initial commit of ebook 30895HEADmain

1 files changed, 1714 insertions, 0 deletions

diff --git a/30895-8.txt b/30895-8.txt
new file mode 100644
index 0000000..8d415fc
--- /dev/null
+++ b/30895-8.txt
@@ -0,0 +1,1714 @@
+The Project Gutenberg EBook of Rembrandt and His Etchings by Louis Arthur
+Holman
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Rembrandt and His Etchings
+
+
+Author: Louis Arthur Holman
+
+Release Date: January 8, 2010 [Ebook #30895]
+
+Language: English
+
+Character set encoding: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS ETCHINGS
+***
+
+
+
+
+
+              [No. 168.   Rembrandt Leaning on a Stone Sill]
+
+              _No. 168.   Rembrandt Leaning on a Stone Sill_
+
+
+
+
+
+Rembrandt and His Etchings
+
+A Compact Record of the Artist's Life, his Work and his Time.  With the
+Complete Chronological List of his Etchings Compiled by A. M. Hind, of the
+British Museum
+
+
+Louis A. Holman
+
+
+
+Charles E. Goodspeed & Co., Boston
+1921
+
+
+
+
+
+CONTENTS
+
+
+REMBRANDT AND HIS ETCHINGS
+COMPLETE CHRONOLOGICAL LIST OF THE ETCHINGS OF REMBRANDT
+   LIST OF THE REJECTED ETCHINGS
+
+
+
+
+
+ILLUSTRATIONS
+
+
+_No. 168.   Rembrandt Leaning on a Stone Sill_
+_No. 116. Two Tramps._
+_No. 1. Rembrandt's Mother._
+_No. 210. Omval._
+_No. 290.  Jan Lutma, Goldsmith and Sculptor._
+_No. 183. Jacob and Laban (?)._
+_No. 228. Jan Six._
+_Tobias and the Angel. By Hercules Seghers_
+_(No. 266). The Flight into Egypt._
+_No. 129. Old Woman Sleeping._
+
+
+
+
+
+
+REMBRANDT AND HIS ETCHINGS
+
+
+                          [No. 116. Two Tramps.]
+
+                          _No. 116. Two Tramps._
+
+
+"A fair & bewtiful citie, and of sweete situation" and famous for "ye
+universitie wherwith it is adorned;" such was Leyden as the fresh eyes of
+the youthful William Bradford saw it when the little company of English
+exiles, later revered as the Pilgrim Fathers, sought asylum in Holland.
+The fame of Leyden was to be further perpetuated, although Bradford knew
+it not, by one who had but just been born there when the English pilgrims
+came to the friendly university town; one who has added to the fame of his
+native place chiefly because he did not attend that university, which
+seemed so attractive to young Bradford.  The father of this boy determined
+that he should have a collegiate education that he might sometime hold a
+town office, and fondly hoped that he was preparing him for it (in,
+perhaps, the very schools attended by the English children), when the lad
+made it clear to all men that he had no head for Latin and a very decided
+talent for drawing.  So it came to pass that at the time Bradford and his
+friends set their faces toward America, and per-force turned their backs
+upon that "goodly & pleasante citie which had been ther resting place near
+twelve years," Rembrandt Harmens van Rijn, the youngest son of a miller of
+Leyden, turned his face, too, from the old toward the new.  They sought
+liberty to live and to worship according to the bright light in their
+hearts: he, too, sought liberty to follow in a no less divinely appointed
+path, impelled thereto by an irresistible force which, after half a
+century, retained all its early vigor.  They broke from the ways of their
+fathers and bore an important part in the development of the great
+American nation; he emancipated himself and his art from the thraldom of
+tradition and conventionality and became the first of the great modern
+masters of art.
+
+The twelve-years' truce between the humiliated Dons and the stocky
+Dutchmen was now nearing its end, and Bradford says, "There was nothing
+but beating of drumes, and preparing for warr." This was one of the
+reasons why the peaceable Pilgrims sought a new home beyond the sea.  But
+Rembrandt, already absorbed in his art-studies, saw nothing, heard nothing
+of these preparations; his ears were deaf to the drum-beats, his eyes were
+seeing better things than the "pride, pomp and circumstances of glorious
+war".  There can be no question about his utter lack of interest in things
+military.  When, at long intervals, he tried war-subjects (as most men
+sooner or later try their hand at the thing they are least fitted for) he
+failed pitifully.  He could create a masterpiece of a "Man in Armor," or a
+"Night Watch," where the problems were purely artistic, and swords and
+flags were simply bits of fine color, but the painting or etching that
+breathed the actual spirit of war he could not produce.  There is matter
+here for rejoicing.  War and her heroes have had their full quota of the
+great artists to exalt their work.  And now comes one who loved the paths
+of peace.  With brush and etching-needle he made record for all time of
+the dignity and rare beauty which he found in ordinary hum-drum walks of
+life.  We may even say that he exalted doctors and artists, housemaids and
+shopkeepers, yea even the very street-beggars, into such important
+personages that their portraits are still eagerly sought after by the
+great ones of the earth.  It was during the lifetime of Rembrandt
+(1606-1669) that much of the wonderful development of Holland took place.
+She had come to her greatness gradually, but by the middle of the
+seventeenth century she occupied a leading place among the independent
+nations of Europe.  Great discoverers, like Henry Hudson, had given her
+new dominions east and west, and colonization had begun.  On the sea her
+flag was supreme; her merchant marine, going to and from her own
+possessions was seen in every port of the world; her admirals, Ruyter and
+Tromp, had won her an illustrious place forever in the annals of naval
+warfare.  These were the days of Milton and Ben Jonson; of Cromwell,
+Gustavus Adolphus and Richelieu; of Murillo, Rubens and Van Dyck--days when
+Holland had within her own borders such men as Barneveld, the great
+statesman; Grotius, the father of international law; Spinoza, the
+philosopher and John de Witt, the Grand Pensioner--besides that noble group
+of artists: Hals, Cuyp, Ruysdael, Potter, Steen and Ostade.  These days,
+too, saw the settling of many states in America, the founding of Quebec,
+New York and Boston.
+
+Strangely apart from all these history-making movements, and from his
+peers among men, dwelt Rembrandt, the great master, in Amsterdam, serenely
+happy to-day in painting a portrait of his loved Saskia, to-morrow in
+etching the features of a wandering Jew.  He had given himself, body and
+soul, to his art, and no man or movement of men could distract him from
+his work.  Year by year his busy brain and dexterous hand produced
+paintings, etchings, drawings, in slightly varying proportion, but always
+in amazing quantity.  For his forty-one productive years we find to his
+credit the average annual output of thirteen paintings, nine etchings, and
+thirty-nine drawings.  And these numbers would be materially greater,
+doubtless, had we a full record of his work.
+
+A few decades ago the ordinary person thought of Rembrandt only as a great
+painter; that time has fortunately passed.  Modern engraving methods have
+made it possible to spread broadcast reproductions of his etched work.
+Thanks to these mechanical engraving-processes some of Rembrandt's
+etchings are now familiarly known and, to a degree at least, they are
+appreciated.  No reproduction, however, can ever give the subtle quality
+of the original, and a revelation comes to one who looks for the first
+time on some brilliant, early impressions of his famous plates.  The ink
+is still alive; the Chinese or Japanese paper which Rembrandt generally
+used, has sometimes gone very yellow and spotted, but oftener it has the
+fine mellowness of age.  We treat it with respect, almost with reverence,
+for we recall that these very sheets of paper were dampened and laid upon
+the etched plate, already prepared by the hands of the great etcher
+himself.  Each impression he pulled was as carefully considered as the
+biting of the copper plate.  He varied the strength of the ink, the method
+of wiping, the pressure used; knowing the possibilities of his plate, he
+so manipulated it that it responded to his touch as a piano responds to
+the touch of a musician.  The poor impressions and very late states, of
+which, unfortunately, many exist, are generally the work of those
+mercenary ones into whose hands the plates fell after his death--sometimes
+even before.  Like a man with no music in his soul attempting to improve
+upon a sonata by Beethoven, these people not only printed, haphazard, poor
+impressions having the master's name, but sometimes even undertook to
+rearrange the composition and often to rework the plate.
+
+                       [No. 1. Rembrandt's Mother.]
+
+                       _No. 1. Rembrandt's Mother._
+
+
+A hundred years before Rembrandt's time acid had been used to help out the
+graver.  Durer, among others, used it, and he employed also, but in
+hesitating manner, the dry-point with its accompanying burr.  Rembrandt's
+method of utilizing the roughness thrown up on the copper by the dry-point
+needle was a development of its possibilities that no one else, even among
+his own pupils, has ever equaled.  It was much the same with everything
+else: the burin of the professional engraver he handled so skilfully that
+it is impossible to tell where the acid or the dry-point work stopped and
+the reinforcing work of the graver began.  When others tried to combine
+these methods they failed.  The hand of Rembrandt was the obedient servant
+of his mastermind: so well trained was it that with a preliminary sketch
+or without it, the needle produced on the smoked wax surface of the copper
+the picture which floated before him, so correctly that the brain was not
+diverted from the ideal picture by any crudity in the lines.  If the
+tools, methods, and effects which the great engravers had used suggested
+anything to him, he freely took them up and bent them to his will.  Making
+free use of all, binding himself to none, he always remained the
+versatile, independent student.  And the strangest thing about it all is
+that he appears to have recognized, grappled with, and forever solved the
+problems of the art while nothing but a youth.  One of the two etchings
+which bear the earliest date (1628) and signature is known as "Rembrandt's
+Mother: Head and Bust" (No. 1.)  It is a delightful little plate, drawn
+with all the skill and freedom of a practiced hand.  Frederick Wedmore, an
+English authority on etching says that "nothing in Rembrandt's work is
+more exhaustive or more subtle," and S. R. Koehler, an American authority,
+called it "a magnificent little portrait, complete artistically and
+technically," and very truly refers to it as "a prefiguration of what was
+to come."  A man of twenty-two years already a master-etcher!
+
+                            [No. 210. Omval.]
+
+                            _No. 210. Omval._
+
+
+This etching measures just about two and a half inches square.  There are
+others about the size of a postage-stamp, while the largest one, "The
+Descent from the Cross" (No. 103), is twenty-two by sixteen and a half
+inches.  The amount of labor on these large plates is overpowering, while
+the workmanship in the smaller ones is almost unbelievably fine--think of a
+child's face not over one-eighth of an inch wide, and hands less than a
+sixteenth of an inch across, yet really eloquent with expression!
+
+Rembrandt accepted the assistance of his pupils, as who among the old
+masters did not?  He was, however, not practical enough to profit much by
+them: he could work to much better advantage alone.  Among his thirty or
+forty pupils Ferdinand Bol, who came to his studio when only sixteen and
+stayed for eight years, gave his master most assistance.  Bol's rendering
+is at times very much like Rembrandt's.  Some critics think, for instance,
+that he etched most of the "Goldweigher" (No. 167) and "Abraham Caressing
+Isaac" (No. 148); both, however, are signed by Rembrandt.  When these
+pupils established studios of their own, they made free use of their old
+master's compositions, subjects and figures.
+
+With Jan Lievens, his fellow student at Lastman's studio, with van Vliet,
+Roddermondt and   other engravers and etchers of the time, Rembrandt was
+on terms of great intimacy.  They appear often to have worked on the same
+plate, and to have borrowed each other's ideas "without let or hindrance."
+Indeed, it is hard to comprehend the extent to which exchange of ideas was
+carried at that time.  Here is a good illustration of the way things went
+without protest of any sort being raised.  Hercules Seghers etched a large
+landscape with small figures, after a painting by Adam Elzheimer and an
+engraving by Count de Goudt, entitled "Tobias and the Angel."  This copper
+plate came into Rembrandt's possession; he burnished out Tobias and his
+companion, and replaced them by Joseph, Mary and the Holy Child (No. 266).
+To cover the erasure he added foliage, but the wing of the angel, the
+outlines of a leg and various other  unused portions of Tobias can still
+be seen.  Rembrandt's   reason  for bothering with this plate is
+incomprehensible.  He improved  it, undoubtedly, but the composite result
+is exceedingly commonplace and reflects no credit upon any one.  John
+Burnet, the etcher-author, has drawn attention to the fact that the figure
+of Christ in "Christ at Emmaus" (No. 282) is taken from one by Raphael,
+who is known to have borrowed it from da Vinci, and it is thought da
+Vinci, in his turn, got it from a former master.  Rembrandt borrowed also
+from Rubens, Titian, Mantegna, his pupil Gerard Dou, Van de Velde and
+others.  Many of   his contemporaries and successors extended   toward him
+the same sort of flattery.
+
+More than half the subjects of Rembrandt's etchings are portraits and
+studies of the human figure; about one-quarter are scriptural or
+religious.  There are two dozen landscapes, and the remainder are
+allegorical and fancy compositions.  We find then the two most productive
+sources of his inspiration were the men of his day and the men of the
+Bible. This book appears to have been the only one he knew at all well,
+but of it he made excellent use.  Despite the incongruities of his
+Biblical compositions, despite the broad Dutch features, the modern,
+gorgeous apparel and side-whiskers of the patriarchs, the pugilistic
+proportions of his angels, his etchings have a truth and vital force that
+there is no withstanding.  Perhaps the very fact that he clothed his
+people in a fashion that he knew well made his pictures the more
+successful in reaching the hearts of men.  In the all too realistic
+"Abraham's Sacrifice" (No. 283), in "Joseph's Coat Brought to Jacob" (No.
+104), in the naive "Rest on the Flight" (No. 216), and many, many others,
+the story-telling quality is exceeding strong and the artistic work above
+criticism.  When we look at "David in Prayer" (No. 258), beside his
+incongruous four-post bedstead, we cannot but feel that here penitence and
+sincerity is forcefully depicted. The acme of Rembrandt's religious work
+was reached, however in "Christ, with the Sick Around Him" (No. 236)
+(etched about 1650), which is often called the finest piece of etched work
+that has ever been produced.  It is a combination of pure etching and
+dry-point, and in the second state, there is an India-ink wash in the
+background.  There are, I think, nine copies of the first state extant;
+the last one sold at public auction (Christie's, 1893) brought over
+$8,500.  While the Christ here is not so satisfying as the one in "Christ
+Preaching" (No. 256) which is remarkably strong and noble, it is
+Rembrandt's typical conception of our Lord--always ministering to real
+flesh and blood, the poor, suffering, common people.  What a striking
+contrast with the resplendent artificiality which surrounds the Christ of
+the Italian masters.
+
+              [No. 290.  Jan Lutma, Goldsmith and Sculptor.]
+
+              _No. 290.  Jan Lutma, Goldsmith and Sculptor._
+
+
+Rembrandt was his own most frequent model. He painted about sixty
+portraits of himself, and among his etchings we find about two score more.
+Some of them are large and finished, as the deservedly popular "Rembrandt
+Leaning on a Stone Sill" (No. 168), which is a perfect example of the
+possibilities of the etching-needle; others are mere thumb-nail sketches
+of various expressions of face.  He used his mother many times, and also
+his wife and son.  In all these is apparent a delightful sense of joy in
+his work.  Nor is this desirable quality lacking in the wonderful series
+of large portraits of his friends: the doctors, the ministers, the
+tradesmen of Amsterdam.  Perhaps these were pot-boilers, as some students
+of his work say,  but surely never artist before or since produced to
+order a group of etchings that, taken entirely apart from his other plates
+would assure their author a high place among the greatest etchers.  In the
+whole lot there are few that some authority on etching or some great
+artist has not held up as an example of work that even the master himself
+never surpassed.  But an artist cannot always keep himself at concert
+pitch and when Rembrandt etched the portrait of his friend "Abraham
+Francen" (No. 291) I feel that he struck an uncertain, almost false note,
+unworthy of himself.  We might, perhaps, account for this by saying, that
+it was  done in 1656, the year of his bankruptcy were it not that the
+noble "Jan Lutma" (No. 290) which competes with the "Jan Six" (No.  228)
+for the place of masterpiece of the entire series, was made the same year.
+But he was an unaccountable sort of man who could produce in a poor, naked
+studio, with untold trouble stalking him on all sides, such an etching as
+the "Lutma," such a painting as the "Syndics of the Draper's Guild," both
+of which rank with the best products of his happy, care-free years of
+luxury.
+
+It is noticeable that  Rembrandt had no sittings from persons of high
+rank.  So far as I can find "Burgomaster" is the most exalted title that
+can with certainty be given to any of his patrons.  The reason is not far
+to seek.  Rembrandt was not a courtier like Van Dyck and Rubens; he was
+too independent and too busy to spend time kow-towing to society.  A
+contemporary says of him, "When he painted he would not have given
+audience to the greatest monarch on earth."  He calmly set at nought
+established principles and conventional rules, in etiquette as well as in
+art, and followed the bent of his genius with absolute disregard for the
+opinions of his fellows.  The story of "Night Watch" is characteristic of
+Rembrandt and shows the whole situation in minature.  The members of
+Captain Banning Cocq's Company of the Civic Guards were flattered by the
+offer of Rembrandt, then at the height of his fame, to paint their
+portraits.  The sixteen members destined to figure in the picture gladly
+subscribed one hundred florins each, and great were their expectations;
+but even greater their disappointment when the picture was placed on view.
+All but a half-dozen felt that they had a distinct grievance against the
+painter.  Had they not paid for portraits of themselves?  And they
+got--what?  Here a face in deep shadow, here one half-hid by the one in
+front, here one so freely drawn as to be unrecognizable.  The artist had
+made a picture, to be sure--but their portraits!  Where were their
+portraits--the portraits they had paid for?  Rembrandt had thought out
+every inch of his picture: he was sure it could not be better, and change
+it he would not.  The resentment was bitter and deep, and the Civic Guards
+in future bestowed their favors elsewhere.
+
+There were, however, some fellow citizens who recognized his genius and
+sincerity.  These stood by him.  Samuel Manasseh ben Israel, whom Cromwell
+honored, was his neighbor on the Breedstraat, and an intimate friend.
+Then there were Jan Sylvius and Cornells Anslo, the Protestant ministers;
+Fan Asselyn and Clement de Jonghe, who were artists; Bonus and Linden, the
+physicians; Lutma, the goldsmith, and young Jan Six, "Lover of science,
+art and virtue."  These and a few others are known and honored to-day
+chiefly because they were Rembrandt's friends.  His recognition of their
+faithulness to him was shown in a much more permanent form than they knew.
+Good impressions of his etched portraits of these men are still to be
+seen. They are, like all his etchings, rapidly increasing in value.  A
+"Jan Six" sold recently for over $14,000; an "Ephraim Bonus" (No. 226) for
+$9,000.  To possess such a portrait of an ancestor is little short of a
+patent of nobility.  The Six family of Amsterdam happily have not only
+Rembrandt's oil-portraits of the Sixes of his day, but also good
+impressions of the etching of the burgomaster, and even the plate
+itself--that famous dry-point plate, which the artist worked on for weeks,
+and which his critics have worked over ever since.  Some of these critics
+hold that even Rembrandt should not have attempted such complete tonality
+in an etching, that Jan Six urged him to it, and that, in short, as an
+etching, it comes near to the failure line.  Other critics believe that
+the artist's idea was to show the utmost extent to which the art could be
+carried, and that in so doing he produced a masterpiece.  Middleton, for
+instance, thinks that "it is not possible to conceive a move beautiful and
+more perfect triumph of the etcher's art."  Few, it is safe to say, can
+see a good impression of an early state of this portrait without being
+struck by its great originality and beauty, and upon closer study, I feel
+a fair-minded person will inevitably fall under the spell of the
+wonderfully drawn face and hands, the deep, transparent shadows, and the
+soft, tender light which envelopes the whole.
+
+                      [No. 183. Jacob and Laban (?)]
+
+                     _No. 183. Jacob and Laban (?)._
+
+
+                           [No. 228. Jan Six.]
+
+                           _No. 228. Jan Six._
+
+
+               [Tobias and the Angel. By Hercules Seghers]
+
+               _Tobias and the Angel. By Hercules Seghers_
+
+
+                   [(No. 266). The Flight into Egypt.]
+
+                   _(No. 266). The Flight into Egypt._
+
+
+Although Rembrandt had a few such cultivated friends as those mentioned
+above, it was said of him by a contemporary German painter that "his art
+suffered by his predilection for the society of the vulgar."  It certainly
+would have been more profitable for Rembrandt if he had always portrayed
+people of position and wealth, but that his art suffered because he many
+times used beggers for models it would be impossible to show.  An
+interesting series of tramps, peddlers and outcasts began with the
+beginning of his career as an etcher, and ended twenty years later with
+the production of one of his most popular plates, "Beggars Receiving Alms
+at the Door of a House," (No. 233) a very freely handled, splendidly
+composed etching, in which surprisingly few lines judiciously placed do
+the work usually allotted to double their number.  A little plate of less
+than four square inches, entitled "The Quacksalver," (No. 139), strikes me
+as the masterpiece of this series.  Although Van de Velde is supposed to
+have given Rembrandt the idea for his drawing, his genius made it his own
+in realism and movement, and in its beauties of line, color and texture.
+"An Old Woman Sleeping" (No. 129)), although scarcely to be included in
+this series, is another that has wonderful spontaneity.  This is no posed
+model, but one who has actually fallen asleep over her book; Rembrandt
+sees her, and before her "forty winks" are over, she is immortalized, and
+probably she never knew it.  About 1640 Rembrandt began etching
+landscapes.  They are free and simple in composition and treatment and
+show even greater force and more suggestive power than those that he
+painted.  Practically all of his two dozen landscape plates hold
+undisputed first rank.  They always have and probably always will.  In
+"Landscape with Trees, Farm-buildings and a Tower" (No. 244), the tower is
+"ruined" in the third state.  A first state print at the Boston Museum of
+Fine Arts shows the tower in good preservation.  One of these prints sold
+at auction not long ago for over $9,000.  Another of the exceedingly
+satisfactory etchings in the series, one that has exercised a great
+influence on landscape etching all the world over, is "Omval" (No. 210).
+Its creator seemed fond of the fine old tree in this plate.  He used it
+several times elsewhere.  "Six's Bridge" (No. 209) which is almost pure
+outline, and the "Three Trees" (No. 205), with its great sweep of flat
+country, have a right to all the praise showered upon them.  They, too,
+are masterpieces.
+
+While Rembrandt's genius made itself manifest in his landscapes, it surely
+is absent from most of his animal drawings.  We must remember that if he
+ever went outside of Holland it was for a few months to the east coast of
+England, and that the opportunity for studying any great variety of
+animals in either place was not great.  His horses, asses, hogs, etc.,
+improve as the years advance.  The little dog with the collar of bells is
+well drawn.  He, undoubtedly, was a member of the family.
+
+It is an interesting fact, at a time when the illustrating of books and
+magazines is such an important art, to know that Rembrandt was offered and
+accepted some commissions to make illustrations for books.  These attempts
+to give form to another's ideas were not successful--in one case it was
+such a failure as to leave it still uncertain what he intended to
+illustrate.  Vosmaer, his great biographer, says that this print "The Ship
+of Fortune" (No. 106), pictures incidents in the life of St. Paul, while
+Michel, another biographer, thinks that it illustrates events which gather
+about Mark Anthony and the battle of Actium!
+
+A score of men--Bartsch, Wilson, Blanc, Middleton, Rovinski, to mention a
+few--have at sundry times and in divers places compiled annotated
+catalogues of Rembrandt's etchings.  They, and other students like
+Vosmaer, Haden, Hamerton and Michel, have given years to study and travel
+in connection with their books on Rembrandt.  All lovers of etching
+appreciate this and are grateful.  Nevertheless, it is amusing sometimes
+to compare their expert testimony.  About 1633 somebody etched a "Good
+Samaritan."  Several of these experts regretfully, but frankly, admit that
+Rembrandt is the guilty one.   Others are sure that a pupil did the worst
+of the work; Haden says it is entirely the work of another hand; while yet
+another declares that of all Rembrandt's etchings this particular "Good
+Samaritan" (No. 101) is his favorite.  Middleton, to give another
+instance, thinks that the thick lines from top to bottom, in the fourth
+state of the "Christ Crucified between Two Thieves," ("The Three Crosses")
+(No. 270) are not Rembrandt's work, for they serve "to obliterate, conceal
+and mar every excellence it had possessed."  Haden, however, considers
+that the time of darkness is represented, and that this particular state
+is far the finest in effect.  Much confusion arises from the fact that
+sometimes all the states of a plate under discussion are not known to each
+critic.  The whole matter of states is a confusing one.  The old idea was
+that Rembrandt produced various states in order to make more money.  But
+it seems plain now that when Rembrandt changed a plate it was for much
+better reasons than the making of a few guilders.  We know, for instance,
+that the "Jan Six" plate was changed twice to make needed corrections, and
+that the second state of the first portrait of his mother simply carries
+out the original design.  On the other hand, it obviously could not have
+been Rembrandt who made the third state of the "Jan Lutma," with its hard,
+ruled lines and great unnecessary window.
+
+If in the days of hardship, when his son, Titus, peddled his etchings from
+door to door, he could have foreseen the great army of admirers who three
+centuries later should outbid each other at auctions, and make war in
+print over his experimental plates, his failures and his trial-proofs--now
+often exalted into "states"--the very irony of the thing would surely have
+brought him genuine satisfaction and relaxation.
+
+Rembrandt has said of himself that he would submit to the laws of Nature
+alone, and as he interpreted these to suit himself, he cannot be said to
+have painted, or etched, or done anything in accord with our
+interpretation of recognized or well-grounded laws.  With him it was
+instinct, pure and simple, from youth to old age. He had no secret process
+of painting or etching; but he had an amazing genius for both.
+
+One October day in 1669 an old man, lonely and forgotten, died in
+Amsterdam.  They buried him in the Wester Kerk and, that he might not be
+confounded with some other old man, they wrote in the "Livre Mortuaire" of
+the Kerk, "Tuesday, 8th oct., 1669, rembrant van rijn, painter on the
+rozengraft, opposite the doolhof. leaves two children."
+
+Of material things he left little; but the two children: Cornelia, his
+fifteen year old daughter, and Titia, the posthumous, infant child of
+Titus, would keep his name alive!   Less than a score of years and the
+family record comes to an abrupt end.  No one to-day may claim descent
+from Rembrandt, but his name has not perished from the earth, nor his
+influence abated among the sons of men.  His name took on new life when he
+laid it aside; his influence strengthened when he ceased personally to
+exercise it.  Who of us is not his grateful heir?  Who does not now do
+loving reverence to this poor "painter on the rozengraft, opposite the
+doolhof?"  He surely stands among the immortals, one of the foremost
+painters of all time, the greatest etcher that has yet appeared.
+
+NOTE--The foregoing article was published a few years ago in _The
+Craftsman_.  Of the many commendations received at that time we print but
+one:
+
+
+
+
+"New York, Dec'r. 5, 1906. Dear Mr. Holman; *** I send you my special
+thanks for your article on the etchings of Rembrandt.  I have read it
+carefully, and let me say plainly that I think is the best short treatise
+on this great subject which ever I have read.  The knowledge of the
+subject as treated by many writers is so superficial--but yours is
+profound.  You have evidently made a serious study of your subject.  Yours
+very truly,"
+
+                                                (Signed) Frederick Keppel.
+
+
+
+
+                      [No. 129. Old Woman Sleeping.]
+
+                      _No. 129. Old Woman Sleeping._
+
+
+
+
+
+COMPLETE CHRONOLOGICAL LIST OF THE ETCHINGS OF REMBRANDT
+
+
+Here re-printed from Hind's _Rembrandt's Etchings_ (London, 1912) by
+special arrangement with the publishers, Methuen & Co.(1)
+
+
+
+
+ABBREVIATIONS, ETC.
+
+
+      h.--head
+      b.--bust
+      r.--right
+      l.--left
+      S.--signed
+      D.--dated
+      ab.--about
+      R.--Rembrandt
+      Imp.--impression
+      I S., V S., etc.--first state, fifth state, etc.
+      2 S., 7 S., etc.--two states, seven states, etc.
+      When no number of states is given there is but one.
+      Mod.--Modern impression. (This does not count as a state.)
+      {~DAGGER~}--of doubtful authenticity. [only.]
+
+The sizes are of the plates,--not of the etched surface.
+
+When the states vary in size that of the first state alone is given.
+
+The sizes are given in millimeters.  25 millimeters equal about 1 inch.
+
+      1 * R's Mother: *h. & b. three-quarters r. (After I S.  S. & D.),
+      1628.  2 S.  66×63
+      2 * R's Mother:* h. only, full face. (After I S.   S. & D.). 1628.
+      2 S.    85×72
+      2* * R. With a Broad Nose.*     Ab. 1628.   70×58
+      3 *   R. Bareheaded, with high curly hair:* h. & b.     Ab. 1628.
+      90×72
+      4*   R. Bareheaded:* large plate roughly etched: h. & b. S. & D. (in
+      reverse) 1629.   178×154
+      4* * Aged Man of Letters.*      Ab. 1629.   238×200
+      5*   Peter and John at Gate of Temple:* roughly etched. Ab. 1629-30,
+      221×170
+      6 *    Small Lion Hunt (with one lion).*        Ab. 1629-30.
+      158×118
+      7 *   Beggar Man and Beggar Woman Conversing.* S. & D., 1630.   2 S.
+      Mod.   78×66
+      8 *   Beggar Seated Warming Hands at Chafing Dish.* Ab. 1630.   2 S.
+      78×46
+      9 *   Beggar Leaning on Stick, facing l.*       Ab. 1630.   85×46
+      10 *   Beggar in Long Cloak, sitting in arm-chair.*     Ab.
+      1630.115×78
+      11 *    Beggar Seated on Bank.* S. & D., 1630.   2 S.   116×69
+      12 *   Beggar with Wooden Leg.* Ab. 1630.   3 S.   Mod.   114×66
+      13 *   Beggar Man and Beggar Woman, behind bank.* (I, II, III S. S.)
+      Ab. 1630. 7 S. 116×84
+      14 *   Man in Cloak and Fur Cap,  leaning against bank.* S. (in
+      reverse).   Ab. 1630.   Mod. 112×78
+      15 *    Beggar in High Cap, standing and leaning on stick.* Ab.
+      1630, or later?    2 S. 156×120
+      16 * Ragged Peasant with Hands Behind Him,* holding stick. Ab. 1630.
+      5 S.   92×77
+      17 * Flight into Egypt:* sketch. Ab. 1630. 6 S. 135×84
+      18 * Presentation in Temple* (with the angel): small plate. S. & D.,
+      1630.     2 S.     120×78
+      19 * Circumcision:* small plate.        Ab. 1630. 88×64
+      20 * Christ Disputing with Doctors:* small plate. (I & II S.   S. &
+      D.), 1630.   3 S. Mod.   109×78
+      21 * B. of Man (R's Father?),* Full face, wearing close cap. (After
+      I S. S. & D.), 1630.    6S.   97×73
+      22 * B. of Man (R's Father?),* Wearing high cap, three-quarters r.
+      S. & D., 1630.   3 S. Mod.   105×78
+      23 * Bald-Headed Man (R's Father?)* Profile r. h. only, b. added
+      afterwards. S. & D. 1630.   3 S.   118×97
+      24 * Bald-Headed Man (R's Father?),* Profile r.; small b. S. & D.,
+      1630.   2 S,   57×43
+      25 * Three Studies of Old Men's Heads.* Ab. 1630.   79×81
+      26 * B. of Old Man with Flowing Beard and White Sleeve.* Ab. 1630.
+      71×64
+      27 * B. of Old Man.with Flowing Beard:* h. bowed forward: l.
+      shoulder unshaded. S. & D., 1630.   89×75
+      28 * B. of Old Man with Flowing Beard:* h. inclined three-quarters
+      r. S. & D., 1630.   98×81
+      29 * R. in Fur Cap:* dress light, b. S. & D., 1630. 5 S. 92×70
+      30 * R. Bareheaded,* in sharp light from r.; looking over his
+      shoulder: b. S. & D., 1630.   3 S.   75×75
+      31 * R. Bareheaded and Open-Mouthed,* as if shouting: b. S. & D.
+      1630.   3 S.   83×72
+      32 * R. in Cap, Open-Mouthed and Staring:* b. in outline. S. & D.,
+      1630.   51×46
+      33 * R. Bareheaded, with Thick Curling Hair* and small white collar:
+      b.    S. Ab. 1630.   2 S.   57×49
+      34 * R. in Cap,* laughing: b.                                     S.
+      & D., 1630.   6 S.   50×44
+      35 * R. Bareheaded,* leaning forward as if listening: b. Ab. 1630.
+      67×53
+      36 * R. Bareheaded,* leaning forward: b. lightly indicated. Ab.
+      1630-31.   4 S.   61-64×48-49
+      37 * H. of Man in Fur Cap,* crying out. Ab. 1631. 4 S. 34×28
+      38 * Blind Fiddler.* S. & D., 1631. 4 S. 78×53
+      39 * H. of Man in High Cap:* three-quarters r. Ab. 1631. 2 S. 36×22
+      40 * Polander Standing with Stick:* profile to r. S. & D., 1631.
+      58×21
+      41 * Sheet of Studies of Men's Heads.* S. (in reverse).   Ab. 1631.
+      2 S.   98×124
+      41a * Old Bearded Man Nearly in Profile to r.:* mouth half open. 5
+      S.    (After II S.   36×28)
+      41b * Old Man in Fur Coat and High Cap:* b. 9 S. (After III S.
+      36×28)
+      41c * Old Man Seen from Behind:* Profile to r.: half figure. 6 S.
+      (After II S.   72×42)
+      41d * Man in Square Cap,* in profile r. 4S. (After II S.   45×23)
+      41e * Man Crying Out,* three-quarters l.: b. 7S.   (After II S.
+      39×34)
+      42 * Diana at the Bath.* S.   Ab. 1631.   177×158
+      43 * Naked Woman Seated on Mound.* S.   Ab. 1631.   3 S.   177×160
+      44 * Jupiter and Antiope:* smaller plate. S.    Ab. 1631. 3 S.
+      84×112
+      45 * Man Making Water.* S. & D.. 1631.   2 S.   84×49
+      46 *Woman Making Water.*        S. & D., 1631.   84×63
+      47 *B. of Old Bearded Man Looking Down,* three quarters r. S. & D.,
+      1631.   2 S.   119×117
+      48 *   B. of Old Man with Flowing Beard:*    h. nearly erect: eyes
+      cast down: looking slightly l.       S. & D., 1631.   2 S.   67×64
+      49 *   B. of Old Man with Fur Cap and Flowing Beard:*  nearly full
+      face: eyes direct.  Ab. 1631.   2 S.   62×53
+      50 *   R's Mother with Hand on Chest:* small b. S. & D., 1631.   4S.
+      Mod.   94×66
+      51 *   R.'s Mother Seated Facing R.,* in Oriental head-dress: half
+      length, showing hands.  S. & D., 1631.   3 S.   145×129
+      52 *   R.'s Mother Seated at Table Looking R.:* three-quarter
+      length. S.   Ab. 1631.   4 S.   147×130
+      53 *   Bearded Man (R.'s Father?)* in Furred oriental cap and robe:
+      half length. (After IS.   S. & D.), 1631.   4 S.   146×130
+      54 *   R. Wearing Soft Hat, Cocked:* h. only: body added afterwards
+      (On IV-VII S.    S. & D.), 1631.    9 S.    146×130
+      55 *   R. with Long Bushy Hair,* h. only.       Ab. 1631.   6 S.
+      90×76
+      56 *   R. in Heavy Fur Cap:* full face: b.      S. & D. 1631.
+      63×58
+      57 *   R. Wearing Soft Cap:* full face: h. only Ab. 1631.  50×44
+      58 *   R. with Cap Pulled Forward:* b,  Ab. 1631.   5 S.   Mod.
+      56×45
+      59 * R. with Fur Cap,* in oval border: b.       Ab. 1631 (or
+      earlier). 90×53
+      60{~DAGGER~} * R. with Bushy Hair and Contracted Eyebrows:* b. S. & D., 1631.
+      3 S. 59×55
+      61 *R. Bareheaded,* light from r.: b. (II S. only. S.) Ab. 1631. 2
+      S. 65×63
+      62{~DAGGER~} * R. in Slant Fur Cap:* b. S. & D., 1631.   2 S.  63×56
+      63 * R. in Cloak with Falling Collar:* b. S. & D., 1631. 5 S. 64×54
+      64{~DAGGER~} * R. with Jewel in Cap.*    Ab. 1631. 2 S. 84×79
+      65{~DAGGER~} * B. of Young Man in Cap.* (I S. only. S. & D.), 1631. 2 S.
+      61×57
+      66 *   R. in Dark Cloak and Cap:* b.    Ab. 1631.  3 S. 84×82
+      67 *   R. (?) Scowling,* in octagon: h. only. Ab. 1631.   38×35
+      68 *   Grotesque Profile:* man in high cap. Ab. 1631.    4 S.
+      38×25
+      69 * Peasant with Hands Behind Back.* S. & D., 1631. 4 S. 59×49
+      70{~DAGGER~} * B. of Snub-Nosed Man in Cap:* profile r. S. & D., 1631. 43×38
+      71{~DAGGER~} * B. of Man in Cap,* bound round the ears and chin. Ab. 1631.
+      54×38
+      72 * Beggar with Stick,* walking, l.    S. & D.. 1631.   3 S.
+      82×39
+      73 * Beggar with L. Hand Extended.* (After I S.    S. & D.). 1631.
+      5 S.   77×50
+      74 * Blindness of Tobit:* sketch.       Ab. 1631.   5 S.   81×70
+      75 * Seated Beggar and Dog.* (II S. only. S. & D.), 1631. 2 S.
+      109×81
+      75* * Stout Man in Large Cloak.*        Ab. 1631. 113×74
+      76{~DAGGER~} * Old Woman Seated In Cottage,* with string of onions on wall.
+      (II S. only.   S. & D.). 1631,   3 S.   128×89
+      77 * Leper **"**Lazarus Klap.**"* (After I S. S. & D, 1631). 6 S.
+      102×76
+      77* * Beggar Man and Beggar Woman.*     Ab. 1631. 101×76
+      78 *  Two Beggars Tramping Towards R.* (On II S.   S.)   Ab. 1631.
+      2 S.   95×59
+      78* * Two Studies of Beggars.*  Ab. 1631.   93×74
+      79 *   Beggar with Crippled Hand Leaning on Stick R.* Ab. 1631.   5
+      S.   97×42
+      80 * Old Beggar Woman with Gourd.* Ab. 1631. 2 S. Mod. 102×45
+      81{~DAGGER~} * Beggar Standing Leaning on Stick L.:* small plate. (S.   Ab.
+      1631.   42×20
+      82{~DAGGER~} * B. of Old Woman in Furred Cloak* and heavy head-dress. S. &
+      D., 1631.   5 S.  58×53
+      83{~DAGGER~} *B. of Old Woman in High Head-Dress* bound round chin. Ab. 1631.
+      2 S.   71×72
+      84{~DAGGER~} * B. of Beardless Man  (R.'s   Father?)* in fur cloak and  cap:
+      looking down: three-quarters l.         S. & D. (twice), 1631.   3
+      S.   74×58
+      85{~DAGGER~} * B. of Bald Man (R.'s Father?)* in fur cloak looking r. S. &
+      D., 1631.   3 S.   66×58
+      85{~DAGGER~} * B. of Bald Man Looking Down, Grinning.* S. & D., 1631.   3 S.
+      69×57
+      87{~DAGGER~} * B. of Old Bearded Man with High Forehead* and close cap. S. &
+      D., 1631.   2 S.   88×74
+      88{~DAGGER~} * B.  of  Old  Man   Looking Down,* with wavy hair and beard:
+      cap added afterwards.       (II S. only. S.)   Ab. 1631.   3 S.
+      57×49
+      89{~DAGGER~} * Small B. of Bearded Man  Looking  Down,* with eyes nearly
+      closed. Ab. 1631?   2 S.   44×44
+      90 *   Sheet of Studies:* h. of R., beggar couple, h.'s of old man
+      and old woman, etc.     Ab. 1632.   2 S.   101×113
+      91{~DAGGER~} * R.'s Mother in Widow's Dress and Black Gloves.* S.    Ab.
+      1632?    Mod.   150×114
+      92 *Old Man Seated, with Flowing Beard,* fur cap and velvet cloak.
+      S. & D.   Ab. 1632.   3 S.    Mod.   150×129
+      93 * Man Standing in Oriental Costume* and plumed fur cap S. & D.,
+      1632.   Mod.   107×78
+      94 * St. Jerome Praying:* arched print. S. & D., 1632.   3 S.
+      108×80
+      95 * Holy Family.* S. Ab. 1632. 95×71
+      96 * Raising of Lazarus:* larger plate. S. Ab. 1632. 12 S. Mod.
+      366×258
+      97 * Rat-Killer.* S. & D., 1632. 2 S. 140×124
+      98 * Polander Leaning on Stick:* profile l. Ab. 1632. 6 S. 82×43
+      99 * Turbaned Soldier on Horseback.* S. (in reverse).   Ab. 1632.
+      2 S.   81×58
+      100 * Cavalry Fight.*   Ab. 1632-3. 2 S. 108×83
+      101 * Good Samaritan.* (I V S. only. S. & D.), 1633. 4 S. 258×218
+      102 * Descent from Cross:* first plate. S. & D., 1633. 516×402
+      103 * Descent from Cross:* second plate. S. & D., 1633.   5 S. Mod.
+      530×410
+      104 * Joseph's Coat Brought to Jacob.* S. Ab. 1633. Mod. 107×80
+      105 * Flight into Egypt:* small plate.  S. & D., 1633. 2 S. 89×62
+      106 * Ship of Fortune.* S. & D., 1633. 3 S. 111×177
+      107 * R.'s Mother in Cloth Head-Dress,* looking down: h. only.
+      (After I S. S. & D.), 1633.   3 S.   62×58
+      108 * R. in Cap and Scarf:* face dark: b. (II S. only.   S. & D.),
+      1633.   2 S.   Mod.   146×ab. 119
+      109 * R. with Raised Sabre:* half length.      S. & D., 1634.  3 S.
+      124×108
+      110 * R. with Plumed Cap and Lowered Sabre:* three-quarter length:
+      afterwards b. in oval.   S. & D., 1634.   3 S.   Mod.   197×162
+      111 * Jan Cornelis Sylvius, Preacher. (?)* S. & D.. 1634.   2 S.
+      Mod.    167×140
+      112 * R.'s Wife Saskia,* with pearls in her hair, b. S. & D., 1634.
+      86×66
+      113 * Woman Reading.*   S. & D., 1634. 3 S.   123×100
+      114 * Peasant, One of Pair, Calling Out.* S. & D., 1634.   112×43
+      115 * Peasant: Other of Pair, Replying.* S. & D., 1634).   111×93
+      116 * Two Tramps,* Man and woman.       Ab. 1634.   62×47
+      117 * Sheet of Two Slight Studies:* one of two peasants Ab. 1634.
+      45×75
+      118 *Joseph and Potiphar's Wife.* S. & D., 1634. 2S. Mod. 90×114
+      119 *St. Jerome Reading.*  S. & D., 1634.   2 S. 108×89
+      120 *Angel Appearing to Shepherds.* (After I S.   S. & D.), 1634.
+      3 S.   Mod.   262×21
+      121 *Christ at Emmaus:* smaller plate. S. & D., 1634.   101×71
+      122 *Christ and Woman of Samaria:* among ruins. S. & D., 1634.   2
+      S.   Mod.   121×106
+      123 *Crucifixion;* small plate. S.   Ab. 1634.   Mod.   95×67
+      124 *Tribute-Money.*    Ab. 1634.   2 S.   Mod.   73×103
+      125 *Stoning of St. Stephen.* S. & D., 1635.   Mod.   95×85
+      126 *Christ Driving Money-changers from Temple.* S. & D., 1635.   2
+      S. Mod.   135×167
+      127 *Girl with Hair Falling on Shoulders* (The "Great Jewish
+      Bride.") (After I. S.   S. & D., in reverse).   1635.   4 S.
+      220×168
+      128 *Jan Uytenbogaert,* Preacher of sect of Arminian Remonstrants.
+      (After II S.   S. & D.), 1635.   6 S.   Mod.   250×187
+      129 *Old Woman Sleeping.*       Ab. 1635-7.   69×52
+      130 *Old Bearded Man in High Fur Cap,* with closed eyes. S. (also S.
+      with initial R. in reverse).   Ab. 1635.   Mod.   112×100
+      131 *First Oriental H.* (R.'s father?)   S. & D., 1635. 2 S.   Mod.
+      150×124
+      132 *Second Oriental H.* (R.'s father?) S.   Ab. 1635.   150×125
+      133 *Third Oriental H.* S. & D., 1635.   155×134
+      134 *Fourth Oriental H.*        S. (with initial R.) Ab. 1635. 3 S.
+      158×135
+      135{~DAGGER~}* H. of Old Man in High Fur Cap.* Ab. 1635. 44×32
+      136 * Bald Old Man with Short Beard,* in profile r. Ab. 1635.   2 S.
+      66×56
+      137{~DAGGER~}* Curly-Headed Man with Wry Mouth.* Ab. 1635.   2 S.   64×60
+      138 *Polander Standing with Arms Folded.*        Ab. 1635.   2 S.
+      51×47
+      139 *Quacksalver.*      S. & D., 1635.  77×36
+      140 *St. Jerome Kneeling in Prayer,* Looking down. S. & D., 1635.
+      Mod.   114×80
+      141 *Pancake Woman.*    S. & D., 1635. 6 S. Mod. 109×79
+      142{~DAGGER~} *Strolling Musicians.* Ab. 1635. 2 S. Mod. 139×116
+      143 *Christ Before Pilate:* large plate. S. & D., 1635-6.   5 S.
+      550×446
+      144 *R. and His Wife Saskia:* busts.    S. & D., 1636.   2 S.   Mod.
+      104×95
+      145 *Studies of H. of Saskia and Others.* S. & D., 1636.   Mod.
+      151×127
+      146  *Samuel Manasseh Ben Israel,* Jewish author. S. & D., 1636.   3
+      S.   149×107
+      147 *Return of the Prodigal Son.*       S. & D., 1636.   Mod.
+      156×136
+      148 *Abraham Caressing Isaac.*  S.   Ab. 1637.   2 S.   Mod.
+      116×89
+      149 *Abraham Casting Out Hagar and Ishmael.* S. & D., 1637.   125×95
+      150 *Bearded Man Wearing Velvet Cap with Jewel Clasp.* S. & D.,
+      1637.   95×83
+      151 *Young Man in Velvet Cap* with books beside him. S. & D., 1637.
+      2 S.   96×83
+      152 *Three Heads of Women,* one asleep. S. & D.. 1637.   2 S.   Mod.
+      142×97
+      153 *Three Heads of Women,* one lightly etched. Ab. 1637. 2 S.
+      127×102
+      154 *Study of Saskia as St. Catherine* (The "Little Jewish Bride.")
+      S. & D. (in reverse), 1638. 110×78
+      155 *  Sheet with Two Studies: *A tree and upper part of h. wearing
+      velvet cap.   H. Ab. 1638: tree possibly later.   78×67
+      156 *  R. in Velvet Cap and Plume,* with an embroidered dress: b. S.
+      & D., 1638.   Mod.   134×103
+      157 *  R. in Flat Cap,* with shawl about shoulders. Ab. 1638.   2 S.
+      Mod.   93×62
+      158 *  Man in Broad-Brimmed Hat and Ruff.* S. & D., 1630 (or 1638).
+      Mod.   78×64
+      159 *  Adam and Eve.*   S. & D., 1638.   2 S.  161×116
+      160 *  Joseph Telling His Dreams.*     S. & D., 1638.  3 S.   Mod.
+      110×83
+      161 *  Death of Virgin.*        S. & D., 1639.   4 S.   Mod.
+      409×315
+      162 *  Presentation in Temple:*  oblong print. Ab. 1639,  3 S.
+      Mod.   213×290
+      163 *  Sheet of Studies,* with woman lying ill in bed. etc. Ab.
+      1639. 135×151
+      164 *  Peasant in High Cap,* standing leaning on stick. S. & D.,
+      1639.    Mod.   83×44
+      165 *  Death Appearing to a Wedded Couple from Open Grave.* S. & D.,
+      1639.   109×78
+      166 *  Skater.* Ab. 1639.   61×58
+      167 *  Jan Uytenbogaert,* Receiver-general (The "Gold-Weigher"). S.
+      & D., 1639.  3 S.   Mod.   250×204
+      168 *  R. Leaning on Stone-Sill:* half-length. S. & D., 1630.   3(?)
+      S.    205×164
+      169 *  Old Man Shading Eyes with Hand.* Ab. 1639.   2 S.   134×114
+      170 *  Old Man with Divided Fur Cap.*   S. & D., 1640.  3 S.
+      149×137
+      171 *  Beheading of John the Baptist.*   S. & D., 1640  2S. Mod.
+      128×103
+      172  * Triumph of Mordecai.*    Ab. 1640, or later.   174×215
+      173 *  Christ Crucified Between Two Thieves:* oval plate. Ab. 1640,
+      or later.   2 S.   Mod.   135×100
+      174 *  Sleeping Puppy.* Ab. 1640?  3 S.   64×105
+      175 *  Small Gray Landscape:* House and trees beside pool. Ab. 1640.
+      38×82
+      176 *  View of Amsterdam.*      Ab. 1640 (or earlier)   2 S.
+      112×153
+      177 *  Landscape with Cottage and Hay Barn:* oblong. S. & D., 1641.
+      129×321
+      178 *  Landscape with Cottage and Large Tree.* S. & D., 1641
+      125×320
+      179 *Windmill.* S. & D., 1641. 144×207
+      180 *Small Lion Hunt,* with two lions. Ab. 1641. 2S. 154×121
+      181 *Large Lion Hunt.* S. & D., 1641. 2 S. 224×300
+      132 *Baptism of Eunuch.* S. & D., 1641. 2 S. Mod. 180×213
+      183 *  Jacob and Laban(?)*   S. & D. (in reverse), 1641.   2 S. Mod.
+      144×113
+      184 *  Spanish Gipsy* (Preciosa).       Ab. 1641.   133×113
+      185 *  Angel Departing from Family of Tobias.* S. & D., 1641.   3 S.
+      Mod.   103×154
+      186 *  Virgin and Child in Clouds.*     S. & D., 1641.   166×104
+      187 *  Cornelis Claesz Anslo,* Mennonite preacher. S. & D., 1641.
+      5 S.   186×157
+      188 *  Portrait of Boy,* in profile.    S. & D., 1641.   93×66
+      189 *  Man at Desk,* wearing cross and chain.     S. & D., 1641. 4
+      S.   154×102
+      190 *  Card Player.*    S. & D.. 1641.  3 S.   Mod.   90×81
+      191 *  Man Drawing from Cast.*  Ab. 1641.   2 S.   Mod.   93×64
+      192 *  Woman  at Door-Hatch Talking to Man and Children* (The
+      "Schoolmaster.")        S. & D., 1641.   Mod.   94×63
+      193 *  Virgin with Instruments of Passion.*     Ab. 1641.   2 S.
+      110×88
+      194 *  Man in Arbour.*  S. &  D., 1642.   72×56
+      195 *  Girl with Basket.*       Ab. 1642.   2 S.   86×63-60
+      196 *  Sick Woman with Large White Head-Dress* (Saskia). Ab. 1642.
+      61×51
+      197 *  Woman in Spectacles, Reading.*   Ab. 1642.   77×67
+      198 *  Raising of Lazarus;* smaller plate. S. & D, 1642.   2 S.
+      Mod.   150×115
+      199 *  The Descent from Cross:* sketch. S. & D., 1642.   148×115
+      200 *  Flute-Player* (L'Espiegle).   (After I S  S. &  D.), 1642. 4
+      S.   177×144
+      201 *  St. Jerome in Dark Chamber.*    S. & D., 1642.   2 S. Mod.
+      150×173
+      202 *  Student at Table by Candle Light.*       Ab. 1642.  33.
+      146×132
+      203 *  Cottage with White Paling.* S. & D., 1642.   (Date only in II
+      S.)   2 S.   130×158
+      204 *   Hog.*   S. &  D., 1643.    2 S.   143×154
+      205 *  Three Trees.*    S. &  D., 1643.   211×280
+      206 *  Shepherd and Family.*    S. &  D., 1644.   95×67
+      207 *  Sleeping Herdsman.*      Ab. 1644.   78×57
+      208 *  Rest on Flight:* night piece.    Ab. 1644.   4S.   Mod.
+      92×59
+      209 *  Six's Bridge.*   S. &  D., 1645.   3 S.   129×223
+      210 *  Omval.*  S. & D., 1645.   2 S.    Mod.   185×225
+      211 *  Boat-House.*     S. & D., 1645.   4 S.   127×133
+      212 *  Cottages Beside Canal:* with church and sailing boat. Ab.
+      1645.   2 S.   140×207
+      213 *  Cottage and Farm Buildings,* with man sketching. Ab. 1645.
+      129×208
+      214 *  Abraham and Isaac.*      S. &  D., 1645.   Mod.   157×130
+      215 *  Christ Carried to Tomb.* S.   Ab. 1645.   130×107
+      216 *  Rest on Flight:* lightly etched. S. & D., 1645.   129×114
+      217 *  St. Peter in Penitence.* S. & D., 1645.   181×116
+      218 *  Old Man in Meditation,* leaning on book. Ab. 1645.   132×106
+      219 *  Beggar Woman Leaning on Stick.*    S. &  D.. 1646. 2 S. Mod.
+      81×63
+      220 *  Study From Nude:* Man seated before curtain. S. & D., 1646.
+      2 S. 164×96
+      221 *  Study From Nude:* Man seated on ground with one leg extended.
+      S. & D., 1646.   Mod.   97×166
+      222 *  Studies  From   Nude:*  one man seated, another standing:
+      with woman and baby lightly etched in background. Ab. 1646.   3 S.
+      Mod.   194×228
+      223 *  Le Lit a La Francaise* (Ledekant).      S. &  D., 1646.  3 S.
+      152×224
+      224 *  Monk in Cornfield.*      Ab. 1646.   48×65
+      225 *  Jan Cornelis Sylvius, Preacher:* posthumous portrait. S. &
+      D., 1646.   2S.   278×188
+      226 *  Ephraim Bonus, Jewish Physician.*   S. &  D., 1647. 2S.
+      240×177
+      227 *  Jan Asselyn. Painter.*   S. & D., 16..?   3 S.   Mod.
+      215×170
+      228 *  Jan Six.*        (After I S.   S. & D.),  1647?.   3 S.
+      Mod.   245×191
+      229 *  Rembrandt Drawing at Window.* (After I S.)   S. & D., 1648.
+      5 S.    Mod.   157×128
+      230 *  Sheet of Studies with H. of R.,* Beggar man, woman and child.
+      S. 1631 or 1651.   111×92
+      231 *   Artist Drawing from Model:* unfinished plate. Ab. 1648, or
+      later?   2 S.   Mod.   231×184
+      232 *  St. Jerome Beside Pollard Willow.* (After I S.)   S. & D.,
+      1648.   2 S.   179×122
+      233 *Beggars Receiving Alms at Door of House.* S. & D., 1648.   2 S.
+      Mod.   164×128
+      234 *Jews in Synagogue.*        S. & D., 1648.  3 S.   Mod.   71×129
+      235 *Medea: or Marriage of Jason and Creusa.* (After III S.)   S. &
+      D., 1648.   5 S.   240×177
+      236 *Christ, with Sick Around Him, Receiving Little Children*
+      ("Hundred Guilder Print.")       Ab. 1649. 2 S. Mod. 278×389
+      237 *Incredulity of Thomas.* S. & D., 1650. 162×210
+      238 *Canal with Angler and Two Swans.* S. & D., 1650. 2 S. 82×107
+      239 *Canal with Large Boat and Bridge.* S. & D., 1650. 2 S. 82×107
+      240 *Landscape with Cow Drinking.* Ab. 1650. 2 S. Mod. 102×129
+      241 *Landscape with Hay Barn and Flock of Sheep.* S. & D., 1650.   2
+      S.   83×174
+      242 *  Landscape with Milk-Man.*        Ab. 1650.   2 S.   65×174
+      243 *  Landscape with Obelisk,* Ab. 1650.   2 S.   83×160
+      244 *  Landscape with Trees,* farm buildings and tower. Ab. 1650.
+      4  S.   123×318
+      245 *  Landscape with Square Tower.*         S. & D., 1650.   4 S.
+      88×155
+      246 *  Landscape with Three Gabled Cottages Beside Road.* S. & D.,
+      1650.   3 S.   161×202
+      247 *  The Bull.*       S. & D., 165.?   76×104
+      248 *  The Shell.*      S. & D., 1650.   2 S.   97×132
+      249 *  Goldweigher's Field.*    S. & D., 1651.   120×319
+      250 *  The Bathers.*    S. & D., 1651.   2 S.   Mod.   109×137
+      251 *  Clement de Jonghe, Printseller.* S. & D., 1651.   6 S.   Mod.
+      206×161
+      252 *  Blindness of Tobit:* larger plate.       S. & D., 1651.
+      161×129
+      253 *  Flight into Egypt:* night piece.   S. & D., 1651.   5 S.
+      Mod.   127×110
+      254 *  Star of the Kings:* night piece. Ab. 1652.   Mod.   94×143
+      255 *  Adoration of Shepherds:* night piece. Ab. 1652.   8 S.   Mod.
+      149×198
+      256 *  Christ Preaching* ("La Petite Tombe.")      Ab. 1652.   Mod.
+      155×207
+      257 *  Christ Disputing with Doctors:* sketch. S. & D., 1652.   3 S.
+      126×213
+      258 *  David in Prayer,*        S. & D., 1652.  3 S.   Mod.   143×93
+      259 *  Peasant Family on Tramp.*        Ab. 1652.   Mod.   112×92
+      260 *  Faust In Study, Watching Magic Disk* ("Dr. Faustus"). Ab.
+      1652.   3 S.    Mod.   209×161
+      261 *  Titus Van Ryn, R.'s Son.*        Ab. 1656.   101×72
+      262 *  Sheet of Studies,* with wood and paling.   Parts of two
+      heads, horse and cart.       Ab. 1652.   108×136
+      263 *  Clump of Trees with Vista.* (After I S.) S. & D., 1652.   2
+      S.    155×210
+      264 *  Landscape with Road Beside Canal.*       Ab. 1652.
+      (74-79)×209
+      265 *  Landscape with Sportsman and Dogs.*   Ab. 1653.   2 S.
+      129×157
+      266 *  The Flight Into Egypt:* Altered from "Tobias and the Angel"
+      by Hercules Seghers.       Ab. 1653.   7 S.   213×284
+      267 *St. Jerome Reading,* in Italian landscape.   Ab. 1653.   2 S.
+      260×207
+      268 *Jan Antonides Van Der Linden,* Professor of Medicine. 1665.
+      6 S.    Mod.    (124+49)×105
+      269 *Lieven Willemsz Van Coppenol,* Writing-Master: smaller plate.
+      Ab. 1653.    6 S.   257×189
+      270 *Christ  Crucified  Between  Two Thieves:* large oblong plate
+      (The "Three Crosses")   (After the II S.)    S. & D.. 1653. 5 S.
+      385×450
+      271 *  Christ Presented to People:* large oblong plate. (After the V
+      S.)   S. & D., 1655.   7 S.   383×45
+      272 *  Golf-Player.*    S. & D., 1654.   2 S.   Mod. 96×144
+      273 *  Adoration of Shepherds* (with lamp). S.   Ab. 1654.   2 S.
+      Mod.   105×129
+      274 *  Circumcision* (in Stable).       S. & D., 1654.  3 S.  94×144
+      275 *  Virgin and Child with Cat:* Joseph at window. Mod. S. & D.,
+      1654.   2 S. 94×143
+      276 *  Flight Into Egypt:* Holy Family crossing brook. S. & D.,
+      1654. Mod. 94×144
+      277 *  Christ Seated Disputing with Doctors.* S. & D., 1654.   2 S.
+      95×144
+      278  * Christ Between His Parents, Returning from Temple.* S. & D.,
+      1654.   94×144
+      279 *  Presentation in Temple:* Dark manner.    Ab. 1654.   210×162
+      280 *  Descent from Cross:* by torchlight.   S. & D., 1644. Mod.
+      210×161
+      281 *  The Entombment.* Ab. 1654.   4S, 211×161
+      282 *  Christ at Emmaus:* larger plate.   S. & D., 1654. 3 S.  Mod.
+      209×159
+      283 *  Abraham's Sacrifice.* S. & D., 1655.   156×131
+      284 *  Four Illustrations to Spanish Book.* (On each part after I
+      S.) S. & D., 1655. 5 S. The undivided plate 279×160
+      285 *  The Goldsmith.*  S. & D., 1655.   2 S.   Mod.   77×57
+      286 *  Abraham Entertaining the Angels.*        S. & D., 1656.
+      159×131
+      287 *  Jacob Haaring* (The "Old Haaring").      Ab. 1655.   2 S.
+      195×149
+      288 *  Thomas Jacobsz Haaring* (The "Young Haaring"). S. & D., 1655.
+      5 S.   Mod.   197×148
+      289 *  Arnold Tholinx,* Inspector Medical Colleges at Amsterdam. Ab.
+      1656.   2 S.   198×149
+      290 *  Jan Lutma, the Elder,* Goldsmith and Sculptor. (After I S.)
+      S. & D., 1656.   3 S.   Mod.   197×148
+      291 *   Abraham Francen, Art Dealer.* Ab. 1656, or later?   9 S.
+      Mod.   152×208
+      292 *  St. Francis Beneath Tree, Praying.*  S. & D., 1657. 2 S.
+      180×244
+      293 *  Agony in the Garden.*     S. & D., 165.. (Ab. 1657?)   Mod.
+      118×83
+      294 *  Christ and Woman of Samaria:* arched print. (On III S.)   S.
+      & D., 1658.   3 S.    Mod.   205×160
+      295 *  Phoenix; or Statue Overthrown:* Allegory of doubtful meaning.
+      S. & D., 1658.   180×183
+      296 *  Woman Sitting Half Dressed Beside Stove.* S. & D., 1658.   7
+      S.   228×186
+      297 *  Woman at Bath, with hat beside her.*    S. & D., 1658. 2 S.
+      157×128
+      298 *  Woman Bathing Her Feet at Brook.* S. & D., 1658. Mod. 159×80
+      299 *  Negress Lying Down.*     S. & D., 1658.   3 S. Mod. 80×157
+      300 *  Lieven Willemsz Van Coppenol,* Writing-Master: larger plate.
+      Ab. 1658.   6 S.   Mod.  341×290
+      300* * R. Etching.*     S. & D., 1658.   118×64
+      301 *  Peter and John Healing Cripple at Gate of Temple.* S. & D.,
+      1659.    4S.    Mod.   179×216
+      302 *  Jupiter and Antiope:* larger plate.      S. & D., 1659.   2
+      S.   139×205
+      303 *  Woman with Arrow.*       S. & D., 1661.   3 S.   203×123
+
+
+
+
+LIST OF THE REJECTED ETCHINGS
+
+
+(In the order of Bartsch and Seidlitz, but  with  the Hind  numbers.)
+
+      304 * Rembrandt with Falcon.*   126×98
+      305 *  Abraham Casting Out Hagar and Ishmael:* coarsely etched.
+      81×57
+      306 *  Abraham Casting Out Haagar and Ishmael:* delicately etched.
+      73×53
+      307 * Rest on the Flight.*      217×165
+      308 *  Beheading of John the Baptist.*   S. with R.'s monogram.
+      158×124
+      309 *  St. Jerome Kneeling:* large plate.       389×332
+      310 *  Hour of Death.*  1644.   138×89
+      311 *  The Rat-Killer.* 124×81
+      312 *  Woman Cutting Her Mistress's Nails*
+      (Bathsheba?).        124×95
+      313 *  Cupid Resting.*  89×119
+      314 *  Old Man in Turban, Standing with Stick.* 138×108
+      315 *The Astrologer. *  S. f. bol.      140×117
+      316 *Philosopher in His Chamber.*       70×51
+      317 *Physician Feeling Pulse of Patient.*       70×54
+      318 *A Tramp, with Wife and Child.*     66×70
+      319 *Peasant, Standing.*        58×35
+      320 *Peasant Woman, Standing.*  59×36
+      321 *Beggar in Tall Hat and Long Cloak,* with cottage and two
+      figures in background. 118×86
+      322 *Sick Beggar and Old Beggar Woman.* 76×56
+      323 *Landscape with Cow;* square tower in distance.     72×120
+      324 *Village with Two Gabled Cottages on Canal.*        56×174
+      325 *  Landscape with Coach.*   64×177
+      326 *  The Terrace.*    163×188
+      327 *  Clump of Trees Beside Dyke-Road.*        75×204
+      323 *  Orchard with Barn* ("Paysage aux deux allées"). 2 S.  91×205
+      329 *  Village with Ruined Tower.* S. & D., J. Koninck. 1663.
+      100×153
+      330 *  Landscape with Little Figure of Man.*
+      331 *  Canal with Cottages and a Boat.* 3 S. 166×182
+      332 *  The Large Tree.* 162×128
+      333 *  Landscape with a White Fence.* 90×161
+      334 *   The Angler in a Boat.* 112×139
+      335 *  Landscape with a Canal and Church Tower.* 80×180
+      336 *  Low House on the Banks of a Canal.*   Signed P. D. W. 77×207
+      337 *  The Wooden Bridge.* 76×207
+      338 *  Landscape with Canal and Palisade.*      D. 1659. 75×204
+      339 *  The Full Hay-Barn.* 99×153
+      340 *  Cottage with a Square Chimney.* 74×177
+      34l *  House with Three Chimneys.*90×160
+      342 *  The Hay-Wain.* 68×132
+      343 *  The Castle.*  79×102
+      344 *The Village Street.*       Signed P. D. W. 81×153
+      345 *Unfinished Landscape.* Signed P. D. W. 1605 (or 1659). 90×162
+      346 *Landscape with Canal,* Angler and milk-man. Signed P. D. W.
+      79×206
+      347 *  Young Man Seated,* with game-bag.        D. 1650. 78×67
+      [348] *Bare-Headed Old Man with Hands upon Book.*
+      349 *  Bald Old Man in Profile L.* 75×69
+      350 *  Old Man with Beard, in Cap:* profile r.: in oval. Mod. 71×54
+      351 *  Man with Square Beard and Curly Hair.* S. with R.'s monogram
+      and D. 1631. 56×48
+      [352] *Man Crying Out,* three-quarters l.: bust.
+      353 *  Bust of Man with Thick Lips.* 75×60
+      354 *  Philosopher with Hour-Glass.* Wood cut. 55×50
+      355 *  The Painter.* 70×63
+      356 *  Head of Young Man in Broad-Brimmed Hat:* in octagon. 108×90
+      357 *  Young Man In Broad-Brimmed Hat:* lightly etched. 92×67
+      358 *   Bust of Young Man with Feathers in Hat.* 72×52
+      359 *  Small Head of Man in Ruff,* with Feathers in Cap. 31×27
+      360 *  White Negro.*    Signed A. de Hae. 120×102
+      361 *  So-Called Study for Great Jewish Bride.* 135×97
+      362 *   Old Woman Meditating Over Book.*
+      363 *  Rembrandt's Mother:* bust. 79×63
+      364 *  White Negress.* S. with R.'s monogram, in reverse. 112×83
+      365 *  Head of Old Woman:* Cut as far as band round brow. S. with
+      R.'s monogram.   36×43
+      366 *  Young Woman Reading.*    106×102
+      367 *  Head and Shoulders of Dog:* sketched in corner of plate.
+      118×150
+      368 *  Slight Study of Woman's Head.*   64×55
+      369 *  Head and Bust of Man with Beard:* looking down towards l.
+      79×63
+      370 *  View of Amsterdam.* 58×175
+      371 *  Two Cottages with Pointed Gables.* 66×173
+      372 *  Village Divided by Dyke.*        Signed P. D. W. 76×183
+      373 *  Angler in Boat.* 83×182
+      374 *  Landscape with Two Anglers.* 81×180
+      375 *  Two Ruined Cottages.* 113×181
+      376 *  Old Barn.* 73×114
+      377 *  Supposed Portrait of Jan Six.* 46×45
+      378 *  Profile of Old Bearded Man in Turban.* 45×31
+      379 *  Profile of Jewish-Looking Old Man in Fur Cap.* 47×29
+      380 *  Old Man with Pointed Beard.* 63×53
+      381 *  Head of Man with Curly Hair and Thin Moustache.* 63×51
+      382 *  Jew Standing.* 51×40
+      383 *  Head of Rembrandt's Mother.* 50×41
+      384 *  Portrait of Rembrandt.* 54×52
+      385 *  Child Asleep.* 38×40
+      386 *  Bathsheba.* 146×112
+      387 *  Old Man in Broad-Brimmed Hat:* bust in profile. 51×31
+      388 *  The Circumcision.* (II S. only. S.) Rembrandt fecit.    2 S.
+      214×(165--160)
+      389 *  Head of Old M an with Snub Nose:* in cap: profile to l. 27×21
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS ETCHINGS
+***
+
+
+
+CREDITS
+
+
+January 8, 2010
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 30895-8.txt or 30895-8.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/3/0/8/9/30895/
+
+
+Updated editions will replace the previous one -- the old editions will be
+renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation (and
+you!) can copy and distribute it in the United States without permission
+and without paying copyright royalties. Special rules, set forth in the
+General Terms of Use part of this license, apply to copying and
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works to protect the Project
+Gutenberg{~TRADE MARK SIGN~} concept and trademark. Project Gutenberg is a registered
+trademark, and may not be used if you charge for the eBooks, unless you
+receive specific permission. If you do not charge anything for copies of
+this eBook, complying with the rules is very easy. You may use this eBook
+for nearly any purpose such as creation of derivative works, reports,
+performances and research. They may be modified and printed and given away
+-- you may do practically _anything_ with public domain eBooks.
+Redistribution is subject to the trademark license, especially commercial
+redistribution.
+
+
+
+THE FULL PROJECT GUTENBERG LICENSE
+
+
+_Please read this before you distribute or use this work._
+
+To protect the Project Gutenberg{~TRADE MARK SIGN~} mission of promoting the free
+distribution of electronic works, by using or distributing this work (or
+any other work associated in any way with the phrase "Project Gutenberg"),
+you agree to comply with all the terms of the Full Project Gutenberg{~TRADE MARK SIGN~}
+License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.
+
+
+General Terms of Use & Redistributing Project Gutenberg{~TRADE MARK SIGN~} electronic works
+
+
+1.A.
+
+
+By reading or using any part of this Project Gutenberg{~TRADE MARK SIGN~} electronic work,
+you indicate that you have read, understand, agree to and accept all the
+terms of this license and intellectual property (trademark/copyright)
+agreement. If you do not agree to abide by all the terms of this
+agreement, you must cease using and return or destroy all copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in your possession. If you paid a fee
+for obtaining a copy of or access to a Project Gutenberg{~TRADE MARK SIGN~} electronic work
+and you do not agree to be bound by the terms of this agreement, you may
+obtain a refund from the person or entity to whom you paid the fee as set
+forth in paragraph 1.E.8.
+
+
+1.B.
+
+
+"Project Gutenberg" is a registered trademark. It may only be used on or
+associated in any way with an electronic work by people who agree to be
+bound by the terms of this agreement. There are a few things that you can
+do with most Project Gutenberg{~TRADE MARK SIGN~} electronic works even without complying
+with the full terms of this agreement. See paragraph 1.C below. There are
+a lot of things you can do with Project Gutenberg{~TRADE MARK SIGN~} electronic works if you
+follow the terms of this agreement and help preserve free future access to
+Project Gutenberg{~TRADE MARK SIGN~} electronic works. See paragraph 1.E below.
+
+
+1.C.
+
+
+The Project Gutenberg Literary Archive Foundation ("the Foundation" or
+PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg{~TRADE MARK SIGN~} electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an individual
+work is in the public domain in the United States and you are located in
+the United States, we do not claim a right to prevent you from copying,
+distributing, performing, displaying or creating derivative works based on
+the work as long as all references to Project Gutenberg are removed. Of
+course, we hope that you will support the Project Gutenberg{~TRADE MARK SIGN~} mission of
+promoting free access to electronic works by freely sharing Project
+Gutenberg{~TRADE MARK SIGN~} works in compliance with the terms of this agreement for
+keeping the Project Gutenberg{~TRADE MARK SIGN~} name associated with the work. You can
+easily comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg{~TRADE MARK SIGN~} License when you
+share it without charge with others.
+
+
+1.D.
+
+
+The copyright laws of the place where you are located also govern what you
+can do with this work. Copyright laws in most countries are in a constant
+state of change. If you are outside the United States, check the laws of
+your country in addition to the terms of this agreement before
+downloading, copying, displaying, performing, distributing or creating
+derivative works based on this work or any other Project Gutenberg{~TRADE MARK SIGN~} work.
+The Foundation makes no representations concerning the copyright status of
+any work in any country outside the United States.
+
+
+1.E.
+
+
+Unless you have removed all references to Project Gutenberg:
+
+
+1.E.1.
+
+
+The following sentence, with active links to, or other immediate access
+to, the full Project Gutenberg{~TRADE MARK SIGN~} License must appear prominently whenever
+any copy of a Project Gutenberg{~TRADE MARK SIGN~} work (any work on which the phrase
+"Project Gutenberg" appears, or with which the phrase "Project Gutenberg"
+is associated) is accessed, displayed, performed, viewed, copied or
+distributed:
+
+
+    This eBook is for the use of anyone anywhere at no cost and with
+    almost no restrictions whatsoever. You may copy it, give it away
+    or re-use it under the terms of the Project Gutenberg License
+    included with this eBook or online at http://www.gutenberg.org
+
+
+1.E.2.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is derived from the
+public domain (does not contain a notice indicating that it is posted with
+permission of the copyright holder), the work can be copied and
+distributed to anyone in the United States without paying any fees or
+charges. If you are redistributing or providing access to a work with the
+phrase "Project Gutenberg" associated with or appearing on the work, you
+must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
+or obtain permission for the use of the work and the Project Gutenberg{~TRADE MARK SIGN~}
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+
+1.E.3.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is posted with the
+permission of the copyright holder, your use and distribution must comply
+with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
+by the copyright holder. Additional terms will be linked to the Project
+Gutenberg{~TRADE MARK SIGN~} License for all works posted with the permission of the
+copyright holder found at the beginning of this work.
+
+
+1.E.4.
+
+
+Do not unlink or detach or remove the full Project Gutenberg{~TRADE MARK SIGN~} License
+terms from this work, or any files containing a part of this work or any
+other work associated with Project Gutenberg{~TRADE MARK SIGN~}.
+
+
+1.E.5.
+
+
+Do not copy, display, perform, distribute or redistribute this electronic
+work, or any part of this electronic work, without prominently displaying
+the sentence set forth in paragraph 1.E.1 with active links or immediate
+access to the full terms of the Project Gutenberg{~TRADE MARK SIGN~} License.
+
+
+1.E.6.
+
+
+You may convert to and distribute this work in any binary, compressed,
+marked up, nonproprietary or proprietary form, including any word
+processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg{~TRADE MARK SIGN~} work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version posted
+on the official Project Gutenberg{~TRADE MARK SIGN~} web site (http://www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other form.
+Any alternate format must include the full Project Gutenberg{~TRADE MARK SIGN~} License as
+specified in paragraph 1.E.1.
+
+
+1.E.7.
+
+
+Do not charge a fee for access to, viewing, displaying, performing,
+copying or distributing any Project Gutenberg{~TRADE MARK SIGN~} works unless you comply
+with paragraph 1.E.8 or 1.E.9.
+
+
+1.E.8.
+
+
+You may charge a reasonable fee for copies of or providing access to or
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works provided that
+
+    - You pay a royalty fee of 20% of the gross profits you derive from
+      the use of Project Gutenberg{~TRADE MARK SIGN~} works calculated using the method you
+      already use to calculate your applicable taxes. The fee is owed to
+      the owner of the Project Gutenberg{~TRADE MARK SIGN~} trademark, but he has agreed to
+      donate royalties under this paragraph to the Project Gutenberg
+      Literary Archive Foundation. Royalty payments must be paid within 60
+      days following each date on which you prepare (or are legally
+      required to prepare) your periodic tax returns. Royalty payments
+      should be clearly marked as such and sent to the Project Gutenberg
+      Literary Archive Foundation at the address specified in Section 4,
+      "Information about donations to the Project Gutenberg Literary
+      Archive Foundation."
+
+    - You provide a full refund of any money paid by a user who notifies
+      you in writing (or by e-mail) within 30 days of receipt that s/he
+      does not agree to the terms of the full Project Gutenberg{~TRADE MARK SIGN~} License.
+      You must require such a user to return or destroy all copies of the
+      works possessed in a physical medium and discontinue all use of and
+      all access to other copies of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+    - You provide, in accordance with paragraph 1.F.3, a full refund of
+      any money paid for a work or a replacement copy, if a defect in the
+      electronic work is discovered and reported to you within 90 days of
+      receipt of the work.
+
+    - You comply with all other terms of this agreement for free
+      distribution of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+
+1.E.9.
+
+
+If you wish to charge a fee or distribute a Project Gutenberg{~TRADE MARK SIGN~} electronic
+work or group of works on different terms than are set forth in this
+agreement, you must obtain permission in writing from both the Project
+Gutenberg Literary Archive Foundation and Michael Hart, the owner of the
+Project Gutenberg{~TRADE MARK SIGN~} trademark. Contact the Foundation as set forth in
+Section 3 below.
+
+
+1.F.
+
+
+1.F.1.
+
+
+Project Gutenberg volunteers and employees expend considerable effort to
+identify, do copyright research on, transcribe and proofread public domain
+works in creating the Project Gutenberg{~TRADE MARK SIGN~} collection. Despite these
+efforts, Project Gutenberg{~TRADE MARK SIGN~} electronic works, and the medium on which they
+may be stored, may contain "Defects," such as, but not limited to,
+incomplete, inaccurate or corrupt data, transcription errors, a copyright
+or other intellectual property infringement, a defective or damaged disk
+or other medium, a computer virus, or computer codes that damage or cannot
+be read by your equipment.
+
+
+1.F.2.
+
+
+LIMITED WARRANTY, DISCLAIMER OF DAMAGES -- Except for the "Right of
+Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg
+Literary Archive Foundation, the owner of the Project Gutenberg{~TRADE MARK SIGN~}
+trademark, and any other party distributing a Project Gutenberg{~TRADE MARK SIGN~}
+electronic work under this agreement, disclaim all liability to you for
+damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE
+NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
+OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE
+FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT
+WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
+PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY
+OF SUCH DAMAGE.
+
+
+1.F.3.
+
+
+LIMITED RIGHT OF REPLACEMENT OR REFUND -- If you discover a defect in this
+electronic work within 90 days of receiving it, you can receive a refund
+of the money (if any) you paid for it by sending a written explanation to
+the person you received the work from. If you received the work on a
+physical medium, you must return the medium with your written explanation.
+The person or entity that provided you with the defective work may elect
+to provide a replacement copy in lieu of a refund. If you received the
+work electronically, the person or entity providing it to you may choose
+to give you a second opportunity to receive the work electronically in
+lieu of a refund. If the second copy is also defective, you may demand a
+refund in writing without further opportunities to fix the problem.
+
+
+1.F.4.
+
+
+Except for the limited right of replacement or refund set forth in
+paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+
+1.F.5.
+
+
+Some states do not allow disclaimers of certain implied warranties or the
+exclusion or limitation of certain types of damages. If any disclaimer or
+limitation set forth in this agreement violates the law of the state
+applicable to this agreement, the agreement shall be interpreted to make
+the maximum disclaimer or limitation permitted by the applicable state
+law. The invalidity or unenforceability of any provision of this agreement
+shall not void the remaining provisions.
+
+
+1.F.6.
+
+
+INDEMNITY -- You agree to indemnify and hold the Foundation, the trademark
+owner, any agent or employee of the Foundation, anyone providing copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in accordance with this agreement, and
+any volunteers associated with the production, promotion and distribution
+of Project Gutenberg{~TRADE MARK SIGN~} electronic works, harmless from all liability, costs
+and expenses, including legal fees, that arise directly or indirectly from
+any of the following which you do or cause to occur: (a) distribution of
+this or any Project Gutenberg{~TRADE MARK SIGN~} work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg{~TRADE MARK SIGN~} work, and (c) any Defect
+you cause.
+
+
+Section  2.
+
+
+           Information about the Mission of Project Gutenberg{~TRADE MARK SIGN~}
+
+
+Project Gutenberg{~TRADE MARK SIGN~} is synonymous with the free distribution of electronic
+works in formats readable by the widest variety of computers including
+obsolete, old, middle-aged and new computers. It exists because of the
+efforts of hundreds of volunteers and donations from people in all walks
+of life.
+
+Volunteers and financial support to provide volunteers with the assistance
+they need, is critical to reaching Project Gutenberg{~TRADE MARK SIGN~}'s goals and ensuring
+that the Project Gutenberg{~TRADE MARK SIGN~} collection will remain freely available for
+generations to come. In 2001, the Project Gutenberg Literary Archive
+Foundation was created to provide a secure and permanent future for
+Project Gutenberg{~TRADE MARK SIGN~} and future generations. To learn more about the Project
+Gutenberg Literary Archive Foundation and how your efforts and donations
+can help, see Sections 3 and 4 and the Foundation web page at
+http://www.pglaf.org.
+
+
+Section 3.
+
+
+   Information about the Project Gutenberg Literary Archive Foundation
+
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the state of
+Mississippi and granted tax exempt status by the Internal Revenue Service.
+The Foundation's EIN or federal tax identification number is 64-6221541.
+Its 501(c)(3) letter is posted at
+http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project
+Gutenberg Literary Archive Foundation are tax deductible to the full
+extent permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr.
+S. Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at 809 North
+1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact information
+can be found at the Foundation's web site and official page at
+http://www.pglaf.org
+
+For additional contact information:
+
+
+    Dr. Gregory B. Newby
+    Chief Executive and Director
+    gbnewby@pglaf.org
+
+
+Section 4.
+
+
+  Information about Donations to the Project Gutenberg Literary Archive
+                                Foundation
+
+
+Project Gutenberg{~TRADE MARK SIGN~} depends upon and cannot survive without wide spread
+public support and donations to carry out its mission of increasing the
+number of public domain and licensed works that can be freely distributed
+in machine readable form accessible by the widest array of equipment
+including outdated equipment. Many small donations ($1 to $5,000) are
+particularly important to maintaining tax exempt status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United States.
+Compliance requirements are not uniform and it takes a considerable
+effort, much paperwork and many fees to meet and keep up with these
+requirements. We do not solicit donations in locations where we have not
+received written confirmation of compliance. To SEND DONATIONS or
+determine the status of compliance for any particular state visit
+http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we have
+not met the solicitation requirements, we know of no prohibition against
+accepting unsolicited donations from donors in such states who approach us
+with offers to donate.
+
+International donations are gratefully accepted, but we cannot make any
+statements concerning tax treatment of donations received from outside the
+United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation methods
+and addresses. Donations are accepted in a number of other ways including
+checks, online payments and credit card donations. To donate, please
+visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.
+
+
+      General Information About Project Gutenberg{~TRADE MARK SIGN~} electronic works.
+
+
+Professor Michael S. Hart is the originator of the Project Gutenberg{~TRADE MARK SIGN~}
+concept of a library of electronic works that could be freely shared with
+anyone. For thirty years, he produced and distributed Project Gutenberg{~TRADE MARK SIGN~}
+eBooks with only a loose network of volunteer support.
+
+Project Gutenberg{~TRADE MARK SIGN~} eBooks are often created from several printed editions,
+all of which are confirmed as Public Domain in the U.S. unless a copyright
+notice is included. Thus, we do not necessarily keep eBooks in compliance
+with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's eBook
+number, often in several formats including plain vanilla ASCII, compressed
+(zipped), HTML and others.
+
+Corrected _editions_ of our eBooks replace the old file and take over the
+old filename and etext number. The replaced older file is renamed.
+_Versions_ based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+
+    http://www.gutenberg.org
+
+
+This Web site includes information about Project Gutenberg{~TRADE MARK SIGN~}, including how
+to make donations to the Project Gutenberg Literary Archive Foundation,
+how to help produce our new eBooks, and how to subscribe to our email
+newsletter to hear about new eBooks.
+
+
+
+
+
+
+***FINIS***
+
\ No newline at end of file