changed colour with age and has assumed a brownish
hue. 3nd. The whole plate has been carefully reworked ; this is
best seen upon the hand, the face and the book; the curtain no
longer has any fold in front of the partition; and the lines of
the partition are strengthened ; a strong double line is used to
mark its form at the top. [Coll : BM. C. P. A. H.]
4th. Much of the fine work having disappeared, the lines have
been still further strengthened ; see the face and the shirt-front,
from which the fine lines are entirely gone ; the shadow below
the tray of the lamp which had been reworked to form the 2nd
State, has now failed, and has a spotty, mottled appearance ; this
is the usual state in which the print is found. [Coll : BM.
O. P. H]

No. 277 Fancy Compositions. 265
5M. Used for a book plate and still further coarsely reworked ;
the beauty of the plate is entirely gone. [Coll : BM. C. P. A.]
Many curious variations exist of this State. One at Amsterdam
is on a large page for a book; the flame is here made very broad,
about -^ inch ("oio), the paper is 11,3 — 14,0 ("287 — "356).
The very rare book for which the plate was used is entitled
Van het licht der Wysheydt in duystere en seer benevelde Eeuwen
( Of the light of wisdom in centuries dark and clouded).
Fine impressions of this print are seldom met with, so
much depends upon the printing and so much upon condition.
In the British Museum is a drawing by Rembrandt of the
Nativity, in which there is a similar disposition of the lamp
and of the partition on the right. It came from the Payne
Knight Collection.

277. THE HOG. {Le Cochon)
The hog is lying across the foreground, its snout turned
towards the left of the print ; its legs are tied, and the cord
from the hind legs is fastened to a stake. Above it appear
five figures grouped to the left and only in outline ; an old
man with a basket on his arm, a boy who is teasing the
animal with the squeaking of a bladder, two young children
looking at the hog with faces expressive of pity, and a head
in profile above them. In the lower right corner is Rem
brandt f 1643. Dimensions :. 5,6 — 7,2 (-143 — "183).
States: ist. The plate is soiled and its edges are irregular, it
is -& in. (-008) wider at the top on the left. [Coll : BM. C. O.
P. A. H.]
2nd. The plate is cut even. Some very regular vertical strokes
crossed by a few horizontals shade the cheek of the boy with the
bladder, and some fine vertical strokes appear below his left
elbow. This State is rare, and I suspect is recent. [Coll: BM.]
Copy. Same d. See |late IX. fig. 43 for distinctive varia
tion. It is by the Hon. and Rev. Richard Byron.
Copy rev. of the 2nd State. Very hard and coarse ; the beast's
snout touches the edge, and his foot the bottom of the plate.
Copy rev. Within the subject, at the lower right, is Novelli
inc. 1791; it is his No. 22.
Copy. Same d. Bibl. IX.

266 Rembrandt's Etchings. Nos. 278—280
278. An Academical Figure seated on the Ground.
{Acadimie d'un homme assis a terre)
The nearly undraped figure of a man is represented sitting
on the ground, his body on the right, and his feet towards the
left of the print ; his face is turned from the spectator ; he is
supporting himself on his left arm, his right hand resting
upon his knee. The background behind the figure is shaded.
Low down to the left is Rembrandt fi. 1646.
Dimensions: 3,9 — 6,6 ('099 — -i68).
[Coll : BM. C. P. A. H.]

279. A Figure, formerly called 'The Prodigal
Son.' {Homme nu assis)
The figure is placed on the left side of the plate. It
represents a man seated, seen in front, clothed only about the
waist, his feet placed on a flat stone raised a little from the
ground by a support at each end ; his hands are clasped. In
the background is a curtain with many folds, so disposed and
shaded as to throw the figure into relief. In the lower left is
Rembrandt 1646. Dimensions: 6,5 — 3,8 (-166 — '097).
[Coll: BM. C. O. P. A. H.]
Early impressions show a little burr.
Copy reduced. Bibl. IX.
M. Charles Blanc tells us there is a drawing for this figure
in the library of the arsenal at Paris, in which the expression
of the features is even more lugubrious than it is on the cop
per. [Bibl. VIII. v. ii. p. 16.]
A drawing exists, in the same direction, which has been
erroneously attributed to Rembrandt, but is, I believe, by
Gerbrand van Eckhout.

280. Academical Figures of two Men. {Figures
academiques d' hommes)
On the left side of the plate are two models, unclothed
except about the waist ; the nearer figure is seated, with his
left knee bent and his right knee extended; the other is
standing, with his right arm leaning on a cushion and his left

No. 281 Fancy Compositions. 267
hanging down. In the right background is a delicate etching
in no way connected with this subject, but executed at a much
earlier time, and which was entirely overlooked when Rem
brandt worked these studies upon the plate. This etching
represents a large old-fashioned fireplace, such as is seen in
No. 226, Tobit, blind; and sideways in No. 284, An Artist
drawing from a Model ; in front of the fireplace is an old
woman playing with a child in a go-cart ; the little scene is so
pretty and so tenderly conceived that we could wish Rem
brandt had used another plate on which to immortalize his
ungainly figures. Date assumed, 1646.
Dimensions: 7,7 — 5,0 ("196 — '128).
States : ist. The acid has failed in several places, ex. gra. on
the right jaw and neck of the standing figure, on the cheek,
neck, right arm and shoulder of the one who is seated, and also
along the left edge of the plate, at the height of his shoulder.
[Coll: BM. C. P.]
2nd. These places are reworked. The plate still exists and
inferior impressions are not uncommon. I have seen one in
which the attempt has been made to 'restore' the marks of the
acid. [Coll: BM. C. 0. P. A. H.]
An impression at Cambridge of the ist State was printed
from the imperfectly cleaned plate ; this has imparted a tint
to the background ; the plate also appears to have been passed
lightly through the press, the result is that the scene to the
right can with difficulty be perceived. This, however, must
not be mistaken for an earlier impression, before the scene in
the background, for this little group was etched possibly ten
years before the academical figures.
A design for the upper figure exists, though the attitude
is somewhat varied, and the figure is rather more clothed.
This drawing measures 10,0 — 7,6 (-254 — T93). In the pos
session of M. Charles Blanc is a second design for the standing
figure, which has been more closely followed in the etching.

281. The Shepherds in the Wood. {Le Vieillard
endormi)
An old man is sitting asleep at the foot of a tree ; he
leans his head upon his right hand. In the foreground to the
left are seated a young man and a young woman who is

268 Rembrandt's Etchings. Nos. 282, 283
turning her head towards the old man ; behind, partly hidden
by the trees, are two cows. Date assumed, 1646.
Dimensions: 3,1 — 2,3 ('079 — "058).
[Coll : BM. C. O. P. A. H.]
Copy. Same d. I have not seen it.
Copy. Same d. Bibl. IX.

282. The Friar in the Cornfield. {Le moine dans
le Ui.)
A Friar and a woman are in a cornfield ; a jug stands on
the ground to the right ; in the distance a reaper is seen at
work. Date assumed, 1646.
Dimensions: 1,9 — 2,6 ("048 — "066).
[Coll : BM. C P. A H]
Copy. Same d. (described by Bartsch) ; may be known by a
strong line which borders the subject at the bottom, and is
about -f% inch above the plate line ; there is a variation in the
large ear of corn which rises on the right, jpiafa: IX. fig. 44.
In the copy this rises to the top of the plate. The copy is even
rarer than the original.

283. Ledekant. (Le lit a la franqaise)
Two persons are seen. At the head of the bed, to the
right, is a covered table with a drinking glass and two plates
of cakes ; on one of the bedposts hangs a man's cap with a
feather ; in the left background is seen an arched recess leading
to a door, upon which is Rembrandt fi 1646.
Dimensions : 5,0 — 6,9 ('128 — "176).
States: 1st. The plate is 6,0 — 8,9 (-153 — -226). There is a
clear space at the top of the subject within the plate. (I have
never seen an impression in this State.)
2nd. The clear space at the top is cut off, the plate
measures 5,0 — 8,9 (-128 — -226). It is in this State, says M.
Charles Blanc, that the name and date appear. [Coll : BM. P.
• A. H.]
3rd. The plate is reduced upon the left ; the recess and door,
with the name and date, are gone. [Coll : P.]
Copy in rev. of the 3rd State : modern and very indifferently
engraved.

No. 284 Fancy Compositions. 269
284. An Artist drawing from a Model. {Le peintre
dessinant d'apris le modile)
A nude female figure is standing upon a low stool and
seen from behind, her face in profile to the left ; the artist is
seated low down on this side, in the attitude of drawing from
the model ; these figures are only sketched. The room is
hung round with turbans, arms, etc., representing probably
Rembrandt's own studio. Behind is a large easel with an.
artist's drawing board upon it ; the background is finely
shaded, against it in relief is seen a large branch of palm,
which rises from the side of the model, and in the upper right
is placed a bust with some drapery disposed about and behind
the head. Date assumed, 1647.
Dimensions : 9,1 — 7,2 ("231 — "183).
States : ist. The easel is entirely white ; the shading in the
background is finely executed, giving the shadows of the model
and the bust. I only know one impression of this State ; it was
contributed by R. S. Holford, Esq., to the Rembrandt Exhibi
tion of 1877. Some bold pencil work is seen upon it, which
deepens the lines upon the bust and in the shadows, probably
wrought by the master himself.
2nd. The upper part of the easel, above the drawing board, is
shaded, and it has also a shading below it, and on its lower right
corner. The drapery hanging from the arm of the model is
lightly shaded, the background is worked over, and much of the
beautiful transparency of the dark shadows is lost. [Coll : BM.
C. P. A H.]
Copy. Same d., 10,0 — 7,7 at the top, 7,4 at the bottom
(•254 — -196 and -188). The face of the model is clearly out
lined. Slate IX. fig. 45. Below the subject is Rembrandt del.
No. 325. Georg. Leop. Hertel exc. A. V.
The plate is still in existence, and has been heavily
reworked ; impressions from it are harsh and ineffective,
looking more like indifferent copies than as if printed from
the original copper.
The sketch for this print is among the treasures in the
British Museum; it is in reverse, and measures 7,5—6,5
(•191 — -166) ; the figure of the artist is in shade. Vosmaer
[Bibl. XXXVII. p. 282] has given a reproduction of it.
It has been confidently asserted that the shading in the
background is entirely the work of a pupil, F. Bol, and that
the ibauche only is by Rembrandt. It is not impossible that

2 70 Rembrandt 's Etchings. No. 285
the additional shading which distinguishes the 2nd state was
by an assistant ; but of the original work, as seen in the
unique ist State, there can be no question.
In the Rembrandt Exhibition of 1877 this print was
placed under the year 1637 ; the character of both the sketch
and the shading is, however, of a later time, and I have the
satisfaction of knowing that my decision to place it in the
year 1647 meets with the approval of more than one eminent
connoisseur. Bartsch says that the name formerly given to this print
was The Statue of Pygmalion. M. Charles Blanc has some
interesting notes upon it which may be consulted with advan
tage. [Bibl. VIII. ii. pp. 13-15.]

285. The Spanish Gipsy. (La petite Bohimienne
espagnole)
An old woman, rather to the left, wearing a hood and
large cloak, and supporting herself by a stick, is accompanied
by a younger woman seen full face with pleasing features,
also wearing a hood. To the right and left are the trunks of
trees, and to the left what appears to be a little dog seated on
a wall. Date assumed, 1647.
Dimensions: 5,2 — 4,5 ('133 — '115).
[Coll : BM. C. O. P. A. H.]
Copy. Same d. This might easily be taken for a somewhat
worn impression from the original plate ; when cleverly touched
upon with rich coloured ink, as I have seen it, it is very decep
tive ; among other differences may be noted the shading in the
left foreground. See |)IaU IX. fig. 46.
Copy in rev. ; by Vivares.
Copy- Same d. Bibl. IX.
The subject is from a tragedy printed at Amsterdam, and
founded on a Spanish tale, The Preciosa of Cervantes. I have
been entirely unable to find the book in which this print
appears. M. Charles Blanc tells us that each act is illustrated
by an engraving, though only the above described was by
Rembrandt. [Bibl. VIII. ii. p. 274, etc.]

No. 286 Fancy Compositions. 271
286. Medea ; or the Marriage of Jason and Creusa.
{La Midie, ou le mariage de Jason et de Criuse)
The scene is laid in a temple the arched roof of which is
supported by columns. From side to side a curtain-rod is
stretched, supported in the middle by a cord ; the curtain is
drawn to each side and discloses the interior of the temple,
which is crowded with spectators. On the right, between
two columns, appears the statue of Juno, placed in a sitting
position beneath a canopy and accompanied by a peacock ;
before the statue is an altar with smoke rising from it, and a
priest is standing by. Jason and Creusa are discovered
kneeling before the altar. In a gallery beyond is a party of
musicians. The ascent to the body of the temple is by a
double flight of steps, towards which, on the right, Medea is
seen approaching, holding a handkerchief to her face as if
weeping, her train is supported by a page. In a clear space
below the subject are engraved (though not until the 4th
State) four Dutch verses beginning Creus en Jason, etc. ; and
on the right, Rembrandt fi 1648.
Dimensions: 9,5 — 7,0 ('241 — '178).
States : ist. The head of the statue of Juno is covered with a
calotte ; the border of the dress of Medea does not come so
near the lower line which borders the print as does the dress of
the page who bears her train ; Medea's dress is rather more than
-fe inch ('on) from the lower line ofthe subject; the foot ofthe
page is not seen. $Uatc IX. fig. 47. [Coll : BM. C. O. P. A.]
2nd. The dress of Medea is lengthened, it comes as low as
the foot of the page, which is now introduced. Medea's dress
comes to within T% inch (-008) of the lower line of the subject.
[Coll: C]
3rd. On the head of the statue of Juno is a crown. [Coll:
BM. A. H.]
4th. The verses with the name and date are added. [Coll :
BM. P. A]
5th. The plate is reduced ; the clear space below, and with it
the verses and name and date, are cut away. [Coll : BM. C.
P. A]
Copy. Same d. of 3rd State. 10,4— 7,0 ("264— -178). The
clear space below is 1,2 (-031) deep, in the upper right is W M
1834, the initials of William Morley : it is a clever copy.
Copy rev. Has totally failed in the foreground ; there is a
blotch on the wall above the bannister, as if the copper had
broken down in the press. No. 5, Novelli.
Copy of ist State. Same d. Bibl. IX.

272 Rembrandt's Etchings. No. 287
The print was etched as an illustration for a tragedy com
posed by Jan Six and entitled Medea, Treurspel, Amsterdam,
bij Abraham de Wees en Jacob Lescaille op de Middeldam in't
jaer, 1648.
In the splendid Collection at Amsterdam the volume in
which it appears is preserved ; there is also an impression of
the 4th State upon a large sheet of paper folded together,
ready to appear as an illustration. A similar impression is
also in the Collection of Mons. Dutuit, on which, in the lower
left, is written H. Six; in the same Collection is also a superb
impression of the ist State on India, at the back of which is
written in faded brown ink d. medea six, and in pencil, though
in a more recent hand, ' selected by Rembrandt for the Burgo
master Six) It should be remembered that at the time when
Six printed his tragedy, that is in 1648, he was not Burgo
master. He was then only thirty years of age, and did not
attain his honours until the year 1691, long after Rembrandt's
death. [Bibl. XXXVII. p. 269.]
The verses which appear at the foot of the 4th State may.
be thus rendered : —
Creus and Jason promise here to be faithful to each other ,
Medea, Jason 's wife, shamefully rejected, is excited by bitter
anger — vengeance impels her acts. Alas infidelity, how dearly
thou art purchased.
287. Three Beggars at the Door of a House.
{Mendiants a la porte d'une maison)
The beggars are standing at the door of a house, at the
left of the print, asking alms of an elderly man who leans
over the door hatch and is giving them money ; this man has
a long beard, wears a high cap, and has his right hand in a
sling ; the beggar furthest away is an old man in a broad-
brimmed hat; the middle one, who receives the money, is a
young woman with a child at her back, she has a stick in her
left hand and a basket on her arm ; the third is a boy seen
from behind wearing a large hat. In the lower right corner
is Rembrandt fi. 1 648.
Dimensions: 6,5 — 5,1 (-166 — "130).
States : ist. The shadow of the beggar woman falls upon the
ground to the left and is seen upon the lower part of the door ;

No. 287 Fancy Compositions. 273
there are projections sideways in this shadow ; that on the
ground is made by her hand, the one above falls upon the door
hatch, and a white unshaded space is seen above, a larger un
shaded space below this projected shadow. In the ist State
the fine right-to-left diagonals which border the upper white
space are neither very regular in length nor very close together,
but they are sharply and clearly etched. ilaic X. fig. 48.
[Coll : BM. C. P. A. H.]
2nd. This 'border' of the upper white space is edged by
numerous very regular and very close lines and interlines ; the
whole shading on the door hatch is similarly worked upon ; fine
interlines are also seen in the shading in the spring of the arch
above the door. There is an old impression of this State at
Cambridge printed in red ink. [Coll: BM. C. P. A. H.]
The plate has been still further and very coarsely reworked ;
impressions are frequently met with, but it is not necessary to
describe them. Some of these are skilfully tinted with a fine
brush. Bartsch, and after him Wilson, describe an impression before
the name and date. I have seen three such impressions ; one of
these is at Cambridge and is a 2nd State, as described above ; it
is evident that a piece of thin paper has been placed upon the
plate, concealing the signature, etc., before the impression was
taken; another, also a 2nd State, is at Amsterdam, and has been
similarly treated; the third, an inferior impression of the 2nd
State, is in private hands. M. Charles Blanc says he has seen
several impressions of this pretended ist State, and tells us that
the original copper came into the possession of Basan, and from
him passed into the hands of the Widow Jean.
My conclusion is that the variations which constitute the 2nd
State were made shortly after Rembrandt's own time, and that
when the plate came into the ingenious old woman's hands, it
occurred to her to manufacture a ist State before the name, etc.,
and that a few impressions were drawn off, and that the plate,
now somewhat worn, was carefully retouched and prints taken
with the name and date.
Copy. Same d. The shadow on the door post, under the
sling in which the man's right hand is suspended, is about -fa
inch from the sling, and is parallel to it ; in the original this
shadow shows a row of verticals rising above the right-to-left
diagonals ; in the copy the diagonals are continued to the height
of the verticals. .
Copy rev. The shadow of the woman's stick is in the same
line with the stick ; on an impression of this copy at Amsterdam
is written, in very faded ink, Maria Boor tens fecit, 1658.
Copy rev. A deep scratch and a mark of corrosion pass from
the face of the man within the door diagonally towards the left
hand corner, over the hand of the woman and the hat of the
boy. T

274 Rembrandt's Etchings. Nos. 288, 289
Copy rev. Regular cross-work shades the boy's satchel just
below the bottle at his waist. No. 7, Novelli.
Copy. Same d. Bibl. IX.

288. A Jew's Synagogue. {La Synagogue)
Two old Jews stand in the foreground to the left, at the
entrance to the Synagogue, in earnest conversation ; the one
facing the spectator rests his left hand on a stick, and holds
his right upon his breast ; his face and attitude are expressive
of attention. Further away, in the middle of the piece, is
seated a Jew, seen from behind ; to the right two men are
coming out, and behind them others are walking and con
versing. Upon the stonework above the left shoulder of the
Jew with the stick is Rembrandt fi and below it 1648.
Dimensions: 2,8 — 5,1 ('071 — '130).
States: ist. As described. In Serrati's Catalogue (Lot 322)
an impression is described, ' before it was finished with the dry
point, not mentioned in this State by Daulby or Bartsch ; very
curious.' This no doubt was an impression of the ist State,
which is excessively rare, and was evidently unknown to Bartsch.
[Coll : BM. P.]
2nd. The forepart of the foot of the Jew to the left is shaded
(it was white) ; his gown, below the knee and along the lower
border, is worked over ; the shading upon the ground between
the bottom step and the right foot of the Jew coming out of the
synagogue is covered with downward lines bearing from left to
right, parallel with the step. [Coll: BM. C. P. A. H.]
3rd. The print has been coarsely reworked ; the cloak of the
Jew (to the left) is partly made clean again with the burnisher ;
and though it may be only by a printing effect, the face of the
Jew in the distance, which was in profile, is now partly turned, so
that both his eyes are seen. [Coll : C]
Copy rev. The downward lines at the bottom of the step are
wanting. By Novelli.
Copy. Same d. upon wood. Bibl. IX.
Early and good impressions of this plate are very rare ;
later ones are frequently found which are tinted or touched
on with ink.

289. The Bull. (Le Taureau)
A bull, standing towards the right, is tied by the horns
with a long rope, which is fastened to a stake on the left,

Nos. 290, 291 Fancy Compositions. 275
above which is a wooden stile ; the large trunk of a tree rises
on this side, and in the right distance is a cottage. In the
lower right corner is Rembrandt fi 164, the last figure lost
in the line at the edge of the plate. Date assumed, 1649.
Dimensions: 3,0 — 4,1 ("076 — '105).
[ColLBM. A]
Only two impressions are known. This little print is very
justly praised by M. Charles Blanc, who gives an admirable
copy etched by Flameng [Bibl. IX.].

290. The Shell or Damier. {La Coquille)
A representation of a very beautiful conical shell. The
broad end is towards the left, the pointed end to the right.
The background is entirely white, except for the shadow cast
by the shell. Below, to the left, is Rembrandt fi 1650.
Dimensions: 3,8 — 5,2 ('097 — '133).
States: ist. As described. [Coll : BM. P. A.]
2nd. The background is shaded, leaving only a clear space of
T5T inch ('012) below, in which are the name and date. The
effect is so much weakened by this shading, that it may be
doubted whether it was not done by another hand. [Coll: BM.
C. O. P. A. H.]
Copy rev. On a larger plate ; by Sir A. Hume.
Copy rev. The shell is TV in. deeper and longer ; by George
Bickham.

291. Doctor Faustus. {Le Docteur Faustus.)
He is represented standing in his laboratory on the left
side ofthe print. He wears a white cap and academical gown.
His writing-desk lies beforehim upon atable, onwhich his closed
right hand is resting, while the other is placed upon the left
arm of the chair, from which he has just risen, attracted by
the sudden appearance of a luminous magic circle in the centre
of a casement to the right. He is apparently watching the
movement of a shadowy hand which points to a reflection of
this circle in a mirror held by another hand below. Lower
down, on the right, a pile of books lies upon the table, and
below, in the right corner, is the upper half of a globe.
In the left background are a shelf of books, an hour-glass,

276 Rembrandt's Etchings. No. 292
a skull, etc., while many sheets of paper fastened together
hang by the upper part of the casement. Date assumed,
1651. Dimensions: 8,3 — 6,3 ('211 — -i6i).
States : 1st. An upright book is seen to the right, partly cut
through by the plate-edge. It is shaded by regular diagonals
from right to left, not very close, nor running into each other.
[Coll : BM. C. O. P. A]
2nd. Additional very fine and close lines and interlines shade
the book in the same direction as the lines in the 1st State.
These close lines frequently touch. Patches of similar lines
strengthen the shadow on the shoulder, compensating to some
extent for the removal of the burr. [Coll : BM. C. P. A. H.]
3rd. The book is still further shaded at the top and a little
way down the side by harsh diagonals right to left, and down
the middle of the book is a series of regular horizontals. See
|UaU X. fig. 49- [Coll : C]
Copy. Same d. Fine horizontal interlines deepen the shading
behind the shoulder to the left ; equally fine downward work
shades the book. At the lower part of the plate, nearly in the
middle among the shading, is Bickham d. fee. 161.
Copy. Same d. of 1st State. Bibl. IX.

292. The Bathers. {Les Baigneurs)
A piece of water is represented, beyond which is a wood ;
in the middle of the print a man, who has been bathing, is
coming out of the water ; a naked man sits on the bank on
his left with his hands and knees raised to his chin. In the
right distance another bather is seen up to his knees in the
water, and another is standing within the wood to the left.
At the lower left is Rembrandt fi. 165 1 (the third figure has
been a 3, but is corrected in dry point to a 5).
Dimensions : 4,3 — 5,4 (-no — '138).
States: 1st. As described. [Coll: BM. C. O. P. A. H.]
2nd. Corrosions of acid are seen. An accidental spot is just
above the foliage in the centre. [Coll : BM. C. P. H]
It would hardly be worth while making a State depend on the
accidental presence or absence of a corroded spot, but when this
spot reveals the probability of the plate having been laid aside,
perhaps for years, it becomes important to record it.

Nos. 293, 294 Fancy Compositions. 277
293. The Star of the Kings. {U Etoile des Rois)
This is a night scene. Towards the right a lantern in the
form of a star is carried by a boy surrounded by persons in
fanciful dresses, one of whom wears a high cap ; houses with
lights in the windows are perceived on the left, and in the
distance a second star, similar to the first, is seen. The
name of Rembrandt is engraved amidst the dark shading in
the lower right, but it is so covered by work that it can only
be discovered in worn impressions. The date, if it exists at
all upon the plate, cannot be deciphered. Date assumed, 1652.
Dimensions: 3,7 — 5,7 ("094 — "145).
[Coll : BM. C. O. P. A H.]
Gersaint relates that in his time it was still customary in
Holland, on the Feast of the Nativity, for parties to parade
the streets, carrying a lantern in the form of a star fixed upon
a pole. They dressed in ridiculous imitations of royalty,
attended with suitable music, and went from house to house
to obtain money from the inhabitants.
The subject, differently treated, appears in a spirited
painting by Jacob de Vos, jun., on panel 2 feet by 2 feet
6 inches. The star, resembling those in Rembrandt's print,
is carried by a tipsy fellow in a fantastic dress, who, with
three others in masquerade, is asking for money at the door
of a house : this picture was to be seen in the Historical
Exhibition at Amsterdam in the summer of 1876. There is
an engraving of the same subject by Van der Velde.
Good impressions are rare, they are very dark and show
much burr.

294. The Sport of Kolef or Golf. (Le jeu du
kolef)
The player is lightly etched upon the left ; he holds a
golf stick, with which he is striking a ball ; on a bench to the
right sits a man in a high crowned hat, resting his left elbow
on a table, and his right leg along the bench. On the ground
to the left is Rembrandt fi 1654.
Dimensions: 3,8 — 5,6 ('097 — '143).
States : 1st. The shading along the top of the print has failed
in several places. [Coll : BM. C. O. P. A.]

278 Rembrandt's Etchings. Nos. 295, 296
2nd. The white spaces where the cross-work was interrupted
are worked over. [Coll : BM. C. P. A. H.]
This print has been reproduced as a smaller plate by the
Heliogravure process. Bibl. IX.

295. The Goldsmith. (Le petit Orfivre)
Crossing the front of the piece is a low table, upon which
is placed an anvil ; the goldsmith stands behind the table,
and with his left hand he steadies a group representing
Charity, placed upon the anvil, while with his right he uses a
hammer ; behind him, to the left, is a little lighted forge, and
below his right hand are some tools. Upon the shaded front
of the table, towards the left, is Rembrandt, 1655.
Dimensions: 3,0 — 2,2 ('076 — '056).
[Coll : BM. C. O. P. A H.]
Early impressions have much burr, and are on India
paper ; the best have a black spot about half-way up, touch
ing the right edge of the plate ; one of these is at Paris,
another is in the Collection at Cambridge.

296. An Allegorical Piece. {Le tombeau alligorique)
In this print is represented a broad pedestal, having a
step in front and a grotesque mask at each corner ; above
the pedestal is an altar on which is an armorial shield sur
mounted by a coronet. Upon the altar the leg and claw of
a hydra are perceived, the rest of the creature is enveloped
in smoke. Two angels appear on either side holding between
them two bunches of corn which are fastened in the middle,
where stands a stork, the emblem of Holland, erect with
wings displayed. The stork is surrounded by a luminous
glory, the rays from which fall right and left upon the spec
tators, whose heads only are seen at the bottom of the print.
Below, in front, is the figure of a man thrown down upon his
back, and admirably foreshortened, whose head touches the
plate-edge, while his legs rest upon the step of the pedestal.
In the right background are trees, in the left some large
buildings. Low down to the right, crossed by a broad line, is
Rembrandt fi 1658.

No. 297 Fancy Compositions. 279^
Dimensions: 7,1 — 7,2 (-181 — '183).
[Coll : BM. C. O. P. A. H.]
Bartsch has read the date 1650 ; Wilson and M. Charles
Blanc have read it 1648. After very careful examination
of every impression I have met with, I have no doubt the
correct reading is 1658. This is very clearly seen in the im
pressions at Amsterdam and at Cambridge, and coincides
with the year in which, if undated, I should have placed it.
The piece has been assumed to be an allegorical repre
sentation of an event which took place about 80 years before ;
viz. the Demolition at Antwerp of the Statue of the Duke of
Alva ; see a long note by Wilson [Bibl. VII. pp. 102-3]. In
this he is followed by M. Charles Blanc [Bibl. VIII. vol. i.
p. 81]. The suggestion is not an improbable one, but it is
quite as possible that it referred to a more recent event, a
brilliant victory gained in the very year in which it was
executed. A battle was fought at Dunes in 1658 by the
troops under Marshal Turenne, in which the Spaniards were
defeated with a loss of 1,200 slain, and 2,000 prisoners. The
illustration may have been intended for a book plate, but it
is not known to have been so used. The finest impressions
are on India paper, and are full of burr.

297. A Woman with her Feet in the Water.
{Femme nue, les pieds dans I' eau.)
She is sitting upon a bank turned to the left, with her
feet in the water. She places her hands upon some linen
which lies on a pillow near her, her head is inclined and in
profile ; she wears a cap ; the background is rocky with
foliage ; behind her appears the upper part of a rustic chair.
In the left corner at the top is indistinctly seen Rembrandt fi.
1658. Dimensions: 6,3 — 3,2 (-i6i — '081).
[Coll: BM. C. O. P. A. H.]
In early impressions the margin is rough and soiled, the best
are on India paper.
Copy. Same d. Bibl. IX.

280 Rembrandt's Etchings. Nos. 298, 299
298. A Woman preparing to dress after bathing.
{Femme au bain.)
She is unclothed, seated, and seen in front, but her head,
which inclines downwards and to the right, is in profile. On
her head is a close-fitting cap ; her right hand, in which she
holds some portion of her dress, rests upon her thigh, her
left is extended to a chair which stands beside her, and on
which lies a hat with a high crown. On the left side at the
top in a panel is Rembrandt f. 1658.
Dimenisons : 6,3 — 5,1 (-i6i — "130).
States : ist. The cap worn at the back of her head extends at
least Tsg- inch (-013) behind her hair. [Coll : BM. C. P. A]
2nd. The cap is flat, and fits close to the back of her head.
$Ld* X. fig. 50. [Coll : BM. C. P. A. H.]
The same low cap as that seen in the 2nd State appears
on the Head of a Woman, a Study ; among the Rembrandt
drawings in the British Museum.

299. A Woman seated before a Dutch Stove.
{La femme devant le poile)
She is seated in a chair on the left and turned towards
the right, and is unclothed to the waist ; her right hand rests
upon some linen which apparently she has just taken off, and
which lies on a stool below her hand ; her left foot is bare
and rests across her slipper ; to the right of the print is a
large Dutch stove, ornamented with little pillars at the
corners, with figures in ovals, etc. ; in the square pipe or
chimney which rises from the top of the stove is a key, but
this does not appear until the 4th State. Upon the upper
horizontal part of the stove-pipe is Rembrandt fi. 1658.
Dimensions : 9,0 — 7,4 ("228 — -i88).
States : ist. The shading of the woman's right side from the
arm to the waist consists of a series of diagonals from left to
right, only crossed by others just under the arm and again a
little below the left breast. iHate X. fig. 51. A niche in the
wall behind has only its right outline defined. There is an im
pression at Amsterdam which has been tinted below the right
breast, a suggestion for the additional work which marks the
next State. [Coll : BM. C. A]
2nd. The woman's right side from the arm to the waist is

No. 300 Fancy Compositions. 281
entirely covered with a second diagonal line from left to right
crossing the first ; diagonals right to left shade the left side of
the stove pipe. [Coll : BM. C. P.]
3rd. A diagonal from right to left deepens the shadow on the
fourth finger of the right hand ; the right foot is covered by a
cross line in the direction of its length ; the background shows
the form of the niche. [Coll : BM. C. P. A.]
4th. The key is introduced. [Coll : P.]
5th. The upper front part of the woman's petticoat is covered
with cross-work. [Coll : C. A.]
6th. The woman no longer wears a cap, she appears with her
hair tied at the back of her head in a knot. [Coll : BM. C. P.
A. H.]
Copy rev. The petticoat is shaded to the top, but the key is
not introduced. This copy has no name, but I believe it to be
by Cumano.
It would be difficult to say where Rembrandt's work ends
upon this plate. The variations are not so evidently by
another hand as in most of the later States of his prints.

300. A Negress lying on a Couch. {La Nigresse
couchie)
She is lying on a bed, her head towards the right ; her
knees are bent, the right leg is drawn up so much that the
foot lies under the calf of the left leg ; the background is
darkly shaded, and the figure itself has so much shadow that
I have restored the name first given by Bartsch of The Negress.
In the lower left is Rembrandt, 1658.
Dimensions: 3,1 — 6,2 ('079 — '158).
States : ist. The work does not in many places reach the top of
the plate. The drapery on which the figure is laid is unshaded
along the right, except by single lines. I have only seen one
impression of this State. [Coll : P.]
2nd. Cross lines shade part of the drapery to the right, the
plate has been partially reworked. [Coll : BM. C. P. A.]
3rd. The work is continued to the top of the plate. [Coll :
BM. C. P. A. H.]
The beauty of an impression of this print depends more
on the successful printing than on the State in which it
appears. I know impressions of the 3rd, as for instance one
in the Collection of J. Webster, Esq., very much finer than
are some impressions of the 2nd. There are a few dry-point

282 Rembrandt's Etchings. Nos. 301, 302
lines upon the hip, which, when they print badly, mar an
otherwise fine impression. A drawing exists which is attri
buted to Rembrandt ; it is in the same direction, but is evi
dently a more recent work.

301. Antiope and Jupiter. (Antiope et Jupiter.)
She is lying on her right side asleep, her head is placed
high on the pillows to the left, her arms are thrown over her
head and meet together ; the figure of a Satyr stands beyond,
a curtain hangs in a festoon near his head. Below the
woman's right knee, upon the bed clothes, is Rembrandt fi.
and lower down, 1659.
Dimensions: 5,5 — 8,1 ("140 — '205).
States: 1st. As described. [Coll: BM. C. O. P. A. H.]
2nd. In the upper right is inscribed Jupijn als hij onsluit.
The impression of this State shows that the plate had been al
most entirely reworked. I have found impressions before the
inscription so poor and worn that I have no doubt this retouch
and the addition of the inscription were effected after the plate
had left Rembrandt's hands. I have not met with this State in
any ofthe large collections.
Among the engravings of Annibal Caracci is a Jupiter
and Antiope (Bartsch, vol. xviii. No. 17), signed and dated
A. C. 1592. Though the above is not copied from this print,
it is evident that Rembrandt had seen and was influenced by
the composition.
302. The Woman with an Arrow. {La Femme d la
fiiche)
She is unclothed, seen from behind and seated on a bed ;
her legs are crossed and her left foot is raised so as to show
the sole ; her left hand rests upon the bed, and in her right
she holds an arrow upright a little way from the barb ; she
has a bracelet on her wrist, and on her head is a close netted
cap ; a curtain is drawn up in festoons on either side ; her
dress lies on the bed beside her, a sleeve hanging down and
resting on the ground. At the bottom to the left is Rem-
brndt fi 166 1, the a is omitted and the d reversed.
Dimensions: 8,0 — 4,9 ("203 — '125).

No. 302 Fancy Compositions. 283
States : ist. The name is hardly perceptible, some small white
spaces appear in the shading of the foreground above and to the
right of the date ; the shading within a triangular space between
the heels is covered with cross-work, but to the left of this, with
the exception of a very few hatchings, the shading consists only
of close lines from right to left. It is a trial proof and not well
printed. [Coll: BM.]
2nd. The space just spoken of is covered with harshly exe
cuted cross-work from left to right. [Coll : BM. C. A. H.]
3rd. The name and date are strengthened, and the little white
spaces which appeared near to it are worked over. [Coll : BM.
C. P. A]
This was, so far as we know, the last etching that Rem
brandt executed. It is a print of singular beauty, though so
much depends upon the burr that it is rarely found in its
finest State ; that which we call the ist is a trial proof only,
and does not show to advantage. What may possibly be a
design for this etching is preserved in the British Museum ; it
is in bistre, in rev., and measures 11,7 — 7,2 ("297 — '183) ;
the attitude is much the same ; the woman is seated on a
chair, and the bed, with one curtain withdrawn, is to the left.
This drawing has considerable merit, and may be authentic,
but it is more like the work of a pupil, who has either filled in
Rembrandt's sketch, or has used it for his copy.

284

FOURTH CLASS.
LANDSCAPES.
Numbers 303 to 329.
303. A Large Tree and a House ; an early Morn
ing Effect. {Le grand arbre a cbti de la maison)
To the left is a house with an open casement through
which appears the upper part of a little figure ; a large tree
stands by the side of the house, with a few trees more to the
right ; across the foreground is a lake edged with water weeds,
and hilly ground rises beyond. In the middle, just above the
plate-edge, is R. Date assumed, 1640.
Dimensions: 1,5 — 3,2 ('038 — '081).
[Coll : BM. C. O. P. A. H.]
This very beautiful little piece is not much known, and
,when met with is too often carelessly passed by. A very
fine impression from the Collection of M. Eugene Dutuit, of
Rouen, in which the R did not appear, was in the Rembrandt
Exhibition of 1877; the plate-edges were soiled ; every line
in the etching was bright and clear, but a little discoloration
over the exact spot where the initial should have been
showed that the letter had not been printed. The scene re
presents very early morning ; the clearness of the eastern
light preceding the sunrise, the treatment of the clouds, and
the grey uniformity of tone over the whole print are sin
gularly effective.
304. A View of Amsterdam. (Vue d' Amsterdam)
The city of Amsterdam with its towers and churches is
seen in the distance ; we remark, about the middle of the
print, a large double-roofed building, with a windmill to the
right, and a spire to the left ; further still to the left is the
river Amstel, with its wharves and shipping ; the foreground
is low and marshy. Date assumed, 1640.
Dimensions: 4,4 — 6,0 ('114 — 'T54).

No. 305 Landscapes. 285
[Coll : BM. C. O. P. A. H.]
This beautiful landscape has unfortunately attracted the atten
tion of copyists, who have spared no pains to execute deceptive
imitations, and who have too well succeeded ; more than once I
have met with these copies in the hands of collectors who have
believed that they possessed the original ; the subject is one which
a skilful engraver, assisted by photography, can reproduce even
to the minutest line. Such are those imitations taken by the
Heliogravure process of Armand Durand, which may be dis
tinguished rather by the modern paper and the position or
absence of plate mark than by any especial variation. Of older
copies there are two which are not quite so deceptive ; their
position upon the plate will assist the student in recognising
them. Copy. Same d. There are many small variations difficult to
describe, and which could only be recorded by a careful tracing.
It will be sufficient for the purpose of distinction to remark that
in the copy the subject is placed lower down on the plate
than it is in the original ; the deep strokes which cross the fore
ground are in the copy almost touching the plate-line. A trifling
variation distinguishes this from the next copy described ; the
largest of the little windmills upon the right leans to that side,
and a fourth mill, rising above a bit of unshaded foliage, nearer
to the right edge of the plate than the other mills, is wanting.
Though not named, this copy is by the late Lucy Brightwell, of
Norwich, and was executed about 1844.
Copy. Same d. Like the last the whole subject is placed
lower down in the plate ; the work, especially at the right, being
carried almost to the plate-line. It is a clever and a deceptive
imitation of the original, though it ought not to deceive the con
noisseur. It bears no signature or date, but was the work of
James Bretherton.
Copy. Same d. Bibl. IX.

305. Rembrandt's Mill. {Le moulin)
The mill is placed to the left of the print ; a wooden stage
or platform surrounds it, and resting on the right side of this
stage are seen the framework and windlass for turning the
cupola and sails to the wind ; there are two doors to the mill
above the stage, approached by ladders ; a man with a sack
on his back is about to ascend that to the right. The miller's
house is placed to the right of the mill, and is of a square form ;
it is covered with tiles, as are also the sides of the upper storey,
which is lighted by two little dormer windows ; beyond to
the left another house is seen. In the lower right corner is
Rembrandt fi. 1641.

286 Rembrandt's Etchings. No. .305
Dimensions: 5,7 — 8,2 ('145 — -2o8).
[Coll : BM. P. A. H. C O.]
There is an impression in the British Museum in which a
chimney is introduced about -fe in. ("013) high, rising from the
roof of the house to the right of the mill ; it is an early im
pression, and as the lines formed by the cracks in the varnish
remain, and pass through the chimney, and are still seen in later
and less brilliant impressions, I am at a loss to explain the
introduction of this chimney and the manner of its subsequent
removal, since there is no trace of its having been burnished out.
If added with a pen it has been very skilfully done.
Copy. Same d. It measures 7,1 — 8,4 (-181 — "213).
The subject is placed rather more than -fe'va.. (-006) above the
plate-line instead of close upon it, and it nowhere reaches the left
edge ofthe plate. The copy is in two States: in the ij/large patches
of white are seen above the little windows in the upper part of the
mill to the left ; in the 2nd, among the variations, is the following:
there is in the original a light diagonal, left to right, on the fore
ground above the name of Rembrandt ; within this shading is a
zigzag about fe in. (-oio) above the d in a left-to-right direction;
in the copy this zigzag forms two distinct letters N. N. This
copy is by Lucy Brightwell. ^llatr XI. fig. 52.
In 1844 Maberly [Bibl. XXX.] wrote thus of this copy : ' Great
interest and well-merited admiration has been recently excited by
an etching executed by a lady amateur, but not published. It is
highly creditable to her taste and talent, being so excellent a
copy of Rembrandt's Mill that none but skilful judges are able
to distinguish it from the original' A ' skilful judge ' ought to
distinguish it at a glance, even from an inferior impression of the
original ; but it is within my knowledge that amateurs have been
sometimes deceived ; the entire absence of the cracks in the
varnish which distinguish every impression of the original plate
should have been sufficient to arouse suspicion.
Copy. Same d. Very harsh and coarse ; the last figure of the
date is cut off by the plate-edge, the water mark is a circle with a
dog in the centre, and W. W. below it. It is by Richard Byron.
Copy rev. Very poor ; by Vivares.
Copy. Same d. Bibl. IX.
Impressions of this print are not unfrequently met with ;
the finest I have seen was contributed by F. Seymour Haden,
Esq., to the Rembrandt Exhibition in 1877. A study in
brown ink, described as for this etching, appeared in the
Andreossy sale in 1864.
The original mill from which the print was taken, once
erroneously supposed to be the birthplace of Rembrandt, is
said to have stood at Carwijk op der Rijn.

No. 306 Landscapes. 287
306. A Large Landscape with a Dutch Hay Barn.
{La chaumiire et la grange a fioin)
In the centre of the piece is a dilapidated cottage with a
few low trees growing by it to the left ; further on, at the end
of the building, is a Dutch hay barn with a waggon standing
within it ; in front of the cottage is a little wooden platform
projecting over a piece of water; two children are playing on
this platform ; to the right a woman, followed by a dog, is
crossing a bridge of planks ; on the same side, in the distance,
the chimneys and gables of a large house rise above the trees,
before which runs a river communicating with the water that
partly surrounds the cottage ; in the left distance is a large
town. In the lower right corner is Rembrandt fi and below
it, 1641. Dimensions: 5,1 — 12,7 (-i3o — "322).
[Coll : BM. P. A. H. C. O.]
Copy. Same d. The variations are minute and not easy to
describe ; among others we may remark in the original some
very fine descending strokes left-to-right, covering the foliage
directly above the latter part of Rembrandt's name, which are
not seen in the copy ; again, the diagonals, left-to-right, which
shade the small patch of water to the left of the name, and
below the water-weeds, are, in the original, fine and somewhat
close, while a few harsh strokes only are seen in the copy. I
believe this is a very old copy, possibly taken in the master's
own time, but I do not know by whom. Placed side by side
with the original, it ought not to be deceptive; it could, under no
circumstances, be passed off for an early impression, but it is a
very clever imitation of an ordinary one, and both this copy and
the next described have been shown to me as originals.
Copy. Same d. Upon the small distant buildings to the left,
about -fe inch ('020) from the edge of the plate, is a short curved
slipped stroke, passing from a roof downwards into the field
below, its ends are towards the left; the pole of the hay barn,
to the right, has an unfinished outline.
This copy is by Lucy Brightwell, of Norwich. For another
variation see ^Jimc XL fig. 53.
Copy. Same d. Much less deceptive ; the work upon the
foliage on the left ofthe cottage has a spotty appearance, and there
are many variations in detail ; 1 have given one, see |!la:r XI.
fig- 53- Just above a little wheel there is a bit of sloping
ground, shaded from right to left, and in the original partly
covered with regular horizontals ; in the copy we see only one
or two irregular strokes. This is by James Bretherton.
Copy. Same d. Bibl. IX.

288 Rembrandt's Etchings. No. 307
In the catalogue of the Howard sale (2nd portion, lot 48)
a very beautiful drawing of part of this print is thus described :
'Landscape study for the right-hand portion of the well-
known composition entitled " A large Landscape with a Cot
tage and Dutch Hay Barn," giving nearly the whole of the
latter building and the church in the distance surrounded by
trees, but larger than the etching, boldly drawn with a reed
pen and bistre.'
This drawing, measuring 6,1 — 10,5 ("156 — -266), is in the
same direction as the print (studies for the etchings, it will be
remarked, are generally in reverse) ; the handling is very fine
and spirited, but I hesitate to accept it as an authentic work.
A drawing, described as a study for the print, appeared at
the sale of the Andreossy Collection, 1 864. This I have not seen.
The print, though not uncommon, is seldom seen in its
highest excellence. Two superb impressions from the Col
lections of Mr. Brodhurst and Mr. Fisher appeared in the
Rembrandt Exhibition of 1877. So much of the beauty of
this print depends upon the depth and quality of the shadows
on the cottage and foliage, and the softened and graduated
tones of the middle and extreme distances, that in later im
pressions we frequently meet with the evidences of an attempt
to restore these shadows and these tones ; the rework is often
skilfully executed, and will deceive the amateur if he is not
upon his guard.
307. A Large Landscape with a Mill-sail. (La
chaumiire au grand arbre)
To the left are two large trees, one of them cut through
by the left edge of the plate, and both by the upper edge, at
about half their proper height ; behind the tree with spread
ing branches, is a large thatched cottage, above the roof of
which rises the sail of a windmill ; at the open cottage door
stands a boy with a younger child stooping down before him ;
a wooden platform projects into a sluggish stream, which
passes across the print and disappears in the right distance,
where a village is seen with church tower and windmill ; in
the lower right the bank is covered with waterweeds, and near
to where a duck is pluming itself is Rembrandt fi. 1641.
Dimensions: 5,0 — 12,7 ('128 — -322).

No. 30& Landscapes. 289
[Coll : BM. P. A. H. C. O.]
Copy. Same d. The shading upon the trunk of the tree
consists almost entirely of strong curved lines, showing the
roundness of the trunk ; the mill-sail is expressed by feeble un
certain lines. It is by Cumano, and is not deceptive.
Copy rev. on a smaller plate. In the right-hand lower corner
is R. By. fecit (Richard Byron).1
Copy. Same d. Bibl. IX.

308. A Cottage with White Pales. {La chaumiire
entourie de planches)
In the middle of the print is a cottage standing by the
side of a road, and rising above each end is a tree ; the side
of the cottage is concealed by high white pales, which give
the name to the piece ; a fence of a few planks laid horizon
tally is seen, to the left, projecting into a sheet of water
which extends along that side and over part of the fore
ground ; on this water two ducks are swimming ; upon the
road is a waggon without horses, and beyond the road a bank
or dyke, which is continued behind the cottage, gradually
disappearing to the left ; two dogs are on the dyke, to the
right. Low down, a little to the left, is Rembrandt f and
below the name, almost upon the plate-edge, and scarcely
legible, is, in the 2nd State, 1642.
Dimensions: 5,1 — 6,3 ('130 — -i6i).
States : ist. The continuation of the dyke, to the left of the
cottage, is shaded only by. a few widely separated strokes from
right to left ; the name of Rembrandt appears, but not the date.
[Coll: BM. O. A]
2nd. The continuation of the dyke is shaded by close strokes
from right to left in dry point, and some very delicate lines in an
opposite direction are seen on the foliage below this dyke and
on the water beneath. The date is added, but apparently by
another hand. [Coll : BM. C. O. P. A. H.]
Copy. Same d. Very indifferently executed, the herbage in
the foreground and the foliage of the trees are harshly expressed ;
the left outline of the haystack behind the cottage is continuous
with the slope of the roof. By Byron.
1 Twelve etchings by Byron after Rembrandt were published by Walter
Shropshire, 12 New Bond Street, about the year 1795. Sm. 4to. A collection
of twenty-five etchings, after Rembrandt and others, mounted in an oblong book,
is in the British Museum Print Room ; on the fly-leaf, in the handwriting of the
Rev. C. M. Cracherode, is ' given to me by the Hon. and reverend Richard Byron,
March 19, 1799.' U

290 Rembrandt's Etchings. No. 309
Copy rev. Also seen as a counterproof, i.e. in the same direc
tion as the original. The shading on the bank below the last
post, to the left, is of left-to-right diagonals.

309. The Three Trees. (Le paysage aux trois arbres)
On a bank, to the right, is the group of Three Trees, which
give a name to the piece ; below them, occupying the fore
ground, is a pond or sheet of water, on the further side of
which is a fisherman, with a woman seated near him ; and
to the right, half concealed by the dark foliage, two other
figures can with difficulty be discovered. In the left dis
tance, beyond a plain divided into meadows in which are
peasants and cattle, are the spires and higher buildings of a
town ; while, to the right, on the rising ground beyond the
trees, are other buildings and a waggon full of people ; on the
highest point, still nearer the right, is seen a little seated
figure. The sky above and to the left is covered with clouds
from which a smart shower is falling. Nearly hidden among
the deep shading of the waterweeds, in the lower left, is Rem
brandt fi. 1643. Dimensions: 8,4 — 11,0 ('213 — '279).
[Coll: BM. C. O. P. A. H.]
Copy. Same d. Some light clouds are represented above
the tree to the right, and lines left to right are seen coming
from them. These lines in the copy end in two points, which
do not reach the shading along the right edge of the plate,
while, in the original, the two upper lines pass through the shad
ing. I have given an illustration. Illate XL fig. 54. This
copy is by James Bretherton.
Copy. Same d. In the original, towards the top and as
nearly as possible in the middle of the piece, is seen a flight
of rooks ; in the copy the rooks are over the central one of
The Three Trees. This copy would not deceive anyone who
is acquainted with the original. It is by Byron.
Copy. Same d. Of no merit. In the original the high
ground to the right, on which the little figure is seen, slopes
gently towards the right; in the copy it is divided into two
round hills, with the little figure on the one farthest from the
plate-edge. By James Hazard.
Copy. Same d. The variations which distinguish the pre
ceding are repeated ; showing that the artist, an amateur whose
name does not appear upon the plate, has mistaken Hazard's
copy for the original.

No. 310 Landscapes. 291
Copy rev. Seen in two States. It is coarsely and harshly
executed; in the 2nd 2. flash of lightning is represented striking
the central tree. On this State are the initials W. B. (William
Baillie). Copy rev. The bank to the left is smoothly engraved with
left-to-right diagonals and faint horizontals ; the clouds come low
down on that side to the edge of the plate ; the lines which form
a variation in Bretherton's copy, are wanting. This is also seen
as a counterproof, i.e. in the same direction as the original, and
I have found an impression rather effectively tinted. It is not
named, but I believe it to be by Cumano.
M. Charles Blanc speaks of a copy by Novelli. It is not
found in the collected edition of Novelli's works, but is recorded
here on M. Blanc's authority ; the same author describes
another copy by the late M. Louis Marvy: this I have not
seen. There is also a pretty little copy in reverse, 2,7 — 4,0
(¦069 — -12), by Burnet.
Copy. Same d. Bibl. IX.
This beautiful print can hardly be termed rare, there are
few collections of any size in which it does not appear, and
the impressions, if not of the highest quality, are generally
good. The committee who arranged the Rembrandt Exhi
bition of 1 877 were fortunate in obtaining two superb impres
sions from the Collections of Mr. H. Brodhurst and Mr. St.
John Dent.
In his notes upon this print M. Charles Blanc [Bibl. VIII.
fig. 296] describes a curious effect produced by the clouds to
the left ; he has detected in these clouds an indistinct shape
which he appropriately names ' the Spirit of the Storm,' but,
like the figures in the fire, I find this form presents itself dif
ferently to each observer.
The wonderful effect of distance in this print is worthy of
remark. Rembrandt was well aware of the advantage of a
low horizon. Here he introduces a thin line, a mere outline,
hardly rising above his detailed landscape, which carries the
eye to a far distant rising ground, leaving to the imagination
the miles of level country which lie between.

310. The Shepherd and his Family. {Le berger et sa
famille)
In the foreground is a well-arranged group, consisting of
a shepherd, wearing a broad hat, seen in profile, turned

292 Rembrandt's Etchings. No. 311
towards the right, with a crook in his hand, and a woman seated
at his feet holding a child on her knee. A flock of sheep is
grazing beside them. In the right corner is a sheet of water
with a large tree on the other side of it ; the background,
which is woody and gradually rising,' terminates with a high
hill or mountain, on which are some large buildings. On
the left, near the top, is Rembrandt, and under it, / 1644.
Dimensions: 3,8 — 2,6 ('097 — -o66).
[Coll : BM. P. A. H. C. O.J
Copy rev. The scratches and circles in the background are
wanting. This copy is also seen as a counterproof, i.e. in the
same direction as the original.
The plate not having been cleaned, the print is covered
with scratches and lines, among others the outlines of two
circles are seen, one in the centre, the other higher up.

311. View of Omval, near Amsterdam. {Vue d' Omval,
pris d' Amsterdam)
A clump of willow trees is seen in the left foreground ;
one of them is a venerable old trunk which seems nearly
dead. On the bank below these trees a young couple are
sitting; the youth is placing a garland on the head of his
companion. To the right stands a peasant with his back to
the spectator ; he is watching a covered barge full of people
which is sailing on the river Amstel. Beyond the stream
houses are seen, and on the water are several boats ; two
windmills are to the right. At the lower corner on this side
is Rembrant fi 1645 (the d omitted).
Dimensions : 7,3 — 8,9 (-i86 — '226).
[Coll : BM. C. O. P. A. H.]
Fine impressions are full of burr, the later ones have been
rebitten and the name has been reworked in dry point.
Wilson described a late impression of this plate on which the
eight of clubs has been engraved. Part of the plate where the
young couple are sitting has been imperfectly burnished out ; in
this cleaned space is represented part of the green back of a
playing-card, upon which a second card is placed face upwards.
On this second card is a coloured picture of a child blowing
soap bubbles, with a pot of flowers on one side of him and a
vase, from which smoke ascends, on the other ; above is written
Leven (life) and the figure 2. In the upper part of the plate,

No. 312 Landscapes. 293
to the right, is represented the eight of clubs which is partly
covered by another coloured picture-card with the figure of a
milkmaid, over whose head is Berinne (peasant woman) and the
figure 5. This impression is now in the British Museum. A
second impression, but with the figures uncoloured, appeared in
the Collection of the Rev. Burleigh James, which was sold at
Messrs. Sotheby's in 1877. It is not known whose hand thus
defaced this beautiful work, but the additions are undoubtedly
of a comparatively recent date.
Copy. Same d. Bibl. IX.
Vosmaer tells us, in remarking upon this print, that Omval
was a village in the environs of Amsterdam, situate upon a
bend in the river Amstel, and only a short walk from the city.
In the Rembrandt Exhibition of 1877 an exquisite impression
of this plate, without exception the finest I have seen, was
contributed by R. S. Holford, Esq. In colour, printing, and
condition, in everything but margin, it is unrivalled.

312. The Boat-house, called a Grotto with a
Brook. {La grotte et le ruisseau)
In this print is represented a piece of water, overhung
with weeds and foliage, which loses itself in a dark boat-house,
bridge, or grotto, within which the forepart of a boat is seen ;
on the right is the trunk of a tree, and on a board that crosses
it is Rembrandt, 1645.
Dimensions: 5,0 — 5,2 ('128 — '133).
Bartsch and Wilson have described two States of this beautiful
print ; in that which they call the 2nd, the deep shading of the
interior of the grotto is lessened and the boat is hardly distin
guishable. M. Charles Blanc has given three States, his ist
and 2nd differing in the presence or absence of burr, which in
his 3rd is entirely removed by the scraper. There is, I believe,
only one true State; the variations are entirely produced by
the process of printing ; in this, as in other cases, the work has
first broken down towards the middle of the plate, and a
consecutive series might be arranged from the finest downwards
to the last. In the impressions in which the burr retains its
full beauty, the boat is clearly seen, the dark shadow in the
grotto is of singular transparency, and the reflections of the
boat and of the weeds in the water perfectly rendered. In this
condition the print is very rare. [Coll : BM. C. A.]
Later on the burr partially disappears, the piece is dull and
grey, and the clearness of the shadows and the reflections in the
water no longer exist. [Coll : BM. C. O.]
In a still later stage of the impression the grotto and the boat

294 Rembrandt's Etchings. No. 313
become a blurred indefinite mass, and the print is in every way
worthless. [Coll : BM. P. A H.]
The three impressions in the British Museum show very
clearly the three stages of this downward progression; and a
very careful and prolonged examination of these and others has
failed to reveal any additional work, while it has shown the
intermediate conditions of the print.
One of the most beautiful impressions I know was con
tributed to the Rembrandt Exhibition of 1877 by Henry
Brodhurst, Esq. It came from the Verstolk and Garle Col
lections. It is only right to acknowledge that some connois
seurs have questioned the opinion above expressed as to there
being only one true State, and think that an actual variation
was produced upon the plate by the scraper.

313. Six's Bridge. {Le pont de Six)
In the middle of the piece is a wooden bridge, such as is
still seen in Holland over the frequent canals; two men are
standing upon the right side of the bridge leaning against the
rail, apparently in conversation. To the right upon the canal
is a sailing barge ; in the distance is a village, in which is a
church with a spire seen under the boughs of two trees grow
ing on the left side of the bridge ; a vessel under sail is to
the right of the village. In the lower right-hand corner is
Rembrandt f. 1645.
Dimensions: 5,1 — 8,8 ('130 — "223).
States : ist. The hats of the men upon the bridge are un
shaded. [Col: BM.]
2nd. The hat worn by the nearer figure is worked over with
drypoint. [Coll: BM.C]
3rd. The hats of both figures are worked over. [Coll : BM.
CO. P. AH]
In late impressions the light work which shades the hats
almost or entirely disappears, but the worn condition of the
plate is then sufficient to show its State.
Copy. Same d. of the 3rd State, though the hat of the
further figure is so lightly worked it might be taken for a copy
of the 2nd State. Very deceptive. For a variation see llatt XI.
fig. 55. It is by James Bretherton.
Copy rev. of the 3rd State. Within the subject on the left is
Rembrandt, and to the right Sardi i. ne, 1791.
Copy rev. of 2nd State ; reduced ; not named, but probably by
Vivares. Copy rev. and reduced by Burnet.

No. 314 Landscapes. 295
Vosmaer says of this print, Paysage pris de Hillegom, dont
on voit la tour au lointain. I have not thought it necessary
to repeat the somewhat apocryphal anecdote, related by
Bartsch and repeated by others, of this plate having been
etched from Jan Six's window while he and his guest waited
for the mustard. Of the family of Jan Six, and the friendly
relations existing between him and Rembrandt, Vosmaer has
given us a very interesting account, to which the student
should refer. [Bibl. XXXVII. pp. 268, etc.]

314. A Village, with a River and a Sailing Vessel.
(Les chaumiires pris du canal)
On the left are several cottages, towards one of which a
woman is seen walking followed by a dog ; to the right is a
broad stream with a vessel under sail ; beyond the river is a
village with a church spire rising above the trees, and to the
right a bridge with several arches, and further on a large
square building. There are figures on the road beyond, among
them a man on horseback. Date assumed, 1645.
Dimensions: 5,5 — 8,3 ('140 — -2ii).
States : ist. As described. [Coll : BM. C. O. P. A. H.]
2nd. Partly retouched with dry point. It is seen in the tower
and on the church spire and the tops of the trees to the right.
A tree at the right end of the nearest cottage has been re
touched. Below the branches of this tree, and not very clearly
distinguished, is the chimney of a cottage. In the ist State the
foliage to the right of this chimney was of nearly uniform height,
but in the 2nd State a small slipped stroke of dry point is seen
rising above this foliage and curving to the right ; it is about the
same length as the height of the chimney. The delicate dry-
point work soon disappears, and the latest impressions are very
poor. This 2nd State is comparatively rare, and is a creation of
recent date. An impression before this retouch is found in a
folio volume of prints issued I believe by the elder Josi. There
is some evidence of rework, but no traces of that with dry point
which constitutes the 2nd State as described.
Copy rev. About an inch from the right-hand corner can be
distinguished the latter part of the artist's name, Byron.
Copy rev. Not deceptive. The dog is left out.
Copy rev. The highest tree in the original is bare ; in the
copy the ends of the branches and twigs have foliage.
Copy rev. Below in a clear space is to the left R'. inv., and
to the right Cumano sc.

296 Rembrandt's Etchings. Nos. 315, 316
315. A Landscape with a Man sketching the
Scene. (Le paysage au dessinateur)
To the left, approached by a road, is a farmhouse, at the
right end of which rises a lofty barn ; further to the right are
a farm cart and some agricultural implements resting against
a tree. In the middle, in front of the barn, another tree is
seen ; still nearer to the right, in front of and divided from
the buildings by a ditch, is a meadow with cattle, and in the
corner to the right is seated a man in a high crowned hat
sketching the scene. Date assumed, 1 646.
Dimensions: 5,1 — 8,2 ('130 — "208).
[Coll : BM. C. O. P. A. H.]
Copy. Same d. By Byron ; his initials are seen beneath
the shading in the right foreground, about an inch from the
man's foot.
There is a drawing of this scene, in the same direction, in
the British Museum, executed in pen and ink, and assumed to
be a study for the print ; the paper has been trimmed, but
measures very nearly the same as the plate. The drawing
has some merit, but I should not assign it to Rembrandt.

316. An Orchard with a Barn. (Le verger et la
grange)
To the left is a wooden house or barn roofed with thatch ;
at its right are a few trees as of an orchard, and among
them another building is discovered ; upon a road to the
right in the distance is a vista with a man on horseback riding
through it ; on the same road, which is fenced by posts and
rails, another man is travelling on foot, he is seen from behind
and has a staff on his shoulder ; in the extreme left, at the
end of the thatched building, we discover a low lean-to
building and some foliage, and in the distance are houses with
a cupola rising above them. Date assumed, 1648.
Dimensions: 3,6 — 8,1 ('091 — "205).
Wilson gives three States, describing the variation between
the first and second as ' more work ' and ' less brilliant
shadows.' I have failed to verify these distinctions, nor are
they admitted by M. Charles Blanc, who only gives two States.

No. 317 Landscapes. 297
States: ist. As described. [Coll : BM. P. A. H.]
2nd. The plate is reduced, the left side being cut away, and
a small portion of the right : it now measures 3,5 — 6,3 ("089 —
•161). [Coll : BM. O. A]
Copy. Same d. of 2nd State. Bibl. IX.
M. Klinkhammer, late Keeper of the Prints at Amsterdam,
has described one of the two impressions of the ist State
preserved in that Collection, as non mentionni. I have not been
able to detect any difference in this impression which is not
due to the printing, or observe a variation which would
warrant the creation of a new State.

317. Landscape with a Ruined Tower and a Clear
Foreground. {Paysage d la tour)
A village standing among trees is seen to the right ; above
some irregular roofs rises a ruined tower, to the left of this is
a large thatched building, beyond which again, still further to
the left, are trees and a low bridge, upon which rises a gate
way supported by buttresses ; in the road which passes by
this gateway a little female figure is standing ; the sky on the
left side is covered with clouds, but is clear on the right ; the
whole foreground is unfinished. Date assumed, 1648.
Dimensions : 4,8 — 12,6 ('123 — '320).
States : ist. The tower is finished with a cupola, the large
thatched roof is shaded by single and not very close lines, the
triangular space between the uprights of the gateway and the
buttresses is only partially shaded. Some large dark blots
of ink are seen in the sky to the left ; along the horizon on
this side the sky is white, a little dark shading, as of a low
tree, will be observed dividing this white sky, the part to the
left forming a narrow band. [Coll : BM. C. O. P. A.] In
the ist State, as usually described, the space between the but
tresses and the gate is ' clear,' this is a misleading expression ;
I have never yet seen an impression with less shading than is
shown in L|late XI. fig. 56.
2nd. The blots of ink in the sky are burnished out, traces of
the tool remain. [Coll : BM.]
3rd. The cupola on the tower is removed, and the tower pre
sents a ruined appearance ; very close fine downward lines
shade the thatch on the large roof, the narrow belt of sky to
the left is worked over. [Coll : BM. C. O. P. H]
4th. The space between the gate and the buttresses, and a
part of the foliage above the buttresses, are further shaded with

298 Rembrandt's Etchings. No. 318
diagonals from right to left. See llaft XI. fig. 56. [Coll :
BM. C. A.] v
Still later impressions are found in which part of the left
background is burnished out, and the tones of the print height
ened with a wash of Indian ink, and touches of white ; the
plate had at this time fallen into other hands ; the variations in
the 4th State may also have been executed after Rembrandt had
parted with the plate.
The early States of this print are extremely rare, and in con
sequence, when they appear in the sale room, secure very high
prices. An impression in Sir Abraham Hume's Collection,
catalogued as Wilson's 2nd State, and sold at Messrs. Christie's
in 1876, brought 230/., a price out of all proportion to its merits.
Copy. Of a part only. Byron.
Copy. Same d. Reduced. Bibl. IX.
Vosmaer believes that he recognises in this print a view
of the village of Loenen with the chateau of Kronenburg,
situate in the district of Het Gooiland, bordering the Zuider
zee. In this neighbourhood were the homes of Wttenboogaert
' The Goldweigher,' Hooft, Van Tromp, Hinloopen, and at a
later date of Jan Six.

318. Landscape with a Cow drinking. {Le paysage
a la vache qui s'abreuve)
A canal or river crosses the front of the piece ; to the
right, on the opposite bank, a cow is drinking, and behind it,
nearer the plate-edge, another is lying down ; at about the
middle a boat is moored to the bank, and in it a man is
stooping down ; above are three cottages with trees, and in
the left background a rocky mountain, whose slopes are con
tinued across the plate towards the right. Date assumed,
1649. Dimensions: 4,1 — 5,1 ('105 — '130).
States: ist. The ground to the right of the drinking cow is
orly partially shaded with a few short and irregular lines
[Coll: BM. O. A]
2nd. Fully half the space of ground immediately behind the cow
is shaded. See |lau XL fig. 57. [Coll : BM. C. O. P. A. H]
Josiwas the first to suggest a 3rd State, describing further work
on the back of the man in the boat. M. Charles Blanc also recog
nizes a 3rd State, but believes that the variations were effected
by Basan, into whose hands the plate had fallen. The latest
impressions are so bad that I think it is not worth our while to

No- 319 Landscapes. 299
describe them, or elevate them into a State : they are entirely
free from all impress of the master.
Copy.^ Same d. ; by Richard Byron. The animal lying down
to the right is a horse, not a cow ; there are no ripples in the
water, as in the original, to show that the man is moving in the
boat. ,
Copy rev. In the upper left is y. Campbell, f. 1754.
Copy rev. Large dock leaves are seen to the right of the cow,
to the lower left is R'. inv., and to the right Cumano sc.
A drawing from the Payne Knight Collection is in the
British Museum, in which there is a like disposition of the
scene, and of the rocky hill to the left, but I am not prepared
to accept this drawing as by Rembrandt.

319. An Arched Landscape with a Flock of Sheep.
{La grange dfioin et le troupeau)
The plate is arched at the top. There is a village in the
distance, approached on the left by a broad road, along which
a shepherd is seen driving a flock of sheep ; upon a bank on
this side are three little figures, and on the right, in the
middle distance, is a group of farm buildings surrounded by
trees, and in the foreground a meadow in which are sheep and
cattle, and a horse rolling upon its back. Upon the road,
below the flock of sheep, is Rembrandt fi. 1650 ; this date,
which has hitherto been read 1636, is not very legible.
Dimensions: 3,2 — 6,9 ('082 — '176).
States : ist. As described. [Coll : BM. O. P. A]
2nd. A small dead branch is seen projecting from the tree
which hangs over the road. In the distance to the left appears
the sea, the village in the background to the right is shaded
with left-to-right diagonals, there are also traces of rework upon
the thatch of the hay-barn. [Coll : BM. C. O. P. A. H.]
Wilson describes a State, calling it the 2nd, which only differs
from the ist by the introduction of the small dead branch ; I
have long and carefully sought for such an impression, but
without success, and have therefore not recorded it as a State.
Copy. Same d.;by Captain Baillie. This copy appears in two
States. There are many variations ; the whole subject is -fe in.
lower in the plate, the rising ground above the horse in the
meadow is a comparatively rounded slope in the original, while
it rises to an angular elevation in the copy. In Baillie's ist State
the distance on the left is not introduced, and the distance on

300 Rembrandt's Etchings. No. 320
the right is shaded; in his 2nd the left distance appears. For a
variation in the lower left corner, see $3 late XL fig. 58.
Copy. Same d. Very indifferent. Below the sheep is
Rembranbt f. 1636 (a b not a d).
Copy rev. of the 2nd State. In the right lower corner is F.
Vivares fecit excud. 1758.
Copy rev. On a larger plate ; coarse and poor.
There is an impression in the British Museum of the 2nd
State, which has been coloured by hand, and has a pretty
effect. It has been suggested that this was done by Rem
brandt himself ; this, however, I am not prepared to admit,
though it no doubt was coloured at a very early period, and
not improbably by the hand of one of Rembrandt's pupils.

320. A Peasant carrying Milk-pails. {I) homme au
tail)
To the right of the landscape upon higher ground is seen
a peasant, accompanied by a dog and carrying two milk-
pails by a yoke which crosses his shoulders ; a road, bordered
by a canal, crosses the foreground ; to the left of this is a
group of trees which with some farm buildings fill the middle
distance and are approached from the road by a low bridge
defended by a gateway ; a boat is moored to the left bank of
the canal ; in the extreme distance, to the right, is the sea, and
in the left a succession of low hills. Date assumed, 1650.
Dimensions : 2,6 — 6,9 ('066 — "176).
States : ist. The distant hills, to the left, are not introduced,
the dark vertical shading upon the further bank of the canal
does not extend on the right so far as the little bridge, and the
road where it meets the lower margin of the plate is unshaded.
[Coll : BM. P.]
2nd. The distant hills to the left are seen ; by additional dark
vertical shading the water is made to reach the little bridge ;
the right and left borders of the road, where it reaches the lower
plate-edge, are shaded with diagonals from right to left. See
|l;itc XL fig. 59. [Coll : BM. C. P. A. H.]
Copy. Same d. A slipped stroke rises above the centre of
the large tree to the left, this has become a forked branch in the
copy ; between this tree and the next rises a dead branch, re
peatedly forked in the original, and only once forked in the
copy, the prow of the boat is of a single point in the copy. By
Byron.

No. 321 Landscapes. 301
Copy. Same d. of 2nd State. The short regular verticals on
the opposite side of the water are wanting. The effect is at
tempted by close work which covers the whole of the water.
Copy rev. Six or seven short posts are seen in the water to
the right.
The plate, if not still in existence, cannot have been long
destroyed. There is an impression in the folio volume of
prints issued by Josi {vide p. 295), which is, I believe, taken
from the original plate ; the burr is entirely gone.

321. A Village with a Square Tower ; an arched
Plate. {Lc paysage a la tour carrie)
In the middle on higher ground above some cottages
stands a square tower, approached by a road which is planted
at the sides with trees, and passes over an arch through which
the light is seen ; in the left foreground are some farm-build
ings, and below them is a piece of water ; from the corner of
the farmhouse posts and rails are carried over the irregular
ground to the right side of the print ; in the lower corner on
this side is Rembrandt fi 1650.
Dimensions: 3,5 — 6,2 ('089 — '158).
States : ist. The upper part of the arched bridge which leads
to the tower is unshaded ; there are many white spaces in the
tops of the trees in the right background ; at the foot of the
tower, close by the bridge, is a tree whose foliage is on a level
with the crown of the arch ; the bank in the lower right corner
on which are the name and date is unshaded. [Coll: BM. A.]
The impression of this State in the British Museum is upon
India paper and was long supposed to be unique. It has passed
through the Lawrence, Wilson, Bell, and Maberley Collections.
A third impression from the Collection of R. S. Holford, Esq.
was seen in the Rembrandt Exhibition of 1877.
2nd. The upper part of the arched bridge is shaded with ver
ticals. The tree at the foot of the tower is burnished out and
its place covered with vertical shading ; its traces, however, re
main ; a few diagonals, right to left, are seen on the bank just
above the name. [Coll : BM.]
This probably unique impression came from the Six Collection
as appears from a note written on the back by the elder Josi.
3rd The tops of the trees to the right are now shaded.
[Coll : BM. C. O. A. H.]
4th. The plate has been reworked, a slipped stroke is seen
passing from left to right through the name. [Coll : BM P. A.]

302 Rembrandt's Etchings. Nos. 322,323
Copy. Same d. A reproduction executed for M. Dutuit,
illustrating a catalogue, privately printed, of his collections.
Copy. Same d. Bibl. IX.
The locality represented is the village of Randorp, other
wise Raasdorp or Raarep, the home of the peasant girl whom
Rembrandt unwisely chose for his second wife.

322. Landscape with a Canal and Swans. {Le
canal aux cygnes)
This and the landscape with a large boat are really one
subject, the corner of the wooden bridge, which in this is cut
off, being seen in the other. A canal, on which two swans
are seen, reaches from side to side of the print ; on the further
bank are seated two persons angling ; beyond is a meadow
with cattle, and in the distance a village, above which rises a
large church with a massive tower ; the extreme background
is mountainous. Low down towards the left, among the water-
weeds, is engraved Rembrandt fi. 1650.
Dimensions : 3,2 — 4,2 (-o8i — -io8).
States : ist. The meadow behind the cows is unshaded, the
trees beyond are covered with a diagonal from right to left.
[Coll : BM. O]
2nd. Cross strokes cover the trees in the left background,
while the further side of the meadow is shaded with fine diago
nals from left to right ; two of the cows are within this shading.
See |Uate XII. fig. 60. [Coll : BM. C. O. P. A. H.]

323. Landscape with a Canal and Large Boat.
(Le paysage au bateau)
This is the companion-piece to the Landscape with the
Swans. In front is a canal, similar to that in the preceding
print ; a large boat is moored to the bank and occupies nearly
the whole width of the plate ; on the right rises a large tree,
on the left a wooden bridge crosses the canal, and above is a
continuation ofthe mountain introduced into No. 322. Upon
the slope of the hills in the distance a church spire is seen,
and in the middle of the print is a large square tower. Low
down towards the left is Rembrandt f. 1650. The d and the b
are reversed.

No. 324 Landscapes. 303
Dimensions : 3,2 — 4,2 ('081 — -io8).
States : ist. The trees below the tower in the distance are un
shaded, as is also the upper part of the building to its right ;
following the outline of the hills on this side to about -fe inch
(•019) distance from the tower, we see three little lines in dry
point with an upward direction rising above the outline. [Coll :
BM. P.]
2nd. The foliage below the high tower is shaded, as is also
the building to the right ; the outline of the hill rises above the
three little lines. See Mate XII. fig. 61. [Coll : BM. C. O.
P. A H.j *
Copy. Same d. Described as very poor. I have not seen it.
Copy. Same d. of ist State, used as an illustration to Lot 179
in the sale 'du Cabinet de Mr. W. P. K.' (W. P. Knowles of
Wiesbaden), Nov. 1877, Francfort.

324. Landscape with an Obelisk. (L'obilisque)
This is an arched plate. To the left is a pedestal support
ing an obelisk, the upper part of which is cut off by the plate-
edge ; behind it appears a Dutch hay-barn, and to the right
cottages standing alongside the village road. The first cottage
is a large thatched building, with some low bushy trees on
one side, it has a penthouse, under which is a cask upon a
stillage ; a dog is drinking at a pool of water in the right
foreground ; in the distance other buildings are seen. Date
assumed, 1650. Dimensions: 3,3 — 6,3 ('084 — "161).
States : ist. The larger roof to the right in the distance is un
shaded, as is also the wooden paling which appears beyond a
wheelbarrow placed to the right of the first cottage ; the water
in the foreground for about -fe inch ('013) to the left of the dog
has no vertical lines. [Coll: BM. P. A]
2nd. The larger roof in the distance is partly shaded with
left-to-right diagonals, similar lines cross the palings and the
little roof above them ; the water to the left of the dog is shaded
with verticals. See fhte XII. fig. 62. [Coll : BM. C. O. P. A. H.]
An accidental scratch ending in a point or dot is seen upon
this print ; it ends in the upper plate line, and is about fe in. in
length and -fe in. to the right of the obelisk. There are impres
sions from which it has been removed by scraping, but not, I
think, with any dishonest intent.
Copy. Same d. In the original the legs of the stillage are at
an angle, they are parallel in the copy. The letters R. B. (R.
Byron) can be discovered beneath the dark shading below the
foliage in the middle of the print.

304 Rembrandt's Etchings. No. 325
Copy rev. In the right lower corner is F. Vivares fecit, 1748,
and below the dog is Remb.
Copy rev. On a larger plate. Signed Marguerite Lecompte.
The obelisk stood, perhaps still stands, about two miles
from Amsterdam ; upon it was inscribed in old characters De
My 2 Paal op de Amstelviense weg. As I do not find any
mention of it in Vosmaer, it is possible that it may now have
been removed.

325. The Three Cottages. {Le paysage aux trois
chaumiires)
This represents a village in perspective by the side of a
high road ; there are three large cottages with steep thatched
roofs on the right, having their gable ends towards the road.
In the right foreground is a large tree with some of its branches
leafless. Other trees are seen rising above the roof of the first
cottage, and again between the roofs of the second and third.
At the door of the second stand an old woman and three or
four children. The plate is arched at the upper corners. At
the bottom to the left is Rembrandt f 1650.
Dimensions: 6,4 — 8,0 ("163 — '203).
States : ist. The end of the nearest cottage is shaded only by
vertical lines ; white unshaded spaces are seen in the foreground
below the first cottage and to the right and left of the tree.
[Coll : BM. P. H.]
2nd. The white spaces in the foreground are covered with
nearly horizontal lines. [Coll : BM. P. A.]
3rd. The end of the nearest cottage is covered with diagonals
from right to left. [Coll : BM. C. O. P. A. H]
Copy. Same d. of the 3rd State. By James Bretherton.
There are many minute variations ; among others is one in the
lower right corner. See {J, ate XII. fig. 63. Though this copy
would be at once recognised by a connoisseur, it is executed
with so much ability, and impressions, when well printed on suit
able paper and in good condition, have so pleasing an effect, that
it has occasionally found its way into collections as the original.
Copy. Same d. of the 3rd State. The little chimney of the
second cottage is not defined, the diagonal lines at the end of
the first cottage are very regular in the original, while in the
copy they are not only irregular but run into one another ; I
have only seen one impression in a public collection ; it is at
Amsterdam and was given by M. Posoniji.
Copy rev. The road is well worn and full of ruts, below to the
right is Cumano.

Nos. 326, 327 Landscapes. 305
I have not thought it necessary to refer to Wilson's 1st
State ; it has not for many years been known to exist. In
the Rembrandt Exhibition of 1877 magnificent impressions of
each State were contributed by R. S. Holford, Esq.

326. The Goldweigher's Field. (La campagne du
peseur d'or.)
In the middle of the print is a country mansion with an
extensive wood to its left in which are discovered some
pavilions ; to the right stands a large church with a high
weathercock, and nearly surrounded by trees ; further to the
right are three houses built together, and still further other
houses in a village are seen. In a field in front are figures with
cattle ; on the left is an octagon summer house with windows
on each side. It is entirely surrounded with a square sheet
of water, on which ducks are swimming. Ip the distance on
this side is a large town with a cathedral and churches, and
in the lower corner is, in small characters, Rembrandt, 165 1.
Dimensions: 4,8 — 12,6 ('122 — '320).
[Coll : BM. C. O. P. A. H.]
Many of the existing impressions have a more or less tinted
background, ink having been purposely allowed to remain upon
the plate ; others again are printed on a brownish unbleached
India paper ; fine impressions, showing much burr, are seen in
both these conditions.
The country-house of the Banker Wttenboogaert repre
sented in this print stood in a heathy plain near the Zuider
zee, two leagues from Muiden and four from Amsterdam.
The village on the hillside is Naarden. (See Appendix C.)

327. The Canal ; a Landscape of irregular form.
{Le canal)
In the middle of the print are some cottages surrounded
with trees ; in front of them is a canal, which leads to the right
of the houses, and, passing under a low bridge, is again seen
at the right of the print where stands a high tree ; in the
distance on this side is a village with a church. Towards
the left, behind two little trees, is discovered a sailing boat.
Date assumed, 1652. The plate is of an irregular form, being
X

306 Rembrandt's Etchings. No. 328
at the left 2,9 (-074) high and at the right 3,1 ('079), its
width is 8,2 (-208).
The dimensions of impressions are found to vary. I have
noted one 3,3 ('084) measured across the centre.
[Coll : BM. C. O. P. A. H.]
One of the impressions of this plate in the British Museum
was formerly in the collection of Prosper Henry Lanckrinck,
page of Honour to King Charles I.; his mark is seen on the
foreground to the left.
Copy. Same d. By Richard Wilson. A very deceptive imi
tation of a late impression. In the original the pennant of
the sailing boat is of three little horizontal lines ; one only appears
in the copy ; there are other variations ; see |)late XII. fig. 64.
Copy. Same d. Taken not from the original but from
Wilson's copy. The post on the roadside to the right leans to
that side ; the little milestone has a rounded top, etc. It is by
Byron.
The whole composition is in dry-point, and, though charm
ingly designed, depends entirely for its beauty upon the
presence of burr ; as might be expected, really fine impres
sions are very rare, and the print is frequently found poor
and ineffective. Probably the best are in private hands ; one
of these was shown at the Rembrandt Exhibition of 1877,
from the Collection of R. S. Holford, Esq. ; I know two others
of almost equal merit.

328. The Vista. {Le bouquet de bois)
On the left are two large trees sketched with a broad
stroke ; a thick wood occupies three-fourths of the plate from
left to right ; through which, a little to the right of the large
trees, a vista is opened , near the middle is a house with a
flat roof. The foreground is white, and the right distance is
only in outline. At the lower right is Rembrandt fi. 1652.
Dimensions: 4,9 — 8,3 ('125 — .'211).
States: ist. This is only an unfinished sketch; very little is
seen of the intention of the master ; the building in the middle
is represented by a few lines, and to the right and left of it are
masses of shadow backed by slightly outlined foliage. There
is neither name nor date. The plate measures 6,1 — 8,3
(•155 — -211). [Coll : BM. O. P. A]
2nd. The plate is finished. [Coll : O. P. A.]
3rd. The plate is reduced; the name and date are added.
[Coll : BM. C. P. H.]

No. 329 Landscapes. 307
Copy. Fjrst described by Bartsch, It is of the 2nd State and
is 7,8 (-i98'wide). It is by Richard Wilson.
Copy, of the 2nd State. The name R. Byron is in the
dark shading ofthe foreground, to the left, and the date 1641.
An accidental scratch rises from the lower plate line about the
centre, and another about ^-rd of the distance from the left
corner which passes upwards through the foliage.
The whole of this very beautiful print is in dry point,
and, like the preceding, its effect depends on the presence or
absence of the burr. This burr remained for some time upon
the plate, and though really fine impressions are rare they
are more frequently met with than is the case with some
other prints of similar character ; when the burr is gone the
result is poor. I have seen impressions in which an attempt
has been made to restore the effect by a tint of Indian ink,
but they are not deceptive.
The very rare and beautiful sheet of sketches, A Copse
and Paling, No. 166, should be compared with this.

329. The Sportsman. {Le chasseur)
A road is seen in the middle of the print, on which a
sportsman and two dogs are approaching. On rising ground,
to the left of this road, we notice two little figures, and
beyond them a cottage and hay-barn, while, on the right, rises
a large tree, whose almost leafless branches hang over the
road. A mountain scene fills the background, on the hill
sides, to the left, are some large buildings, while on the plain
below, in the centre of the print, is a village, the houses
grouped around a church with its tower and spire. Date
assumed, 1653. Dimensions: 5,1 — 6,2 ('130 — '158).
States: ist. As described. Early impressions of this State
are full of burr. [Coll : BM. P. A.]
2nd. The cottage and hay-bam, to the left, have been bur
nished out ; in the best impressions the burr is still seen. Mate
XII. fig. 65. [Coll: BM. C. O. P. A. H.]
The burr remains the longest in the two little figures on the
left and on some diagonal strokes in the foreground, close to the
ducks seen on that side. I suspect that there is some retouch
in the 2nd State, for in one or two instances I have met with
impressions containing more burr than occurs in late impressions
of the ist State.

3o8

LANDSCAPES REJECTED.
The writers who have preceded me in cataloguing the etch
ings of Rembrandt have admitted, though with hesitation,
several landscapes, which must now be finally rejected.
Instead, however, of designating them only by name, it seems
advisable shortly to describe them ; some, such as R. i, R. 2,
etc., and 1st State of R. n have considerable merit and still
realise high prices.
The numbers which follow the title are those of Wilson,
Bartsch, and Blanc. To prevent confusion, the letter R (Re
jected) is prefixed to each.
Though no etchings have, so far as I know, ever been
discovered with the authentic signature or initial of Philip
Koninck, I am inclined to believe that he handled the needle,
and that The Coach Landscape and the ten which follow, all
of which, with some reservation, have been attributed to
Rembrandt, are really the work of this pupil, and are here
placed in what is probably the order of their execution. The
conclusion as to their authorship is not a hastily formed one,
nor have the suggestions of Wilson and Blanc been accepted
without criticism ; but a long and careful examination of
these etchings, and a comparison with Koninck's acknow
ledged work, more especially with his coloured drawings,
have not only strengthened the opinion those able connois
seurs have expressed with regard to R. 2, R. 11, but have
convinced me that the others must also be classed as by
Koninck.1 We observe in all Koninck's work a peculiar treatment of
foreground and distance, the former at times as ill-designed
and unsatisfactory as the latter is ably executed and effect
ive ; and a mannerism in his distribution of light and shade,
which show that he might follow, and to some extent imitate
but would never resemble, Rembrandt. For comparison with
these etchings, some of his coloured drawings are most
1 Philip Koninck entered Rembrandt's studio between the years 1635 and
1640 : he must not be confounded with Solomon Koninck, an older man, who was
never with Rembrandt as a pupil, and whose etchings, bear no resemblance to
these landscapes.

No. R. i Landscapes Rejected. 309
instructive. Koninck as an etcher was not successful. R. 1
and R. 2, described below, have certain merits, but for their
charm they entirely depend on design and tint, since it is
hardly possible to detect in them the presence of the etching
point. R. 4 and R. 5 are perhaps his best, but placed side by
side with Rembrandt's own landscapes, their inferiority is
apparent. As regards the remainder, four of these prints, R. 12 to
R. 15, are assigned to Poorter, a pupil of Rembrandt, of
whom little is known, and whose initials, R. W. D. P., in
reversed order appear upon three ; the others it is probably
impossible to assign. To discover the author of each inferior
work is a task as laborious as it is hopeless ; a technic which
has acquired no character, an art which has reached but its
earliest stage, affords insufficient grounds for critical examina
tion, and still less for a decisive opinion.
It might have seemed that a more appropriate place for
the description of these Rejected Prints would have been
among the pupils and imitators of Rembrandt ; but the posi
tion they have held in every catalogue and their presence in
important collections are, however, a sufficient excuse for giving
of each a short notice here.

R. 1. The Coach Landscape. (Paysage au carrosse.)
W. 212. B. 215. BI. — .
So called from a coach which, placed about the middle of the piece,
is travelling along a road to the left.
Dimensions : 2,5 — 9,0 ('064 — '228).
[Coll : BM. C P. A. H.]
Copy very deceptive, described by Bartsch. Parts of the
shading upon the building, etc., to the left are executed in regular
left-to-right diagonals. (Appendix A.)
M. Charles Blanc describes the pure etching, which I have
not seen, as a very inferior work. Impressions are either tinted
with India or coloured, and no two are exactly alike, while in
some no trace whatever of etching can be discovered.
It has been suggested that the original etching alone was by
Rembrandt, his pupils tinting the impressions under his direction ;
my own conclusion will not, I fear, be acceptable to collectors ; as
I have said above, I attribute the original to Philip Koninck, and I

310 Rembrandt's Etchings. Nos. £. 2-4
believe that fully one half of the repetitions of this landscape, I cannot
call them impressions, are eighteenth century work, skilful transcripts of
a piece which, with no especial beauty to recommend it, and readily
lending itself to the copyist, commanded a high price and was eagerly
sought after.

R. 2. A Landscape with Two Houses lightly etched and
washed with Indian Ink. (Les deux maisons au pignon
pointu. ) W. 211. B. 214. BI. 317.
A canal and towing path are on the left, two low thatched houses
are in the centre, from one of which projects a sign-board; to the
extreme right beneath the trees some persons are seated at a table.
Dimensions: 2,2 — 6,8 ('056 — '174).
[Coll : A]
M. Charles Blanc has a note upon this [Bibl. VIII. ii. 300],
to which the student should refer. The only etching of this land
scape that I know is at Amsterdam ; in the British Museum is a
very pretty coloured drawing in the same direction which Blanc
thinks is the original from which the etching was taken by a
pupil, and whom he assumes to have been Philip Koninck.
I do not agree with this opinion, but think that the etching is
the original work, and that the coloured drawing is also by
Koninck.

R. 3. Landscape with a Terrace. (Paysage a la terrasse.)
W. 213. B. 216. BI. — .
Washed with Indian ink. I have never seen it. Wilson
gives its dimensions as 6,4 — 7,4 ("163 — -i88).

R. 4. A View of Amsterdam.
W— . B— . BI— . Admitted by Daulby.
A large building is to the right surrounded by trees ; a road crosses
the foreground, to the left of which is a ferry boat in which are three
persons. In the distance, from the centre to the left plate-edge, is a
view of Amsterdam. Dimensions : 2,3 — 6,9 ( '058 — "176).
[Coll : BM.] An impression at Mr. Esdaile's Sale brought
27/. 6s. od.

Nos. R. —8 Landscapes Rejected. 3 1 1
R. 5. Landscape with a Canal and Palissades. (Le paysage
aux palissades.)
W. 243. B. 247. BI.— .
A canal is in perspective to the right, a large thatched cottage is
seen in the centre, with unshaded trees in front. To the left is a Dutch
barn, and in the distance on the same side are buildings with two
windmills. In the upper right is 1659.
Dimensions: 3,8 — 8,0 ('097 — '203).
[Coll : BM. A. H.]
Copy by Basan. An accidental scratch which rises through the
roof of the haybarn is wanting.
Copy by Vivares, inscribed 84, du Supplement au Catalogue.

R. 6. The Two Cottages.
W. — B. — BI. — .
Two cottages having their gable ends to a road are about the
centre of the piece ; behind them to the left are trees and other
buildings with a spire and weathercock rising above ; to the right are
farm buildings and trees on the far side of a sheet of water.
Dimensions : 2,6 — 6,9 ('066 — '176).
[Coll : BM.] R. 7. The Castle. (Le chateau)
W. 248. B. 252. BI.— .
A fortress is seen from above, a sort of bird's eye view, with
eight pointed towers, delicately etched.
Dimensions: 3,1 — 4,0 ("079 — '102).
[Coll : A.]
R. 8. Landscape with a Canal and a Man Fishing.
(Le paysage au canal.)
W. 240. B. 244. BI.— .
A canal crosses diagonally left to right ; a man is seated on the
nearer bank ; on the other side is a wide plain, with churches and
trees, etc. Dimensions : 3,0 — 7,2 ("076 — '183).
States: ist. As described. [Coll : BM. C]
2nd. The foliage on the canal bank to the left of the man who

312 Rembrandt's Etchings. Nos. R. 9— n
is fishing is burnished out. [Coll : BM. P.] The BM. impres
sion has slightly contracted in the printing. The landscape,
though not well etched, has certain characters of distance and
foreground which closely resemble the drawings of Philip
Koninck.

R. 9. Landscape with a Ruined Tower. (Le village a la grosse
tour carr'ee.)
W. 235. B. 238. BI.— .
A large ruined tower rises above some trees in the centre of the
print ; in front is a field, and herbage crosses the foreground.
Dimensions : 3,9 — 6,0 ('099 — '153).
[Coll: BM.]
I only know one impression ; this was formerly in the Barnard
Collection, and at his sale realized nearly 20/. In the lower leit
corner is an inscription with the date 165 1 (?), upon and almost con
cealing which is written Rembrandt.

R. 10. A Landscape terminating with the Sea, and Ruins
on the Shore. (Les ruines au bord de la mer.)
W. 203. B. 206. BI. 309.
On an eminence to the left are a cow, a man with a basket at his
back, and a second figure. The ruins are in the middle distance in
the centre of the piece.
Dimensions: 2,4 — 4,7 (-o6i — '120).
States: ist. The man on the left has no basket. [Coll: A.]
2nd. The man carries a basket [Coll : BM. A.]
Copy. Same d. Bibl. IX.

R. 11. Landscape with a Pointed White Fence. (Le paysage
a la barriere blanche)
W.— . B. 242. BI.— . '
A double fence of pointed white palings encloses trees and build
ings ; upon a road to the right are three little figures.
Dimensions : 3,5 — 6,4 ('089 — '163).
States : ist. The trees only partly shaded, the nearer line of
fence is in outline. [Coll: BM. C. H.]
2nd. The nearer fence is crossed by horizontals, and the white
spaces in the trees are worked over. [Coll : BM. A.]

Nos. R. 12, 13 Landscapes Rejected. 3 1 3
This print, which Bartsch accepted as the work of Rembrandt,
was rejected by Wilson, who describes a 1st State in his own pos
session marked in chalk P. deK6ning,f. 1659, in what he believed to
be the undoubted handwriting of the artist. I have not seen this
impression ; there are two in the British Museum with written in
scriptions ; the one has the letters p. k. 0., the other has the same,
with the date 1659. The writing in both cases is very old, brown in
one, and in the other of the same Indian ink which has been used to
give a slight tint to the shadows. If there were no other ground for
attributing this print to Philip Koninck, the inscriptions alone would
be hardly sufficient ; but a careful study of them and of the pre
ceding prints, and a comparison with drawings which are no doubt
by his hand, afford some evidence, and I am, under correction,
inclined to assign them all to him, The Coach Landscape belonging
to his earlier, and this to his later time.

R. 12. A Landscape with Five Cottages, unfinished.
(Le paysage non fini.)
W. 251. B. 255. BI.— .
Part of a village with five cottages, one only, that to the right,
shaded and finished. In the upper right is 1659, the 5 and 9 re
versed, and to the lower left the letters P. D. W. R. intertwined.
Dimensions: 3,6 — 2,6 ('091 — -o66).
[Coll: C. A]
Copy. Same d. by Basan, without the cipher.
Copy. By Vivares. Below is dans aucun Catalogue ceuvre de
M. Mariette.
The occurrence of the P. in the cipher is, I believe, the only
foundation for the assumption that Rembrandt's christian name was
Paul ! The signature is assumed to be that of R. Willem D. Poorter,
who has reversed the order of his initials.

R. 13. A Village separated by a Dyke.
W. 254. B.— . BI.— .
A wide bank or dyke separates the houses of a village ; near the
foot of a tree to the right are the letters P. D. W. R., the initials not
of Philip Koninck, as suggested by De Claussin, but of W. R. D.
Poorter. Dimensions: 3,0 — 7,2 ('076 — '183).
[Coll : C. A]

3 14 Rembrandt's Etchings. Nos. R. 14— 16
R. 14. A low House on the Banks of a Canal. (La maison
basse au bord du canal)
W. 241. B. 245. BI. 342.
Above the long white roof of a low house placed in the middle
distance is the top of a haybarn; there are trees and a wooden fence,
with a bridge and bank to the right ; in the left distance are seen a
church spire and two small windmills.
Dimensions: 3,0 — 8,2 ('076 — '208).
States : ist. The roof of the haybarn terminates in a point.
[Coll: BM.]
2nd. The roof is truncated. [Coll : A. H.]
It is possible that this 2nd State may only be the result of
the wearing of the plate.
One of the impressions in the British Museum is tinted, as is also
one at Amsterdam ; the latter probably with printing ink. In the left
foreground, not easily deciphered, are the letters P. D. W.R., the
initials of R. W. D. Poorter.

R. 15. Landscape with a Clump of Trees by the Road Side.
(Le bouquet d) arbres au bord du chemin)
W. 226. B. 229. BI.— .
The left side of the plate is unfinished ; a clump of trees is upon
the right by the side of a road.
Dimensions: 3,1 — 8,1 ("079 — "205).
[Coll : P. A.]
There is some resemblance in the technic of this print to the
Landscape first described ; but it is, I think, by Poorter. The
Amsterdam impression is tinted.

R. 16. Landscape with a Great Tree in the Middle. (Le
grand arbre)
W. 238. B. 241. BI. 340.
A large tree worked in dry point nearly fills the print.
Dimensions : 6,4 — 5,1 (-162 — "129).
[Coll : P.]
M. Charles Blanc accepts this as the work of Rembrandt. It
is full of burr, but the technic of the figures and of the back
ground is so unequal to that of Rembrandt that I am unwillingly
compelled to reject it; I have at present no idea to whom it should
be assigned. Only one impression is known.

Nos. R. 17—21 Landscapes Rejected. 3 1 5
R. 17. A Landscape with a Fisherman in a Boat.
W. 253. B. — . BI. — .
A farmhouse is in the centre with its front gable to the right and
sheltered to the left by round headed trees. In the lower right is a
canal with a boat, in which are three figures.
Dimensions: 3,2 — 7,1 (-o8i — "181).
[Coll: A]
R. 18. A Landscape with Two Fishermen.
W. 255. B. — . BI. — .
Houses surrounded by trees are in the middle of the print beyond
a road which crosses a flat wooden bridge over a canal. In the lower
right are two fishermen. Dimensions: 7,1 — 3,2 (-i8i — -o8i).
[Coll : BM. A]

R. 19. Landscape with a Fisherman in a Boat. (Lepkheur
dans une barque)
W. 239. B. 243. BI. 341.
Upon the river, which is in front, are two vessels under sail; on the
left is the stern of another in which a man sits fishing. In the right
background is a village with a windmill.
Dimensions: 4,4 — 5,5 ('112 — '139).
[Coll : P.]
Probably by the same hand as the last piece.

R. 20. Two Decayed Thatched Cottages.
W. 256. B. — . BI. — .
Seen in perspective and taking up nearly the whole of the print,
in the left distance, is a village with church steeple.
Dimensions : 4,4 — 7,1 ('113 — '181).
[Coll: P.]  "'
R. 21. Landscape with a Canal and Little Boat. {Le canal
a la petite barque)
W. 236. B. 240. BI.— .
A large low thatched cottage is in the centre ; a river crosses the
foreground, upon which is a boat, partly cut away by the left plate-
edge.

3 16 Rembrandt's Etchings. Nos. R. 22— 25
Dimensions: 8,5 — 7,1 ('215 — '181).
States: ist. As described. [Coll: P. H.]
2nd. Reduced to 3,5 — 7,1 ("089 — -181).

R. 22. A Cottage and a Barn filled with Hay. (La grange
remplie defoin)
W. 244. B. 248. BI. 344.
A Dutch barn filled with hay is to the left of a cottage before
which are a barrier and a clump of trees ; in front is a canal.
Dimensions: 3,9 — 6,1 ('099 — '155).
[Coll : A.]
R. 23. An Old Barn.
W. 257. B. — . BI. — .
An old thatched barn; behind it to the right are a few bushy
trees, a cart wheel is reared against it in front, and on the left is a
man with milk pails. Dimensions: 2,9 — 4,5 ('074 — '115).
[Coll : BM.]
R. 24. The Hay Waggon. (Le chariot afoin)
W. 247. B. 251. BI. 345.
An old thatched cart-shed roughly constructed, within which is a
hay waggon ; behind are buildings, and to the left a well, with a
peasant drawing water.
Dimensions : 2,7 — 5,2 ("069 — '135).
States: ist. As described. [Coll : BM.]
2nd. Reworked, the oval space between the boughs of the
tree above the shed to the right has left-to-right diagonals.
[Coll: BM. A]
Copy. By Baillie. Measures 2,9 — 3,2 (-074 — -081). I do not
know this.

R. 25. The House with Three Chimneys. (Maison aux trois
cheminies.)
W. 246. B. 250. BI. — .
A large wooden house is on the right with high gable and three
chimneys ; at its left are some low huts surrounded with trees,
and in the distance rises a church spire ; a flight of birds is in two
groups above.

Nos. r. 26-29 Landscapes Rejected. 317
Dimensions: 3,5 — 6,4 ('089 — '163).
[Coll: BM. A. H.]
Copy. In pure etching, the work in dry point is wanting ; by
Basan. Copy. By Vivares, inscribed No. 88, Du Suppl. au Cat.

 » 
R. 26. A Cottage with a Square Chimney and a Fisherman
in a Boat. (Maison de paysan avec une cheminee carrie.)
W. 245. B. 249. BI. — .
A large cottage with a square chimney ; trees and a haybarn ; in
front is a canal, upon which to the right is a boat with a fisherman in
a stooping attitude. Dimensions: 2,9 — 7,0 ('074 — '178).
[Coll: A]
A coarsely executed piece ; I am inclined to think by a later
hand and belonging to a different school.

R. 27. Canal and Fisherman, and a Man with Milk Pails.
(Le paysage au canal.)
W. 252. B. 256. BI. — .
De Claussin and Wilson have both taken their description from
Bartsch. It is very doubtful whether this print is now in existence ;
the measures given are 3,3 — 8-i ('084 — "205).

R. 28. The Village Street. (La rue du village.)
W. 250. B. 254. BI. 347.
Two houses are on the right, of several storeys, with pointed
gables ; above the roofs rises a tower. Cottages in the middle of the
print form a street in perspective.
Dimensions: 3,3 — 6,2 ("084 — "158).
Only known at Vienna, in the Imperial Collection at the
Hoibibliothek.

R. 29. Landscape with a Wooden Bridge. (Le pont au bois.)
W. 242. B. 246. BI. — .
A two-storeyed house is in the centre, with three chimneys and two
dormer windows. A thatched cottage seen on the left with a clump
of low trees or bushes ; a canal or wharf at the right.

3 18 Rembrandt's Etchings. No. R. 30
Dimensions : 3,0 — 7,8 ('076 — '198).
Copy. By Basan. The upright post rising from the water to
the right touches the plate-edge.
Copy. By Vivares . Described, No. 83, Du Sup.

R. 30. Landscape with a Little Figure of a Man. (Le petit
homme. )
W. 237. B.239. BI. — .
A little to the right is a small figure of a man; in the distance are
a church steeple and two windmills. I have never seen this print.
Dimensions : given by Wilson, 1,0 — 8,0 ('025 — '203) ;
given by Bartsch, 2 p, 10 1 — 7 p, 6 1.

APPENDICES.

In the upper right corner of the Print called The Coach Landscape,
in the British Museum Collection (Rejected Prints, No. i, p. 309),
is impressed a collector's mark, which far too frequently will be found
disfiguring many valuable prints. The design is a palette and brushes
with the letter D. This was the stamp of one Dighton, a 'bipedical
serpent,' as Dibdin calls him, who, obtaining entrance to the Print
Room under pretence of copying its special treasures, contrived to carry
away from time to time some fifty or sixty of the rarest and finest of
the Rembrandts bequeathed by Mr. Cracherode. It is hardly pos
sible to explain the extraordinary negligence which rendered such
depredations possible ; but so successful were the raids of this enter
prising thief, and so discriminating was his taste, that the Museum
for the time was deprived of, among others, the earliest States of the
Great and Little Coppenol, the Arnoldus Tholinx, the Portrait of Jan
Six, and even The Hundred Guilder itself. Dibdin's description of
the recovery of these lost treasures and the escape of the offender is
so racy that I make no apology for inserting it. ' A very respectable,
well-known, and intelligent print- vendor ' [it was the late Samuel
Woodburn]—' whose name begins with a letter just as near the tailoi the
alphabet as that of the print-stealer does at the head of it — chanced,
per varios casus, to have this very Coach Landscape submitted to his
inspection by a gentleman who had bought it of the robber. Mr.
(Woodburn) started back almost aghast. " But this, sir,'' added he,
with hurried speech and action, " can only be the copy, as the original
is in the British Museum : however, let us go and make comparison.''
" Willingly," replied the unsuspecting gentleman. . . ,' They
reached the Museum, and began an instant and vigorous attack upon
the Cracherode Rembrandts, but — no Coach Landscape was there.
What shrieks were emitted, what consternation was expressed, what
doubt, terror, and dismay naturally and quickly took possession of
the whole Corps Bibliographique of the Museum it is not possible
for me to express ; but the thief was caught, secured, and — dismissed !
How dismissed ? Yes, notwithstanding the Statute laws of the realm
1 The omission is only of some very indifferent verses from Grimault, A.D. 1693,
8vo. p. 56.

320 Appendix.
fill twenty compactly printed and hugely girted quarto tomes, and
that there are more Law Reports than were heard reports of cannon
at the battle of Waterloo, still, a case similar to that of the Cracherode
print-robber was not found to be amenable to punishment either in
the aforesaid Statutes or aforesaid Reports, and ' (Dighton) ' was sent
loose among other print collections without a hair of his head being
touched. All that sagacity, prudence, judgment, and experience, and
a proper respect for the memory of the dead could produce, was
manifested by the trustees, but no punishment could legally ensue,
for who could swear to the identity of the property when the mark of
such identity had been effaced ? Other obstacles, not necessary to
be here noticed, presented themselves, and the wretch was left to
prowl at large without the brand of punishment upon his forehead.
The affair produced a great sensation both among the unlearned and
learned in Rembrandt matters. An indirect appeal was made to the
purchasers of the stolen treasures, and, to the credit of most of them
be it said, they were returned, with The Coach Landscape in the
bargain.' [Bibl. XVIII. vol. iii. p. 329 H seq.]
Although the thief escaped all direct punishment, it is certain that
the transaction did not prove a very remunerative one. His character
was utterly gone, and with it most of his profits, for buyers thought
it no longer safe to purchase from or employ him ; and it has even
been suggested that, in making unwilling restitution, although some
comparatively unimportant prints were still missing, he was, uninten
tionally of course, mulcted in others which more than compensated
for their loss. B.
Among other curious MSS. and letters which have passed through
my hands during the progress of this work, not the least interesting
are those which have been kindly lent to me by Mr. W. F. Tiffin, of
Salisbury, and which came into his possession on the death of his
father, Mr. William Tiffin, so well known and so much respected by
the elder generation of amateurs. Among these are autograph
notes by Thomas Wilson (author of the Descriptive Catalogue, Bibl.
VII.) upon the Rembrandt Collection at Amsterdam, comparing it
print by print with his own, which, from the careful observations
recorded, he had no doubt taken with him to Amsterdam for the
purpose. He remarks upon the occurrence of the third tower (in the
Flight into Egypt, No. 236) ; tells us that the 1st State of the Christ
preaching to the People, at Paris (No. 229), is 'here considered a
trick,' a fact he had not suspected when he published his catalogue ;
and describes the Dutch inscription on the back of The Hundred
Guilder (see p. 214) as having so close a resemblance to an inscrip-

Appendix. 321
tion in pencil at the back of his own impression of the Angel appear
ing to the Shepherds (No. 91), that he does not hesitate to express his
belief that this latter Print was given by Rembrandt himself to the
same person to whom he presented the Museum impression of The
Hundred Guilder.
But the MS, which has occasioned me most perplexity is a
beautifully written and bound catalogue of a Collection unknown,
on the fly-leaf of which is pasted the printed label of A. G. Thiermann,
Fournissier, etc. of Berlin, and on the second leaf the autograph of
Samuel Woodburn. The water-mark of the paper is 1838, the Nos.
used are those of Bartsch, and out of the 375 pieces enumerated by
him only thirty are wanting ; the catalogue is in French, but French
certainly written by a foreigner, and the number and variety of the
States described are simply incomprehensible. It is impossible they
can all have been real, and yet they are apparently described in all
good faith. Thus of Rembrandt and his Wife, Bartsch 19 (see
No. 128), a ist State is described with the head of a Moor behind
Saskia's chair, and with two feathers in the hat of Rembrandt, ' epreuve
dans le gout du lavis et de la plus grande rarite ;' in the 2nd State
the head of the Moor and the second feather are gone ; in the 3rd
the whole plume is suppressed. Of Rembrandt in a Mezetin Cap and
Feather, Bartsch 20 (see No. 134), five States are described, marked
by the occurrence of ' a little head traced at the top,' ' two feathers
in the hat,' and so on. Of Abraham with his Son Isaac, Bartsch 34
(see No. 220), there are two States : ' ist, at the left upon the bank
we see the knife of sacrifice, and the cords for the victim ; 2nd, these
are erased.' I have never yet seen impressions with these acces
sories, or with the marks of their erasure. The finest impression of The
Hundred Guilder (there are six) is described as 'from the Cabinet of
the Burgomaster Six ; ' but this is not a sufficient clue, since Jan Six,
the friend of Rembrandt, may have been intended. There are three
States of The Prodigal Son, a dog appearing in the ist, etc. etc.
I strongly suspect that the greater part if not the whole of these
States are ' supercheries ; ' the impressions so tampered with must
have existed, but where are they all gone to ? I have indexed several
thousand impressions of Rembrandt's etchings or copies from them,
and yet I cannot find a record of any one of these so carefully
described. The collection may still be intact, and, if so, will possibly
some day appear in the sale room ; when it does, the representatives
of the artist who has invented these States will probably have reason
to regret the misdirected ingenuity which has deprived veritable
impressions of three-fourths of their value.

322 Appendix.

Though I have as yet been unable to obtain any particulars of the
private life of John Augustin Wttenboogaert (No. 1 38, p. 1 2 1 ), some in
teresting evidence exists of his liberal and judicious patronage of art and
artists, and of the large sums he expended in the purchase of rare and
precious drawings and engravings. Jean de Bisschop (J. Episcopius),
when publishing his ' Signorum Veterum Icones,' addressed the second
dedication ' Amplissimo Viro Joanni Augustino Uitenbogardo Ordi-
num Hollandise in territorio Amstelodamensi Qusestori ;' and one
part at least of the Receiver's extensive Collections is still preserved
intact. In the Museum of Amsterdam is his own portfolio of the .
works of Lucas van Leyden ; and with them a sheet of paper on which
is an inscription in a handwriting of his own time, literally as follows
(the division of the lines is marked by | ) : ' Quaecunque hoc libro
continentur | Lucas Leydensis Pictor et calcochraphus Hollandus |
delineavit ac schulpsit | et in unum hoc volumen I in seternam in-
comparabilis viri memoriam | summo studio ejt labore | nee non
minoribus expensis | per quinquaginta annos | Ioannes Wtenbogaerdt
| illustrium et prestentum dominorum ordinum Hollandife et West-
vrisias | Rei publicae Amstelodamensis publici yErarii Tribunus | Col-
legit ac digressit | ab | Anno 1630 usque ad annum 1680 | Natus
Anno 1494 obiit A0 1533 ^Etatis sua? 39.' In the University Library
at Cambridge existed a mysterious folio, seventeenth century in bind
ing and appearance, in which was a somewhat miscellaneous collection
of Rembrandt's etchings ; no inscription or private mark, though care
fully sought for, afforded any clue to the original owner. Can this
volume also have come from the Receiver ? and had its first resting
place on the Library shelves of the country house seen in The Gold-
weigher's Field?
Three parts or fasciculi make up the whole volume of the work
of Jan Bisschop as it is now found in the British Museum. The dedi
cation of the second part is given above ; the addresses prefixed to
the others, in Latin and in Dutch, are of no less interest to students of
Rembrandt. They are inscribed, the first to Huygens, the third to Jan
Six, and run as follows : ' Nobilissimo Viro Constantino Hugeni C. F.
Zeelhemi Toparchae;' the other entitled ' Paradigmata Graphices,'
etc, and dated 1671 — ' Amplissimo Viro JohanniSixUrbis Amstelo-da-
mensis Ex-Scabino'(in the Dutch, Out-Schepen der Stadt Amsterdam).

Appendix. 323

D.
The history* of the Denon Collection of the Etchings of Rembrandt
is sufficiently interesting to warrant a further notice.
It was formed in the first instance by Jan Petersz. Zoomer, who,
though a much younger man, has inscribed himself on the back of an
impression of the Hundred Guilder as one of Rembrandt's friends.
It is not improbable that this was written after Rembrandt's death.
An Old Dutch inscription, assuming to be in Zoomer's handwriting,
accompanied the Collection, in which he declares that it is complete,
and includes all the variations and retouches, that the impressions
are ofthe highest quality, and that to bring them together has been
the work of many years. The Collection next passed into the hands
of the Zanetti family at Venice, with whose descendants it remained
until 1 791, when, enshrined in three superb folios, bound in morocco
and doubly gilt, two bearing the impress Nom de yisus, the third
that of Le grand Aigle, it became part of the artistic treasure amassed
by the Baron Denon. Denon died in 1826, and in the following
year these volumes were offered for sale (the catalogue compiled by
Duchesne), but withdrawn. In 1829 Samuel Woodburn entered into
negotiations with the Baron's executors, and finally obtained the
three volumes entire for 40,000 francs. They were brought to
England, and first opened in the presence of Sir Thomas Lawrence
and Mr. Thomas Wilson, who lost no time in securing some of their
contents. The rest, and by far the larger part, were disposed of by
Woodburn, enriching the cabinets of the liberal amateurs of the day.
The destination of the more important prints is known ; and I
am not entirely without hope, that most of the others may yet be
traced ; my researches so far have tended to confirm the opinion, else
where expressed, that the variations which mark the later States of
Rembrandt's etchings are in the majority of instances the work of
other and of inferior hands.

325

BIBLIOGRAPHY.
A LIST OF THE CHIEF WORKS CONSULTED,
SOME OF WHICH ARE REFERRED TO IN THE FOREGOING PAGES.

The Catalogues of Rembrandt's Prints are placed first, in the order
of their appearance.

i. Gersaint. ' Catalogue raisonne", etc' Paris, 175 1. 8vo.
2. Gersaint. The same translated into English. Published by T.
Jefferys. London, 1752. Sm. 8vo.
3. Pierre Yver. 'Supplement au Catalogue raisonne"' de M.M.
Gersaint, Helle et Glomy. Amsterdam, 1756. 8vo.
4. Daulby (Daniel). ' A Descriptive Catalogue, etc' Liverpool,
1796. 8vo. It also appeared as a large paper copy. 4to.
5. Bartsch (Adam). 'Catalogue raisonne", etc' Vienna, 1797. 8vo.
It is certain that Bartsch had not seen the Catalogue of
Daulby before publishing his own ; these distinguished
amateurs had not communicated, or known that they were
engaged on a similar work.
6. De Claussin (Le Chevalier). ' Catalogue raisonne".' Paris, 1824.
8vo. Supplement au meme, par le meme. Paris 1828. 8vo.
7. Wilson (Thomas). ' A Descriptive Catalogue of the Works of
Rembrandt.' ' By an amateur.' London 1836. 8vo.
8. Blanc (Charles). 'L'QCuvre complet de Rembrandt, orne de
bois grave's et de quarante eaux-fortes, etc' Paris, 1859-64.
2 vols. 8vo.
9. Blanc (Charles). 'L'GEuvre complet de Rembrandt, orne" de
quarante eaux-fortes de Flameng et de trent-cinq heliogra
vures d'Amand Durand.' Paris, 1873. 2 vols. 4to.
10. Basan (S.) and Watelet. ' Recueil de quatre-vingt-cinq estampes
originales dessinees et gravees par Rembrandt.' Paris, 1785.
Fol.

326 Rembrandt's Etchings.
11. Blanc (Charles). 'L'OZuvre de Rembrandt par la photographie
decrit et commente.' Paris, 1853-7. Fol.
12. Bryan (Michael). 'A Biographical and Critical Dictionary, etc'
New edition, revised. by George Stanley. London, 1865.
2 vols. 8vo.
13. Burger (W) [Thore"]. 'Etudes sur les peintres Hollandais, etc'
Brussels, i860. 8vo.
14. Burnet (John). ' Practical Treatise on the Art of Painting.'
London, 1827. 4to.
15. Burnet (John). 'Rembrandt and his Works.' London 1849. Fol.
16. Cundall (Joseph). ' The Life and Genius of Rembrandt, with
thirty Photographs.' London, 1868. 4to.
1 7. Deuchar (David). ' Collection of the most Eminent Masters of
the Dutch and Flemish Schools, etc' Edinburgh, 1803. Fol.
18. Dibdin (T. Frognall). ' Bibliographical Decameron.' London,
1 81 7. 3 vols. 8vo.
i8a. Dumesnil (M. J.) 'Histoire des plus celebres Amateurs,' etc.
Paris, 1858. 5 vols. 8vo.
19. Eckhoff(M. W.) ' La Femme de Rembrandt' 1862. 8vo.
20. Fromentin (Eugene). ' Les Maitres d'autrefois ; Belgique, Hol
lande.' Paris, 1876. 8vo.
21. Haden (F. Seymour). ' Introductory Remarks to the Catalogue
of the Etched Work of Rembrandt, selected for Exhibition
at the Burlington Fine Arts Club.' London, 1877. 4to.
(Privately printed, the Catalogue drawn up for the Committee
by tlie Rev. C. H. Middleton.)
22. Hamerton (P. G.) ' Etching and Etchers.' London, 1868. 8vo.
23. Hamerton (P. G.) 'The Etcher's Handbook.' London, 187 1.
i2mo.
24. Havard (H.) 'La Hollande pittoresque : Voyage aux villes
mortes,' etc. Paris, 1874. 8vo. ; and 'La Hollande . . .,'
etc. ' Les frontieres menacees,' etc. 72.1874.
25. Humphreys (H. Noel). ' Rembrandt's Etchings Illustrated.'
London, 1871. Fol.
26. Immerzeel (J.) ' De Levens en Werken der Hollandsche en
Vlamsche Kunstchilders, etc' Amsterdam, 1842-3. 8vo.
27. Kramm (Christian). 'De Levens en Werken, etc' Amsterdam,
i860. 8vo.

Bibliography. 327
28. Lalanne (M.) ' Traite" de la Gravure a l'Eau-forte.' Paris, 1866.
8vo.
29. Mariette (P. J.) ' Abecedario de P. J. Mariette, et autres notes
ine"dites de cet amateur sur les Arts, etc' Paris, 185 1-3.
6 vols. 8vo.
30. Maberly (Rev. F.) 'The Print Collector, etc' London, 1848.
Sm. 4to.
31. Middleton (Rev. C. H.) ' Notes on the Etched Work of Rem
brandt, with special reference to the Collection in the
Gallery of the Burlington Fine Arts Club.' London, 1877.
4to. (Reprinted by permission from the ' Academy.')
32. Nagler (G K.) 'Leben und Werke des Malers und Radirers
Rembrandt van Rijn.' The Hague, 1843. 2 v°ls- 8vo.
33. Nieuwenhuys (C. J.) ' Review of the Lives and Work of some
of the most eminent Painters.' London, 1834. 8vo.
34. Novelli (F.) 'Album di Quarantuna Incisioni del celebre
Rembrandt ritagliate.' Venice, 1844. Fol.
35. Scheltema (P). 'Rembrandt: Discours sur sa Vie, etc., traduit
par A. Willems. Revu et annote" par W. Burger. ' Brussels,
1859. 8vo. A second ed. Paris, 1866. 8vo.
36. Vosmaer (Charles). ' Rembrandt Harmensz van Ryn, ses Pre"-
curseurs et ses Annees d'Apprentissage.' La Haye, 1863. 8vo.
' Rembrandt Harmensz van Ryn : sa Vie et ses CEuvres.' La
Haye, 1868. 8vo.
37. Vosmaer (Charles). Seconde Edition, entierement refondue et
augmented. La Haye, 1877. Large 8 vo. The vols, of 1863
and 1868 are both comprised in this edition.
38. Waagen (Dr. G. F.) 'Treasures of Art in Great Britain.' (Parts
VII. VIII.) London, 1854-7. 8vo.
39. Waagen (Dr. G. F.) ' Handbook of Painting' Part II. The
German, Flemish, and Dutch Schools. London i860. 8vo.
40. Weigel (Rudolph). ' Holzschnitte Beriihmter Meister in treueu
Copien.' Leipzig, 185 1-4. Fol.
41. Willshire (W. Hughes, M.D.) ' An Introduction to the Study
and Collection of Ancient Prints.' London, 1874. 8vo. A
new and revised edition. 1877. 8vo. 2 vols.
42. Zani (Abbate P.) ' Enciclopedia metodica criticoragionata delle
Belle Arti.' Parma, 1817-25. 28 vols. 8 vo.

INDEX.

ABRAHAM A.
Abraham with his Son Isaac, 321
Adverse Fortune, 182, 196
Albertina, 67 note
Altdorfer, xxv
Amstel, Cornelis Ploos van [born
at Amsterdam, 1732. Bryan gives
a list of his plates executed in
imitation of the drawings of the
most celebrated Dutch Masters.
Bibl. xii.], 94, 220
Amsterdam. The nucleus of the Rem
brandt Collection, which now numbers
rather more than one thousand pieces,
was brought to Amsterdam, in 1816,
from the Royal Library at the Hague.
It has since been enriched by the
addition of many fine prints from the
Collections of De Fries, Josi, and the
Baron Verstolk de Soelen, and others.
It contains some of the rarest of the
master's works, and is only second to
the superb collection in the British
Museum
Andreosy Sale, 286, 288
Andrew's Coll. [Andrews was a print
dealer whose stock-in-trade was dis
persed after his death. The sale
took place Nov. 11, 1814, and
three following days], 94
Angel appearing to the Shepherds, 321
Angel, Philip, 1
Arenberg, Due d', Coll. 131, 166, 245
Artist drawing from a Model, 139,
267
Ashburton Coll. 160
Astley, Sir Edward, Bart., Coll.
[purchased entire from Arthur Pond ;

AYLESFORD
sold at Sir Edward's death by Lang-
ford of Covent Garden, March 1760,
and 'eighteen following evenings,
Sundays and Easter holidays ex
cepted.' The Rembrandt etchings
appeared, mostly in lots of from two
to eleven or twelve, towards the end
of each day's sale, and the prices
realised, though extremely low, were
on the whole rather above the
average obtained for the other
prints. The Hundred Guilder on
India, the impression now in M.
Eugene Dutuit's Collection, brought
2l/-]> 133. 214
Aylesford Coll. [One of the finest
collections of Rembrandt's etchings
was this, which, with great taste and
liberality, was formed by the late
Earl of Aylesford. His lordship's
MS. catalogue is preserved in the
British Museum, but a bare enumera
tion gives very little idea of the value
and rarity of the impressions which
it indexes. When in 1846 the col
lection was privately purchased by
Messrs. Woodburn, a selection of
sixteen of the finest passed into the
collection of Mr. R. S. Holford ;
among these were the ist State of
The Sabre Print, as it was called,
No. Ill; the 1st of The Great
Coppenol, No. 174 ; and the 2nd of
The Portrait of Jan Six, all of which
were contributed to the Rembrandt
Exhibition of 1877. Others passed
into the Hawkins Coll., and thence,
through the hands of Messrs. Col
naghi, to the portfolios of his Grace the

53°

Index.

BAILLIE
Duke of Buccleugh; others again were
secured by the Trustees of the British
Museum. Students will frequently
meet with the Aylesford stamp, a
coronet with the letter A. As a
general rule the prints upon which it
is impressed are fairly good, while
some are of the very highest merit ;
it is unlike, in this respect, to the
initials of Esdaile and the marks of
some more recent collectors, which are
often no evidence at all of the value,
intrinsic or otherwise, of the impres
sions they defeature rather than dis
tinguish], 94, 133, 139, 214, 232

B.

Baillie, William [born 1723, near
Carlow; died Dec. 1810. At one time
a captain in the 1 7th Light Dragoons ;
an amateur engraver and etcher. One
hundred and thirteen ' engravings after
pictures and drawings in the Earl of
Bute's and various other collections,
by Captain William Baillie,' were
issued by Messrs. Boydell, 2 vols.
1803], 120, 213, 215, 216, 225, 291,
299, 315
Baring, Sir Thomas, Bart, [his
collection of etchings and engravings
formed a five days' sale at Christie's,
May, 1831. The Rembrandts, many
of which were of very high quality,
numbered 129, and realised 628/.],
143
Barnard, John [this amateur formed
a very extensive and rich collec
tion of prints and books of prints
which, after his death in 1797, were
sold by T. Philipe, April-May 1798.
The Rembrandts numbered 435, and
appeared towards the end of the
twenty-seven days' sale], 22, 143,
157, 160, 214, 311
Bartsch, Adam von [born at Vienna,
'737; died 1821 ; keeper of the

BERINGHEN
Royal Library at Vienna ; author of
the well-known Catalogue, Bibl. v ;
an etcher and engraver. Charles le
Blanc gives a list of 505 engravings
by him, chiefly after the Italian
masters. Le Blanc, i. 175L 118
Bas, James Philip le [born at Paris,
1708; died 1782], 176
Basan, Francis [born at Paris, 1723 ;
died 1 790 ; author and engraver ;
published ' Dictionnaire des Gra-
veurs,' Paris, 1767. Having become
possessed of many of Rembrandt's
original plates, he printed from them
and published 'Recueil de Quatre-
vingt-cinq Estampes originales dess.
et grav. par Rembrandt,' to which
he added thirty-five copies by him
self and Watelet of Rembrandt's
rarer etchings. The published price
was 96 livres. This volume is now
very rarely to be met with ; those
into whose hands it came having
found it more [profitable to sell the
prints from Rembrandt's plates sepa
rately. The plates became afterwards
the property of one Jean, a printseller
in Paris, and at his death were in
herited by his widow. La veuve
Jean seems to have made unscrupu
lous use of these plates, and many
impressions of later States, printed on
thickish modern paper with large mar
gins, or on paper of a slightly yellow
tone, without apparent watermarks,
in fine condition, and free from stains
of age and soiling, were issued from
her press], 40, 104, 115, 137, 144,
157. 159. I9i» 200, 256, [261, 273,
298, 310, 312, 317
Bause, John Frederick [bom at
Halle, 1737; died at Weimer, 1814.
A list of his engravings, mostly por
traits, will be found in Nagler], 133
Beham, Bartold, xxv
— Hans Sebald, xxv, 97
Bell, Thomas, Coll., 301
Berch, J. L. C. van den, 186
Beringhen, le Chevalier de [an

Index.

33i

BICKHAM
eminent French amateur, whose rich
collections were at his death acquired
for the Royal Library at Paris], 214
Bickham, George [the Elder. An
English engraver whose works are
dated from 1709 to 1752 ; they have
very little merit], 230, 275, 276
Bie, Cornelis, xxxviii
Bisschop, Jan de, 322
Bland, E., 93
Boetzel, 256
Boey, 161
Bol, Ferdinand [pupil of Rembrandt,
born 161 1; died 1681], xxviii, 38,
60, 90, 138, 139, 169, 171, 173, 182,
194, 1961 251, 253, 254, 269, 270
Bonus Ephraim, xx
Boortens, Marie, 273
Bosch, van der, 132
Both, Jan [the well-known painter,
etc.; bom 1610], 22, 116
Bretherton, James [a drawing master,
amateur etcher, and printseller of 134
New Bond Street ; he has left a few
indifferently executed original works,
but was more successful as a copyist.
His fine collection of etchings and
engravings by various masters formed
a five days' sale at Christie's, Jan.-
Feb. 1799], 25, 39, 40, 100, 114, 122,
188, 222, 285, 287, 290, 294, 304
Brightwell, Lucy [this lady was
living at Norwich in the early part of
this century. I can learn no par
ticulars of her history ; other etchings
besides these copies are occasionally
met with], 285, 286, 287
British Museum. The Rembrandt
Collection preserved in the Print
Room of the British Museum is with
out exception the finest and most
comprehensive in existence. In the
year 1799 the Rev. Clayton Mor-
daunt Cracherode bequeathed his
extensive and valuable library, to
gether with what Dibdin calls ' his
natural and artificial curiosities of
every description,' to the Museum.
The bequest was a truly noble

BURGY
one, and for some years the books
were arranged in a room by them
selves. His collection was par
ticularly rich in early coins and
gems ; it comprised also a large
number of drawings, engravings, and
etchings, many of them of the highest
value both for rarity and excellence.
Among these were the Rembrandts
which form so large and important a
part of the present collection. Since
the day when they were deposited in
the Museum many valuable additions
have been made, chiefly by purchase,
from the Howard, Harding, Aylesford
and other important Collections.
Brodhurst, Henry, Esq., Coll. 144,
149, 159, 288, 291, 294
Brondgeest Coll. 192
Brou, de, 131, 166, 245
Bruges, van, Coll. 121
Buccleugh, His Grace the Duke of,
Coll. 59, 98, 120, 127, 132, 143,
150, 158, 214, 232, 247
Buckingham, His Grace the Duke
of, Coll. [the collection sold by
Phillips of New Bond Street in 1834.
An eight days' sale in May, followed
by a ten days' sale in June. The
Rembrandt etchings, about 230, ap
peared on the 1 2th to the 15th days.
The final portion formed a twelve days'
sale in July ofthe same year], 258
Burger, W. 41
Burgy, Amade de, Coll. [the sale
took place at the Hague in June,
1755. The catalogue is in Dutch
with a French translation, and, as with
the Dumesnil, the translator was not
particularly happy in his rendering of
the original. Thus the Portrait of As
selyn, 1st State, is correctly described
as 'met den Ezel agterzig,' i.e. with
the easel behind him. Unluckily
the Dutch word ' ezel ' has two
meanings, and the translator, select
ing the wrong one, describes the State
' avec l'&ne derriere lui.' See Bibl.
VIII. ii. 29], 152, 204

332

Index

BURLINGTON
Burlington Fine Arts Club ; see
Rembrandt Exhibition of 1877.
Burnet, John [born at Edinburgh,
1784, Otley says 1781 ; died 1868 ;
author, painter and engraver, Bibl.
xiv. xv., etc.], 118, 152, 209, 234,
236, 238, 291, 294
Byron, Hon. and Rev. Richard
[brother of William, fifth Lord Byron;
died 181 1], 265, 286, 289, 290, 295,
296, 298, 299, 300, 303, 306, 307

C.
Cambridge Coll. The Rembrandt
Collection in the Fitzwilliam Museum
at Cambridge, though at present
somewhat deficient in the earlier
States of certain important prints, is a
very valuable and extensive one, and,
speaking generally, is in unusually
fine condition. It has been formed
from two large collections, the one
bequeathed to the University by the
late Viscount Fitzwilliam, and which
was, in Dibdin's time, believed to be
the most complete private collection
in England; the other acquired in
the early part of the 18th century for
the University Library. It was from
the latter collection that the dupli
cates, which appeared in Messrs.
Sotheby's sale room in the spring of
this year, 1878, were taken ; the
selection having been entrusted to
Professor Sidney Colvin (Slade Pro
fessor), assisted by G. W. Reid, Esq.,
Richard Fisher, Esq., and the author
of this Catalogue
Campbell, J. [an engraver of no par
ticular merit, working about the
middle ofthe 18th century], 299
Campion, Charles [Count de Tersan,
born 1744; died 1816; an amateur
French etcher and engraver. Bryan
(Bibl. xii.) gives a list of 19 plates
executed by him ; they have very
little merit], 181, 210, 248

CRACHERODE
Caracci, Annibal, 282
Carew, Rt. Hon. Reginald Pole [an
amateur of great taste and judgment.
He, dying in 1 834, left a very choice
collection of prints, selected chiefly
from the Barnard, Baring, Hibbert,
and Bute Collections, and from that
of John Chalon, etcher and amateur,
which had passed into the hands of
his son-in-law, Christian Josi. The
collection, containing 320 Rembrandt
prints, formed a three days' sale by
Wheatley, May, 1835], 70
Carpenter, W. H. [late Keeper of the
Prints in the British Museum], 80,
153, 172, 193
Cats, Jacob, 108, 109, 161
Chapman [an amateur of whom I know
nothing], 53
Cheney, Edward, Esq., Coll. 142,
153
Christ preaching to the People, 255> 320
chronological arrangement, xiii
Claussin, le Chevalier Joseph de
[author of the Catalogue Bibl. vi.
He etched about 200 plates after
Rembrandt, Paul Potter, Dujardin,
and others, chiefly of the Dutch
school], 26, 38, 69, 70, 71, 72, 76,
88, 90, 94, 95, 97, in, 115, 116,
135. 251, 258
Coach Landscape, 308, 319
Cochin, Charles Nicolas [the copyist
was the younger Cochin, born 1 71 5 ;
died about 1788-90. See Bryan
(Bibl. xii.) and Dumesnil (xviii. A.)],
188 *
Constanter, 161
Cooper, Richard [an engraver, work
ing about the years 1 750-60], 180,
197
copies, remarks upon, xii
Copse and Palings, 307
Cracherode Coll. [the Rev. Clayton
Mordaunt Cracherode, born 1729;
died 1 799 ; buried in Westminster
Abbey ; bequeathed his varied and
extensive collections to the British
Museum. Among these were many

Index.

333

CUMANO
most valuable prints, including not
only an extensive series of British
portraits, but a large proportion of
the finer Rembrandt etchings which
form the Museum Collection. For
an account ofthe robbery of a portion
of these etchings see Appendix A],
101, 182, 214, 289, 319
Cumano [I have been unable to find
any information whatever about this
amateur, but believe he worked about
the latter part of the eighteenth cen
tury], 25, 33, 55, 57, 64, 77, 79, 82,
83. 85, 92, 94, 112, II4, 115, 122,
129, 179, 250, 28l, 289, 291, 295,
299, 304

D.

Danckaerts or Danckerts, Justus
[probably the copyist was the Justus
Danckaerts who was born at Ant
werp in 1600. A family bearing this
name had long been known in Hol
land. There are some indifferently
executed etchings by John Danckerts],
42,5<5
— , C. [a member of the same family
as the above], 93
Death ofthe Virgin, 124
Decollation of St. John the Baptist,
258
Delff, 108
Denon, the Baron [see p. 119 note],
119, 178, 215. Appendix D
— the engraver [see p. 191 note],
75, 118, 119, 159, 169, 173, 201,
215, 238, 239, 241
Dent, St. John, Esq., Coll. 184, 291
Descamps, 217
Descent from the Cross, xxxi
Deuchar, David [etcher and seal
engraver (Bibl. xvii.)], 25, 27, 38,
39. 41, 5i. 57. 81, 83, 87, 114,
123, 131, 134, 167, 171, 180, 189,
203
Didot, Ambrose Firmin, Coll. [a very
well selected and comprehensive
series of Rembrandt etchings ap-

EASTLAKE

peared at the sale of this collection,
Nos. 718 to 1 1 13, in the spring of
1877], 260, 262
Dietrich, C. W. E. [probably the
well-known German artist of the 1 8th
cent.], 222
Dighton, 319, 320
Dou, Gherard [pupil of Rembrandt ;
born 1613 ; died 1674], xliii, 181,
197, 200, 210, 239, 258
Douce, Dance of Death, 257
drawing or pencil work upon Prints,
50, 53, 118, 119, 127, 142, 153, 178,
199, 227
drawings, in pen or pencil, by Rem
brandt, or attributed to him, xlix,
23. 37. 69, 97, 126, 133, 164, 174,
182, 197, 198, 203, 226, 246, 250,
265, 266, 267, 269, 280, 283, 286,
288, 296, 299
Driving out the Money Changers,
xxvii
Dumesnil, A. P. F. Robert— [the
collection of this amateur was sold by
Phillips, at 73 New Bond Street, in
1836. The Rembrandts were Lots
1 to 328 ; the catalogue was drawn
up by Benard. The prices realised
were singularly unequal. Thus a fine
impression on India of The Hundred
Guilder brought only 16/, ids., while
3. 1st State of Lazarus Klap reached
12/. I2.r. An absurd error appears
in the English translation of the
catalogue. The Portrait of the Young
Haring is described, ' La planche
entiere, avec4e tringle a la fenetre,'
rendered thus, ' Lot 256. Young
Haring, 2nd State, the plate being en
tire, with the triangle at thewindow'l,
125, 174
Diirer, Albrecht, xxv, 182, 190, 208,
217
Dutuit, M. Eugene, Coll. 118, 157,
203, 213, 214, 242, 272, 284, 302
E.
Eastlake, Lady, 191

334

Index.

ECCE
Ecce Homo, The, xxxi, 176
Eckhout, Gerbrand van [pupil of
Rembrandt; born 1610 (?) Of his
history little or nothing is known],
xxviii, 266
Elzheimer, 233
Emmerson, Thomas, Coll. [his col
lection soldat Christie's, 1829, 1832,
1837], 192
Errard [a copyist, unknown], 118, 173
Esdaile Coll. [Mr. William Esdaile's
collection of prints and drawings was
sold at Christie's in 1840. The Rem
brandt etchings, numbered from 605
to 884, appeared on the fourth and
fifth days. The impressions were of
very unequal merit. The gems of
the collection were 3. 1st State of The
Hundred Guilder, now in the cabinet
of Mr. R. S. Holford ; an extremely
fine Old Haring, and 1st States of
the Young Haring, and of Rembrandt
drawing. The collection known as
' The Lawrence drawings ' was sold
on June 17, 1840], 214, 309

F.
Faustus, 156
Fesch, Cardinal [the descriptive
catalogue of his gallery was drawn
up by George at Rome in 1841 ;
the catalogue for sale in 1844. In
the second part, page 210, is Lot 191-
89, Portrait de Justi Lipse ; it had
previously been described only as
No. 89, Portrait d'un grand mirite, il
est peint par Rembrand(\, 133
Fisher, Richard, Esq., Coll. 202,
213, 215, 239, 288
Flameng, Leopold, 216, 275
Flight into Egypt, after Elzheimer
(No. 236), 228, 320
Flight into Egypt (No. 184), 85
Flinck, Govaert [pupil of Rembrandt,
bom 16 1 5 ; he is not known as an
etcher ; died 1660], 108, 109, 184
Folkema, Jacob pjom at Dockum in

GOUDT
Friesland, 1692, best known as an
engraver of portraits and vignettes
for the booksellers ; was a pupil
with Picart; he died 1767], 258
Fransz, Abraham, 148
Frenzel Coll., 133
Fries, Count de, Coll. [this collection
passed into the hands of an English
dealer, W. Mellish; the drawings were
sold privately, the prints afterwards
appeared at an auction in 1824. The
signature of F. Rechberger is gene
rally found at the back of the prints
from this collection], 51

G.
Galichon, Emile, Coll. [the sale took
place in Paris in May, 1875, lasting
five days. The Rembrandt prints,
about eighty, were mostly of the
finest character], 126
Garle, Thomas, Coll. [This gentle
man's collection, especially rich in
Rembrandts and Ostades, was dis
posed of privately after his death in
1856], 294
Geddes, Andrew [bom at Edinburgh,
1789; died 1844; best known as a
portrait-painter ; he etched a few
plates, chiefly in dry point, after Rem
brandt and others, which show con
siderable ability ; good impressions
are, however, very rarely to be
found], xxix, 100.
Gersaint, T. B. [author of the Cata
logue, Bibl. i. I know of no etching
by him except these copies], III,
118
Gideon, Sir S., 214
Goldweigher, The, 218. Appendix C
Goll, T. D., Coll. [I have been un
able to find any catalogue of his
prints ; his sale of medals and coins
took place May, 1 794. He prob
ably disposed of his prints, etc., pri
vately], 192
Goudt, Count de, 233

Index.

335

GREEN
Green, Valentine [born 1739; died
1813 ; engraver in mezzotint], 33
Griffiths, the Rev. John, D.D.,
Warden of Wadham College,
Oxford, Coll., 151, 213, 215
grisaille, 191 note
Grosvenor Gallery, 198
Grotius, Hugo, 98
Gutch, van der [this name occasion
ally appears at the back of a print as
that of a collector. His sale, a very
miscellaneous one, took place at
Christie's, April 20, 1769, extending
over four days. The lots are most
absurdly confused; thus among others
are ' a perspective machine and a
spirit level,' and a little further on
' Sixteen landscapes, etc. by Rem
brandt '], 217 H.
Haarlem. The Rembrandts in the
Teyler Museum at Haarlem form
part of a munificent gift of works of
art, etc. made to his native town by
j the late Mr. Teyler. As will be seen
from the continual reference made to
it, it is a very extensive collection,
and the prints are mostly in fine
condition j-i
Haden, T. Seymour, Esq., Coll.
114, 203, 286
Haid, John Elias [engraver in mezzo
tint ; born 1 7 14. His work after
Rembrandt is principally contained
in a large and very rare volume,
published about 1 780, and inscribed
'T. Elie Haid, a. Ausbourg'], 90,
179, 221
Hall, Chambers, Coll. [many of this
gentleman's prints and drawings
were given to the British Museum :
his fine collection of Rembrandts
form the greater part of the Oxford
Collection], 70
Old Haring, The, 156
Harman, Jeremiah, Coll. [The Ecce
Homo appeared (Lot 92) on the

HOWARD
second day of the sale, May 18,
1844], 192
Harman van Rhyn, 72, 78
Hazard, James [an English amateur
engraver, settled at Brussels, where
he died in 1787. His copies after
Van Vliet are more successful than
his imitations of Rembrandt], 114,
121, 261, 290
heliogravure process, 135
Herbert, Sir Thomas, Travels of,
221
Hertel, George Leopold, 95, 193,
234. 269
— John George [there is some reason
for believing that this and the pre
ceding were the same person.
He was a designer and copperplate
engraver, living at Ausburg in the
earlier part of the 1 8th century, but
is now best known as a copyist of
Rembrandt], 125, 176, 185
Hess, Carl [bom at Darmstadt, 1755 ;
died 1828], 176
Hibbert, George, M.P. [his collec
tion sold by Philipe, Warwick Street,
Golden Square, April 1809 ; a fifteen
days' sale. The Rembrandts, num
bering 288, appeared on the last
three days], 70, 160, 214, 258
Holford, R. S. Esq., Coll., 53, 94,
132, 135. 136, 138, 139. 153. 158,
213, 214, 269, 293, 301, 305, 306
Hollar, Wenceslaus [the well-known
engraver, bom 1607; died 1677], 88,
116, 250
Hollard [nothing is known of this
amateur], 97
Hoogstraten, Samuel van [pupil of
Rembrandt, bom 1627 ; died 1678],
xxxix, 108
Houbraken, Arnold [pupil of Hoog
straaten, born 1660 ; died — ? painter
and author], xviii, xxxix, 147
Houston, Richard [the well-known
mezzotint engraver], 137
Howard, Hugh [a large part of the
collection formed by this amateur
was brought together early in the 18th

336

Index.

HUDSON
century, and comprised many rare
engravings and drawings from the
portfolios of the Earl of Arundel and
Sir Peter Lely. Some of its choicest
treasures were disposed of privately,
and so do not appear in the catalogue
of the sale at Sotheby's, Nov. 1874],
126, 133, 288
Hudson, Thomas [portrait-painter,
born 1701], 214
Hume, Sir Abraham, Bart, [the
greater portion of this collection was
purchased from the Aylesford, Astley,
Barnard, De Claussin, Hibbert, Josi,
Mariette, Pole Carew, Woodhouse,
and Worlidge Collections ; it com
prised 224 Rembrandt etchings, and
was sold at Messrs. Christie's, June,
1876], 275, 298
Hundred Guilder, The, xxxi, xxxiii,
13, 89, 218, 320, 321
J-
Jacob and Laban, 212
James, Rev. Burleigh, Coll. [this
extensive Collection appeared at
Sotheby's, May 1877], 293
Jean, the Widow ; see Basan, 256,
261, 273
Jerome, St. (No. 190), 170, 191, 254
— (No. 183), 182
Jonckers, 97
Josi, Christian, Coll. [his prints, etc.
sold after his death, in 1829, at
Christie's ; a nine days' sale. The
prices realised were singularly un
equal: ' a most brilliant impression' of
The Three Trees brought 12/., while
the Hay Wagon R. 24 realised 12/.,
and a still inferior Landscape (see
Daulby's Sup. p. 336, No. 3), 19/.
Josi's son was at one time Keeper of
the Prints in the British Museum],
88, 90, 132. 193

K.

Kaiser, 118

LEWIS
Kellen, J. Ph. van der, ColL [a
varied and extensive Collection, sold
at Amsterdam, January, 1878 ; the
Rembrandts were Nos. 1322101382],
157
Knight, Payne, 299
Knowles, Coll. 304
Koninck, Philip [pupil of Rembrandt,
born 1636; died 1687], xxviii. 308,
etc.
— Solomon [born 1609. Followed
the manner of Rembrandt, but was
not one of his pupils], 312 note
Kussel, 179

L.
Laing, David, Esq., 221
Lanckrinck, Prosper Henry [bom
1628; died 1692; Page of Honour
to Charles II. ; see Walpole's
' Anecdotes of Painting, ' vol. ii. p.
483], 306
Landscape, Early Morning Effect (No.
3°3). 258
Lastman, xliii, 106, 179
Lawrence, Sir Thos., Coll. [first
passed to Samuel Woodburn ; was
sold at Christie's in i860], 301, 323
Lazarus Klap, 27
Lecompte, Marguerite [of this artist
I can learn nothing, unless she was a
sister of Henrietta Lecorripte, bom
in Paris 1830], 304
Leeuwen, Simon van, xxxix
Le Gros [an amateur painter and
etcher, working at Vienna towards
the close of the 18th century], 81,
86, 102, 123
Lesson in Anatomy, 209
Le Sueur, Nicolas [born 1690 ; died
1 764. A French engraver ; son of
Peter Le Sueur, known as an en
graver on wood], 122
Lewis, T. F. [I can find no notice of
this amateur; he must not be con
founded with the well-known painter
I. F. Lewis], 181, 186

Index.

337

LEVDEN
Leyden, van, Coll. [dispersed at
Amsterdam, September, 1 804], 22, 153
Lievens, Jan, xiii note, 28, 32, 58,
62, 105, etc  136, 177, 194, 203
Linton, J. [an English portrait-painter
temp. William III.], 95
Liphart, Dr. Karl Edward von [his
extensive Collection was dispersed at
Leipzig, in December 1876 ; it con
tained 228 etchings by Rembrandt],
134
Longhi, Giuseppe [see Bryan], 207
Lutma, 89, 156
— the younger, 154

M.
Maberly, Rev. Joseph, Coll. [amateur
and author, Bibl. xxx. His collec
tion, sold at Sotheby's, in 1851, con
tained some fine impressions of Rem
brandt's work], 301
' maculature,' 213
Malbeste, 193
Malcolm, John, of Poltallock, Esq.,
250, 308
Man lifting his Hand to his Cap, 223
Mander, van, xxxviii
Marc Antonio, xxv, 214, 217
Marcus [a dealer in prints at the close
of the last century], 33
Mariette, P., xxiii, 59, 172, 185
— P. J. [his collection was sold in
Paris, in 1775. A large part of
it found its way to England, and
was offered, at prices affixed, at the
Magazin des Estampes in Cockspur
Street, April, 1776. The prices are
curiously low : thus for a fine
Hundred Guilder, 5/. 5s.; 'The little
Jew Bride, very fine and rare, Is. 6d.;'
' The little Tomb, a fine print, Is. 6d. ; '
while for ' The Passion of Christ, by
Van Uliet, 2/. 2s.' Bibl. xxix]
Marshall, Julian, Esq., Coll. [sold
by Sotheby, June 30. 1864; a
twelve days' sale. The Rembrandts
appeared on the tenth day, Nos.

NOVELLI
1569-1634; though few, the impres
sions were very choice, and mostly in
the earlier States], 217
Marvy, Lewis, 291
Master of 1480, viii
measurement of prints, xi
Mercatus [I assume this to be the
same person as Giovanni Batista
Mercati, a Florentine painter and
engraver, but I am unable to find
the copy after Rembrandt to compare
with the known work of this artist],
176
Meyssens, 107
mezzotint, xxix
Miens, Fransz, 197
Mireveldt, 108
Mitchell, William, Esq., 198
monogram of Rembrandt, xvii
Morley, W. [an amateur etcher of
great promise, but of whose other work
or history I know nothing], 159, 271
Morrison, Alfred, Esq., 159

N.
Night Watch, The, xxxii
Norblin, Jean Pierre [bom at Monte
reau, 1745 ; died at Paris, 1830; a
painter and copperplate engraver ;
much of his work is curious from its
minuteness and delicacy of execution;
many of his plates are less than 1 in.
in height; one even is -014 — '009, or
less than ^ by ^ in. Engl. The
most complete collection is probably
that in the Bibliotheque at Paris],
222
Novelli, Francisco [bom at Venice,
1767; died 1836; chiefly known to
us as a copyist of Rembrandt ; part
of his work was issued in one volume.
Bibl. xxxiv.], 22, 27, 34, 55, 70, 86,
IOO, III, XI2, 114, 118, 128, 137,
144, 149, 152, 165, 166, 167, 171,
173, 188, 197, 209, 210, 211, 220,
236, 239, 246, 253, 256, 265, 271,
274, 291

338

Index.

ORIENTAL o.
Oriental Heads, 40, 109
Orlers, xxxviii, xl
Overlaet, Anton [of Antwerp ; an
engraver who has left some original
works as well as copies after Rem
brandt, Ostade, etc. ; the date of his
birth is not known, but on his plates
we find the dates 1760 and 1761],
41, 122
Oxford. The Oxford Collection of
Rembrandt's etchings forms a part of
a. noble bequest of prints and draw
ings made to the University by the
late Chambers HaU, Esq. Though
containing many fine impressions, it
is far from complete, and is in fact
the smallest of the six Public Collec
tions to which reference is made in
this Catalogue

painting or grisaille, 33, 40, 84, 99,
136, 191, 198, 207, 233
Palmer, C. J. [this collection formed
a five days' sale at Sotheby's, May
1868. It contained among other
Rembrandt etchings of the highest
class not only a 1st, but two impres
sions of the 2nd State of the Hundred
Guilder], 215
Paris. For an admirable and most
interesting account of the magnificent
collections of prints in the National
Library at Paris, the student should
consult a small volume entitled, ' Le
Departement des Estampes a la Bib
liotheque Nationale, par le V" Henri
Delaborde.' Paris, 1875.
Peters, 43, 92, 118, 223
photogravure, 153
Pinas, Jacob, xliii
Ploos van Amstel ; see Amstel
Pole Carew ; see Carew
Pond, Arthur [painter and engraver ;
see Bryan], 214

RESURRECTION
Poorter, Willem de [a pupil of Rem
brandt of whom little is known.
Vosmaer mentions paintings by him
at Brunswick and Dresden ; there is
one, of very little merit, in the Boy-
man's Gallery at Rotterdam ; I know
of no others ; four or five appear
in the sale catalogue of Nicholas van
Suchtelen of Hoorn, April 1715, but
this is the only catalogue in which I
have found his name], xxviii, 309,
313. 314
Posonije, Coll. [sold in Paris, 1867],
304
Prester John (Herbert's Travels),
221
Price, Sir Charles R. [only two
Rembrandts appeared in his three
days' sale, February, 1867 : The
Hundred Guilder, and a fine im
pression of The Three Trees'], 215
Prodigal Son, The, xxxi, 321

Questiers, 161

Q-

R.

Rembrandt, date of birth, xl
Rembrandt Exhibition at the Bur
lington Fine Arts Club, 1877, xiv,
53. 72. 94. "4. 12°> r33> 135. 136.
138, 142, 144, 149, 151, 153, 157.
158, 159, 184, 202, 203, 207, 213,
239, 269, 284, 286, 288, 291, 293,
301, 305. 306
Rembrandt and his Wife, 321
Rembrandt in a Mezetin Cap, 321
Renesse, C. A. [a pupil of Rembrandt,
of whom nothing is known except
what may be gathered from his
works, in which he ably imitates the
master : he flourished about 1649-
1669], 87
Resurrection of Lazarus ; the larger
print, 181

Index.

339

RESURRECTION
Resurrection of Lazarus ; the smaller
print, 190, 220
Ridder, Jan [probably an amateur ;
I knoyv nothing beyond his name],
189
Robert, Coll., 206
Rodermont [a disciple, though pro
bably not a pupil, of Rembrandt ;
flourished about 1640], 173
Rosey, du, Coll. 146
Rubens, 106, 125, 262
RusseU, William, Esq., xiii note.

Sandrart, xviii, xxxix ; see Bryan
Sardi (see Nagler), 38, 219, 294
Saskia, xliii
Savry, Solomon, 97, 108, 126, 173,
182, 195, 253
— Sebastian [probably an error for
Solomon], 193
Scheltema, 118
Schmidt, George Frederic [bom at
Berlin, 1712; died 1775 ; wasapupil
at Paris of Nicholas Larmessin. His
engraved works amount to about 200
pieces. In 1762, when he had re
turned to Berlin, he began his imi
tations of the style of Rembrandt],
94, 108, 122
Schongauer, viii
Schooten, J oris van, xiii note.
Schurmann, 161
Seghers, Hercules [born 1625 ; died
1679. Though we do not know him
to have been a pupil, he, to a certain
extent, showed himself a disciple of
Rembrandt], 232, 233
Serrati, le Cavalier [a collector living
at Florence, whose prints after his
death in 1816 were sold by Stanley.
The Rembrandt etchings appeared
on the third and fourth of the six
days' sale], 253, 274
Seymour, H. Danby, Esq. (the late),
72
Six van Hillegom, Mr. J. P., 136,
137. 198

UYTENBOGAERD
Six's Bridge, xviii
Six, Jan, Portrait of, 218, 322
— Willem, Coll., 191, 301
Sloane, Hans, Coll., 214
Smith, John and George [George
known as Smith of Chichester, born
1714; died 1776. Both were painters,
but probably George was the etcher],
103
— Mr. William (the late), 160,
161
— W. J. [an amateur who has
not, I believe, left any other work
than these copies described], 66, 67,
68, 164, 167, 168, 196, 205
states, definition of, xi, xii
— not always created by Rem
brandt, xx, xxiii
Suermondt Coll., 164, 165
Sueur; see Le Sueur
Suhrland, 186
Surugue, 207
Swanenburch, J. I. van, xiii note.
— N., xiii note.

Thane, John [his stock in trade after
his death in 1819 formed two sales
of ten and twelve days. He is re
puted to have been very clever and
very unscrupulous in 'restoring'
prints], ioi, 118
Tholinx, 218
Three Cottages, The, xx
Three Crosses, The, xxi
Tiffin, William, 132, 220, 233. Ap
pendix B
Titus van Rhyn, 146, 156
Tobit blind, 267
Tonneman, 218
Travelling Musicians, 223
Trible, 122 U.
Unger, 91
Uytenbogaerd, the minister, 44, 95

34°

Index.

VAN V.
Van der Velde, Jan, 173, 277
Van Vliet, Jan, xiii, 25, 30, 41, 53,
62, 78, 84, 100, 167, 171, 177, 179,
180, 181, 250, 251
Venci, de, Coll., 207
Verstolk de Soelen, Jean Gisbert.
Baron V. de S., ministre d'Etat,
etc. [The collection of drawings and
engravings formed by the late Baron
Verstolk de Soelen was, if not the
most extensive, certainly the finest
and most comprehensive collection
which has ever appeared in the
auction room. The drawings were
dispersed in March, 1847. The en
gravings, etc. arranged in the Dutch,
German, Italian, French and Eng
lish schools, and numbering 2,704,
were sold in June and July. The
Rembrandts, in 815 lots, were
brought forward in October, realis
ing the hardly adequate sum of
3,832/. ; the 'School of Rembrandt,'
comprising 341 pieces, was sold
entire for 433/.], 36, 51, 70, 174,
215, 227, 250, 294
Visscher, 160, 161, 253
Vista, The, 147
Vivares, Francis [born 1712; died
1782. A French engraver, but
domiciled in England ; best known
for his engravings after Claude Lor
raine], 45, 100, 270, 286, 294, 300,
303. 3". 313. 3^7. 3i8
Vondel, li
Voz, de [it is not known to which
artist of this name these copies
should be attributed], 191, 277
Voz, Mr. de, Coll., 37

W.
Watelet, Claude Henry [born in
Paris, 1 7 1 8 ; succeeded his father as
Receiver General of Finance ; an

WILSON
amateur engraver and writer on art
(see ' Dictionnaire des Arts de Pein-
ture, Sculpture et Gravure,' Paris,
1792); he engraved about 100
plates], 35, 166, 171, 261
Weber, Mons., of Bonn, 187
Webster, John, Esq., 120, 160, 207,
281
Weth, J. de, [a disciple if not a pupil
of Rembrandt], 179
White Mooress, HO
William, Prince of Orange, 108,
109, 129
Wilson, Benjamin [bom at Leeds,
1720; died 1788. Portrait-painter,
mezzotint engraver and etcher. His
work in imitation of Rembrandt was
at the time considered very decep
tive. An impression from one of his
plates is occasionally met with, on
which is inscribed, ' A proof print
from this plate, designed and etched
by B. Wilson, was sold as a verry
(sic) fine Rembrandt to one of the
greatest connoisseurs for six shillings,
the 17th April, 175 1.' An early
impression of a fancy portrait of a
man in a broad-brimmed hat, in
scribed in the upper right Rem
brandt f. 1638 was even more suc
cessful, having been sold for two
guineas], xxix
Wilson, Richard [bom in Wales, 17 14,
one of the founders, and the Li
brarian of the Royal Academy ; died
1782], 306, 307
Wilson, Thomas, Coll. [Thomas
Wilson, author of the Descriptive
Catalogue (Bibl. vii.), formed asmall,
but, as might be supposed, a very
choice collection of Rembrandt's
etchings, numbering about 133. They
were dispersed at his sale in 1830, and
the finer, if not the larger, part is now
in the Collection of His Grace the
Duke of Buccleugh. Wilson's whole
collection of prints and engravings
realised about 14, poo/.], 232, 301, 320,
323

Index.

341

WOODBURN
Woodburn, Samuel [his sale took
place at Christie's in 1854: the Rem
brandt etchings on June Sth and
ioth ; the Rembrandt drawings,
among which was the Anslo (p. 126),
on the 26th], 174, 198, 215, 319,
323
Worlidge, Thomas [born 1700 ; por
trait-painter and engraver ; his en
gravings of gems after the antique
are of greater merit than his copies
after Rembrandt. He died at Bath,
1 766 or -8. Among other copies is
one of The Portrait of Jan Six ; it is
a most indifferent copy, but is inter
esting because the features are not
imitated from the original, but are
those of Worlidge's patron and
friend, Sir Edward Astley], 33, 83,
98, 109, 118, 137. 197. 216

ZOOMER z.
Zande, F. van der, Coll. [the Rem
brandt etchings, Lots 2168 to 2302,
formed a very fine and comprehen
sive collection. Among the draw
ings was Lot 3042, ' a study of two
figures, of which one is the first
thought for the sick woman in The
Hundred Guilder'], 189, 204
Zanetti, Antoine Marie [descendant
and representative of a noble Vene
tian family, one of whom had, about
the year 1680-90, purchased the
Rembrandt Collection of Jan Petersz
Zoomer of Amsterdam], 178, 214.
Appendix D
Zoomer, Jan Petersz [a print dealer,
amateur and artist of Amsterdam ;
bom 1 641], 214, 217. Appendix D

LONDON ! PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET

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J^.tS. I*a*d.l*t Sfcfe o^wo. 32q

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