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diff --git a/32661-h/32661-h.htm b/32661-h/32661-h.htm new file mode 100644 index 0000000..3c8bb6c --- /dev/null +++ b/32661-h/32661-h.htm @@ -0,0 +1,7320 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> +<title>The Project Gutenberg eBook of Rembrandt van Rijn, by Malcolm Bell.</title> +<style type="text/css"> +body{margin-left:10%;margin-right:10%;line-height:150%} +p{margin-top:.75em;text-align:justify;margin-bottom:.75em} +h1,h2{text-align:center;clear:both;line-height:150%;letter-spacing:.1em} +hr{width:33%;margin-top:2em;margin-bottom:2em;margin-left:auto;margin-right:auto;clear:both} +table{margin-left:auto;margin-right:auto} +.pagenum{position:absolute;left:92%;font-size:smaller;text-align:right;font-variant:normal;font-style:normal;font-weight:normal} +.bbox{border:solid 2px;padding-left:.5em;padding-right:.5em} +.center{text-align:center} +.right{text-align:right} +.smcap{font-variant:small-caps} +.caption,.caption>*{text-align:center;font-size:90%} +a>img{/*image that links to hi-res version*/border:4px solid #CCC} +.mynote{background-color:#DDE;color:#000;padding:.5em;margin:1em 5%;font-family:sans-serif;font-size:95%} +/*project-specific styles below*/ +.location{text-align:right;font-style:italic} +.toc td{vertical-align:top} +.tocchapnum{text-align:right;padding-right:1em} +.toctitle{text-align:center;padding:2ex 0 2ex 0} +.illustration{text-align:center;padding-bottom:2ex} +.fraction{border-bottom:1px dotted black} +.fraction sup,.fraction sub{font-size:60%} +#title1,#title2,#title3{font-weight:bold} +#title1{font-size:125%;letter-spacing:0.07em;margin-top:5ex} +#title2{letter-spacing:0.03em} +#title3{margin-bottom:20ex} +#title_title{color:red;font-size:250%;letter-spacing:.25em;margin-bottom:4ex} +#title_by{text-align:center;font-size:80%} +#title_malcolm{text-align:center;font-size:120%;margin-top:1ex;margin-bottom:1ex} +#title_author{text-align:center;font-size:70%;margin-bottom:2ex} +#title_london{text-align:center;margin-top:6ex} +#title_bell{text-align:center;color:red;font-size:130%;margin-top:1ex;margin-bottom:1ex} +#title_date{text-align:center} +table#chrono_table{border-collapse:collapse;border:1px solid black} +#chrono_table th{font-weight:normal;font-variant:small-caps;border:1px solid black} +#chrono_table th,#chrono_table td{padding:.5em} +#chrono_table td{vertical-align:top;font-size:80%;border-left:1px solid black} +#chrono_table .pagenum{font-size:100%} +.subtitle{text-align:center;font-weight:bold;letter-spacing:.2em;margin-bottom:3ex} +.country{text-align:center;font-size:110%;letter-spacing:.2em;margin-top:4ex;margin-bottom:2ex} +dl.catalogue dt{letter-spacing:.1em;margin-top:1ex;margin-bottom:.5ex} +dl.catalogue dt .pagenum{letter-spacing:0} +dl.catalogue dd{margin-top:.25ex;margin-bottom:.25ex} +dl.index{margin-bottom:3ex} +#notice_mansell{text-align:center;font-weight:bold;font-size:175%;margin-top:4ex} +#notice_dealers{text-align:center;font-size:110%;font-weight:bold;letter-spacing:.1em;margin-bottom:4ex} +#notice_london{margin-left:10em} +.franz_title{text-align:center;font-weight:bold;font-size:125%;letter-spacing:.1em;margin-top:4ex} +.galleries dd{font-variant:small-caps;font-size:90%} +#franz_franz{text-align:center;font-weight:bold;font-size:150%;letter-spacing:.1em} +#artco_items{list-style-type:none;padding-left:0} +#artco_etc{padding-left:4em} +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Great Masters in Painting: Rembrandt van +Rijn, by Malcolm Bell + +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 www.gutenberg.org + + +Title: Great Masters in Painting: Rembrandt van Rijn + +Author: Malcolm Bell + +Release Date: June 2, 2010 [EBook #32661] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK REMBRANDT VAN RIJN *** + + + + +Produced by Thierry Alberto, Júlio Reis, Robert Cicconetti +and the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + +</pre> + + +<div class="mynote"> +<p><b>Transcriber's notes:</b></p> +<ul> +<li>A table of contents can be found on <a href="#Page_vi">page vi</a>.</li> +<li>A list of illustrations can be found on <a href="#Page_vii">page vii</a>.</li> +</ul> +</div> + + +<div class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></div> +<p id="title1">The Great Masters</p> +<p id="title2">in Painting and Sculpture</p> +<p id="title3">Edited by G. C. Williamson</p> + +<h1>REMBRANDT VAN RIJN</h1> + + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></div> +<div class="bbox"> +<h2><a name="THE_GREAT_MASTERS_IN_PAINTING_AND" id="THE_GREAT_MASTERS_IN_PAINTING_AND"></a>THE GREAT MASTERS IN PAINTING AND +SCULPTURE.</h2> + +<p class="center"><i>The following Volumes have been issued, price 5s. net each.</i></p> + +<p>BERNARDINO LUINI. By <span class="smcap">George C. Williamson</span>, Litt.D., Editor +of the Series.</p> + +<p>VELASQUEZ. By <span class="smcap">R. A. M. Stevenson</span>.</p> + +<p>ANDREA DEL SARTO. By <span class="smcap">H. Guinness</span>.</p> + +<p>LUCA SIGNORELLI. By <span class="smcap">Maud Cruttwell</span>.</p> + +<p>RAPHAEL. By <span class="smcap">H. Strachey</span>.</p> + +<p>CARLO CRIVELLI. By <span class="smcap">G. McNeil Rushforth</span>, M.A., Lecturer +in Classics, Oriel College, Oxford.</p> + +<p>CORREGGIO. By <span class="smcap">Selwyn Brinton</span>, M.A., Author of "The Renaissance +in Italian Art."</p> + +<p>DONATELLO. By <span class="smcap">Hope Rea</span>, Author of "Tuscan Artists."</p> + +<p>PERUGINO. By <span class="smcap">G. C. Williamson</span>, Litt.D.</p> + +<p>SODOMA. By the <span class="smcap">Contessa Lorenzo Priuli-Bon</span>.</p> + +<p>LUCA DELLA ROBBIA. By the <span class="smcap">Marchesa Burlamacchi</span>.</p> + +<p>GIORGIONE. By <span class="smcap">Herbert Cook</span>, M.A., F.S.A.</p> + +<p>MEMLINO. By <span class="smcap">W. H. James Weale</span>, late Keeper of the National Art +Library.</p> + +<p>PIERO DELLA FRANCESCA. By <span class="smcap">W. G. Waters</span>, M.A.</p> + +<p>PINTORICCHIO. By <span class="smcap">Evelyn March Phillipps</span>.</p> + +<p>FRANCIA. By <span class="smcap">George C. Williamson</span>, Litt.D.</p> + +<p>BRUNELLESCHI. By <span class="smcap">Leader Scott</span>.</p> + +<p>MANTEGNA. By <span class="smcap">Maud Cruttwell</span>.</p> + +<p>REMBRANDT VAN RIJN. By <span class="smcap">Malcolm Bell</span>.</p> + + +<p class="center"><i>In preparation.</i></p> + +<p>WILKIE. By <span class="smcap">Lord Ronald Sutherland-Gower</span>, M.A., F.S.A., +Trustee of the National Portrait Gallery.</p> + +<p>TINTORETTO. By <span class="smcap">J. B. Stoughton Holborn</span>, M.A. of Merton +College, Oxford.</p> + +<p>GIOTTO. By <span class="smcap">F. Mason Perkins</span>.</p> + +<p>EL GRECO. By <span class="smcap">Manuel B. Cossio</span>, Litt.D., Ph.D., Director of the +Musée Pédagogique, Madrid.</p> + +<p>DÜRER. By <span class="smcap">Hans W. Singer</span>, M.A., Ph.D., Assistant Director of the +Royal Print Room, Dresden.</p> + +<p>PAOLO VERONESE. By <span class="smcap">Roger E. Fry</span>.</p> + +<p>GAUDENZIO FERRARI. By <span class="smcap">Ethel Halsey</span>.</p> + +<p class="center"><i>Others to follow.</i></p> + +<hr style="width:45%" /> + +<p class="center" style="font-size:110%">LONDON: GEORGE BELL & SONS</p> +</div> + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p> +<div class="illustration"> + <a id="image000" href="images/000-shipbuilder-h.jpg"> + <img src="images/000-shipbuilder.jpg" + alt="The Ship builder & his wife." + title="The Ship builder & his wife." /> + </a> + <div class="caption"> +<div class="location">Buckingham Palace, London.</div> +<div><em>The Ship builder & his wife. (1633)</em></div> +</div> +</div> + +<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p> + +<hr style="width: 65%;" /> +<h1 id="title_title">REMBRANDT<br /> VAN RIJN</h1> + +<div id="title_by">BY</div> +<div id="title_malcolm">MALCOLM BELL</div> +<div id="title_author">AUTHOR OF "SIR EDWARD BURNE-JONES:<br /> A RECORD AND REVIEW," ETC.</div> + +<div class="illustration"> + <img id="image001" src="images/001-georgebell-logo.png" + alt="Logo of George Bell & Sons" + title="Logo of George Bell & Sons" /> +</div> + +<div id="title_london">LONDON</div> +<div id="title_bell">GEORGE BELL & SONS</div> +<div id="title_date">1901</div> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></div> +<h1><a name="PREFACE" id="PREFACE"></a>PREFACE</h1> + +<p>In order to reduce the volume on Rembrandt, published +in 1899, to the smaller dimensions demanded by the +"Great Masters" series, it became necessary to dispense +with some of the material included in it. This, it is +hoped, has been done without seriously affecting the +usefulness of the book. The story of the painter's life +and work has been to some extent compressed, but +everything essential has, it is believed, been retained. +The chief omissions are the short descriptions of the +pictures and the lists of the etchings, which, while +occupying much space, were thought to be more suitable +to a work of reference than to a handbook. The +student who desires fuller information on these points +will find it in the earlier volume.</p> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></div> +<h1><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h1> + +<table class="toc" summary="Table of Contents"> +<tr><td class="right" colspan="3"><small>PAGE</small></td> +</tr><tr> +<td class="smcap" colspan="2">List of Illustrations</td><td class="right"><a href="#Page_vii">vii</a></td> +</tr><tr> +<td class="smcap" colspan="2">Bibliography</td><td class="right"><a href="#Page_ix">ix</a></td> +</tr><tr> +<td class="smcap" colspan="2">Chronological Table</td><td class="right"><a href="#Page_xiii">xiii</a></td> +</tr><tr> +<td colspan="3" class="toctitle">PART I.—REMBRANDT THE MAN</td> +</tr><tr> +<td class="tocchapnum">Chapter I.</td><td class="smcap">Birth and Early Years</td><td class="right"><a href="#Page_1">1</a></td> +</tr><tr> +<td class="tocchapnum">II.</td><td class="smcap">Art Education and Early Works</td><td class="right"><a href="#Page_8">8</a></td> +</tr><tr> +<td class="tocchapnum">III.</td><td class="smcap">Days of Prosperity</td><td class="right"><a href="#Page_16">16</a></td> +</tr><tr> +<td class="tocchapnum">IV.</td><td class="smcap">Days of Decline</td><td class="right"><a href="#Page_32">32</a></td> +</tr><tr> +<td colspan="3" class="toctitle">PART II.—REMBRANDT THE PAINTER</td> +</tr><tr> +<td class="tocchapnum">V.</td><td class="smcap">Early Years (1627-1633)</td><td class="right"><a href="#Page_48">48</a></td> +</tr><tr> +<td class="tocchapnum">VI.</td><td class="smcap">Time of Prosperity</td><td class="right"><a href="#Page_61">61</a></td> +</tr><tr> +<td class="tocchapnum">VII.</td><td class="smcap">Years of Decline</td><td class="right"><a href="#Page_71">71</a></td> +</tr><tr> +<td colspan="3" class="toctitle">PART III.—REMBRANDT THE ETCHER</td> +</tr><tr> +<td class="tocchapnum">VIII.</td><td class="smcap">The History of the Etchings</td><td class="right"><a href="#Page_85">85</a></td> +</tr><tr> +<td class="tocchapnum">IX.</td><td class="smcap">The Authentic Etchings</td><td class="right"><a href="#Page_93">93</a></td> +</tr><tr> +<td class="smcap" colspan="2">Catalogue of Works</td><td class="right"><a href="#Page_117">117</a></td> +</tr><tr> +<td class="smcap" colspan="2">Index</td><td class="right"><a href="#Page_157">157</a></td> +</tr> +</table> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></div> +<h1><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h1> + +<table class="toc" summary="List of Illustrations"> +<tr><td colspan="3" class="right"><small>PAGE</small></td> +</tr><tr> +<td>The Shipbuilder and his Wife, 1633, <i><a href="#image000">Frontispiece</a></i></td><td align="right"><i>Buckingham Palace</i></td><td></td> +</tr><tr> +<td>Portrait of Rembrandt's Mother, about 1628</td><td align="right"><i>The Hague</i></td><td class="right"><a href="#image006">6</a></td> +</tr><tr> +<td>Portrait of Rembrandt's Father, about 1631</td><td align="right"><i>Cassel</i></td><td class="right"><a href="#image012">12</a></td> +</tr><tr> +<td>Portrait of Saskia, 1632</td><td align="right"><i>Prince Liechtenstein, Vienna</i></td><td class="right"><a href="#image018">18</a></td> +</tr><tr> +<td>Rembrandt and Saskia, about 1635</td><td align="right"><i>Dresden</i></td><td class="right"><a href="#image024">24</a></td> +</tr><tr> +<td>Portrait of Rembrandt, 1640</td><td align="right"><i>National Gallery, London</i></td><td class="right"><a href="#image028">28</a></td> +</tr><tr> +<td>Portrait of Saskia, 1641</td><td align="right"><i>Dresden</i></td><td class="right"><a href="#image030">30</a></td> +</tr><tr> +<td>Portrait of Hendrickje Stoffels, about 1662</td><td align="right"><i>Louvre</i></td><td class="right"><a href="#image044">44</a></td> +</tr><tr> +<td>Portrait of Rembrandt, about 1664</td><td align="right"><i>National Gallery, London</i></td><td class="right"><a href="#image046">46</a></td> +</tr><tr> +<td>Portrait called Coppenol, 1631</td><td align="right"><i>The Hermitage</i></td><td class="right"><a href="#image054">54</a></td> +</tr><tr> +<td>Portrait of a Man, 1630-1632</td><td align="right"><i>Imperial Museum, Vienna</i></td><td class="right"><a href="#image056a">56</a></td> +</tr><tr> +<td>Portrait of a Woman, 1630-1632</td><td align="right"><i>Imperial Museum, Vienna</i></td><td class="right"><a href="#image056b">56</a></td> +</tr><tr> +<td>The Anatomy Lesson, 1632</td><td align="right"><i>The Hague</i></td><td class="right"><a href="#image058a">58</a></td> +</tr><tr> +<td>Portrait of Jan Herman Krul, 1633</td><td align="right"><i>Cassel</i></td><td class="right"><a href="#image058b">58</a></td> +</tr><tr> +<td>The Elevation of the Cross, 1633</td><td align="right"><i>Munich</i></td><td class="right"><a href="#image060">60</a></td> +</tr><tr> +<td>Portrait of an Old Woman, 1634</td><td align="right"><i>National Gallery, London</i></td><td class="right"><a href="#image062a">62</a></td> +</tr><tr> +<td>The Burgomaster Pancras and his Wife, about 1635</td><td align="right"><i>Buckingham Palace</i></td><td class="right"><a href="#image062b">62</a></td> +</tr><tr> +<td>Portrait of a Man, 1635</td><td align="right"><i>National Gallery, London</i></td><td class="right"><a href="#image062c">62</a></td> +</tr><tr> +<td>Danae, 1636</td><td align="right"><i>The Hermitage</i></td><td class="right"><a href="#image064a">64</a></td> +</tr><tr> +<td><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span>Portrait of a Man, 1636</td><td align="right"><i>Prince Liechtenstein, Vienna</i></td><td class="right"><a href="#image064b">64</a></td> +</tr><tr> +<td>Portrait of a Lady, 1636</td><td align="right"><i>Prince Liechtenstein, Vienna</i></td><td class="right"><a href="#image064c">64</a></td> +</tr><tr> +<td>Portrait called Sobieski, 1637</td><td align="right"><i>The Hermitage</i></td><td class="right"><a href="#image066a">66</a></td> +</tr><tr> +<td>The Man with the Bittern, 1639</td><td align="right"><i>Dresden</i></td><td class="right"><a href="#image066b">66</a></td> +</tr><tr> +<td>Portrait of Elizabeth Bas, about 1640</td><td align="right"><i>Amsterdam</i></td><td class="right"><a href="#image068a">68</a></td> +</tr><tr> +<td>Anslo consoling a Widow, 1641</td><td align="right"><i>Berlin</i></td><td class="right"><a href="#image068b">68</a></td> +</tr><tr> +<td>The Lady with the Fan, 1641</td><td align="right"><i>Buckingham Palace</i></td><td class="right"><a href="#image070a">70</a></td> +</tr><tr> +<td>Portrait of a Man, 1641</td><td align="right"><i>Brussels</i></td><td class="right"><a href="#image070b">70</a></td> +</tr><tr> +<td>The Woman taken in Adultery, 1644</td><td align="right"><i>National Gallery, London</i></td><td class="right"><a href="#image072a">72</a></td> +</tr><tr> +<td>A Girl at a Window, 1645</td><td align="right"><i>Dulwich Gallery</i></td><td class="right"><a href="#image072b">72</a></td> +</tr><tr> +<td>Portrait of a Rabbi, 1645</td><td align="right"><i>Berlin</i></td><td class="right"><a href="#image074a">74</a></td> +</tr><tr> +<td>A Winter Scene, 1646</td><td align="right"><i>Cassel</i></td><td class="right"><a href="#image074b">74</a></td> +</tr><tr> +<td>Christ at Emmaus, 1648</td><td align="right"><i>Louvre</i></td><td class="right"><a href="#image076">76</a></td> +</tr><tr> +<td>John the Baptist preaching, 1656</td><td align="right"><i>Berlin</i></td><td class="right"><a href="#image078">78</a></td> +</tr><tr> +<td>The Syndics of the Drapers, 1661</td><td align="right"><i>Amsterdam</i></td><td class="right"><a href="#image080">80</a></td> +</tr><tr> +<td colspan="3" style="padding:4ex 0 1ex 0"><h2><em>ETCHINGS</em></h2> +<p class="center"><em>The Numbers given are those of Bartsch's Catalogue</em></p> +</td></tr><tr> +<td colspan="2">Christ healing the Sick (74)</td><td class="right"><a href="#image086">86</a></td> +</tr><tr> +<td colspan="2">Clement de Jonghe (272)</td><td class="right"><a href="#image090">90</a></td> +</tr><tr> +<td colspan="2">The Three Trees (212)</td><td class="right"><a href="#image092">92</a></td> +</tr><tr> +<td colspan="2">Rembrandt's Mill (233)</td><td class="right"><a href="#image098">98</a></td> +</tr><tr> +<td colspan="2">Beggars at the Door of a House (176)</td><td class="right"><a href="#image100">100</a></td> +</tr><tr> +<td colspan="2">The Shell (159)</td><td class="right"><a href="#image102">102</a></td> +</tr><tr> +<td colspan="2">Jan Lutma (276)</td><td class="right"><a href="#image106">106</a></td> +</tr></table> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></div> +<h1><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY</h1> + +<p><span class="smcap">Amand-Durand.</span> "Œuvre de Rembrandt reproduit et publié +par." 2 parts. Paris, 1880.</p> + +<p><span class="smcap">Baldinucci, Filippo.</span> "Cominciamento e progresso dell' +arte dell' intagliare in rame." Florence, 1686.</p> + +<p><span class="smcap">Bartsch, Adam.</span> "Catalogue raisonné de toutes les estampes +qui forment l'œuvre de Rembrandt et ceux de ses principaux +imitateurs." 2 vols. Vienna, 1797.</p> + +<p><span class="smcap">Bell, Malcolm.</span> "Rembrandt van Rijn and his Work." 4to. +London, 1899.</p> + +<p><span class="smcap">Blanc, Charles.</span> "L'œuvre complet de Rembrandt, décrit +et commenté par." Paris, 1864 and 1880.</p> + +<p><span class="smcap">Bode, W.</span> "Studien zur Geschichte der holländischen +Malerei." Brunswick, 1883.</p> + +<p id="BrediusOudHolland"><span class="smcap">Bredius, A.</span>, and <span class="smcap">de Roever, N.</span> <i>Oud-Holland.</i> A magazine +published at Amsterdam.</p> + +<p><span class="smcap">Bredius, A.</span> "Les chefs-d'œuvre du Musée royal d'Amsterdam." +Paris, 1890.</p> + +<p><span class="smcap">Bredius, A.</span> "Die Meisterwerke der Königlichen Gemälde +Galerie im Haag." Munich, 1890.</p> + +<p><span class="smcap">Burger, W.</span> "Les Musées de Belgique et de Hollande." +Paris, 1858, 1860, and 1862.</p> + +<p><span class="smcap">Busken-Huet.</span> "Het Land van Rembrandt." Harlem, 1886.</p> + +<p><span class="smcap">Chalon, John.</span> Works of Rembrandt, etched by. London, +1822.</p> + +<p><span class="smcap">Claussin, Chevalier de.</span> "Catalogue raisonné de toutes +les estampes qui forment l'œuvre de Rembrandt." Paris, +1824.<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p> + +<p><span class="smcap">Claussin, Chevalier de.</span> "Supplément au Catalogue de +Rembrandt." Paris, 1828.</p> + +<p><span class="smcap">Dargenville.</span> "Abrégé de la Vie des plus fameux peintres." +Paris, 1745.</p> + +<p><span class="smcap">Daulby, Daniel.</span> "A descriptive catalogue of the works of +Rembrandt and of his scholars." London and Liverpool, +1796.</p> + +<p><span class="smcap">Descamps.</span> "Vies des peintres flamands et hollandais." +Marseilles, 1840.</p> + +<p><span class="smcap">Dyk, J. van.</span> "Beschryving van alle de Schilderyen op het +Stadhuis van Amsterdam." Amsterdam, 1758.</p> + +<p><span class="smcap">Dutuit, E.</span> "L'œuvre complet de Rembrandt décrit et +catalogué par." Paris, 1880.</p> + +<p><span class="smcap">Eckhoff.</span> "La femme de Rembrandt." 1862.</p> + +<p><span class="smcap">Félibien.</span> "Entretien sur les Vies et les Ouvrages des plus +excellents peintres." 1666-1688.</p> + +<p><span class="smcap">Fromentin, Eugène.</span> "Les Maitres d'autrefois." Paris, +1877.</p> + +<p><span class="smcap">Galland, G.</span> "Geschichte der holländischen Baukunst und +Bildnerei." Leipzig, 1890.</p> + +<p><span class="smcap">Gersaint.</span> "Catalogue raisonné de toutes les pièces qui +forment l'œuvre de Rembrandt." Paris, 1751.</p> + +<p><span class="smcap">Hamerton, P. G.</span> "Etching and Etchers." London, 1868.</p> + +<p><span class="smcap">Hamerton, P. G.</span> Rembrandt's Etchings. Portfolio. +London, 1894.</p> + +<p><span class="smcap">Havard, Henri.</span> "L'art et les artistes hollandais." Paris, +1879.</p> + +<p><span class="smcap">Hoogstraten, Samuel van.</span> "Inleyding tot de hooge School +der Schilderkonst." Rotterdam, 1678.</p> + +<p><span class="smcap">Houbraken, Arnold.</span> "De groote Schoubourgh der nederlandsche +Kontschilders." Amsterdam, 1718-1719.</p> + +<p><span class="smcap">Humphreys, Noel.</span> Rembrandt's Etchings. London, 1871.<span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> + +<p><span class="smcap">Huygens, Constantin.</span> "Autobiographie inédite." Library +of the Academy of Sciences, Amsterdam.</p> + +<p><span class="smcap">Kolloff, Édouard.</span> "Rembrandt's Leben und Werke," +included in <i>Historisches Taschenbuch</i> of von Raumer. +Leipzig, 1854.</p> + +<p><span class="smcap">Langbehn, Dr.</span> "Rembrandt als Erzieher." Published +anonymously, Leipzig, 1890.</p> + +<p><span class="smcap">Lemcke, C.</span> Rembrandt van Rijn, in the <i>Kunst and Künstler</i>, +Leipzig, 1877.</p> + +<p><span class="smcap">Lippmann, F.</span> Original drawings by Rembrandt reproduced +in Phototype. London, Berlin, and Paris, 1889-1892.</p> + +<p><span class="smcap">Madsen, Karl.</span> "Studier fra Sverig." Copenhagen, 1892.</p> + +<p><span class="smcap">Michel, Emile.</span> "Rembrandt sa vie, son œuvre et son +temps." Paris, 1893.</p> + +<p><span class="smcap">Middleton, C. H.</span> "Notes on the Etched Work of Rembrandt." +London, 1877.</p> + +<p><span class="smcap">Middleton, C. H.</span> "A descriptive Catalogue of the Etched +Work of Rembrandt." London, 1878.</p> + +<p><span class="smcap">Orlers, J. J.</span> "Beschryving der Stad Leiden." Leyden, 1641.</p> + +<p><span class="smcap">Oud-Holland.</span> See <i><a href="#BrediusOudHolland">Bredius</a></i>.</p> + +<p><span class="smcap">Piles, R. de.</span> "Abrégé de la vie des Peintres." 1699.</p> + +<p><span class="smcap">Riegel, Herman.</span> "Beitrage zur niederländischen Kunstgeschichte." +Berlin, 1882.</p> + +<p><span class="smcap">Rovinski, Dmitri.</span> "L'œuvre gravé de Rembrandt." Reproductions +of all the states of all the etchings. St. +Petersburg, 1890.</p> + +<p><span class="smcap">Sandrart, Joachim de.</span> "Academia nobilissimae artis +pictoriæ." Nuremberg, 1675-1683.</p> + +<p><span class="smcap">Scheltema, Dr.</span> "Rembrandt, Discours sur sa vie et son +génie." Paris, 1866.</p> + +<p><span class="smcap">Schmidt, W.</span> "Handzeichnungen alter Meister in Königlichen +Kupferstich Kabinet zu Munchen. Munich.<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p> + +<p><span class="smcap">Schneider, L.</span> "Geschichte der niederländischen Litteratur." +Leipzig, 1888.</p> + +<p><span class="smcap">Seidlitz, von.</span> "Rembrandt's Radirungen." Published in +Zeitschrift für bildende Kunst. 1892.</p> + +<p><span class="smcap">Seymour Haden, Sir Francis.</span> "Introductory Remarks to +the Catalogue of the Etched Work of Rembrandt, selected +for exhibition at the Burlington Fine Arts Club, London, +1877."</p> + +<p><span class="smcap">Seymour Haden, Sir Francis.</span> "L'œuvre gravé de Rembrandt." +Paris, 1880.</p> + +<p><span class="smcap">Seymour Haden, Sir Francis.</span> "The Etched Work of +Rembrandt, True and False." London, 1895.</p> + +<p><span class="smcap">Smith, John.</span> "Catalogue raisonné of the Works of the most +eminent Dutch, Flemish, and French Painters." London, +1829-1842.</p> + +<p><span class="smcap">Springer, Anton.</span> "Bilder aus der neueren Kunstgeschichte. +Vol. II. Rembrandt und seine Genossen." +Bonn, 1886.</p> + +<p><span class="smcap">Vosmaer, Charles.</span> "Rembrandt Hermannsz. Sa vie et +ses œuvres." Paris and the Hague, 1877.</p> + +<p><span class="smcap">Weyerman, J. Campo.</span> "De Levens Beschryvingen der +nederlandsche Konstschilders." The Hague, 1749.</p> + +<p><span class="smcap">Willigen, van der.</span> "Les artistes de Harlem." 1870.</p> + +<p><span class="smcap">Willshire, W. H.</span> "An Introduction to the Study and +Collection of Ancient Prints." London, 1877.</p> + +<p><span class="smcap">Wilson, T.</span> A Descriptive Catalogue of the Prints of Rembrandt. +Published as by "An amateur." London, 1836.</p> + +<p><span class="smcap">Woltmann, A.</span>, and <span class="smcap">Woermann, K.</span> "Geschichte de Malerei." +Leipzig.</p> + +<p><span class="smcap">Yver, Pierre.</span> "Supplément au Catalogue raisonné de MM. +Gersaint, Helle, et Glomy." Amsterdam, 1756.<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="CHRONOLOGICAL_TABLE" id="CHRONOLOGICAL_TABLE"></a>CHRONOLOGICAL TABLE</h1> + +<table id="chrono_table" summary="Chronological Table"> +<tr> +<th>Year</th> +<th>Events in Rembrandt's Life</th> +<th>Principal Work Dated</th> +<th>Important Historical Event</th> +</tr> + +<tr><td>1606</td><td>Born July 15th.</td><td></td><td></td></tr> +<tr><td>1608</td><td></td><td></td><td>Milton born.</td></tr> +<tr><td>1609</td><td></td><td></td><td>Truce between Spain and Holland.</td></tr> +<tr><td>1610</td><td></td><td></td><td>The Colony of Virginia established.</td></tr> +<tr><td>1612</td><td></td><td></td><td>Henry, Prince of Wales, died.</td></tr> +<tr><td>1616</td><td></td><td></td><td>Shakespeare died.</td></tr> +<tr><td>1618</td><td></td><td></td><td>Thirty Years' War began.</td></tr> +<tr><td>1620</td> +<td>Entered at Leyden University, and later Swanenburch's Studio.</td> +<td></td><td>The Pilgrim Fathers landed in New England.</td></tr> +<tr><td>1622</td><td></td><td></td><td>Renewal of War with Spain.</td></tr> +<tr><td>1623</td><td>Went to Lastman's Studio.</td> +<td></td><td>Charles went to Spain.</td></tr> +<tr><td>1624</td><td>Returned to Leyden.</td> +<td></td><td>Manhattan founded.</td></tr> +<tr><td>1625</td><td></td><td></td> +<td>Charles I. came to the throne. Prince Frederick-Henry became Stathouder.</td></tr> +<tr><td>1627</td><td>First known pictures.</td> +<td>St Paul in Prison.</td><td>Expedition to Rochelle.</td></tr> +<tr><td>1628</td><td>Gerard Dou became his pupil.</td> +<td>Capture of Samson.</td><td>Assassination of Buckingham.</td></tr> +<tr><td>1629</td><td>Portrait of Himself (Gotha).</td> +<td></td><td>Charter granted to Massachusetts.</td></tr> +<tr><td>1630</td><td>His father died.</td> +<td>Joseph interpreting his Dreams.</td><td>Puritan emigration to New England.</td></tr> +<tr><td>1631</td><td>Left Leyden for Amsterdam.</td> +<td>Presentation in the Temple.</td><td>Dryden born.</td></tr> +<tr><td>1632</td><td>Living on the Bloemgracht.</td> +<td>The Anatomy Lesson.</td><td>Gustavus Adolphus killed at Lutzen.</td></tr> +<tr><td>1633</td><td>Moved to Saint Anthonie's Breestraat (about).</td> +<td>The Shipbuilder and his Wife.</td> +<td>Milton's <i>L'Allegro</i> and <i>Il Penseroso</i>.</td></tr> + +<tr><td><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span> +1634</td><td>Married on June 22nd.</td> +<td>Descent from the Cross (Hermitage).</td> +<td>The Exchange at Amsterdam built.</td></tr> +<tr><td>1635</td><td>Rombertus born.</td> +<td>Abraham's Sacrifice.</td><td>Ben Jonson died.</td></tr> +<tr><td>1636</td><td>Living in Nieuwe Doelstraat.</td><td>Danae.</td><td></td></tr> +<tr><td>1637</td><td></td> +<td>Susannah at the Bath.</td><td>Trial of Hampden.</td></tr> +<tr><td>1638</td><td>Cornelia born.</td> +<td>Christ and Mary Magdalen.</td><td>Milton's <i>Lycidas</i>.</td></tr> +<tr><td>1639</td><td>Moved to Jode-Breestraat.</td> +<td>Resurrection.</td><td>Massinger died.</td></tr> +<tr><td>1640</td><td>His mother died.</td> +<td>Portrait of Elizabeth Bas.</td><td>The Long Parliament met.</td></tr> +<tr><td>1641</td><td>Titus born.</td> +<td>Portrait of Anslo.</td><td>Execution of Strafford.</td></tr> +<tr><td>1642</td><td>Saskia died.</td> +<td>The Night Watch.</td><td>The Civil War began.</td></tr> +<tr><td>1643</td><td></td><td>Bathsheba.</td><td>Death of Hampden.</td></tr> +<tr><td>1644</td><td></td><td>Woman taken in Adultery.</td><td>The Battle of Marston Moor.</td></tr> +<tr><td>1645</td><td></td><td>Holy Family (Hermitage).</td><td>Battle of Naseby.</td></tr> +<tr><td>1646</td><td>Finished two pictures for the Stathouder.</td> +<td>Adoration of the Shepherds.</td> +<td>Charles I. surrendered to the Scots.</td></tr> +<tr><td>1647</td><td>An estimate made of Saskia's property.</td> +<td>Susannah and the Elders.</td><td>William II. became Stathouder.</td></tr> +<tr><td>1648</td><td></td> +<td>Christ at Emmaus.</td><td>Peace of Westphalia.</td></tr> +<tr><td>1649</td><td>Hendrickje Stoffels first heard of.</td> +<td>No dated picture.</td><td>Execution of Charles I.</td></tr> +<tr><td>1650</td><td></td><td>Deposition.</td> +<td>John de Witt became Grand Pensioner.</td></tr> +<tr><td>1651</td><td></td><td>Noli me tangere.</td><td>Battle of Worcester.</td></tr> +<tr><td>1652</td><td>Hendrickje's first daughter born.</td> +<td>Portrait of Bruyningh.</td><td>War between England and Holland.</td></tr> +<tr><td>1653</td><td>Borrowed money in large sums.</td> +<td>Portrait called Van der Hooft.</td><td>Peace restored.</td></tr> +<tr><td>1654</td><td>Birth of second daughter, Cornelia.</td> +<td>Bathsheba (Louvre).</td><td>Oliver Cromwell, Lord Protector.</td></tr> +<tr><td>1655</td><td></td><td>Joseph accused by Potiphar's Wife.</td> +<td>Cromwell pensioned Manasseh ben Israel.</td></tr> +<tr><td>1656</td><td>Declared bankrupt.</td> +<td>Parable of Labourers in the Vineyard.</td><td>War between Spain and England.</td></tr> +<tr><td>1657</td><td>Sale of his property ordered.</td> +<td>Portrait of Catrina Hoogh.</td><td>Cromwell refused title of King.</td></tr> +<tr><td>1658</td><td>Pictures, etc., sold.</td> +<td>An Old Woman cutting her Nails.</td><td>Cromwell died.</td></tr> +<tr><td>1659</td><td></td><td>Jacob wrestling with the Angel.</td><td>Treaty of the Hague.</td></tr> +<tr><td><span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span> +1660</td><td>Association formed by Hendrickje and Titus.</td> +<td>Portrait of Himself (Louvre).</td><td>Charles II. landed at Dover.</td></tr> +<tr><td>1661</td><td>The last known etching.</td> +<td>The Syndics.</td><td>Mazarin died.</td></tr> +<tr><td>1662</td><td>Hendrickje (probably) died.</td> +<td>No dated picture.</td><td>Charter given to Royal Society.</td></tr> +<tr><td>1663</td><td></td><td>Homer.</td><td></td></tr> +<tr><td>1664</td><td>Moved to the Lauriergracht.</td> +<td>Lucretia.</td><td>War between Holland and England</td></tr> +<tr><td>1665</td><td>Titus awarded his property.</td> +<td>Portrait of a Man (Metrop. Mus., New York).</td><td>Plague in London.</td></tr> +<tr><td>1666</td><td></td><td>Portrait of J. de Decker.</td><td>Fire of London.</td></tr> +<tr><td>1667</td><td></td><td>Portrait of an Old Man.</td><td>Peace between England and Holland.</td></tr> +<tr><td>1668</td><td>Titus' marriage and death.</td> +<td>The Flagellation.</td><td>Alliance between Holland, England, and Sweden.</td></tr> +<tr><td>1669</td><td>Rembrandt died.</td><td>No dated picture.</td><td></td></tr> +</table> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></div> +<h1>REMBRANDT VAN RIJN</h1> + +<h1><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h1> + +<p class="subtitle">BIRTH AND EARLY YEARS</p> + + +<p>Down to the middle of the present century the story of +Rembrandt, as generally accepted, was nothing but a +mass of more or less ill-natured fiction. His drunkenness, +his luxury, his immorality, his avarice, were +heaped together into a somewhat inconsistent midden-heap +of infamy. It was not indeed until his true rank +among painters began to be properly appreciated that +it occurred to anyone to ask whether this harsh +judgment did not need revision; nay, more, to inquire +upon what evidence it had been first delivered, and +the investigation had not long been set on foot before +the question took the form—"Is there any evidence, +good or bad, at all?"</p> + +<p>There were soon many workers in this untried field, +and to all the thanks of the artist's admirers are due, +but it is chiefly to M. Charles Vosmaer that his +complete rehabilitation is to be credited, and it is bare +justice to say that without availing himself freely of +his researches and of M. Michel's equally careful and +critical marshalling of the facts, then and since obtained +by others, no future historian of Rembrandt can hope<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> +to advance beyond the threshold of his subject. One +by one the cobwebs of myth with which, partly through +malice, partly through ignorance, the master's image +had been overwhelmed have been torn away, and we +begin at last to see him as he really was, not impeccable, +but intensely human, a kindly, patient, laborious, +much-tried soul—one whom fortune, not altogether +without his own provoking be it frankly owned, sorely +buffeted, but one who, though well-nigh crushed, was +never subdued; one whose courage sustained him to +the last, whose one refuge against her flouts was in +his art; who met, uncomplaining, neglect and contempt +in his later years as he had in the heyday of his career +received, unspoiled, unstinted praise and well-earned +fame, and who said of himself in the height of his +prosperity, "When I want rest for my mind, it is not +honours I crave, but liberty."</p> + +<p>Much concerning Rembrandt has been revealed by +M. Vosmaer and his fellow-workers, by MM. Bredius +and Scheltema, de Vries and Immerzeel, Elzevier and +Eckhoff, van der Willigen, and other patient seekers, +but much, nevertheless, still remains in doubt or +darkness.</p> + +<p>Even as to the date of his birth, there is considerable +uncertainty. Orlers, a burgomaster of Leyden, in a +description of that town published in 1641, and therefore +while not only Rembrandt himself but many people +who must have remembered his birth were still alive, +states that Rembrandt, the son of Hermann, the son +of Gerrit, and Neeltje, the daughter of Willems of +Suydtbroeck, was born on the 15th of July 1606, and +later writers for more than two hundred years accepted<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> +his assertion without question. Dr Bredius has, however, +shown that on May 25th, 1620, Rembrandt was +entered as a student in the Faculty of Letters at the +University of Leyden and his age is given in the same +document as fourteen, <i>Rembrandt Hermanni Leidensis +14 jare oud</i>, and as this was before his birthday in that +year the question arises as to whether the statement +means that he was in his fourteenth year or that he +had passed the fourteenth anniversary of his birthday. +For, the day of his birth not being in dispute, if we take +the latter and more obvious interpretation it would +necessarily follow that the fourteenth anniversary was +in 1619 and that he completed his first year on 25th +May 1606, so that the actual day itself must have been +in 1605. There is further and still conflicting evidence +to be reckoned with. In the British Museum there is a +proof of an etched portrait of himself dated 1631 [B. 7], +on which is written, in what is believed to be his own +hand, "<i>aet.</i> 24, 1631." If this was written before the +15th of July it would point to 1606 as his birth year, +thus agreeing with Orlers' statement, while if it was +written after that day it would imply 1607. It should, +however, be observed that M. Blanc reads the figures +on the etching as 25, and if he be correct in this the +choice must lie between 1607 and 1608; while, to add +further to the mystification, Mr Sidney Colvin reads +the age as 27, which makes the birth year 1603 or 1604.</p> + +<p>Nor is 1607 without further support. Dr Scheltema +discovered in the marriage register of Amsterdam the +record of Rembrandt's official engagement to duly +obtain his mother's consent to his marriage, signed by +himself, and in this he gives his age on July 10th, 1634,<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +as twenty-six, in which case his birthday would have +fallen in 1607, but we know that he was at all times +very vague as to dates and figures. On a delightful +pencil drawing on vellum, in the Berlin Museum, of his +wife Saskia, there is an inscription in his handwriting +"Dit is naer myn huysfrow geconterfeit do sy 21 jaer +oud was den derden dach als wy getroudt waeren due 8 +junyus 1633"—"This is a portrait of my wife when she +was 21 years old, on the third day after our marriage, +the 8th of June 1633," a simple statement, which nevertheless +contains a remarkable number of errors for so +brief a document. Saskia, it is true, was twenty-one in +1633, but the marriage took place on the 22nd of June +and in the year 1634.</p> + +<p>If, then, Rembrandt could misdate an event so intimately +connected with his life's chief joy, how should +we expect him to be more accurate about one, which +indeed concerned him nearly, but of which he naturally +had no personal recollection. That he was uncertain +we have happily positive proof, thanks once more to +Doctor Bredius, for on the 16th of September 1653, +in giving his opinion as an expert in a trial concerning +the authenticity of a certain picture by Paul Bril, he +can only declare that he is about forty-six.</p> + +<p>Such is the evidence upon this fortunately not very +important point, and it is small wonder that of the two +great authorities, M. Michel and M. Vosmaer, the first +accepts 1606 and the second 1607 as the true date. +The question must still remain an open one, but when +we consider that Rembrandt's mother did not die until +1640, only one year before Orlers published his book, +and at a time when he had probably collected most of<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> +his material, and that nothing is more likely than that +he should have applied to her for details, we may with +safety conclude that the balance of probability is in +favour of his date 1606.</p> + +<p>Concerning the place of his birth there are no such +doubts. If the visitor to Leyden, on his way from the +station to the town, turns sharp to the right after crossing +the second bridge, and on traversing a third keeps +again to the right and continues with that branch of the +Rhine known as the Galgewater on his right hand, he +will before long find himself on the west side of the +town, in a triangular open space, washed on two sides +by the moat surrounding it, where once stood the +White Gate guarding the entrance of the high-road +from the Hague. On the left side of this, as one comes +in from the country, and at right angles to it, close to +where the buildings of the Zeemans-Kweekschool, +or Naval School, now are, ran a short street called +the Weddesteeg, in No. 3 of which Rembrandt was +born.</p> + +<p>It must have been a pleasant situation, facing the +setting sun, with nothing but the town ramparts and +the gleaming moat between it and the wide champaign. +On the right hand the slow barges crept up and down +the river, on the left the slow carts creaked to and from +the town, while in front the broad sails of windmills +swung round, and the whirr of the stones grinding malt +for making beer hummed through the open doors. Up +against the sky rose two, one almost opposite the +windows of the house, the other a little to the left on +the border of the Noordeinde, just inside the gate, of +which Rembrandt's father owned half, while his stepfather<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> +Cornelis, the son of Clæs, with his son Clæs, +shared the other half between them.</p> + +<p>He was a prosperous and respected man was +Hermann, or Harmen—the name occurs in both forms—the +son of Gerrit, called after the fashion of the time +Harmen Gerritsz, to which he himself added van Rijn, +as his son did after him. Besides his own residence, +and his share of the mill, he owned houses within the +town and gardens without, with plate and jewellery and +house-plenishings and all things proper about him, and +had been appointed by his fellow-citizens to a municipal +office of importance, representing the ward of the +Pelican, in which he lived, where he did so well what +was asked of him that he was selected again for it some +years later. He was at the former date thirty-five or +thirty-six, and at the time when this, his fifth and +youngest child but one, was born, he had been married +fifteen years, his wedding-day having been the 8th of +October 1589.</p> + +<div class="illustration"> + <a id="image006" href="images/006-rembrandtsmother-h.jpg"> + <img src="images/006-rembrandtsmother.jpg" + alt="Portrait of Rembrandt's Mother." + title="Portrait of Rembrandt's Mother." /> + </a> +<div class="caption"> +<div class="location">[Bredius Collection, the Hague</div> +<div>PORTRAIT OF REMBRANDT'S MOTHER<br/> +(ABOUT 1628)]</div> +</div> +</div> + +<p>Rembrandt's childhood, considering the condition of +his father, was, we may be sure, at least a comfortable +one, though of details we have none. We cannot even +say where he learned to read and write, for neither of +which exercises did he subsequently exhibit much +affection. Probably at home, where maybe Coppenol, +the great master of writing, at that time included +among the fine-arts under the style of Caligraphy, +taught him, and possibly gave him his first lessons in +drawing also; for the art he professed, with its elaboration +of curves and flourishes, and its, to our eyes, +somewhat childish pictorial perversions, was a singular +commingling of the two. One thing at least we may +<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>feel certain of, that it was at his mother's knee he began +the study of the Bible, which she herself read so constantly, +if we may judge by its frequent appearance in +his portraits of her, and which he, following in her +footsteps, knew so thoroughly and drew upon so often +for inspiration.</p> + +<p>The next fact we find chronicled is a passage in +Orlers to the effect that his parents sent him to school +to learn the Latin tongue, in preparation for the +University of Leyden, that when he came of age he +might by his knowledge serve the City and Republic; +and in fulfilment of this laudable ambition we find that +entry on May 25th, 1620, as a student in the Faculty of +Letters, which has already been noted in another connection. +But by this time, by what means we know +not, the art craving was fully aroused, and his parents' +ambitious scheme for his serving the City and Republic +was as nothing beside his own irresistible desire to +express himself in form and colour. He proved, we +are told, but an unwilling scholar, the lines of Virgil +and Ovid were lifeless to him, in comparison with those +of Lucas van Leyden; and his elders, yielding with a +fortunate wisdom to the inevitable, gave up the effort +to make a statesman of him, and consented to +apprentice him, according to his wish, to a painter +to learn first principles from him.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h1> + +<p class="subtitle">ART EDUCATION AND EARLY WORKS</p> + + +<p>The exact date of this first step on the road to fame +is also still somewhat uncertain. Vosmaer believes it +was in 1619, but the assertion of Orlers that when his +parents allowed him to abandon the unloved Latin, +they apprenticed him to a painter, is so precise, that it +is unreasonable to suppose that his father should have +returned to the attack. We may consequently assume +that the final desertion of the Muses and enlistment in +the cause of the Arts came after, not before, that enrolment +at the University—that is to say, late in 1620 or +perhaps early in 1621. Further facts go to prove this +point. His first apprenticeship, in accordance with the +rules of the Guilds of Saint Luke, lasted three years, +and came to an end therefore in 1623 or early in 1624. +He then went to a second master in Amsterdam, but +remained with him only six months; so that in either +case the date of his leaving Amsterdam and returning +to Leyden would have been some time in 1624. Now +there is no doubt that it was in 1624 that this took +place, and the only obvious conclusion is that his first +apprenticeship did not commence before 1620.</p> + +<p>The painter who was then chosen for the honour of +first guiding the hand of the young Rembrandt, by +which honour he is nowadays almost alone distinguished, +was Jacob van Swanenburch. A man of good<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +position, the son of one painter, the brother of another, +and of an engraver, he was not, judging by his only +known picture, "A Papal Procession in the Piazza of +St Peter," artistically speaking, of much account, and +it was probably more for personal reasons, and because +of his propinquity, than for his conspicuous talents that +he was selected. He was able only to impart "the first +elements and the principles" of his art to his young +pupil, as Orlers tells us; but indeed these were all that +were needed by one with such an overmastering personality, +with so powerful an artistic inspiration and +energy. So successful was the process that Orlers +describes his advance in craftsmanship as so swift and +steady that his fellow-citizens were completely astounded +by it, and could already foresee the brilliant +career to which he was destined. We must, however, +remember in weighing this statement that it was written +when that career was at its most brilliant stage, and is +to some extent the proverbial safe prophecy of one who +knows.</p> + +<p>That Rembrandt did make considerable progress +during the following three years is, of course, certain; +and when his apprenticeship drew to an end the +question arose as to what was to come next. The +experience of a young fellow-artist probably suggested +the answer. About the time Rembrandt entered +Swanenburch's studio Jan Lievensz, a fellow-citizen, +a year younger than Rembrandt, who had, however, +entered upon his artistic studies while Rembrandt was +still struggling with, or against, the detested Latin, +returned from completing his studies in the studio of +Pieter Lastman at Amsterdam. The father of Jan<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +was a farmer, a man in the same rank of life as +Hermann the miller, and probably had business connections +with him, so that the acquaintanceship between +the two sons, destined to ripen into warm friendship, +doubtless began in early boyhood.</p> + +<p>Certain it is, at any rate, that when Jan returned from +Lastman's studio to astound his townsmen with his +precocity, the intimacy between him and Rembrandt +became close; in a few years their names seem to have +become as inseparable as those of Damon and Pythias, +and it was no doubt from the enthusiasm of Lievensz +that the impulse arose which, in 1624, sent Rembrandt +also to study under Lastman. The experiment, however, +was not a success. Lievensz had remained with +him two years; Rembrandt wearied of it in six months. +And, truly, though he enjoyed at that time an incomprehensibly +large measure of popularity and success, +Lastman, though a far better artist than Swanenburch, +was not one of those whose names we nowadays +inscribe on the roll of great painters. He had been, +moreover, one of the large group who had trudged to +far-away Rome, and come under the influence of +Elsheimer there, and the exotic and ill-adapted traditions +and conventions of the school were not calculated +to appeal to so ardent and eager a seeker after truth as +Rembrandt. He wanted to find nature, and was not to +be put off by a diluted semi-Italian imitation of it; and +so, after a few months' trial, he packed up his paints +and canvases, and returned to his family in Leyden "to +study and practise painting alone and in his own way," +to quote again the garrulous Orlers.</p> + +<p>That so indefatigable and untiring a worker as<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> +Rembrandt did not waste time, when once he was safely +established in his father's house, is certain, for Orlers +says that he worked incessantly as long as the light +lasted; but we know of nothing that he produced until +three years later, when he painted two still existing +pictures, signing and dating both.</p> + +<p>From this time his reputation and that of Lievensz +ripened rapidly. Arent van Buchel, in his "Res +Pictoriæ," mentions him in 1628; and Constantin +Huygens, in a manuscript autobiography, discovered in +1891 by Dr Worp of Groningen, and written probably +between 1629 and 1631, was enthusiastic concerning +both, "still beardless yet already famous"—an appreciation +that was not to be without its favourable influence +on Rembrandt's future. Nor was this growing fame +productive of mere empty praise. In February 1628, +when he was only one-and-twenty, Gerard Dou, his +first pupil, came to him and remained until he left +Leyden for Amsterdam three years later.</p> + +<p>Many causes probably combined to promote this +change of residence. On the twenty-seventh of April +1630 the first break in the united family circle was +brought about by the death of his father. The blow +must have been a heavy one, for he must have been a +kindly and sympathetic companion to his children, if +we may judge by the refined and sensitive face which +looks out at us from the portraits believed to be his, and +a merry one to boot, with a pretty humour of his own, +if M. Michel be justified in his conclusion that the +etching of the bald man with a chain (B. 292) is also a +portrait of him. The loss further brought changes into +the family arrangements. The eldest brother, as far<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> +back as 1621, had been crippled by an accident, and on +March 16th of that year a life-interest in the estate to +the amount of 125 florins per annum had been formally +established for his maintenance, so that the superintendence +of the affairs of the mill fell to the second son +Adriaen, who abandoned his trade of shoe-making to +undertake it, and made nothing, or worse, of it.</p> + +<p>The young artist's reputation as a portrait painter +had, moreover, spread to Amsterdam some time before, +and many commissions came to him thence. For a +while he merely went over, stayed long enough to do +the work, and returned again to Leyden, but as the +demands upon his time increased this must have proved +a wasteful, inconvenient, and finally impossible proceeding. +Leyden, again, was a University town, where +religion and philosophy were more thought of and +more sought after than such a trifle as art, as indeed +is still the case in some University towns that could +be mentioned; while Amsterdam was a city of +prosperous traders making more money than they +knew how to spend or employ, and ready enough to +devote some of their superfluity to portraits of themselves +and wives, or pictures of incidents and places, +and it was clearly desirable that one able and willing +to satisfy their wishes in this respect should be upon +the spot.</p> + +<div class="illustration"> + <a id="image012" href="images/012-rembrandtsfather-h.jpg"> + <img src="images/012-rembrandtsfather.jpg" + alt="Portrait of Rembrandt's Father" + title="Portrait of Rembrandt's Father" /> + </a> + <div class="caption"> + <div class="location">[Cassel Gallery</div> + <div>PORTRAIT OF REMBRANDT'S FATHER<br /> +(ABOUT 1631)</div> +</div> +</div> + +<p>The little coterie of artists, too, was on the verge +of dispersal in any case, by the loss of Rembrandt's +closest tie with it, Jan Lievensz. He had sold a picture +of a man reading by a turf fire to the Prince of Orange, +who had presented it to the English Ambassador, and +he in turn had passed it on to that king of picture +<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>lovers, Charles the First, who had been so well pleased +with it that a pressing invitation to visit England had +been sent to the painter, and accepted. Nor, probably, +was it only the chance of obtaining more employment +that attracted Rembrandt. The famous "Anatomy +Lesson" bears the date 1632, and, even if the commission +for it had not actually been offered during +the preceding year, it may very well have been suggested +in the course of conversation by the doctor +who had added to his name, Clæs Pietersz, that of +Tulp, taking it from a tulip which was carved on the +front of his house, who figures so conspicuously +in it. If this were so, it must have been evident to +Rembrandt that to undertake so large and important +a picture while living in another city would mean +either risking the uniformity and continuity of his +work, or settling down for a prolonged period in +lodgings in Amsterdam, and this may well have +confirmed his decision to at once establish himself +there permanently.</p> + +<p>Finally, I like to fancy, though it certainly cannot +be proved, that Rembrandt had already, in one of his +flying visits to that city, met the girl upon whom, +while she lived, the larger part of his life's happiness +was to depend. The evidence is, it must be owned, +slight, but is not altogether wanting. Among the +pictures of the year 1630, and, according to M. Michel, +even of 1628 and onwards, we find a series of portraits +of a fair-haired girl with a round, full forehead, and +rather small eyes and mouth, which Dr Bode believes +to be portraits of the painter's sister Lysbeth, while +M. Michel considers that some of the later ones are<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> +really portraits of Saskia, urging the objection that +many of them were undoubtedly painted after his +removal to Amsterdam, whither there is not the +slightest reason to suppose that Lysbeth accompanied +him, what evidence there is pointing directly to the +contrary. On the other hand, M. Michel admits that +the type which is known to be Saskia blends almost +indistinguishably with that supposed to be Lysbeth, +and offers the distinctly dubious explanation that +Rembrandt was, so to speak, so imbued with the +features of his sister that he unconsciously transferred +them to a large extent to the girl he loved. If, however, +as we may quite reasonably suppose, Rembrandt +had met and admired Saskia during his first stay in +Amsterdam, and continued to do so during his after-visits, +the occurrence of her features in his work would +be what we ought to expect.</p> + +<p>There was, on the other hand, but a single objection +to the scheme—the parting with his mother; and to +such an affectionate and home-loving nature as +Rembrandt's the difficulty can have been no small +one. Still, a man has to do a man's work in this +life. Adriaen, his brother, and Lysbeth, his sister, +were there to minister to her comfort, while Amsterdam +was no great distance away; and though, doubtless, +it was not altogether without tears that the widowed +Neeltje consented to the departure of her youngest son, +the decision was taken, and the consent yielded at last.</p> + +<p>Indeed, it was inevitable that so great and, at one +time, so popular an artist should, sooner or later, +gravitate to the capital of his country; for, since the +decay of Antwerp, Amsterdam was without a rival<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> +in the world for prosperity—the head-centre of +commerce, the hub of the trade-universe. Sir Thomas +Overbury, in 1609, describes it as surpassing "Seville, +Lisbon, or any other mart town in Christendom." +Evelyn, writing in 1641, says in his diary, "that it is +certainly the most busie concourse of mortalls now upon +the whole earth and the most addicted to com'erce."</p> + +<p>Neither tempest nor battle could check her energy; +and throughout the long desultory war from 1621 to +1648 between Spain and Holland, her traders hurried +to and from the enemy's ports, supplying her even +with the very munitions of war to carry on the +contest; while for all this accumulated wealth there +was but a limited outlet. Necessities being superabundant, +it must be either hoarded or expended on +luxuries, and among these pictures held high place. +Quoting once more from Evelyn, we find him writing +on August 13th, 1641: "We arrived late at Roterdam, +where was their annual marte or faire, so furnished +with pictures (especially Landskips and Drolleries, +as they call those clounish representations), that I +was amaz'd. Some I bought and sent into England. +The reson of this store of pictures and their cheapness +proceedes from their want of land to employ +their stock, so that it is an ordinary thing to find a +common Farmer lay out two or three thousand pounds +in this comodity. Their houses are full of them, +and they vend them at their faires to very great +gaines." So, for a time, the Dutch painters drove a +thriving trade; and as Amsterdam was by far the +richest city, to Amsterdam the successful painter +must needs repair.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h1> + +<p class="subtitle">DAYS OF PROSPERITY</p> + + +<p>Some time then in 1631 the die was cast, and the +removal accomplished. There is reason to believe that +he went at first to stay or lodge with Hendrick van +Uylenborch, a dealer in pictures and other objects of +art. Among his first proceedings on his arrival, was +one sufficiently characteristic of him and destined to be +repeated only too often in the future. He lent Hendrick +money, one thousand florins, to be repayable in a year +with three months' notice. Soon after, if not before, +this indiscreet financial operation, as it proved later, +he found the suitable residence he had meanwhile been +seeking, on the Bloemgracht, a canal on the west side +of the town, running north-east and south-west between +the Prinsen Gracht and the Lynbaan Gracht, in a +district, at that time on the extreme outskirts of the +town, known as the Garden, from the floral names +bestowed upon its streets and canals.</p> + +<p>Here he settled to his work, and here in a short +time fortune came to him. The enthusiasm aroused +by "The Anatomy Lesson," when it was finished and +hung in its predestined place in the little dissecting-room +or Snijkamer of the Guild of Surgeons in the +Nes, near the Dam, was immediate and immense. The +artist leapt at once into the front rank, and became the +fashionable portrait painter of the day. From three<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +portraits, other than those of his own circle, painted +in 1631, and ten in 1632, the number rose to forty +between that year and 1634; or, taking all the +surviving portraits between 1627 and 1631, we have +forty-one, while from the five following years, from +1632 to 1636, there are one hundred and two. Commissions, +indeed, flowed in faster than he could execute +them, so Houbraken assures us, and the not infrequent +occurrence of a pair of portraits, husband and wife, one +painted a year or more after the other, tends to confirm +this; so that those who wished to be immortalised by +him had often to wait their turn for months together, +while all the wealth and fashion of the city flocked to +the far-off studio in the outskirts, the more fortunate +to give their sittings, the later comers to put down +their names in anticipation of the future leisure. From +the beginning, too, pupils came clamouring to his doors, +Govert Flinck and Ferdinand Bol, Philips Koninck, +Geerbrandt van den Eeckhout, Jan Victors, Leendeert +Cornelisz, and others, eager to pay down their hundred +florins a year, as Sandrart says they did, and work with +and for the lion of the day.</p> + +<p>Not Fortune alone, however, with her retinue of +patrons, and Fame, with her train of pupils, sought +him out; Love, too, came knocking at his portal, and +won a prompt admission. To the many admirable +works produced at this time I shall return later, but +three of those painted in 1632 call for further notice +now. One is an oval picture, belonging to Herr Haro +of Stockholm, representing the half-length figure of +a girl in profile, facing to the left, fair-haired, and +pleasant-looking rather than pretty; the second, in<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +the Museum at Stockholm, shows us the same girl +in much the same position, but differently dressed; +while the third, in the collection of Prince Liechtenstein +at Vienna, is a less pleasing representation of her in full +face, wherein the tendency to stoutness and the already +developing double chin detract from the piquancy of +her expression and make her look more than her actual +age, which we know to have been twenty at the time +that these were painted.</p> + +<p>We have heard her name casually already, in connection +with the arrangements for Rembrandt's marriage, +when discussing the date of his birth—for this is Saskia +van Uylenborch, a cousin of his friend Hendrick, which +fact may haply have had something to do with that +ready loan of a thousand florins. Though poor +Rembrandt, be it said, was, unhappily for him, never +backward with loan or gift when he had money to give +or lend. Saskia was born in 1612 at Leeuwarden, the +chief town of Friesland in the north, across the Zuider +Zee, and at the time when Rembrandt met her was an +orphan, her mother, Sjukie Osinga, having died in 1619, +and her father, Rombertus, a distinguished lawyer in +his native place, in 1624. The family left behind was +a large one, consisting, besides Saskia, of three brothers, +two being lawyers and one a soldier, and five sisters, all +married, who, as soon as the worthy Rombertus was +laid to rest, seem to have begun wrangling among +themselves concerning the estate; the quarrel, chiefly, +as it appears, being sustained by the several brothers-in-law, +and leading shortly to an appeal to law.</p> + +<div class="illustration"> + <a id="image018" href="images/018-saskia-h.jpg"> + <img src="images/018-saskia.jpg" + alt="Portrait of Saskia" + title="Portrait of Saskia" /> + </a> + <div class="caption"> + <div class="location">[Liechtenstein Gallery, Vienna</div> + <div>PORTRAIT OF SASKIA<br />(1632)</div> +</div> +</div> + +<p>Among the less close relations was a cousin Aaltje, +who was married to Jan Cornelis Sylvius, a minister of +<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>the Reformed Church, who, coming from Friesland, had +settled in Amsterdam in 1610, and with them Saskia +was in the habit of coming to stay. Where and when +Rembrandt first met her we do not know. Probably at +the house of Hendrick; it may have been, as has been +said, in 1628 or earlier, for, if the acquaintance began +in 1631, it ripened rapidly. Without accepting unhesitatingly +all M. Michel's identifications of her, not +only in portraits and studies but in subjects, such as +that one which is known as "The Jewish Bride," now +in the collection of Prince Liechtenstein, there is no +question that she sat to him several times during the +two years 1632 and 1633. The attraction was mutual; +Rembrandt soon became a welcome visitor to the +Sylvius household, and, in token doubtless of the kindness +and hospitality which he there met with, he etched, +in 1634, a portrait of the good old minister (B. 266).</p> + +<p>The course of true love in this case ran smoothly +enough; the young people soon came to an understanding; +no difficulties were raised by Sylvius, who acted as +Saskia's guardian; and the marriage was only deferred +till Saskia came of age. The union, indeed, from a +worldly point of view, was unexceptionable. Saskia, it +is true, was of a good family, while Rembrandt sprang +from the lower middle class, but he had already carved +out for himself a rank above all pedigrees. Saskia was +twenty, and he, with all his fame, was only twenty-six. +The wedding, then, was decided on, and Rembrandt, +painting Saskia yet again, put into her hands a sprig of +rosemary, at that time in Holland an emblem of betrothal. +It was possibly even fixed for some date late in 1633, +when Saskia would have passed her twenty-first birthday.<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + +<p>Just at this time, to confirm, if that had been needed, +Rembrandt's increasing reputation and prospects of +future prosperity, he was brought into business relations +with the chief personage in the land, Prince Frederick-Henry, +who in 1625, on the death of his brother Maurice, +had succeeded to the office of Stathouder, as the head +of the Republic was officially entitled. Constantin +Huygens, whose earlier enthusiasm for Rembrandt's +work we have already noted, was the Prince's Secretary, +acting in that quality as intermediary in his many dealings +with artists, and clearly found time in the intervals +of his duties to continue his acquaintance with Rembrandt. +It was probably on his recommendation that +the artist had painted in 1632 the portrait of his brother +Maurice, and it was certainly at his suggestion that the +Stathouder bought "The Raising of the Cross," now at +Munich. Rembrandt, indeed, says as much in a letter +to Huygens, still existing in the British Museum, in +which he invites him to come and inspect the companion +picture, "The Descent from the Cross," for which, +though offering to leave it to the Prince's generosity, +he considers two hundred livres would be a reasonable +price. The picture was bought, and so content was the +Prince with his purchase that soon afterwards he commissioned +three other pictures to complete the set. The +exact date of this event is unknown, but it cannot have +been long delayed, for, in a letter written early in 1636 +the painter informs Huygens that one of the three, "The +Ascension," is finished and the other two half done.</p> + +<p>With such guarantees of continued good fortune, +there was nothing, when Saskia was once of age, to +necessitate longer delay, in the completion of his happiness<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>, +but in the autumn she was peremptorily called +away to Franeker, a town in Friesland, between +Leeuwarden and the sea, where her sister Antje, the +wife of Johannes Maccovius, professor of Theology, +was lying ill, and where, on November the ninth, she +died. This untoward occurrence put an end to the +possibility of an immediate marriage, and Saskia went +to spend the winter with another sister, Hiskia, who +was married to Gerrit van Loo, a secretary of the +government, and lived at Sainte Anne Parrochie, in the +extreme north-west of Friesland; while Rembrandt, +discontentedly enough, no doubt, toiled through the +long winter months in his studio at Amsterdam.</p> + +<p>In the spring of 1634, however, the sunshine returned +again into his life, and he commemorated the advent, +appropriately enough, by painting the bringer of it in +the guise of Flora. The period of mourning was now +at an end, and some time in May, probably, Saskia +once more returned to Hiskia's to make preparation +for the approaching day; while Sylvius, as her representative, +and Rembrandt began to arrange the more +formal business matters. On June 10th, as recorded +by Dr Scheltema, Sylvius, as the bride's cousin, engaged +to give full consent before the third asking of the +banns; while Rembrandt, on his part, promised to +obtain his mother's permission. Whether he merely +wrote to Leyden for this, or whether, as is more probable, +he went in person, we do not know; but in either +case he wasted no time, for on the fourteenth he produced +the necessary documents, and prayed at the same +time that the formal preliminaries might be cut as short +as possible. His appeal was evidently received with<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +favour, for eight days later, on June 22nd, at Bildt, in +the presence of Gerrit and Hiskia van Loo, he was +duly married, first by the civil authorities, and afterwards +by the minister Rodolphe Hermansz Luinga in +the Anna-kerk.</p> + +<p>As far as domestic happiness depending upon their +relations with one another went, there is every reason +to suppose that this union was a thoroughly successful +one; but we cannot help, nevertheless, feeling some +doubts as to whether it was altogether the best that +might have been for Rembrandt. Frank and joyous, +but strong-willed, not to say obstinate, recklessly +generous and prodigal, and without a thought for +what the future might bring forth, he needed some +firm yet tender hand to check, without seeming too +much to control, his lavish impulses. Impossible to +drive, yet easy enough to lead, a giant in his studio, +a child in his business relations with the world outside +its doors, he should have found some steady practical +head to regulate his household affairs and introduce +some order and economy into his haphazard ways. +Such, unfortunately for him in the end, Saskia was +not. Devoted to him, she yielded in everything, and +his will was her law. As her love for him led her +to let him do always as he would, so his passion for +her led him to shower costly gifts upon her—pearls +and diamonds, gold-work and silver-work, brocades +and embroideries; nothing that could serve to adorn +her was too good or too expensive. She would have +been as happy in plain homespun, as long as he was +there; but to give largely was in the nature of the man, +and the very fortune that she brought with her was<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> +an evil, even at the time, in that it led him to further +extravagances, while in the future it proved a still +more serious one.</p> + +<p>Furthermore, Rembrandt, hot-headed and impetuous +as he was, must needs fling himself into the family +quarrels and suits-at-law, taking therein the part of +the one who had stood by him and Saskia at the altar, +Gerrit van Loo, in whom, though he had possibly +never set eyes on him till he went north to his wedding, +he had already developed so complete a confidence +that, exactly one month later, on July 22nd, as Dr +Scheltema discovered, he gave him a full power of +attorney to act for him in all affairs connected with +the property in Friesland. From this sudden and +violent partisanship still more trouble arose in due +course, owing largely to the fact that his championship +of Gerrit was soon after justified by his winning one +of the many cases brought before the court of Friesland +in the course of the prolonged dispute.</p> + +<p>For the time, however, there is no doubt their +happiness was supreme, and if for her sake he was +energetically brewing the storm that was to burst +upon him later, there were as yet no threatening +clouds upon the horizon. Nor, be it said, was it on +her account alone that he scattered money broadcast. +The impulse to collect works of art, pictures, engravings, +casts and statues, armour and curious objects, +had begun to influence him even in early days at +Leyden, and had become by that time a perfect +mania. On February 22nd, 1635, we find his name +as a purchaser at the Van Sommeren sale, and thereafter +he reappears again and again as buyer at various<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +auctions. But not even in this could he attempt to be +business-like. Baldinucci, a Florentine, in a volume +published in 1686, gives many interesting details anent +Rembrandt, which he obtained at first hand from one +of his later pupils, Bernard Keilh, a Dane, and among +them relates that, when at a sale he saw anything he +coveted, he ran it up in one bid to a wholly impossible +price, thus making sure of it, and at the same time, +as he explained, paying honour to his art.</p> + +<p>The Van Uylenborch family quarrels happily did +not extend to the sisters, amongst whom the most +amicable relations appear to have prevailed. At any +rate, in the summer of 1635, we find Saskia revisiting +Sainte Anne Parrochie, to be with Hiskia during her +confinement, and subsequently at the baptism of the +child, a mark of kindly feeling the more notable in +that she herself was about to become a mother. In +the early winter, having returned meanwhile to her +home, she gave birth to a son, who, on December +15th, in the Oudekerk, was christened Rombertus, +after her father. Rembrandt's delight in this small +person is indicated by numerous sketches of him and +his mother; but the happiness, like all that he +experienced, was short-lived, for the child did not +long survive its birth.</p> + +<div class="illustration"> + <a id="image024" href="images/024-rembrandtsaskia-h.jpg"> + <img src="images/024-rembrandtsaskia.jpg" + alt="Rembrandt and Saskia" + title="Rembrandt and Saskia" /> + </a> + <div class="caption"> + <div class="location">[Dresden Gallery</div> + <div>REMBRANDT AND SASKIA<br />(ABOUT 1635)</div> +</div> +</div> + +<p>Rembrandt, at some time before his marriage, had +removed from the Bloemgracht to Saint Antonies +Breestraat, in the heart of the city, close to the +Nieuwe Markt, and by 1636 had moved once more to +the Nieuwe Doelstraat, whence the letter to Huygens, +already referred to, was addressed. There can be no +doubt that the change was an improvement, for the<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> +artist must then have been at the height of his +prosperity and fame.</p> + +<p>Throughout Holland, imitators of his style were +springing up, for the public would have no other. +His studio was freely sought by pupils; his home-life +was passed in a circle of trusted friends, and the +broadly sympathetic nature of the man, which aided +so largely in raising him to the first place among +portrait painters, is seen in the various pursuits of +these.</p> + +<p>Fellow-painters, apart from his pupils, were not +conspicuous among them, and those we find are +chiefly landscape painters—Roghman and van der +Helst, Ruysdael and Berchem, van de Cappelle and Jan +Asselyn. With ministers he was largely acquainted, +probably through Jan Sylvius, who, however, died on +November 19th, 1638, among them being Alenson, +Henry Swalm, and Anslo; while Tulp probably first +introduced the medical element, Bonus, van der Linden, +and Deyman. Several dealers in objects of art, +brought in by Hendrick van Uylenborch, or picked +up in the course of business transactions, were among +his friends—Pieter de la Tombe, Clement de Jonghe, +Abraham Francen, and others; while the worthy though +conceited Coppenol, and the jeweller, Jan Lutma, together +with the burgomaster Six, were among those +who remained faithful to the last.</p> + +<p>Rembrandt's championship of Gerrit van Loo in the +family differences began about this time to bear troublesome +fruit. The losers in the action already mentioned, +in the course of the year 1634 seem to have nursed an +especial grudge against Saskia, and, to relieve their<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +ruffled feelings, had been spreading abroad reports reflecting +on her, asserting that she had "dissipated her +paternal inheritance in dress and ostentation." There +was, as far as Rembrandt himself, at least, was concerned, +too much truth in the story to render the scandal +altogether stingless. The thrust at Saskia, moreover, +angered him more, probably, than one at himself alone +would have done, and we find him accordingly rushing +headlong into the law-courts with an action for damages +against one Albert van Loo, declaring that "he and his +wife were amply, even superabundantly, provided for."</p> + +<p>Whether he was ever called upon to prove this statement +does not appear; probably not, since the court +found, in July 1638, that he had not sufficient grounds +for action. It is doubtful how far he could have +established its truth had he been required to do so. +There can be small question that he believed it to be +true, though his paying 637 florins the previous year +for a book of drawings and engravings by Lucas van +Leyden, and again, in October of the same year, 530 +florins for a picture of Hero and Leander by Rubens, +might only indicate his habitual indifference to ways +and means. We know also that at the time he was +getting from five to six hundred florins for his portraits, +but, judging by the number known to exist—a very +imperfect test it need scarcely be said—the demand +for these was beginning to fall off, there being seven +for 1636, four for 1637, two for 1638, and four for 1639, +while even these small numbers include three of himself, +and one believed to be his mother.</p> + +<p>The strongest reason for supposing that he was in some +financial embarrassment is found in his correspondence<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +at the beginning of the latter year with Huygens. Writing +in January from the Suijkerbackerij, a house on the +borders of the Binnen-Amstel, whither he had removed +at an unknown date, he announces the completion of +the last two of the Stathouder's commissions, and only +fifteen days later he presses for immediate payment of +the 1244 florins due to him, on the grounds that the +money would be then extremely useful to him. Since +there was some delay, he renewed the appeal, though +Huygens, on February 17th, had already given orders +for the discharge of the debt. This unceremonious +dunning, though by proxy, of a powerful Prince, does +not seem altogether to indicate that superabundance +of which Rembrandt boasted; but there was, as we +know, a special reason, apart from any financial difficulties, +which may have accounted for this urgent need +of ready money.</p> + +<p>He had decided to settle himself finally, not long +after the birth on July 1st, 1638, of his second child, +a daughter, christened at the Oudekerk on July 22nd, +Cornelia, after his mother, and on January 5th, 1639, +had purchased from one Christoffel Thysz a house in +the Joden-Breestraat, now Number 68, for 13,000 florins. +Though only one quarter of this sum had to be paid +within one year, the rest being distributed over the +following five or six, he seems for once to have been +actually eager to pay the money, and by May had +discharged half the cost and taken possession.</p> + +<p>One birth and three deaths mark the year 1640. +The first, of another daughter, on July 29th, who was +also christened Cornelia, the elder child bearing that +name having died in the meantime. The name, however<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>, +seems to have been an ill-omened one, for its +second bearer did not survive a month, its burial being +recorded in the Zuiderkerk on August 25th. Of the +other deaths the first was that of an aunt of Saskia, +who was possibly also her godmother, as she bore the +same name, and certainly left her some property, since +Ferdinand Bol was sent, on August 30th, to Leeuwarden +with formal authority to take possession on her behalf. +The other death must have been, to Rembrandt at any +rate, a far heavier blow, for by it he lost, in September +or October, his mother, to whom he was cordially +attached, and from whom his residence in Amsterdam +had only partially separated him, since we know by +various portraits, painted subsequent to 1631, that either +he visited her or she him with considerable frequency.</p> + +<div class="illustration"> + <a id="image028" href="images/028-rembrandt-h.jpg"> + <img src="images/028-rembrandt.jpg" + alt="Portrait of Rembrandt" + title="Portrait of Rembrandt" /> + </a> + <div class="caption"> + <div class="location">[National Gallery, London</div> + <div>PORTRAIT OF REMBRANDT<br />(1640)</div> +</div> +</div> + +<p>An event arising out of the consequent settlement +of the estate has given rise to the suspicion that, then +at all events, Rembrandt was in difficulties, but it is +again possible to take another point of view. The inheritance +of each child amounted to 2490 florins, and +a further 1600 remained to be divided later. The +business was entrusted to Adriaen and Lysbeth, and +Rembrandt, unhesitatingly accepting every suggestion +made by them, contented himself with a mortgage on +half the mill, the redemption of which was to be +postponed indefinitely. No sooner, however, was the +arrangement completed than he authorised his brother +Willem to sell his rights for what they would fetch. +This may mean, as M. Michel supposes, that he wanted +the money promptly, yet wished to deal tenderly with a +brother who was himself by no means beforehand with +the world; but the two reasons seem somewhat inconsistent<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> +with the facts. That Rembrandt, even though +pressed for money himself, should have practically forgone +his due, and consented to take a small annual +interest which he could, in case necessity arose, easily +forgo, is quite reconcilable with what we know of him; +but that, having acted so, he should have at once undone +the good he proposed, by selling his claim to some +stranger, who would certainly demand the full letter of +his bond, is hard to believe.</p> + +<p>Any other evidence concerning these presumed embarrassments +is certainly against them. At this very +time he was cheerfully accepting security for considerable +sums of money lent, in addition to the original one +thousand florins, to Hendrick van Uylenborch; and +in later years, when his affairs came to be inquired into, +Lodewyck van Ludick and Adriaen de Wees, dealers +both, swore that between 1640 and 1650 Rembrandt's +collections, without counting the pictures, were worth +11,000 florins, while a jeweller, Jan van Loo, stated that +Saskia had two large pear-shaped pearls, two rows of +valuable pearls forming a necklace and bracelets, a +large diamond in a ring, two diamond earrings, two +enamelled bracelets, and various articles of plate. +Finally, Rembrandt also, at a later date, estimated +that his estate at the time of Saskia's death amounted +to 40,750 florins; and though the estimate was made +under circumstances calculated to incline him to +exaggerate rather than diminish the amount, it must +be considered as approximately correct.</p> + +<p>Poor Saskia was not destined to enjoy much longer +her plate and jewellery. Death, having entered the +family, was thenceforth busy. Titia died at Flushing<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +on June 16th, 1641; and Saskia herself, after the birth of +Titus in September of that year, possibly never enjoyed +really good health again. By the following spring she was +unmistakably failing, and at nine in the morning of June +5th, 1642, she made her will. She was not even then +without hope of recovery, for there are express stipulations +as to any further children she might bear, but the +pitiful irregularity of her signature at the end of the document +shows how forlorn this hope was; and, in fact, she +died within the following fortnight, and was buried on +the 19th of June in the Oudekerk, where Rembrandt +subsequently purchased the place of her sepulture.</p> + +<p>Upon what this loss must have meant to Rembrandt, +with his affectionate nature and almost morbid devotion +to a home-life I need not dwell, nor did Fate rest content +with dealing him this single blow. The great picture, +which forms the chief ornament of the Ryksmuseum at +Amsterdam, "The Sortie of the Company of Banning +Cocq," better known under the inaccurate title of "The +Night-Watch," was no sooner completed, in the course +of the same year, than it aroused a storm of vituperative +criticism. The reasons for this I must defer till I come +to the consideration of the paintings, and must only +note the fact here, and the dwindling of Rembrandt's +popularity, which appears to have been, to some extent +at least, the consequence.</p> + +<div class="illustration"> + <a id="image030" href="images/030-saskia-h.jpg"> + <img src="images/030-saskia.jpg" + alt="Portrait of Saskia" + title="Portrait of Saskia" /> + </a> + <div class="caption"> + <div class="location">[Dresden Gallery</div> + <div>PORTRAIT OF SASKIA<br />(1641)</div> +</div> +</div> + +<p>One dim ray of consolation alone seems to beam +through the darkness that overshadowed him, Lievensz, +who had long been absent, first in England and subsequently +in Antwerp, came to settle in Amsterdam, +and doubtless did all that in him lay to comfort his +doubly-stricken friend. In the meantime the business<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +matters so loathed by him, and now aggravated by +their intimate connection with his bereavement, had to +be attended to, though, through the consideration of +Saskia's relatives, they were made as easy for him as +well might be. Saskia, by her will, left everything +practically to Rembrandt, confident that he would +properly educate Titus and start him in life. +Ostensibly, indeed, her share of the estate was left to +Titus and any other children she might bear, but she +expressly stipulated that he was not to be asked to +provide any inventory or guarantees to anyone whatsoever. +She particularly forbade the interference of any +Chamber of Orphans, in especial that at Amsterdam. +Rembrandt alone was to have control, and the property, +principal and interest, was to all intents his own, unless—an +important exception as we shall find—he married +again. In that case half of the joint estate at the time +of her death was to be put in trust for the child or +children, though Rembrandt was still to enjoy the +interest for life. It was obvious that the making at +once of an inventory of all the property in his possession +was the only right course to pursue, in order that +the share which might eventually revert to Titus should +be accurately known, for Rembrandt was but six-and-thirty, +and his re-marriage by no means impossible. He, +however, wished to avoid this course, doubtless through +that over-mastering distaste for business to which I +have had and shall have occasion to refer so often, +and having the consent of Hendrick van Uylenborch, +obtained permission from the Chamber of Orphans, on +December 19th, to enter into possession of the estate +without any estimate of its value being recorded.<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h1> + +<p class="subtitle">DAYS OF DECLINE</p> + + +<p>He was then starting upon the downward course which +was leading him to utter ruin. In the course of the +following years, Fashion, who had decreed that he was +the one painter to patronise, shook her fickle wings +and flew off to others, and thenceforth decried her +former favourite with the more ignorant dispraise +because of her equally ignorant pæans in the past.</p> + +<p>It was in vain that the Stathouder continued his +patronage, giving him a commission for two pictures, +"The Circumcision" and "The Adoration of the +Shepherds," for which, on the twenty-ninth of September +1646, he paid the sum of 2400 florins, just double +what he had paid before. It was in vain that the +rising artists could not fail to perceive his transcendent +merits, and that pupils from all Europe sought him +out, Michiel Willemans, Ulric Mayr, and Franz +Wulfhagen, Christoph Paudiss, Juriaen Avens, Bernard +Keilh, Cornelis Drost, Nicholas Maes, Carel Fabritius, +Samuel van Hoogstraten, and many more. He had +ceased, apparently, to attract the public. At any rate, +though his productive energy was unabated, his affairs +grew ever more and more involved.</p> + +<p>In 1647, Saskia's relations began to be alarmed, +demanding that the valuation of the property at the +date of her death should be ascertained without delay,<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> +and Rembrandt replied that to the best of his belief +it had been 40,750 florins. It is a little difficult to +understand what right they had to formulate this +demand, since, according to the will, the property was +virtually Rembrandt's own, unless he married again, +and this, to all appearance, he had, at that time, no +idea of doing, though rumours to the contrary may +well have reached their ears. A certain Geertje Dircx, +the widow of one Abraham Clæsz, who had been engaged, +probably not long after Saskia's death, as nurse +to the infant Titus, who was always delicate, came in +time to hope that she might aspire to rank as his +step-mother; on January 24th, 1648, she made her +will, neglecting the relations we know her to have had +and bequeathing everything she legally could to Titus. +Within two years, however, on October 1st, 1649, she +repudiated her will, gave Rembrandt warning, and +brought against him the equivalent of an action for +breach of promise of marriage, to which he replied by +an affidavit denying that their relations had ever been +other than those of master and servant. In fact, her +pretensions seem to have been only the delusions of +her disordered brain, for in the course of the next +year, 1650, she had to be removed and placed in confinement +in a madhouse at Gouda, for which Rembrandt +advanced the expenses, and, needless to say, never got +them back.</p> + +<p>We have not, moreover, far to seek for a reason for +her explosion of temper in 1649 if she really believed +her master meant to marry her, for on that very same +October 1st, in reference to some otherwise unimportant +disturbances of the neighbourhood by a drunken man,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +we find a certain Hendrickje Stoffels, of Ransdorp, in +Westphalia, giving evidence on Rembrandt's behalf. +Of the subsequent relations between her and Rembrandt +there can be, unfortunately, no doubt whatever. She +was at that time three-and-twenty, and a pleasant-looking +girl enough, as her portrait, now in the Louvre, +makes clear, and that her devotion to Rembrandt was +not at all events self-seeking, the future made abundantly +evident. As long as she lived, she remained attached +to him, through evil fortune and ill-report, and, though +there was too good reason for the step, she is generally +believed to have never asked or expected him to "make +an honest woman of her," as the phrase goes. To this +belief, however, I hesitate to subscribe; indeed, I incline +to the conviction that the description of her given +in a lawsuit on October 27th, 1661, as his lawful wife, +"huysfrouw," the very title he himself gave to Saskia, +was strictly accurate. There is not, it must be admitted, +another particle of direct evidence that it was +so, though this in itself is not to be despised, but +there are circumstances not a few that point in the +same direction.</p> + +<p>While the connection was irregular, and to begin +with, at least, it undoubtedly was so, there was never +any concealment or shamefacedness about the matter, +nor do Rembrandt's friends, not even the respectable +Burgomaster Six, seem to have looked askance upon +it. It is true that in 1654 she was summoned, somewhat +tardily, before the Consistory of her church, +severely admonished, and forbidden to communicate. +That, of course, was inevitable from their point of +view, and only shows how absolutely open the arrangement<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +was. How improbable it is then that in later +years she should have deliberately perjured herself on +the question when, if it were perjury, the evidence to +convict her must have been overwhelming. There can, +indeed, have been no doubt, long before this church +summons, as to the relations between them, for in +1652 she gave birth to a child which did not, however, +survive long, as we know that it was buried in the +Zuiderkerk on August 15th.</p> + +<p>In October 1654, a second daughter was born, and +was christened on October 30th, Cornelia, in itself a +somewhat significant circumstance. We cannot, I fear, +claim any very subtle delicacy of taste for Rembrandt, +it appertained not to his race or time; but it seems +more than strange that he should have given to an +illegitimate child the name which had been borne by +his mother and by two luckless infants of the dead +Saskia. Taking all these facts together, I venture +to conjecture that we may still hope to hear some +day of the discovery of proof that some time, probably +between July when she was rebuked, and October when +the child was baptised, Rembrandt, moved perhaps +by the public disgrace of the girl once more about +to become the mother of his child, was duly married +to her.</p> + +<p>Indeed, if he had not married someone, how came +it that in 1665 Louis Crayers, the guardian of Titus, +was able to establish, before the Grand Council, his +claim on behalf of his ward against Rembrandt's estate, +then in bankruptcy, for 20,375 florins, the half of the +property at the time of Saskia's death three-and-twenty +years before? Unless Rembrandt had married again<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +Titus would appear to have had no shadow of a claim +to principal or interest, yet the case was fought out +to the bitter end, and it seems quite incredible that +the creditors should have been ignorant of, or should +have failed to produce, so important a piece of evidence +in their favour. Since Titus' claim was allowed, it is +obvious that Rembrandt must have remarried, and, if +so, there can be no doubt that it was to the true and +faithful Hendrickje.</p> + +<p>I have, however, been led to anticipate too far in +the attempt to make this reasoning clear, and must +return to 1649, in which year Rembrandt took a second +step on his road to bankruptcy by ceasing to pay either +instalments of the sum remaining due for the house, +or even the interest upon it. Indications of the approaching +disaster now follow thick and fast. At +some time between 1650 and 1652 the pearl necklace +which appears in so many of the pictures was sold to +Philips Koninck. In 1651, so wholly out of favour +was Rembrandt's art deemed to be, that Jan de Baer, +a young artist, on leaving the studio of Backer, under +whom he had been studying, after hesitating for awhile +as to whether he should turn to Rembrandt or Van +Dyck for further instruction, chose the latter, because +his style was most durable.</p> + +<p>By 1653 Rembrandt seems to have finally abandoned +himself to the current which was drifting him so rapidly +to wreck. On January 29th he borrowed 4180 florins +from Cornelis Witsen on the hopeless undertaking to +repay it in a year, and three days later, on February +1st, his long-suffering landlord Thysz entered a claim +for 8470 florins still owing to him. Rembrandt, with<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> +a sharpness due probably rather to his lawyer than to +himself, demanded that the title-deeds should be delivered +to him first. Then, on March 14th, he borrowed +a further 4200 florins from Isaac van Heertsbeeck, also +repayable in a year, and after trying, apparently in +vain, through François de Koster, to recover some of +the large sums of money that must have been owing +to him, he obtained from Six yet another loan on the +guarantee of Ludowyck van Ludick. With this temporary +relief he in part paid off Thysz, but 1170 florins +still remained to be paid, and for this amount the +creditor obtained a mortgage on the house.</p> + +<p>The end was now drawing near. One more effort, +however, was made to avert the crash. A certain Dirck +van Cattenburch, a collector of works of art, presuming +that, in the state of Rembrandt's affairs, the large house +in the Breestraat could only be an encumbrance to him, +proposed to relieve him of it by a sufficiently curious +arrangement. He was professedly to sell him another, +doubtless a smaller one, for 4000 florins; but, in fact, +he was to give Rembrandt the house and 1000 florins +in cash. For the remaining 3000 florins Rembrandt +was to deliver pictures and etchings of that value, and +furthermore? to etch a portrait, in a style not less finished +than that of Six, of Dirck's brother Otto, the secretary of +Count Brederode of Vianen, which was to be considered +the equivalent of 400 florins. How far this elaborate +transaction was carried out is uncertain. Rembrandt +obtained the 1000 florins, and handed over pictures and +etchings of his own, or from his collection, valued by +Abraham Francen and van Ludick at over 3000 florins, +but we hear no more of the house or the portrait.<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> + +<p>It was in vain that his friends seem to have developed +a perfect mania for being etched or painted by him—Six +and Tholinx, Deyman the doctor, the two Harings, +father and son—neither loans nor earnings could for +long stave off the evil day. As if ill-luck dogged the +family, his brother Adriaen had so managed to misconduct +the business of the mill that he and the sister +Lysbeth were also on the verge of ruin, and Rembrandt, +in the midst of his own troubles, had to come to their +assistance. Small wonder, then, that the end was +hastened. On May 17th, 1656, one Jan Verbout was +appointed guardian to Titus in the place of Rembrandt, +and on the same day, before the Chamber of +Orphans, the unfortunate artist transferred his rights in +the house to his son. Soon afterwards he was formally +declared bankrupt, and on July 25th and the following +day an inventory was made "of paintings, furniture, +and domestic utensils connected with the failure of +Rembrandt van Rijn, formerly living in the Breestraat +near the lock of St Anthony." The inventory still +exists, and is full of interest, giving, as it does, a +complete description of every room in the house, from +the pictures in the studio to the saucepans in the +kitchen, but want of space forbids any extended extracts +from it here.</p> + +<p>The law seems to have moved slower in those days +even than in these. Rembrandt continued for some +time to dwell in the house, and, apart from the business +worries, the little family appears to have been a united +and contented one. How united we discover from the +will that Titus made on October 20th, 1657, and rectified +on November 22nd. By that time Rembrandt's utter<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +incapacity for business was probably recognised even +by himself, and all that Titus possessed was left to +Hendrickje and her daughter Cornelia in trust for him. +Nevertheless, as if to smooth over the slur upon his +father's improvidence, he provided that Rembrandt +might draw a certain share, on condition that he did +not employ it to pay his debts, a most unlikely use, +it is to be feared, for him to put it to, except, like +Falstaff, "upon compulsion." The remainder was to +go to Cornelia on her marriage or coming of age. The +whole of the interest, in the event of Rembrandt's death, +was to go to Hendrickje and Cornelia, and there are +certain other arrangements of less importance concerning +the disposal of the property on Cornelia's +decease.</p> + +<p>A month later the law at last gave forth its pronouncement, +and the commissioners authorised Thomas +Jacobsz Haring, an officer of the Court, to sell the effects +of the bankrupt by auction. The worst had befallen; +the home in which he had passed eighteen years, many +of them happy, and all full of industry, was his no more. +The little family was temporarily broken up. Rembrandt +moved to the Crown Imperial Inn, kept by one Schumann +in the Kalverstraat, which ran southwards from the Dam, +a handsome and commodious house, which had at one +time been the Municipal Orphanage, and was then +the customary place for holding auctions. Whether +Hendrickje, Titus, and Cornelia went with him we do +not know. M. Michel concludes, from the fact that +Rembrandt's daily expenses, included in the records +of the case, were three or four florins, that they certainly +did not; but if the already-mentioned provision of 125<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +florins a year was considered sufficient support for the +crippled brother, more than eight times that amount +might surely have sufficed for four people, two of whom +were children.</p> + +<p>On December 25th, the sale of Rembrandt's property +began in the very house where he was lodging, but only +a small portion of the goods was then sold.</p> + +<p>The wheels of the law, once started, ground evenly +and small. On January 30th, 1658, the commissioners +ordered the repayment to Witsen and van Heertsbeeck +of the money they had lent. The heirs of Christoffel +Thysz were also paid, in spite of the protests of Louis +Crayers, who had by then replaced Verbout as guardian +of Titus, and, as such, asserted his prior claim on the +estate to the extent, according to Rembrandt's own +estimate in 1647, 20,375 florins. The other creditors, +taking advantage of Rembrandt's afore-mentioned failure +to make an inventory at the time, protested loudly that +the demand was much exaggerated, and a cloud of +witnesses was summoned to give such evidence as they +could concerning the possessions of the pair at the time +that Saskia died. Several of these statements have +already been referred to in this narrative; but, in +addition, Jan Pietersz, a draper, Abraham Wilmerdonx, +director of the East India Company, Hendrick van +Uylenborch, Nicholas van Cunysbergen, and others, +gave testimony as to property owned by, or prices paid +to, the bankrupt in former years.</p> + +<p>In the meantime, on February 1st, 1658, at the +request of Henricus Torquinius, the official who had +charge of the business, the house in the Breestraat was +sold to one Pieter Wiebrantsz, a mason, for 13,600<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +florins, but for some reason the bargain was not completed, +and a second purchaser came forward with +an offer of 12,000. There appear, however, to have +been doubts as to his ability to pay, and it was +finally transferred to a shoemaker, Lieven Simonsz, +for 11,218 florins. Finally, in September, the pictures, +engravings, and other objects of art were sold by +auction, bringing in the ridiculous sum of 5000 florins, +and all the possessions that Rembrandt had collected +with such loving care and at so great a cost were +scattered to the four winds.</p> + +<p>It is pleasant to find that, in all this tribulation, +many of his old friends still stood by him and endeavoured +to help him to commissions. In 1660, for +example, Govert Flinck, who was engaged on the +decoration of the Grand Gallery in the Town Hall, +having died, it became necessary to find someone to +take his place. Rembrandt had never been much in +favour with the town authorities, but on this occasion, +possibly through the efforts of his old friend Tulp, who +had been treasurer in 1658 and 1659, he was invited +to carry on the work, and, as M. Michel has conclusively +shown, painted for them a large picture of the +conspiracy of Claudius Civilis. The opposition, however, +apparently proved too strong, for it seems doubtful +if the picture was ever seen in the place it was +intended for. It did not, at any rate, remain there +long.</p> + +<p>On May 5th, 1660, we get another glimpse of the +law proceedings when Heertsbeeck was ordered to pay +back the 4200 florins which the Court had formerly +awarded him, though Witsen was allowed to retain<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> +his 4180. On December 15th of the same year +Hendrickje made a final effort to restore to some +extent the prosperity of the household. With all +proper circumstance, she entered on that day into +partnership with Titus, legalising an association between +them, informally established two years before, +for the purpose of dealing in pictures, engravings, and +curiosities. Both he and she contributed everything +that they possessed to a common fund, and each was +to be entitled to a half share of the stock. Rembrandt, +partly, no doubt, from his proved incompetency for +business, partly, perhaps, to keep out of the clutches +of the creditors, was allowed no share whatever in the +profits. As, however, it was necessary that Hendrickje, +who knew nothing of such matters, and Titus, who +was not yet of age, should have aid and assistance in +the venture, and as no one was more capable of giving +this than Rembrandt, it was provided that he should +make himself as useful as possible in furthering the +interests of the firm, and in return should have board, +lodging, and certain allowances.</p> + +<p>It was, perhaps, as judicious an arrangement as could +be made for Rembrandt's sake, but it is not wonderful +that the creditors, who saw all chances of their getting +anything further vanishing into thin air, should have +been fierce in their protests. How far the association +prospered we do not know. Probably not too well, +for Dr Bredius has gathered together a mass of +evidence to show that a large proportion of the art-dealers +in Amsterdam at that period came to disastrous +financial ends. It served, at any rate, to keep +a roof over their heads, and the wolf from the door,<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +for we find them again settled down, this time in the +Rozengracht, in a house opposite a pleasure garden +called the Doolhof.</p> + +<p>In 1661, an old friend again came to his support; +for it was probably van de Cappelle, who was a dyer +as well as a painter, who procured for him the commission +to paint "The Syndics of the Drapers' Guild," +which he so splendidly achieved. By this time there +is some reason for supposing that yet another trouble +was coming upon Rembrandt. As far as we know, +he never executed any etchings after 1661, and +M. Michel suspected that this might have been due +to failing sight. A study, moreover, of the portraits +painted from that time onwards, reveals the fact that +a large majority of them, if not actually all, were +conspicuously, some even enormously, larger than life, +and that would in all probability be a symptom +of the same misfortune. These two facts cannot, of +course, be considered as furnishing absolute proof, +but they certainly go to create a probability; nor can +we regard the supposition that the overstrained nerves +were giving way at last as in any way unlikely when +we reflect how incessantly Rembrandt had worked +his eyesight, and how minutely finished had been +much of his work, especially among the etchings, +many of which were undoubtedly executed by artificial +light, after his day's painting was ended. It +would be but one more burden of distress laid upon +those heavily-laden shoulders.</p> + +<p>In truth, the story of the few remaining years is +but a record of stroke after stroke. On August 7th, +1661, the faithful Hendrickje was so seriously ill, that,<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> +in spite of its being a Sunday, she made her will, leaving, +as was but right, all her property to Cornelia, but +with the stipulation that, in case of her death, Titus +was to inherit, though his father was to enjoy the +income as long as he lived. That she recovered at +that time we know from her appearance on October +27th, as a witness in the case of the drunken man +already referred to; but the recovery must have +been only temporary, for, after this last appearance, +we hear of her no more, though we do not know the +exact date of her death. There is, however, M. Michel +believes, a reason for supposing it to have occurred in +the autumn of 1662. On October 27th in that year +Rembrandt sold the vault he had purchased in the +Oudekerk, which was no longer his parish church. It +was, nevertheless, an odd thing to do, since poor little +Saskia lay there; and M. Michel, in seeking an explanation, +conjectures that he was at that time under +the necessity of providing for the burial of Hendrickje +in the Westerkerk, and that the sale was a sheer +necessity. There is, at any rate, no portrait of her +known to have been painted after 1662, and the conjecture +that she died that year is at least a plausible +one.</p> + +<div class="illustration"> + <a id="image044" href="images/044-hendrickjestoffels-h.jpg"> + <img src="images/044-hendrickjestoffels.jpg" + alt="Portrait of Hendrickje Stoffels" + title="Portrait of Hendrickje Stoffels" /> + </a> + <div class="caption"> + <div class="location">[Louvre, Paris</div> + <div>PORTRAIT OF HENDRICKJE STOFFELS<br />(ABOUT 1652)</div> +</div> +</div> + +<p>In the course of the same year, we hear of the last +pupil coming to Rembrandt, Aert de Gelder, whose +youthful enthusiasm may have brought some brightness, +we may hope, into the life of the poor broken +old man. Meanwhile, the echoes of the law courts +still rumbled in his ears, for, on December 22nd, Isaac +Van Heertsbeeck, who had evidently not complied +with the previous order of the Court in 1660, was<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +again commanded to refund the 4200 florins, and +again appealed.</p> + +<p>Rembrandt had by then so completely dropped +out of public ken, that we only get dim and fleeting +glimpses of him. In 1664, we hear of him moving +to the Lauriergracht, still farther to the south-east, +and it is not until affairs draw him from seclusion +that we learn more of him, and then only indirectly. +We may, perhaps, conclude, however, from the scarcity +of his works during these last years, that his eyes, +and possibly general health, were getting ever worse.</p> + +<p>On January 27th, 1665, van Heertsbeeck's protracted +struggle came to an end, and the Grand Council decided +that by June 20th the money must be repaid. On June +19th, Rembrandt and Titus appealed to the law to +anticipate the coming of age of the latter, so that he +might be legally considered of years of discretion +before the actual arrival of his twenty-fifth birthday, +a request which must have been connected with a +foreknowledge of the decision delivered the next day, +June 20th, in favour of Louis Crayers. This meant +that the rights of Titus to the full amount of his +mother's fortune of 20,375 florins were allowed; but +only 6952 florins remained, and of this, on November +5th, Titus was authorised to take possession in his +own name. It was but a scanty fraction of what he +should have had, but it was something, and the little +windfall may have had some part in the return of +the family to the Rozengracht. Of the next two +years we know nothing, except that we learn from +a portrait of Jeremias de Decker, a poet who wrote +eulogistic verses on the painter, that neither the man<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +nor the artist was entirely neglected. The first sounds +that come again to us out of the darkness are those +of wedding bells on the occasion of the marriage of +Titus with his cousin Magdalena, the daughter of +Cornelia van Uylenborch and of Albert van Loo, +whose quarrel with Rembrandt years before had +clearly been forgotten. The note of merriment was, +however, too quickly changed for one of dolour, for +ere the year was out Titus was dead, as we learn +from the record of his burial in the Westerkerk, on +September 4th, 1668.</p> + +<p>In March 1669, the widowed Magdalena gave birth +to a daughter, and, on the twenty-second of that month, +Rembrandt stood by while the only grandchild he was +to see was christened Titia. We catch thereafter some +murmurs of that business which he so hated, in connection +with the settlement of the respective shares +which the little Titia and Cornelia were to draw from +the remainder of the old association between their +respective parents; and then again comes silence, +until, from an entry in the Doelboek, the registry of +deaths in the Westerkerk, we learn that the long, +slow, downward path has ended, where all paths end, +in the grave.</p> + +<p>"Tuesday, 8 October, 1669, Rembrandt van Rijn, +painter, on the Rozengracht, opposite the Doolhof. +Leaves two children."</p> + +<p>He was buried, at the cost of thirteen florins, at the +foot of a staircase leading up to a pulpit on a pillar on +the left-hand side as you go up the church; but when, +some years back, a coffin, supposed to have been his, +was opened, not a trace of his ashes was to be found.</p> + +<div class="illustration"> + <a id="image046" href="images/046-rembrandt-h.jpg"> + <img src="images/046-rembrandt.jpg" + alt="Portrait of Rembrandt" + title="Portrait of Rembrandt" /> + </a> + <div class="caption"> + <div class="location">[National Gallery, London</div> + <div>PORTRAIT OF REMBRANDT<br />(ABOUT 1664)</div> +</div> +</div> + +<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> +<p>The subsequent history of the family may be briefly +sketched. Within a fortnight of Rembrandt's death, +on October 13th, his daughter-in-law Magdalena was +also dead. On the 16th and 18th of March, and +again on April 15th, Abraham Francen, the old and +faithful friend, and Christian Dusart, acting on behalf +of Cornelia, settled with François van Bylert, acting +on behalf of the baby Titia, their respective portions +of the small inheritance. François would seem to have +been a kindly guardian, and Titia to have had a happy +home, for, on June 16th, 1686, at the church of Slooten, +she married his son, also named François, a jeweller, +living in the Kloveniers-Burgwal, in the heart of her +native town. Here she bore, and buried also in the +Westerkirk, three children, one in 1688, one in 1695, +and one in 1698, and herself died November 22nd, +1725, leaving a fourth child, who only survived her +three years.</p> + +<p>Cornelia married a man named Suythoff, and with +him travelled to Java, where, in the town of Batavia, +she gave birth to two sons, one on December 5th, +1673, called Rembrandt, the other, on July 14th, 1678, +named Hendrick.<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="REMBRANDT_THE_PAINTER" id="REMBRANDT_THE_PAINTER"></a>REMBRANDT THE PAINTER</h1> + + + +<hr style="width: 65%;" /> +<h1><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h1> + +<p class="subtitle">EARLY YEARS (1627-1633)</p> + + +<p>Of the blank spaces in the record of Rembrandt's +career, none is so long or so inexplicable as that which +begins with his return from Amsterdam to Leyden in +1624. Here the track breaks off abruptly, and we can +be sure of nothing until we come to the first known +pictures signed by him, and dated 1627.</p> + +<p>We will take first the picture discovered by Sir J. C. +Robinson about twenty years ago, and presented by +him to the Berlin Gallery. It represents a wrinkled old +man, seated at a table. Papers and account books lie +around him, and are heaped up in the background, and +on his left, resting on a thick volume, stands a fat purse. +A pair of scales are in front of him, and beside them a +dozen or so of coins. Lifting a candle in his left hand, +he throws the light of it upon a piece of money. The +work, though promising, is in no way startling, and he +would have been an acute critic who could have foretold +from it the lofty height to which the painter of it +was to soar. It is signed, with one of the ever-varying +forms of his signature, R.H., combined in a monogram, +followed by the date 1627.</p> + +<p>The other picture known to belong to this first year,<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> +"St Paul in Prison," is in the Museum at Stuttgart +[No. 225], and presents much the same merits of close +observation, much the same defects of timid execution +as the last. It represents the saint seated in a straw-strewn +dungeon, lighted by a single beam of sunlight, +surrounded by books, with the sword that symbolises +him, meditating before writing. The signature in this +case is a double one: the first, consisting of his full +name, with one of his curious mis-spellings, Rembrand, +and underneath fecit; the second an elaborate R +followed by f. 1627, and below the down stroke, crossing +the tail of the R, a smaller L, which Dr Bode +suggests stands for Leydensis.</p> + +<p>Three other pictures, all undated, are attributed to +this year or the next, a "Philosopher reading by +Candle-light," painted on copper, "A Study of Himself," +at Cassel [No. 208], and a "Portrait of his +Mother," which was lent for a time to the Ryksmuseum +at Amsterdam, but is there no longer.</p> + +<p>In the Cassel picture, small as it is, the breadth and +vigour of treatment, the courage of the work are so +remarkable that it is difficult to believe that it is of the +same period as the previous pictures. It is a study of +little more than the head, presenting one of those effects +of contrasted light and shade which he so loved that +pseudo-art slang has nicknamed them of late years +Rembrandt effects. The shadows are a little dark, the +contrasts are a little forced, wanting the true gradations, +but the power displayed is so great, the frankness +of the handling so certain that, especially in a photograph, +the little study has all the appearance of a life-sized +picture.<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p> + +<p>There are again two pictures dated in the following +year, 1628. "Samson captured by the Philistines," at +Berlin, is a not too successful first attempt at a composition +of several figures, but it is of interest to the +student as showing the sternly practical bent of +Rembrandt's imagination, the intense craving for a +strictly probable conception of the scene which, though +at times it led him over the border of the simple into +the absolutely ludicrous, more often gives that wonderfully +impressive vitality and depth of feeling to his +pictures. Here, as elsewhere, he aims not at all at +heroic attitudes and over-dramatic effect; he makes no +attempt to invent the scene as it ought to have looked, +but endeavours to realise how it did look. The +Philistines, he knew, were afraid of Samson, and he +will not bate a jot of their terrors. One of them +advances in fear and trembling, carefully keeping +Delilah between himself and the object of his dread; +while the other hides unequivocally behind the bed-curtains.</p> + +<p>Here, also, we find an instance of his habit of painting +in accessories because they were picturesque and +available, quite regardless of their appropriateness, in +the Malay kriss thrust into Samson's belt; and here we +find for the first time that blending of the features of +the two earlier monograms, the R.H. of the one, with +the L. of the other, into the thenceforth frequent combination +R.H.L. with the date 1628.</p> + +<p>The second picture, bearing the same monogram and +date, is in the possession of Herr Karl von der Heydt +of Elberfeld, showing a man in full armour, standing by +a fire in a courtyard, and closely observed by soldiers<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> +and servants, which Dr Bode not unreasonably believes +to represent "The Denial of St Peter." Seven other +pictures are attributed to about that date, one of +which is believed by its possessor, Dr Bredius, to be a +"Portrait of Rembrandt's Mother" (<i>see</i> <a href="#image006">illustration, p. 6</a>). +There are also a copy of this, showing a little more of +the figure, attributed to Rembrandt, but probably by +another hand; two portraits supposed to be "The +Painter's Father," one lent by Dr Bredius to the Museum +at the Hague [No. 565], the other in the Museum at +Nantes; a "Portrait of a Boy," at Hinton St George, and +a doubtful one of "A Young Girl," called Rembrandt's +sister Lysbeth, at Stockholm [No. 591]. A "Judas +with the Price of the Betrayal," in the collection of +Baron Arthur de Schickler of Paris, is considered by +M. Michel to be the identical picture to which +Constantin Huygens referred in that eulogy which has +been mentioned in the painter's life. A "Raising of +Lazurus," in the collection of Mr Yerkes in New York, +completes the list.</p> + +<p>There is only one picture bearing the date 1629, a +small "Portrait of Himself," at Gotha [No. 181]; but +there are eleven others believed to have been painted +about that time. Two are in the Mauritshuis at the +Hague. A "Bust of Himself" [No. 148] is a strong, +resolute piece of work, and a marked advance on all +that he had done before. The other picture at the +Hague [No. 598] is supposed to be his elder brother +Adriaen. There is less doubt about a portrait in the +Ryksmuseum at Amsterdam [No. 1248], painted about +that time, though bearing a forged signature and the +impossible date 1641. It is that of a man with a<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +short peaked beard and grey moustaches martially +brushed up, and a long aquiline nose. The same +features occur frequently in the earlier pictures and +etchings, and M. Michel has made out a very good case +for their being those of Harmen Gerritsz, the painter's +father.</p> + +<p>There are three other "Portraits of Himself," "A +Head of a Boy," "A Young Man Laughing," and a +"St Peter," all painted about that time; but of more +importance are two small subject-pictures. The first, +signed R.H., but not dated, "Christ at Emmaus," in +the possession of Madame André-Jacquemart of Paris, +is the earliest example of that presentment of a group +of figures lighted by artificial light, to which Rembrandt +was so partial. Here, as in most cases, the source of +the light is hidden, as it stands on a table, on the right +of the picture, in front of which Christ is seated, in +profile to the left, his silhouette sharply cut against the +radiance. At his feet one of the disciples kneels. The +second, seated in the centre, on the further side of the +table, lifts up his hands in amazement. On the left, +in the background, the secondary softer illumination, so +frequently introduced in similar effects by Rembrandt, +is provided by the glow of firelight on two women +engaged in cooking. The other is "The Presentation +in the Temple," in the collection of Consul Weber at +Hamburg. Like the last, it is signed, with the full +name Rembrandt however, but is not dated, and the +effect is to some extent marred by the harshness of the +contrasts of light and shade, his later complete grasp of +subtle transitions being still imperfectly developed.</p> + +<p>Six out of the seventeen pictures attributed to 1630<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> +or thereabouts are signed and dated, and one, a reproduction +of the "Portrait of his Father," in the +Hermitage at St Petersburg [No. 814], is signed with +the monogram R.H.L., but not dated; while a different +portrait of the same, at Rotterdam [No. 237], is +signed R. alone. Four of these are portraits: one, at +Hamburg, of "Maurice Huygens," the brother of the +painter's admirer Constantin; one, in the collection of +Count Andrassy at Buda-Pesth, his own; one, at Cassel, +of an unknown "Old Man" [No. 209]; and one, in +the Ferdinandeum at Innsbruck, though called "Philon +the Jew," is probably his father. One of the two +subject-pictures, in the Six collection, Amsterdam, is +a sketch, broadly but expressively handled, of "Joseph +interpreting his Dreams," signed with the full name +Rembrandt, 1630. The other, signed R.H.L. 1630, in +the collection of Count Stroganoff, is of doubtful +import. It represents an old man seated in a cave, +resting his head upon his right hand, while his left rests +on a large book. Beside him lie a cloth embroidered +with gold, various gold vessels, and other objects of +value. In the distance is seen a town in flames, from +which the inhabitants are hurriedly escaping. What it +is intended to represent is an unsolved riddle, and the +title of "A Philosopher in Meditation," though convenient +to identify it by, has not otherwise much +significance. The remaining eleven pictures are studies +or portraits, of which the old woman, belonging to the +Earl of Pembroke, a bust of "A Young Girl," the +property of Dr Bredius, and lent by him to the Hague +Museum, and another "Portrait of an Old Woman" +resembling somewhat in features the picture at Wilton,<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> +but known, for some mysterious reason as, "The +Countess of Desmond," may be mentioned.</p> + +<p>At what time in 1631 Rembrandt moved to +Amsterdam we have no means of judging, nor can we +say with any certainty which pictures of that year +were painted before, which after, his change of residence. +A "Bust of his Father," signed R.H.L. 1631, the +property of Mr Fleischmann, was probably among the +former. The "Young Man with the Turban," at +Windsor, must also, presumably, have been painted +before his removal, if M. Michel is justified in his +belief that it is a portrait of Gerard Dou. Of the +others we know nothing that points either way.</p> + +<p>Rembrandt was now beginning to find himself. The +dry precision, the timid carefulness have disappeared. +His hand moves easily about its appointed task, not +indeed, as yet, with the splendid freedom of later years, +but with an assured confidence. He knows what he +wants to do, and begins to feel that he can do it. The +commissions that finally necessitated his establishment +in Amsterdam showed him also, we may suppose, that +other people appreciated the fact, and we may, perhaps, +refer to this growing confidence in himself the great +increase in the number of pictures signed that year. +There are eleven, bearing both date and signature, two +signed, but undated, and two which, though bearing +neither date nor signature, are believed to have been +painted about that time.</p> + +<div class="illustration"> + <a id="image054" href="images/054-coppenol-h.jpg"> + <img src="images/054-coppenol.jpg" + alt="Portrait called Copenol" + title="Portrait called Copenol" /> + </a> + <div class="caption"> + <div class="location">[Hermitage, St. Petersburg</div> + <div>PORTRAIT CALLED COPPENOL<br />(1631)</div> +</div> +</div> + +<p>Of the first class, a picture of a man reading, in the +Museum at Stockholm [No. 579], known as "St +Anastasius," bears yet another version of the painter's +name, the d being absent in this case, so that it reads +<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>Rembrant. A "Holy Family," at Munich [No. 234], +signed Rembrandt, is an example of a propensity, which +he never thoroughly shook off, to over-compose his +pictures.</p> + +<p>The same over-marked arrangement, though, to a +far less degree, is also observable in the pyramidal +group in the otherwise splendid "Presentation in the +Temple," at the Hague [No. 145]. This is signed with +the initials R.H. alone, interlaced, but seven others +bear the three, R.H.L., including the portrait of Gerard +Dou, already mentioned; a portrait, said to be his +mother, at Oldenburg [No. 166], wearing a semi-oriental +dress, and reading, from which circumstance +the picture has obtained the name of "The Prophetess +Anna"; and the "Portrait of a Merchant," long +called "Coppenol," in the Hermitage at St Petersburg +[No. 808].</p> + +<p>Of the two undated pictures, "Zachariah receiving +the Prophecy of the Birth of John the Baptist," in +the collection of M. Albert Lehmann, Paris, bears the +full name Rembrandt. The mysterious figure at Berlin +[No. 828<span class="smcap">C.</span>], a young woman in a rich dress, seated by +a table, on which lie pieces of armour, a book, and a +lute, while other arms, including a shield, decorated +with a gorgon's head, hang on the wall above her, +gaming for her the fanciful titles "Judith" or "Minerva," +has only vague traces of the initial R. Of the last class, +one is a copy, formerly in the Beresford-Hope collection, +of the "Portrait of his Father," in the Ryksmuseum, +the other is a small figure of "Diana Bathing," in the +collection of M. Warneck, Paris.</p> + +<p>Once satisfactorily established in Amsterdam, Rembrandt<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> +increased his annual production marvellously. +The number of pictures known or believed to belong +to each of the four preceding years, are, in succession, +four, nine, twelve, and twenty, the numbers for the four +succeeding years are, respectively, forty-two, thirty, +twenty-six, and twenty-seven; or, taking the average +of each period, we find that the first would give a +little more than eleven pictures per annum, the second, +very nearly thirty. 1632, in especial, when he was +new to Amsterdam, was a year of extraordinary energy.</p> + +<div class="illustration"> + <a id="image056a" href="images/056-man-h.jpg"> + <img src="images/056-man.jpg" + alt="Portrait of a Man" + title="Portrait of a Man" /> + </a> + <div class="caption"> + <div class="location">[Imperial Museum, Vienna</div> + <div>PORTRAIT OF A MAN<br />(1630-1632)</div> +</div> +</div> + +<div class="illustration"> + <a id="image056b" href="images/056-woman-h.jpg"> + <img src="images/056-woman.jpg" + alt="Portrait of a Woman" + title="Portrait of a Woman" /> + </a> + <div class="caption"> + <div class="location">[Imperial Museum, Vienna</div> + <div>PORTRAIT OF A WOMAN<br />(1630-1632)</div> +</div> +</div> + +<p>We find also, at the same time, a vast increase +in the number of signed pictures, yet still note a +surprising variety in the form the signature takes. +No less than thirty are signed, and all but two of +these are also dated. Nine of them bear the monogram, +R.H.L., and ten others have the same, with, for the +first time, the addition van Rijn, while one has the +plain initial R. with van Rijn added. One, forming +a sort of transition with the other group, is signed +Rembrandt H.L. van Rijn, and nine are signed with +the full name, in three of which the d is missing. +Thirty-four of the pictures are portraits, and six of +them form pairs representing husband and wife—namely, +"Burgomaster Jan Pellicorne, with his son +Caspar," and "Suzanna van Collen, his Wife, and her +Daughter," in the Wallace collection; an unknown +Man and his Wife, in the Imperial Museum, Vienna, +though these four are only believed to belong to that +year; the portraits of "Christian Paul van Beersteyn," +and "Volkera Nicolai Knobbert," his wife, in the +possession of Mr Havemeyer of New York, alone bearing +the date. There is also a portrait at Brunswick +<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>[No. 232], fantastically called "Grotius," the companion +of which was painted next year; another, believed, +with good reason, to represent "Dr Tulp," formerly +in the collection of the Princess de Sagan, which is +also one of a pair, though the picture of the wife +was not painted until two years later; and a third, +in the collection of M. Pereire, Paris, of a man, whose +wife was also not painted till the following year. +Twelve others represent actually or conjecturally +known individuals, but two of these, if, as is probable, +they represent the painter's father, must have been +painted earlier, as would also be the case with four +others more doubtfully described, two as his mother, +two as his sister. One at Cassel [No. 212] almost +certainly represents "Coppenol, the Caligraphist," and +an admirable picture in Captain Holford's collection, +is undoubtedly "Martin Looten," a merchant of +Amsterdam; while, even in that busy year, he found +time once to paint his own portrait. The other four +include the two of "Saskia," already mentioned in +the Life, and two men, one said to be "Matthys +Kalkoen," and one, a certain "Joris de Caulery."</p> + +<p>So engaged was he on portraiture, that he only found +time for three small figure subjects, if, indeed, they were +painted that year, for none is dated. One, in the +Wallace collection, is "The Good Samaritan"; the +second at Berlin [No. 823], represents "Pluto in his +Chariot carrying off Proserpine," quite the most successful +of Rembrandt's rare appeals to classical mythology +for inspiration; while the third at Frankfort [No. 183], +is a somewhat indifferent rendering of "David playing +the Harp before Saul."<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> + +<p>I have left to the last, the great work of that year, +the famous "Anatomy Lesson," at the Hague. In +producing this, the largest and most ambitious work +he had yet attempted, one, moreover, the success or +failure of which could scarcely help having a marked +influence on his future career, Rembrandt, we cannot +but perceive, was not altogether at his ease. There +are obvious signs that the hand that could already +move with such courage and freedom, when the mere +satisfying of himself was in question, was hampered +by a return, partial at least, to his earlier timidity, when +so much was at stake. He was so anxious to do his +best that the spontaneity, conspicuous in most of his +work, escaped in the process. The result is a little +stiff in consequence, and the work somewhat dry and +frigid; but the life and expression in the various heads +is, nevertheless, so excellent, that it is impossible to +regard it without delight and admiration.</p> + +<p>Portraits again took up much of his time in 1633, +among them the two companions to the portraits of the +year before, and another pair, "Willem Burchgraeff," at +Dresden [No. 1557], and "Margaretha van Bilderbeecq," +his wife, in Frankfort [No. 182]. The painter's masterpiece, +however, in matrimonial groups, is the "Shipbuilder +and his Wife," at Buckingham Palace.</p> + +<div class="illustration"> + <a id="image058a" href="images/058-anatomylesson-h.jpg"> + <img src="images/058-anatomylesson.jpg" + alt="The Anatomy Lesson" + title="The Anatomy Lesson" /> + </a> + <div class="caption"> + <div class="location">[The Hague</div> + <div>THE ANATOMY LESSON<br />(1632)</div> +</div> +</div> + +<div class="illustration"> + <a id="image058b" href="images/058-jhkrul-h.jpg"> + <img src="images/058-jhkrul.jpg" + alt="Portrait of Jan Herman Krul" + title="Portrait of Jan Herman Krul" /> + </a> + <div class="caption"> + <div class="location">[Cassel</div> + <div>PORTRAIT OF JAN HERMAN KRUL<br />(1633)</div> + </div> +</div> + +<p>There are thirteen other signed portraits of that year, +including one of "Jan Herman Krul," at Cassel [No. 213], +two of "Saskia"—one at Dresden [No. 1556]; one, called +however, "Lysbeth van Rijn," which belonged to the late +Baroness Hirsch-Gereuth—and two of himself, one, the +oval portrait in the Louvre [No. 412], and the other in +the collection of M. Warneck at Paris. Out of these +<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>twelve signatures, only one is the monogram R.H.L., +the other eleven being signed with the full name, and +from only one of these, "A Head of a Girl," in the +collection of Prince Jousoupoff, is the d missing.</p> + +<p>Three subject-pictures also belong to that year, in +all probability; "An Entombment," in the Hunterian +Museum, Glasgow; a small picture described as "Petitioners +to a Biblical Prince," belonging to M. Léon +Bonnat of Paris; and "A Philosopher in Meditation" +[No. 2541], in the Louvre. The last, indeed, though +undated, may almost certainly be attributed to that +year, since its companion, another "Philosopher in +Meditation," also in the Louvre [No. 2540], is signed +R. van Rijn, 1631. But the great event of the year +must have been the patronage which came to him +from Prince Frederick-Henry, resulting in the purchase +of two pictures, both of which, in later years, after +passing to the gallery at Düsseldorf, were transferred +to Munich.</p> + +<p>In both we see Rembrandt at his most characteristic—his +determination to tell his story clearly, to concentrate +his light upon the chief figure, the keynote +of his theme, to get the true and expressive actions +of his personages, not even yet free of some exaggeration, +without troubling a jot as to the minor detail of +correct costume. So, in the first, "The Elevation of +the Cross" [No. 327], the cross, with the tense figure +wrung with anguish, slants right athwart the picture, +and stands out against the murky sky and dim +surrounding crowds with startling incisiveness. So the +four men occupied in raising it display an almost +passionate energy; so a soldier wears a more or less<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> +classical helmet and breastplate over a sleeved doublet +unknown to Rome; a man behind is dressed in the +peasant's ordinary garb of Rembrandt's day; and +another, wearing a doublet and soft flat cap, seems to +be Rembrandt's self; while the centurion on horseback +superintending the carrying out of the sentence is a +frank Turk as to his headgear, a nondescript for the +rest of him. The other, "The Descent from the Cross" +[No. 326], while displaying many of the same qualities, +merits and defects alike, is more deliberately composed, +suffers indeed from that over-composition already +noticed, being too obviously built up into that high +pyramidal form, which we found in "The Presentation +in the Temple." There is, nevertheless, a very delicate +sentiment of pathos in it, and that Rembrandt himself +was content with it, is shown not only by his correspondence +with Huygens on the subject, but by the +fact that he repeated it on a larger scale during the +following year. Yet so curiously capricious was he in +adding or withholding date and signature that neither +has a date, and only "The Descent from the Cross" +is inscribed with what appears to be C. Rlembrant f.</p> + +<div class="illustration"> + <a id="image060" href="images/060-elevationcross-h.jpg"> + <img src="images/060-elevationcross.jpg" + alt="The Elevation of the Cross" + title="The Elevation of the Cross" /> + </a> + <div class="caption"> + <div class="location">[Munich Gallery</div> + <div>THE ELEVATION OF THE CROSS<br />(1633)</div> +</div> +</div> + + + +<hr style="width: 65%;" /> +<div><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></div> +<h1><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h1> + +<p class="subtitle">TIME OF PROSPERITY (1634-1642)</p> + + +<p>At the one hundred and twenty-nine pictures produced +during the succeeding nine years I can only glance +hastily. There are eighteen works dated 1634, and, +no less than seven of them are, or are called, "Portraits +of Himself." One at the Louvre [No. 2553], and two +at Berlin [Nos. 808 and 810], are unmistakably so, +and one now in America, a companion to a "Portrait +of Saskia," would seem to be; but the "Portrait of +Rembrandt as an Officer," at the Hague [No. 149], +which, however, bears no date, and one in a helmet, +at Cassel [No. 215], bear only the most general resemblance +to him. He furthermore painted a portrait +of "Saskia disguised as Flora," called "The Jewish +Bride," in the Hermitage at St Petersburg [No. 812], +a very similar picture in the collection of M. Schloss, +Paris, and a third at Cassel [No. 214]. There are eight +dated portraits, and one probably belonging to that +year. Among the portraits are the pair to the one +of "Dr Tulp," and two other pairs, "Martin Daey" +and "Machteld van Doorn," his wife, belonging to +Baron Gustave de Rothschild, and "The Minister +Alenson" and "His Wife," belonging to M. Schneider, +Paris, a "Portrait of Himself in a Cuirass," in the +Wallace collection, one of "A Young Girl," at Bridgewater +House, and the "Old Lady," in the National<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> +Gallery [No. 775]. There are also four subjects. +A replica of "The Descent from the Cross," formerly +in the Cassel Gallery, but removed by Napoleon I. to +Malmaison, whence it passed to the Hermitage [No. +800]. It is of interest historically as showing that +high as Rembrandt's reputation stood at the time, he +had leisure enough to paint this large picture, without +any immediate purchaser in prospect, and it remained +in fact on his hands until the enforced sale in 1656. +A second, also in the Hermitage [No. 801], is "The +Incredulity of St Thomas," and a third, in the Prado +at Madrid [No. 1544], has been called both "Queen +Artemisia receiving the Ashes of Mausolus" and +"Cleopatra at her Toilet." There is also a doubtful +"Tobias restoring his Father's Sight," in the collection +of Duc d'Arenberg at Brussels, but it is a matter of +doubt whether the last figure of the date is 4 or 6. +Lastly, there is an undated "Prodigal Son," belonging +to the executors of the late Sir F. Cook, which, in +spite of the signature, must also be regarded as dubious.</p> + +<p>There are only two "Portraits of Himself" dated +1635, and one of "Saskia," but there are two others +attributed to about that time, and, in addition, +two large and highly finished pictures, supposed to +represent "Rembrandt and Saskia," both signed +Rembrandt, and believed to have been painted in or +near that year. The one at Dresden [No. 1559], +contains, without doubt, portraits of the painter and +his wife (<i>see</i> <a href="#image024">illustration, p. 24</a>). The other, at +Buckingham Palace, long known as "The Burgomaster +Pancras and his Wife," is less certain.</p> + +<div class="illustration"> + <a id="image062a" href="images/062-oldwoman-h.jpg"> + <img src="images/062-oldwoman.jpg" + alt="Portrait of An Old Woman" + title="Portrait of An Old Woman" /> + </a> + <div class="caption"> + <div class="location">[National Gallery, London</div> + <div>PORTRAIT OF AN OLD WOMAN<br />(1634)</div> +</div> +</div> + +<div class="illustration"> + <a id="image062b" href="images/062-burgomasterpancras-h.jpg"> + <img src="images/062-burgomasterpancras.jpg" + alt="The Burgomaster Pancras And His Wife" + title="The Burgomaster Pancras And His Wife" /> + </a> + <div class="caption"> + <div class="location">[Buckingham Palace</div> + <div>THE BURGOMASTER PANCRAS AND HIS WIFE<br />(ABOUT 1635)</div> +</div> +</div> + +<div class="illustration"> + <a id="image062c" href="images/062-man-h.jpg"> + <img src="images/062-man.jpg" + alt="Portrait Of A Man" + title="Portrait Of A Man" /> + </a> + <div class="caption"> + <div class="location">[National Gallery, London</div> + <div>PORTRAIT OF A MAN<br />(1635)</div> +</div> +</div> + +<p>Apart from these, there are nine dated portraits, +<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>and five subject-pictures, together with six portraits +and one subject of about the date. Only two of the +portraits bearing dates are in public galleries, one +"A Rabbi," at Hampton Court [No. 381], and one +"A Man," in the National Gallery [No. 350], while two +others of about the date are the "Portrait of Himself," +in the Pitti [No. 60], and "A Young Woman," at Cassel +[No. 216]. In subjects the artist on two occasions went +out of his way to court failure in attempting to represent +classical subjects, with the spirit of which he +was utterly out of sympathy. The homely truthfulness +of his art, though it may occasionally result in details +somewhat shocking to the reverent mind, was, nevertheless, +well adapted to set forth the humanising side +of Scripture incidents. His Christ is always more +the Son of Man than the God Incarnate. His Virgin +Mary has none of the delicate beauty conceived for +her by Italian painters, but she is first of all, and +beyond all, the type of motherhood. His apostles +have none of the heroic dignity of Michael Angelo's, +yet they are without question devout, devoted fishers +of men. But this lack of wish or power to idealise, +this persistence in the search for the true and neglect +of the beautiful, is entirely at variance with the classical +tradition. There are no great fundamental ideas beneath +the story of "Actæon, Diana, and Callisto," or +"The Rape of Ganymede," for the artist to bring +home to us, and the representation of the former as +coarse, ungainly peasants, as in the picture belonging +to Prince Salm-Salm of Anholt, or of the latter as a +fat and extremely hideous baby boy blubbering in +terror as he is howked upwards—no more dignified<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> +phrase will express it—by his shirt-tail in the claws +of an eagle, as in the picture at Dresden [No. 1558], +serve only to reveal the limitations of the artist's +imagination without disguise or compensation.</p> + +<p>Three other subject pictures, painted in or about +that year, are also in public galleries: a little sketch +of "The Flight into Egypt," at the Hague [No. 579]; +"The Sacrifice of Abraham," in the Hermitage [No. +792]; and "Samson threatening his Father-in-law," +at Berlin [No. 802].</p> + +<p>Seven pictures only bear the date 1636, of which one +formed a further addition to the collection of Prince +Frederick-Henry,—"The Ascension," now at Munich +[No. 328], quite the least satisfactory of the series. +Rembrandt, indeed, was not in a happy vein this year +in his treatment of subjects. Both the "Samson overpowered +by the Philistines," in the collection of Count +Schönborn at Vienna, and Lord Derby's "Belshazzar's +Feast," if it be Rembrandt's, which, though unsigned, +is attributed to that year, are seriously marred by a +distinct melodramatic element in the conception, an +extreme exaggeration of pose, gesture, and expression. +On the other hand, we find the most pleasing study of +the nude the painter ever made, in the "Danae," at the +Hermitage [No. 802], which, though the first and third +figures of the date have disappeared, leaving only two +sixes, was most probably painted that year.</p> + +<div class="illustration"> + <a id="image064a" href="images/064-danae-h.jpg"> + <img src="images/064-danae.jpg" + alt="Danae" + title="Danae" /> + </a> + <div class="caption"> + <div class="location">[The Hermitage</div> + <div>DANAE<br />(1636)</div> +</div> +</div> + +<div class="illustration"> + <a id="image064b" href="images/064-man-h.jpg"> + <img src="images/064-man.jpg" + alt="Portrait Of A Man" + title="Portrait Of A Man" /> + </a> + <div class="caption"> + <div class="location">[Liechtenstein Gallery, Vienna</div> + <div>PORTRAIT OF A MAN<br />(1636)</div> +</div> +</div> + +<div class="illustration"> + <a id="image064c" href="images/064-lady-h.jpg"> + <img src="images/064-lady.jpg" + alt="Portrait Of A Lady" + title="Portrait Of A Lady" /> + </a> + <div class="caption"> + <div class="location">[Liechtenstein Gallery, Vienna</div> + <div>PORTRAIT OF A LADY<br />(1636)</div> +</div> +</div> + +<p>The four remaining pictures are portraits; two, +forming a pair, a young man and his wife, belonging +to Prince Liechtenstein of Vienna; one, a woman, to +Mr Byers, Pittsburg, U.S.A.; and also a woman, to +Lord Kinnaird. The "Ecce Homo," in the National +<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>Gallery [No. 1400], must have also been painted that +year, if not before, for it is a sketch for the etching +of that date. Other pictures probably dating from +that year are a "Standard Bearer," belonging to Baron +Gustave de Rothschild, from which the last figure of +the date is missing; a "Portrait of an Old Lady," +belonging to the Earl of Yarborough; "A Saint," +formerly in the collection of Earl Dudley; "Saint +Paul," at Vienna; and the "Portrait of an Oriental," in +the Hermitage [No. 813].</p> + +<p>1637 is inscribed on eight pictures, but in one case, +that of a "Portrait of Himself," belonging to Captain +Heywood-Lonsdale, there is some doubt about the +correct reading of the last figure, and in that of +"Susannah and the Elders," in the collection of Prince +Jousoupoff, the genuineness of the signature is not +above suspicion. No such question, however, applies +to the rendering of the same subject at the Hague +[No. 147], the "Portrait of Himself," in the Louvre +[No. 2554], the "Portrait of Henry Swalm," at Antwerp +[No. 705], that of another "Minister" at Bridgewater +House, or to the "Portrait of a Man," in the Hermitage +[No. 811], once absurdly called "Sobieski," and now, +with scarcely less absurdity, said to be Rembrandt. +The remaining work is "The Parable of the Master +of the Vineyard," also in the Hermitage [No. 798]. +Two portraits, one of himself, belonging to Lord +Ashburton, and one of a "Young Woman" lacing +her bodice, belonging to Dr Bredius, are also attributed +to that year, as is "The Angel quitting Tobit," +in the Louvre [No. 2536], in which once more +Rembrandt's desire for actuality has, as far as the<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> +angel is concerned, led him to the border-line between +the ungraceful and the ridiculous.</p> + +<p>In the following year we find him for the first time +attempting pure landscape. One, signed and dated, +an entirely imaginary composition, is in the possession +of Herr Georg Rath at Buda-Pesth; another, also +signed and dated, in which he has to some extent +compromised by introducing some small figures illustrating +the "Parable of the Good Samaritan," is in the +Czartoryski Museum at Cracow. "Christ and Mary +Magdalene at the Tomb," in Buckingham Palace, +though the figures are made of more importance, may +also be included in the transition pictures between +landscape and subject, for the garden, tomb, and +distant city are at least as much insisted on as the +figures. The important picture of the year, however, +was a figure subject, "Samson propounding his Riddle +to the Philistines," the great canvas in the Dresden +Gallery [No. 1560], a magnificent piece of work, but, +apart from its technical qualities, of no great interest: +the only other pictures dated 1638 being a "Portrait +of an Old Man," in the Louvre [No. 2544], and a "Bust +of a Man in Armour," at Brunswick [No. 237].</p> + +<div class="illustration"> + <a id="image066a" href="images/066-sobieski-h.jpg"> + <img src="images/066-sobieski.jpg" + alt="Portrait Called Sobieski" + title="Portrait Called Sobieski" /> + </a> + <div class="caption"> + <div class="location">[Hermitage, St. Petersburg</div> + <div>PORTRAIT CALLED SOBIESKI<br />(1637)</div> +</div> +</div> + +<div class="illustration"> + <a id="image066b" href="images/066-manbittern-h.jpg"> + <img src="images/066-manbittern.jpg" + alt="The Man With The Bittern" + title="The Man With The Bittern" /> + </a> + <div class="caption"> + <div class="location">[Dresden Gallery</div> + <div>THE MAN WITH THE BITTERN<br />(1639)</div> +</div> +</div> + +<p>Two more pictures were completed for the Stathouder +in 1639, a "Resurrection" [No. 329], signed and dated, +and an "Entombment" [No. 330], unsigned, now with +the others at Munich. The only other subject treated +that year, if the date and signature are genuine, which +M. Michel doubts, was "The Good Samaritan" dressing +the wounds of the injured man, in the collection of +M. Jules Porgès, for "The Slaughter-house," belonging +to Herr Georg Rath, is a study rather than a picture; +<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>and the "Man with the Bittern" at Dresden [No. 1561] +as much a portrait as a study. Other portraits are +the so-called "Lady of Utrecht," lent by the family +Van Weede van Dykveld to the Amsterdam Museum; +that of "Alotte Adriaans," belonging to the executors +of the late Sir F. Cook, a life-sized full-length figure of +"A Man," at Cassel [No. 217], at one time erroneously +called "Burgomaster Six," and a so-called "Portrait of +Rembrandt's Mother," at Vienna [No. 1141].</p> + +<p>There are six pictures dated 1640—four subjects and +two portraits—one of himself in the National Gallery +[No. 672], (<i>see</i> <a href="#image028">ill., p. 28</a>), and the famous one of "Paul +Doomer," better known as "The Gilder," now in the +possession of Mr Havemeyer of New York. The +subjects include the Duke of Westminster's beautiful +"Salutation" and the "Expulsion of Hagar and +Ishmael," in the Victoria and Albert Museum, in both +of which, however, the concentration of light on a small +portion is so intense as to suggest the lime-light of a +theatre; the charming version of "The Holy Family" in +the Louvre [No. 2542], known as "The House of the +Carpenter," where the contrasting light and shade, +though equally marked, are reasonably brought about; +and the mysterious allegory, in the Boymans Museum at +Rotterdam [No. 238], known as "The Concord of the +Country," containing a rather confused mass of detail +and incident, all obviously meaning something, but +what no one can quite decide.</p> + +<p>Other pictures supposed to have been painted about +the same time are a "Good Samaritan"; a "Saving +of Moses," in which the figures play a part quite subordinate +to the landscape; three pure landscapes, "An<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> +Effect of Storm," at Brunswick [No. 236], one in the +Wallace collection; a study of "Dead Peacocks," belonging +to Mr W. C. Cartwright; and several portraits, the +most noteworthy of which is the one of "Elizabeth Bas" +in the Ryksmuseum at Amsterdam [No. 249].</p> + +<p>Six pictures again bear the date 1641, and all are +portraits except the great "Offering of Manoah and +his Wife," at Dresden [No. 1563], wherein we are +distressed once more by the artist's unfortunate conception +of an angelic being. Two of the portraits form +a pair now widely sundered, the admirable "Lady with +the Fan" being at Buckingham Palace, while her +husband has strayed away to Brussels [No. 397]. The +portrait of "The Minister Anslo"—a marvel of life-like +expression and superb painting—is a sad example of +art treasures which have been allowed to leave England +of late years, having passed from Lady Ashburnham +to Berlin. The "Portrait of Anna Vymer," on the other +hand, the mother of Burgomaster Six, is one of a very +few, if it be not the only one, which is still in the +possession of the descendants of the subject. The +remaining picture is a portrait of a Young Woman, +called "Saskia," at Dresden [No. 1562].</p> + +<div class="illustration"> + <a id="image068a" href="images/068-elizabethbas-h.jpg"> + <img src="images/068-elizabethbas.jpg" + alt="Portrait Of Elizabeth Bas" + title="Portrait Of Elizabeth Bas" /> + </a> + <div class="caption"> + <div class="location">[Amsterdam Gallery</div> + <div>PORTRAIT OF ELIZABETH BAS<br />(ABOUT 1640)</div> +</div> +</div> + +<div class="illustration"> + <a id="image068b" href="images/068-anslowidow-h.jpg"> + <img src="images/068-anslowidow.jpg" + alt="Anslo Consoling A Widow" + title="Anslo Consoling A Widow" /> + </a> + <div class="caption"> + <div class="location">[Berlin</div> + <div>ANSLO CONSOLING A WIDOW<br />(1641)</div> +</div> +</div> + +<p>The dated pictures of 1642 are few. There is one subject in the +Hermitage [No. 1777] long known as "The Reconciliation of Jacob and +Esau," but now recorded in the catalogue as "The Reconciliation of David +and Absalom"; while the "Christ taken from the Cross," in the National +Gallery [No. 43], may belong to the same year, since it is a sketch +probably made for the etching which was certainly executed then. There +are also four portraits: one of "A Rabbi," belonging<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> to M. Jules +Porgès of Paris; Lord Iveagh's "Portrait of a Woman"; Mrs Alfred +Morrison's "Portrait of Dr Bonus"; and "An Old Man," at Buda-Pesth [No. +235].</p> + +<p>This limited production was probably due to the fact +that a large share of his time must have been taken up +by his largest and most famous work, "The Sortie of +the Company of Francis Banning Cocq," for many years +known as "The Night-watch," because time and careless +usage had so blackened it that the original illumination +was nearly obscured, and the figures appeared to be +dimly visible by artificial light. The careful restoration +by M. Hopman has, of late years, altered all this, +and that the sortie is taking place by daylight, the condensed, +highly localised daylight of Rembrandt, to be +sure, has been established beyond cavil.</p> + +<p>One would have supposed that such devoted art-patrons +as the Dutch people of that time, would have +hailed with delight the creation of such a masterpiece +by one of themselves, and would have showered praises +and commissions upon its creator. The very contrary +seems to have been the fact; nor is the reason far to +seek.</p> + +<p>Holland at that time abounded in Guilds and Companies, +civil and military, Boards of Management of +this or that Hospital or charitable Institution, and a +perfect craze for being painted in groups animated one +and all. The galleries are full of these "Doelen" and +"Regent" pictures by great and little masters, and dreary +objects many of them are. Each member subscribed +his share, and each expected to get his money's-worth; +so the painter was expected to distribute his light and<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +his positions with an impartial hand, and a comically +stiff and formal collection of effigies was often the +result.</p> + +<p>To all such considerations Rembrandt was gloriously +indifferent. He was painting a picture of an event in +real life, and he meant it to be a picture and alive, not +a mere row of wax figures in a booth; and when he +had finished, the subscribers cried aloud in wrath and +consternation.</p> + +<p>And indeed it is difficult not to sympathise with the +poor amateur soldiers who had paid to be painted, not +to be immortalised. Even if they could have known, +they would have cared very little for the fact that their +picture was to rank in after years among the most +famous in the world, since their worthy citizen-faces +were not to be discerned in it, and no one would care +to read the names which, failing to move the domineering painter, +they caused to be inscribed upon an +escutcheon in the background so that they might get +some return for their florins. They had their revenge, +however, after a kind, for they left it to blacken with +dirt and smoke; and when their descendants removed +it from the Doelen to the Hotel de Ville they cut it +down ruthlessly on either hand to make it fit a smaller +space, as a copy by Lundens in the National Gallery +[No. 289] makes evident.</p> + +<div class="illustration"> + <a id="image070a" href="images/070-ladyfan-h.jpg"> + <img src="images/070-ladyfan.jpg" + alt="The Lady With The Fan" + title="The Lady With The Fan" /> + </a> + <div class="caption"> + <div class="location">[Buckingham Palace</div> + <div>THE LADY WITH THE FAN<br />(1641)</div> +</div> +</div> + +<div class="illustration"> + <a id="image070b" href="images/070-man-h.jpg"> + <img src="images/070-man.jpg" + alt="Portrait Of A Man" + title="Portrait Of A Man" /> + </a> + <div class="caption"> + <div class="location">[Brussels Gallery</div> + <div>PORTRAIT OF A MAN<br />(1641)</div> +</div> +</div> + + + +<hr style="width: 65%;" /> +<div><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></div> +<h1><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h1> + +<p class="subtitle">YEARS OF DECLINE (1643-1658)</p> + + +<p>There is still no lack of portraits in 1643. There +are two pairs, "The Gentleman with the Hawk," and +"The Lady with the Fan," at Grosvenor House, which, +however, Dr Bode and M. Michel decline to admit +among Rembrandt's works, and "The Dutch Admiral" +and "His Wife," now in America. It is doubtful whether +the "Old Woman weighing Money," at Dresden [No. +1564], ought to be included among the portraits; but +there can be no question about the "Young Man in +a Cap and Breastplate," in the same gallery [No. 1565], +the "Old Woman," in the Hermitage [No. 807], called +"Rembrandt's Mother," or the "Man," in the collection +of Mr Armour. The other "Old Man," belonging +to Mr Schloss of Paris, is probably only a study; and +the "Portrait of a Man," incorrectly called Six, in the +collection of Morris K. Jessup of New York, is but +conjecturally a work of this year. There are three +portraits of himself: one at Weimar, one belonging +to Prince Henri of the Pays Bas, one, signed but undated, +at Carlsruhe [No. 238]; and there is a portrait, +called Saskia, at Berlin [No. 812]. The only signed +subject of the year is the "Bathsheba at her Toilet," +in the Steengracht collection at the Hague; but "The +Holy Family," at Downton, was painted about that +time.<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> + +<p>The next year has very small results to show, and +might, taken by itself, support the belief in the sudden +unpopularity of Rembrandt were there not five other +years for which we can now find only five pictures, +and several with fewer. All the five of 1644 are +signed. Three are portraits: Captain Holford's "Man +with a Sword," Earl Cowper's "Young Man," and the +fancifully named "Constable of Bourbon," in the collection +of Herr Thieme at Leipzig. There is one subject-picture, +"The Woman taken in Adultery," painted for +Jan Six, and now in the National Gallery [No. 45]. +Another of the same subject, in the possession of +Consul Weber at Hamburg, bears, according to M. +Michel, a forged signature, and is regarded by him +as very doubtful.</p> + +<div class="illustration"> + <a id="image072a" href="images/072-adulteress-h.jpg"> + <img src="images/072-adulteress.jpg" + alt="The Woman Taken In Adultery" + title="The Woman Taken In Adultery" /> + </a> + <div class="caption"> + <div class="location">[National Gallery, London</div> + <div>THE WOMAN TAKEN IN ADULTERY<br />(1644)</div> +</div> +</div> + +<div class="illustration"> + <a id="image072b" href="images/072-girlwindow-h.jpg"> + <img src="images/072-girlwindow.jpg" + alt="A Girl At A Window" + title="A Girl At A Window" /> + </a> + <div class="caption"> + <div class="location">[Dulwich Gallery</div> + <div>A GIRL AT A WINDOW<br />(1645)</div> +</div> +</div> + +<p>There are four subject-pictures dated 1645. First +and foremost is "The Holy Family," in the Hermitage +[No. 796]. Fine also is "The Tribute Money," belonging +to Mr Beaumont, though much more summarily +handled. The "Daniel's Vision," at Berlin [No. 806], is +more careful in treatment, but the companion picture, +"Tobias' Wife with the Goat" [No. 805], is little more +than a sketch. At Berlin, also, are two of the five +dated portraits of that year, one of "A Rabbi," in the +Museum [No. 828<span class="smcap">A</span>], and one of "J. C. Sylvius," in the +collection of Herr von Carstangen. The Hermitage +has one portrait [No. 820], called at one time "Manasseh +ben Israel." A "Portrait of a Young Girl," in the +Dulwich Gallery [No. 206], and "An Orphan Girl of +Amsterdam," now in the United States, are probably +works painted for the purpose of study, rather than +portraits; and the same remark applies to the "Portrait +<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>of Himself," at Buckingham Palace, which, though the +last figure of the date is wanting, was, in all likelihood, +a work of that year.</p> + +<p>The "Portrait of a Lady," in the collection of Captain +Holford; the little sketch of "An Old Man Seated," +belonging to the executors of the late Sir F. Cook, and +"An Old Man," at Dresden [No. 1571], are undated +portraits of about this time; while the "Man reading +by a Window," in the Carlsberg Glyptotek at Copenhagen, +if it be really a Rembrandt, which is doubtful, +is an undated subject. There are, furthermore, two +landscapes, both undated, one at Oldenburg [No. 169], +and one in the collection of Mme. Lacroix at Paris.</p> + +<p>Another landscape, "A Winter Scene," at Cassel +[No. 219], is dated 1646, as is a "Portrait of a Young +Man," belonging to Mr Humphry Ward. There are +also four subject-pictures bearing the same date, two +of "The Adoration of the Shepherds," one in the +National Gallery [No. 47], painted originally for Six, +and one at Munich [No. 331], differing entirely in +arrangement; one of "Christ bound to the Column," +in the collection of Herr von Carstangen at Berlin; and +the "Holy Family," called "The Woodchopper," at +Cassel [No. 218].</p> + +<p>1647 is inscribed on only five pictures. Two are the +portraits called "Nicholas Berchem," and "His Wife," +at Grosvenor House, and a small one of "An Old Man," +at Leeuwarden, in the collection of Baron van Harinxma. +A fourth of "Dr Bonus," in the Six collection, is not +dated, but as it exactly resembles the etching of that +year, it is, with much reason, attributed to it. There +is only one subject, "Susannah and the Elders," in the<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> +Berlin Gallery [No. 828<span class="smcap">E</span>]. Two undated studies also +belong to about that time, a small head and shoulders +of "Susannah," belonging to M. Léon Bonnat of Paris, +and the "Woman bathing," at the Louvre [No. 2550]. +A large picture of "Joseph's Coat," in the collection of +the Earl of Derby, is one of the most ungraceful and +undignified spectacles that even Rembrandt's stern +realism ever produced. Enchanting, on the other hand, +in its truth and delicacy is the "The Shepherds reposing +at Night," in the National Gallery of Ireland, with +its contrasted effects of firelight and moonlit night.</p> + +<p>No known portrait bears the date 1648, though one of +"A Young Painter with Papers and Crayon," signed +Rembrandt 164—, is believed to belong to about that +year. There are, however, four dated subject-pictures: +two at the Louvre—"Christ at Emmaus" [No. 2539], and +"The Good Samaritan" [No. 2537],—one, "Hannah +teaching the Infant Samuel to read," at Bridgewater +House, and one, a different version of "Christ at +Emmaus," at Copenhagen [No. 292]. A small picture +of "Christ on the Cross," in the collection of Herr Carl +Hollitscher at Berlin, was also probably painted about +this time.</p> + +<div class="illustration"> + <a id="image074a" href="images/074-rabbi-h.jpg"> + <img src="images/074-rabbi.jpg" + alt="Portrait Of A Rabbi" + title="Portrait Of A Rabbi" /> + </a> + <div class="caption"> + <div class="location">[Royal Museum, Berlin</div> + <div>PORTRAIT OF A RABBI<br />(1645)</div> +</div> +</div> + +<div class="illustration"> + <a id="image074b" href="images/074-winterscene-h.jpg"> + <img src="images/074-winterscene.jpg" + alt="A Winter Scene" + title="A Winter Scene" /> + </a> + <div class="caption"> + <div class="location">[Cassel Gallery</div> + <div>A WINTER SCENE<br />(1646)</div> +</div> +</div> + +<p>The succeeding year, 1649, is one of the two that has +no dated picture, and were it not for the "Portrait of +Marshal Turenne," at Panshanger, which must have +been painted that year—if indeed it be his, which has +recently been doubted—we should have to regard it as +utterly barren; for M. Jules Porgès' "Old Woman" is +only supposititiously of that date. We may be sure, +however, that some of the large number of unsigned +pictures attributed to about that time were undoubtedly<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> +painted in the course of it. Of these there are several +in public galleries: "The Slaughter-house," at Glasgow +[No. 707], from the date on which the two last figures +are missing; the portrait of "His Brother," in the +Emperor Frederick Museum at Berlin; the "Bust of an +Old Man," at Strasburg; the "Portrait of Himself," at +Leipzig; "The Ruin," at Cassel [No. 220]; the picture, +called "The Metamorphosis of Narcissus," at Amsterdam +[No. 1251]; and five pictures in the Hermitage: +"Abraham entertaining the Angels" [No. 791], "The +Sons of Jacob bringing him Joseph's Coat" [No. +793], "The Disgrace of Haman" [No. 795], "Pallas" +[No. 809], and "Hannah teaching Samuel to read" +[No. 822], none of which is dated, though the second, +third, and fifth are signed. There are also in private +hands, two portraits in those of M. Jules Porgès, a +portrait in M. Bonnat's, and others. Dated pictures of +the year 1650 are rare. There is a "Portrait of Himself," +in the Fitzwilliam Museum at Cambridge, and +one, "His Brother," at the Hague [No. 560]; and +three subject-pictures, "Tobit and his Wife," the Duke +of Abercorn's "Deposition," and "The Young Woman +in Bed," in the National Gallery, Edinburgh.</p> + +<p>The same number of pictures is dated 1651. Four +are portraits: one of himself, belonging to Herr +Mendelssohn of Berlin; the "Old Man," in the possession +of the Duke of Devonshire; "The Man with a +Baton," in the Louvre [No. 2551], and "The Girl with a +Broom," in the Hermitage [No. 286]. The subject-picture +"Christ and Mary Magdalene in the Garden," +called "Noli me tangere," is at Brunswick [No. 235].</p> + +<p>The next two years are very deficient in dated<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> +pictures. Two only, "The Old Man," seated in a chair, +belonging to the Duke of Devonshire, and the "Portrait +of Bruyningh," at Cassel [No. 221], are dated 1652; but +the picture of "Hendrickje Stoffels," in the Louvre +[No. 2547], and a "Head of Christ," belonging to +M. Rodolphe Kann of Paris, are of about that year. +1653 has only one, "The Portrait of a Man," wrongly +entitled Van der Hooft, belonging to the Earl of +Brownlow, for "The Entombment," at Dresden [No. +1566], is but a copy of the picture at Munich [No. 330], +touched up by Rembrandt. Here again we may safely +accord to the seemingly empty year some of the undated +pictures of the period, which include six portraits, one +of which, "An Old Man," is in the Hermitage [No. +818]. "An Old Woman," in the same collection [No. +804], may also belong to the year, for it is very similar +to the two pictures, dated the following year [Nos. 805 +and 806]. The only other undated pictures which call +for special mention are two landscapes: the "Mill," in +the collection of the Marquis of Lansdowne, and the +one at Glasgow [No. 705], which is known as "Tobias +and the Angel" from the figures in the foreground.</p> + +<div class="illustration"> + <a id="image076" href="images/076-christemmaus-h.jpg"> + <img src="images/076-christemmaus.jpg" + alt="Christ At Emmaus" + title="Christ At Emmaus" /> + </a> + <div class="caption"> + <div class="location">[Louvre, Paris</div> + <div>CHRIST AT EMMAUS<br />(1648)</div> +</div> +</div> + +<p>The dated pictures of 1654 are nine portraits and +two subjects, "Bathsheba," at the Louvre [No. 2549], +being one, and "The Woman bathing," at the National +Gallery [No. 54], the other. Of the portraits, one of +himself, doubted, however, by Dr Bode, is at Munich, +[No. 333], "An Old Man with a Beard," at Dresden [No. +1567], "An Old Woman," at Brussels [No. 397<span class="smcap">A</span>], "An +Old Jew," "An Old Man," and "An Old Woman," +besides the two old women being in the Hermitage +[Nos. 810, 823, and 825], while "The Young Servant"<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> +is at Stockholm [No. 584]. Most, if not all of these, +however, were studies painted because his still restless +energy would not allow him to be idle. The same may +be said of the portraits dated 1655, only two of which +we can even suppose to have been commissions—the +companion pictures of "An Old Man," and "An Old +Woman," at Stockholm [Nos. 581 and 582]; the two +others bearing dates being studies of his son "Titus," +one in the collection of M. Rodolphe Kann, the other in +that of the Earl of Crawford. The dated picture at +Glasgow [No. 706], like the undated "Man in Armour," +at Cassel, is rather a study of armour than a picture. +The portrait at the Louvre [No. 2546], a copy of one at +Cassel [No. 225], and the rest of the undated heads, +mostly of small size, painted about that time, are +simply sketches or studies, the only subjects being +"The Slaughter-house," in the Louvre [No. 2548], and +two pictures of "Joseph accused by Potiphar's Wife," +differing only in details, one at Berlin [No. 828<span class="smcap">E</span>], and +one in the Hermitage [No. 794], for "The Flight into +Egypt," at Buda-Pesth, though belonging to the period, +is undated.</p> + +<p>1656, the year of his actual bankruptcy, was an unusually +prolific one, including "The Anatomy Lesson of +Dr Johannes Deyman," now in the Ryksmuseum at +Amsterdam, of which, unfortunately, the fire of 1723 +has left only a fragment, [No. 1250]; the "Portrait +of Arnold Tholinx," belonging to Madame André-Jacquemart +of Paris; the "Portrait of an Architect," +at Cassel [No. 224], the signature and date of which, +however, M. Michel declares to be forged; and the +companion pictures of "A Young Man," and "A Young<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> +Woman," at Copenhagen [Nos. 273 and 274], the +second of which is alone dated. There are also two +undated "Portraits of Himself," painted about that +time—one belonging to Lord Iveagh, the other to Lady +de Rothschild; and an "Old Man," at Dresden [No. +1568]. In addition to these portraits there are two +large subject-pictures—"The Parable of the Labourers +in the Vineyard," at Frankfort [No. 181], and "Jacob +blessing Joseph's Sons," at Cassel [No. 227], besides +"The Preaching of St John the Baptist," at Berlin [No. +828<span class="smcap">K</span>]. There are, moreover, two pictures belonging to +about that date—"The Denial of St Peter," in the +Hermitage [No. 799], and "Pilate washing his Hands," +in the collection of M. Sedelmeyer at Paris.</p> + +<p>One, or perhaps both of these, may belong to the +following year, 1657, which is otherwise lacking in +important works, though it includes the "Portrait +of Catrina Hoogh," known as "The Lady with the +Parrot," belonging to Lord Penrhyn; "The Adoration +of the Magi," at Buckingham Palace; a "Portrait of +an Old Woman," belonging to M. Rodolphe Kann; and +one, at Dresden [No. 1569], of "A Man sketching in +a Book." It may also include the "Rabbi," in the +National Gallery [No. 190], a "Portrait of a Boy," at +Belvoir Castle, and "An Angel," a mere fragment of a +larger picture, belonging to Mr Sellar.</p> + +<div class="illustration"> + <a id="image078" href="images/078-johnbaptist-h.jpg"> + <img src="images/078-johnbaptist.jpg" + alt="John The Baptist Preaching" + title="John The Baptist Preaching" /> + </a> + <div class="caption"> + <div class="location">[Royal Museum, Berlin</div> + <div>JOHN THE BAPTIST PREACHING<br />(1656)</div> +</div> +</div> + +<p>1658 would seem to have been still more disastrous. +Of three signed pictures, one is a "Portrait of Himself," +in the collection of the Earl of Ilchester; one, "An +Old Woman cutting her Nails," belonging to M. +Rodolphe Kann, is undoubtedly a model; and only +the "Young Man," in the Louvre [No. 2545], may be<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> +a portrait. Of the unsigned works of that time, two +more are "Portraits of Himself," one belonging to Lord +Ashburton, the other at Vienna [No. 1142], and one, +also at Vienna [No. 1144], is probably a "Portrait of +Titus," while two "Old Men," one of which is in the +Pitti Palace [No. 12], are presumably models. The +portrait, called "An Admiral," belonging to Mr Schaus +of New York, and that of "Six," in the Six collection +were, however, doubtless commissions. The subjects +include one of Rembrandt's infrequent incursions into +classical story in "Baucis and Philemon receiving +Jupiter and Mercury," now belonging to Mr Yerkes of +New York, a "Christ," in the possession of Count Orloff- +Davidoff at St Petersburg, and Lord Wimborne's seated +figure of "St Paul."</p> + +<p>Few facts are more admirable in Rembrandt's +checkered career than the noble struggle he maintained +against misfortune and neglect. That he suffered there +can be no doubt—the careworn face and whitening +hair of the later portraits reveal it all too clearly,—but +he stiffened his back and worked on undismayed.</p> + +<p>Of 1659 there are six pictures fully dated, and two +believed to have been, though in each the last figure +of the date is missing. Both are "Portraits of Himself," +one at Bridgewater House, and one at Cassel [No. 222], +while a dated one, belonging to the Duke of Buccleuch, +is a magnificent representation of the grave, strong face +that had met and supported so much care. Three +others are also portraits—"An Old Man," in the +National Gallery [No. 243], the "Merchant," belonging +to the Earl of Feversham, and "A Man in a Red +Cloak," signed Rembran, in the collection of M. Maurice<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> +Kann at Paris. There are also two subject-pictures, +both at Berlin, "Moses breaking the Tables of the +Law" [No. 811], and "Jacob wrestling with the Angel" +[No. 828].</p> + +<div class="illustration"> + <a id="image080" href="images/080-syndicsdrapers-h.jpg"> + <img src="images/080-syndicsdrapers.jpg" + alt="The Syndics Of The Drapers" + title="The Syndics Of The Drapers" /> + </a> + <div class="caption"> + <div class="location">[Amsterdam Gallery</div> + <div>THE SYNDICS OF THE DRAPERS<br />(1661)</div> +</div> +</div> + +<p>To 1660 a large number of pictures is attributed, +eighteen being portraits, and one, "Head of Christ," +belonging to M. Maurice Kann, coming under the head +of subject-pictures. Of these only four portraits are +dated, and in two cases there is some doubt as to the +last figure. Two of the dated portraits are of himself; +one with the full date is in the Louvre [No. 2555], and +one with a doubtful date belongs to Sir A. D. Neeld. +Both are of extreme interest in their bearing on the +personal history of Rembrandt. The portrait of the +year before, belonging to the Duke of Buccleuch, shows +us a man bearing some traces indeed of a struggle with +adversity, but of a not altogether unsuccessful one. +The character has been developed rather than shaken +in the strife; the man is still strong in body, firm in +mind; the hair, as far as it can be made out against the +dark background, is still untouched by the hand of +time; yet it is beyond question Rembrandt himself. +In the two pictures now under consideration we find +a change truly startling. The hair is thin and white, +the face is wrinkled, the eyes weary. But it is in +the character conveyed that the chief transformation +is perceived; he has sunk suddenly into old age and +weakness, the strength, the resolution of the man have +gone out of him—he seems, stout as he was, to have +broken at last. And yet in the next year he painted +the finest work he ever did. There is nothing in his +story to account for it. A severe illness seems the<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> +only possible explanation, followed by a remarkable, +though brief, recuperation; but it is, perhaps, the +greatest of the many great puzzles offered to us in the +course of his history. Of the other two portraits, one, +though fully signed and dated, is of a doubtful authenticity; +while the date on "The Portrait of an Old +Woman," belonging to Colonel Lindsay, is uncertain. +The pictures painted about that year are numerous, and +include a pair of portraits, husband and wife, belonging +to Prince Jousoupoff; "The Capuchin," in the National +Gallery [No. 166]; and two other figures in monks' +robes, one belonging to Lord Wemyss, the other to +Count Stroganoff; Captain Holford's portrait of a +young man supposed to be "Titus"; "The Standard-Bearer," +formerly at Warwick Castle but now transferred +to America, and others.</p> + +<p>There are ten pictures bearing the date 1661, one +signed, but with the last figure of the date missing, +and three with neither date nor signature. Of these, +however, one, "The Conspiracy of Claudius Civilis," +we know to have been painted that year. A second +painted about the time is "The Circumcision," belonging +to Earl Spencer. The third is the "Venus and +Cupid," at the Louvre [No. 2543], if it should not +rather be counted among the portraits, since Dr Bode +believes it to represent Hendrickje Stoffels and her +daughter Cornelia. The same doubt as to classification +applies to the "St Matthew," also in the Louvre +[No. 2538], and to "A Pilgrim at Prayer," belonging +to Consul Weber at Hamburg. Two figures of +"Christ," one at Aschaffenbourg, the other belonging +to Count Raczynski at Posen, complete the list of<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> +subjects. There is only one "Portrait of Himself," +belonging to Lord Kinnaird, the others being one of a +man with a knife in his hand, nicknamed, "Rembrandt's +Cook," at Downton; the "Portrait of an old +Woman," in the Museum of Épinal; another "Old +Woman," in the possession of Lord Wantage; "A +Man," in the Hermitage [No. 821]; and the misnamed +"Jansenius," belonging to Lord Ashburton. +All other works of that year are, however, eclipsed +by the artist's masterpiece, which, if it alone +remained in existence, would compel us to place +Rembrandt in the very highest rank of painters—"The +Syndics of the Drapers," at Amsterdam [No. +1247].</p> + +<p>After that eventful year, the record is a thin one. +The very next, indeed, is the other of which no +known picture survives. There are a pair of portraits, +the "Man" in the collection of M. Maurice Kann, +the "Woman" in that of M. Rodolphe Kann, which +may have been painted that year; and the same +may be said of a portrait called "Hendrickje Stoffels," +at Berlin [No. 823<span class="smcap">B</span>] (<i>see</i> <a href="#image044">ill., p. 44</a>).</p> + +<p>The next year is little better. A picture of "Homer +reciting his Poems" alone bears part of a signature, +and f., with the date 1663. It belongs to Dr Bredius, +and is lent by him to the Museum at the Hague [No. +584]. 1664, again, is found on but one canvas, "The +Death of Lucretia," belonging to M. Léon Gauchez of +Paris, but "The Unmerciful Servant," in the Wallace +collection, and the "Portrait of Himself," in the National +Gallery [No. 221] (<i>see</i> <a href="#image046">ill., p. 46</a>), belong to about that +time. One, a "Portrait of an Old Man," in the<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> +Metropolitan Museum, New York [No. 274], is dated +1665. A portrait, signed Rembrandt f., in the collection +of Mr Charles Morrison; one of himself, +in that of Herr von Carstangen at Berlin; "The +Jewish Bride," at Amsterdam [No. 1252], from the +date on which the last figure is missing; and "David +playing before Saul" were also painted about that +year.</p> + +<p>1666, however, appears on three portraits—"A +Youth," belonging to Lord Leconfield; "A Woman," +in the National Gallery [No. 237]; and "Jeremias de +Decker," a poet who was one of Rembrandt's rare +clients in his later years, at the Hermitage [No. +827]. The "Portrait of an Old Man," at Dresden +[No. 1570], and two of himself—one at Vienna [No. +1143], signed but undated, and one in the Uffizi +[No. 452]—were in all probability painted either +that year, the one before, or the succeeding one, +1667, to which we can otherwise accord only one, a +"Portrait of an Old Man," belonging to the Earl of +Northbrook.</p> + +<p>And now the tale is nearly told; 1668 occurs but +once, on "The Flagellation," in the Grand-Ducal +Museum at Darmstadt, absolutely the last known +work of his; though three others—"Esther, Haman, +and Ahasuerus," belonging to the King of Roumania; +a large "Family Group," at Brunswick [No. 232]; +and "The Prodigal Son," in the Hermitage [No. +797], are believed to date from that year, or possibly +even the next and last.</p> + +<p>There is still a considerable number of pictures to +which no very approximate date can be assigned, but<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> +as the attempt to fully consider all the work that +Rembrandt did would far exceed all reasonable limits +of space, I must reluctantly leave the reader who would +seek further to such assistance as the catalogue of +pictures at the end of this volume may afford him.<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="REMBRANDT_THE_ETCHER" id="REMBRANDT_THE_ETCHER"></a>REMBRANDT THE ETCHER</h1> + + + +<hr style="width: 65%;" /> +<h1><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h1> + +<p class="subtitle">HISTORY OF THE ETCHINGS</p> + + +<p>We have seen how Rembrandt the painter, after having +risen to the foremost place among his fellow-craftsmen +in Holland, fell a victim to the always unaccountable +change of fashion that has cast a blight upon +many another man. Now, however, that we come to +consider his etched work, we have, to some extent, +a different tale to tell. From the first the products +of his needle seem to have been appreciated and +sought after, in certain, though perhaps limited, circles. +Houbraken mentions Clement de Jonghe, whose shrewd +yet kindly face is found among the gallery of portraits +etched by Rembrandt, Jan Pietersen Zoomer, and +Pieter de la Tombe, as having made collections of +his etchings; and in the inventory of the property +left by the first of these at his death, on February +11th, 1679, we find a list of seventy-four plates etched +by Rembrandt; but it is not therefore to be hastily +concluded that Rembrandt himself ever made any +important addition to his income by the sale of them.</p> + +<p>Indeed, the chief foundation of the belief can be +shown to be frail and untrustworthy. This is the familiar +title of the etching, "Christ healing the Sick," which<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> +has been known for many years as "The Hundred +Guilder Print," that having been, according to the +story, the sum the artist obtained for a single proof. +The amount, even if he had obtained it, was hardly +excessive—some nine pounds; but the facts show +clearly that he never did. He exchanged a copy, +still in existence, with his friend Jan Zoomer, who +has left in writing on the back of it, "Given me by +my intimate friend Rembrandt in exchange for 'The +Pest' of M. Anthony," to which he may possibly +have attached the value of a hundred guilders, though +there is not a particle of evidence for even this. +Gersaint, when making the catalogue, published in +1751, after his death, by Helle and Glomy, was +informed that the famous proof was exchanged with +a Roman merchant, and the equivalent, like Falstaff s +men in buckram, had swelled to seven engravings, +which were definitely valued at one hundred guilders; +and thence the tradition and the name arose. What, +one wonders, would the gossips, who gasped amazed +at such a price, have thought could some seer have +succeeded in making them believe that, little more than +a hundred years later, in 1858, that very same proof +with old Jan Zoomer's writing still upon it would +be competed for so fiercely at public auction, that +M. Dutuit paid cheerfully for it eleven hundred pounds; +while even that was not a record price, since another +copy was sold the year before at the Palmer sale +for eleven hundred and eighty.</p> + +<div class="illustration"> + <a id="image086" href="images/086-christsick-h.jpg"> + <img src="images/086-christsick.jpg" + alt="Christ Healing The Sick" + title="Christ Healing The Sick" /> + </a> + <div class="caption">CHRIST HEALING THE SICK. (B. 74)<br />(1649-50)</div> +</div> + +<p>Still, though this piece of evidence must be abandoned, +there would seem to be no doubt that the +etchings were admired even in his lifetime, and, from<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> +the fact that Clement de Jonghe and Zoomer were art-dealers, +we may fairly conclude that part at least of +their collections appertained to their stock-in-trade. It +is scarcely probable, indeed, that such highly-finished +works as the larger "Raising of Lazarus," "Christ +healing the Sick," "Christ preaching," "The Three +Crosses," "The Good Samaritan," "The Three Trees," +and others, landscapes in especial, were carried out +without any subsequent attempts on Rembrandt's part +to profit by them; and there is good reason for supposing +that the portraits of Jan Uijtenbogaerd and Jan +Cornelis Sylvius with their inscriptions and laudatory +verses, were intended for sale among the followers and +admirers of the two eminent ministers; but the fact +remains that we can only assert with any confidence +that two out of all the etchings were expressly made +for publication, "The Descent from the Cross," and +the "Ecce Homo," and neither of these, though signed +by Rembrandt "cum privilegio," as issuing from his +studio, and executed under his directions, according +to the custom of the day, was worked upon by him +to any great extent.</p> + +<p>The numerous other portraits, the four illustrations +to Manasseh ben Israel's work, <i>Piedra Gloriosa</i>, and that +to <i>Der Zeeværts-Lof</i>, were doubtless commissions, but the +payments were probably not large, since we found in +the proposal made by Dirck van Cattenburch, in 1654, +that an etched plate "not less finished than that of +Six," was estimated at no more than four hundred +florins, which, considering the amount of work entailed, +was not magnificent.</p> + +<p>When we have recalled the partnership formally<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> +entered into between Hendrickje and Titus on December +15, 1660, which has already been explained in +telling the story of the artist's life, we have come to +the end of the reasons for concluding that the artist +made money by his etching needle.</p> + +<p>Whence, then, it may be asked, the various proofs +now in existence, the first and second, third and fourth +states for which collectors pay such surprising prices, +prices more often regulated by the rarity of the state +than by its special artistic merits? Perhaps some of +them were put into circulation by the firm of Hendrickje +and Titus. There is, certainly, no mention of the +plates in the inventory of the sale, and it is therefore +possible that this pathetic little association for the +support of a broken-down artist may have found it +profitable in a small way to issue new impressions of +these earlier completed plates, though it is significant +in this connection, unless we can accept the theory +suggested before, that Rembrandt's eyesight was failing, +that at the very time when etchings were most needed +he ceased to produce them.</p> + +<p>In a very large number of cases, I suspect, they were +given as presents to any sympathetic soul who had +enough taste to appreciate them for their merits, or +intelligence enough to foresee that they might some +day prove of value. In the case of a portrait, at any +rate, we know that he gave proofs to his sitter as the +work went on, for on one of the first portrait of +Sylvius, done in 1634, there is a note in Rembrandt's +hand showing that it was one of four presented by him +to the minister.</p> + +<p>Others, again, would be given to fellow-artists, such<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> +as Lievensz, who etched also. Many undoubtedly came +from the sixty portfolios of leather, which we find +recorded in the inventory, where they had lain from +the day when Rembrandt, having learnt the lesson or +attained the effect he desired, had flung them carelessly +aside to go on to some further problem. For, there +seems little doubt that he never himself regarded them +with any very serious consideration. They were for +him only steps in his onward progress. He did them +because he wanted to do them, without any thoughts +of fame or profit, and he signed and dated them, or +left them unsigned and undated, in the most haphazard +and capricious way, good and bad alike, with the most +complete indifference as to whether they were calculated +to enhance his reputation or not. It was, therefore, +by the inevitable irony of fate, that for these alone, +for many years, was he judged worthy of remark. +While Gerard de Lairesse in his <i>Groote Schilderboek</i>, +published in 1714, was condescendingly assuring a +listening public that Rembrandt's paintings were not +"absolutely bad," Houbraken was recording the +struggles of collectors to get possession of his etchings, +and their consequent increase in price—struggles and +increasings, which have gone on augmenting without +intermission to the present day, until even a small +representative collection of them is a luxury for the +very rich alone, an absolutely perfect one of all the +differing states unobtainable by a many times millionaire.</p> + +<p>In the eighteenth century there were already famous +collections of the etchings: such as those of de Burgy +and van Leyden in Holland itself; of Marolles, Coypel,<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> +Silvestre, and Mariette in France; of Barnard, Sloane, +Cracherode, Fawkener, and Lord Aylesford in England; +and it was inevitable that the making of collections +could not go on satisfactorily for long, unless there was +some sort of general agreement as to what was and +what was not to be included in them, so that before +long the need for some catalogue to establish at any +rate the preliminary basis of an agreement on disputed +points became an absolute necessity.</p> + +<p>Gersaint was the first to make the attempt, but died +before his task was finished. His manuscript, however, +was put up for sale, and bought by les Sieurs Helle +and Glomy, as they call themselves upon the title-page +of the volume in duodecimo which, after making +the "necessary augmentations" of Gersaint's material, +they published at Paris in 1751. An English translation +of this was published by T. Jefferys in London +the following year, and four years later, in 1756, Pierre +Yver, an art-dealer in Amsterdam, published in that +city a "Supplément," with additions and corrections. +Forty years later these two works, collated and again +translated into English, were the foundation of an +amended catalogue by Daniel Daulby, published in +London and Liverpool in 1796. A year later Adam +Bartsch, keeper of the prints in the Library at Vienna, +published there a catalogue in two octavo volumes, +which to this day remains the chief standard of +appeal, though Wilson, Charles Blanc, Vosmaer, +Middleton, and others, have rejected some of the +etchings which he accepted, and included others +which he ignored.</p> + +<div class="illustration"> + <a id="image090" href="images/090-clementdejonghe-h.jpg"> + <img src="images/090-clementdejonghe.jpg" + alt="Clement De Jonghe" + title="Clement De Jonghe" /> + </a> + <div class="caption">CLEMENT DE JONGHE. (B. 272)<br />(1651)</div> +</div> + +<p>There is no doubt that Bartsch was too generous in<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> +his admissions, but to what extent he carried his over-generosity +is still a matter of dispute. The Chevalier +de Claussin, writing in 1824, and borrowing freely, +though without acknowledgment, from Bartsch, struck +out 10, leaving 365; and Wilson, publishing in London +in 1836, under the title of "an amateur," while owning +his obligations to Bartsch, rejected 6, but added +others, making 369. Vosmaer, in 1877, counted 353; +Middleton, in the following year, reduced these to 329; +Charles Blanc, in the 1880 edition of his work, raised +the number again to 353. M. de Seidlitz, in 1890, +obtained and collated the opinions of all the best +living authorities, and, after an ample discussion of +doubtful points, accepted 260; while M. Legros, adopting +heroic methods of criticism, will only admit 71 +as being certainly by Rembrandt, with an additional +42 which might be, or 113 at the most.</p> + +<p>What, it may well be asked by the bewildered +amateur, is the reason of these surprising differences? +Surely, he may well say, there must be some criterion +to hold by. The answer is simple, if unsatisfactory: +there is not, there never has been, there never can be. +There is no style to judge by; for Rembrandt had +half-a-dozen styles at least, and employed them all +together or separately as he listed. The signature is +no guide, for many beautiful works of his have none, +and many that are not his bear forged ones. The +subject cannot help us, for he treated alike the most +sacred incidents and the grossest improprieties. The +merit of the work is no less dubious ground for +judgment; for while producing, over and over again, +masterpieces of the art that have never been equalled,<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> +he at other times, through carelessness, indifference, +or perhaps ill-health, turned out and left for future +ages stuff which most far inferior men would have +obliterated there and then. We can only decide each +for ourselves that such or such a plate is in no way +worthy of Rembrandt, but, unless we have the courage +of M. Legros, we cannot go on to assert definitely +that therefore it is not his.</p> + +<div class="illustration"> + <a id="image092" href="images/092-threetrees-h.jpg"> + <img src="images/092-threetrees.jpg" + alt="The Three Trees" + title="The Three Trees" /> + </a> + <div class="caption">THE THREE TREES. (B. 212)<br />(1643)</div> +</div> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></div> +<h1><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h1> + +<p class="subtitle">THE AUTHENTIC ETCHINGS</p> + + +<p>In the entire absence of any evidence to the contrary, +we are reasonably safe in concluding that the two +etchings dated 1628 were, if not actually the first, +among the very first he ever did; and, regarded in +this light, they are truly astonishing. Both are called +Rembrandt's mother, though the one in full face (B. +352) seems to represent a woman in a much humbler +station of life than the stately old lady in the other +(B. 354), while both, furthermore, seem to portray +a woman much more advanced in years than his +mother was at that time.</p> + +<p>In the first the kindly old lady, whoever she may +be, wears a large white hood shading her forehead. +The right side of her face, with the exception of the +prominence of the cheekbone, is in shadow, and the +strong light falling on the left side of the head brings +into relief the wrinkles by the nose and at the corner +of the mouth, and the soft fleshy forms of the cheek +and jaw. The seemingly toothless mouth is slightly +open above the strong square chin. The work is +simple and straightforward, but admirably expressive +of the varied forms, and the roundness and solidity +of the little head are excellent. The second (B. 354) +is slighter and broader in handling, the forms are<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> +expressed with greater freedom, the elaboration of +the modelling in the one being often replaced by a +single significant line, but the shadows are somewhat +forced, which results, especially in the hollow of the +cheek and on the right temple, in an excessive and +unpleasant blackness. Yet the dash and surety of +the line-work is very fine, and to the student it is +well worth careful study through a lens. The first +excels in delicacy, the second in strength.</p> + +<p>The only etching actually known to have been +executed in 1629 is the first of many portraits of +himself (B. 338), very broadly and strongly etched, +and worked upon in places with two needles fastened +side by side, a useless device, to which he never again +resorted. There are fifteen dated etchings of the +year 1630. Among these are no less than six portraits +or studies of himself, including an excellent "Portrait +in a fur cap and light dress" (B. 24), and an admirably +etched study of expression known as "Rembrandt +with haggard eyes" (B. 320), which is, rather, a +humorous sketch of amazed bewilderment. He also, +for the first time, attempted a composition with several +figures—"The Presentation in the Temple" (B. 51), +distinguished as the one with the angel, which, however, +was not altogether a success, owing to insufficient +biting. A spirited note of "An Old Beggar Man conversing +with a Woman" (B. 164), and various small +heads, including two profiles of the same "Bald Man" +(B. 292 and 294), which M. Michel has given sound +reasons for believing to be Rembrandt's father, make +up the number.</p> + +<p>He was again his own model twice in 1631—one,<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> +with a broad hat and mantle (B. 7), being the most +elaborately finished piece of work he had yet attempted. +There are also two "Portraits of his Mother" +(B. 348 and 349); one said to be "His Father" (B. 263) +though made after his death; a brilliant little sketch +of a "Blind Fiddler" (B. 138), and others. There are +only three dated etchings of 1632—a little figure +called "The Persian" (B. 152), the first of several +pictures of "St Jerome" (B. 101), a subject which +had a singular fascination for the artist, and the group +of "The Rat-killer" (B. 121). Three also bear the +date 1633, "An Old Woman" etched no lower than +the chin (B. 351), very doubtfully identified as his +mother; a badly overbitten "Portrait of Himself" with +a scarf round his neck (B. 17); and one subject, "The +Descent from the Cross" (B. 81), which came so utterly +to grief in the biting, owing apparently to bad grounding, +that it was at once abandoned, only three impressions +being known, and a second undertaken, though not +by himself, the work having been carried out under his +supervision by some unknown pupil. Another equally +important plate bearing this date, "The Good Samaritan" +(B. 90), is included among the disputed etchings.</p> + +<p>The year 1634, which brought Saskia into his home, +also naturally enough brought her portrait into the +list of etchings. One, with pearls in her hair (B. 347), +is certainly a likeness of her, and M. Michel believes it +to have been the companion plate to one of Rembrandt +(B. 2), executed about the same time. Another charming +piece of work, "A Young Woman Reading" (B. +345), though not a portrait, was also very possibly +studied from Saskia. For subjects both the Old and<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> +New Testaments supplied inspiration, the first for a +decidedly seventeenth-century Dutch rendering of +"Joseph and Potiphar's Wife" (B. 39), the second for +the earliest treatment of a favourite subject "Christ +and the Disciples at Emmaus" (B. 88). "Christ driving +the Money-lenders from the Temple" (B. 69), a crowded +and unsatisfactory composition, the central figure of +which was borrowed from Durer; the "Martyrdom +of St Stephen" (B. 97), with some singularly bad +drawing in it; and another, "St Jerome" (B. 102), +were the subjects treated in 1635, which is more +notable for a vivacious "Portrait of Johannes Uijtenbogaerd" +(B. 279); a splendid little study of "A +Mountebank" (B. 129), a model of direct etching from +nature wherein there is not a superfluous line, though +everything that should be is expressed; and a skilful +piece of chiaroscuro, "The Pancake Woman" (B. 124).</p> + +<p>1636 has only four etchings to show—"The Prodigal +Son" (B. 91), a boldly-handled piece of work, superbly +executed, full of movement and expression, but marred +by the revolting hideousness of the faces; the excellent +portrait of "Manasseh ben Israel" (B. 269); a charming +little revelation of domestic contentment, "Rembrandt +and his Wife" (B. 19); and a sheet of sketches, including +a very pleasing head of Saskia (B. 365). 1637 has +only one etching of importance, "Abraham dismissing +Hagar" (B. 30); but for sheer skill in craftsmanship +the "Young Man seated in Meditation" (B. 268) would +be difficult to match.</p> + +<p>Rembrandt's unfortunate lack of the sense of beauty +is nowhere so glaringly made manifest as in the preposterous +"Adam and Eve" (B. 28) of 1638; nor are<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> +the faces in an etching of that year, rejected, however, +by Sir Seymour Haden, of the brothers listening to +"Joseph relating His Dreams" (B. 37) much less +absurd, though they are to a considerable extent +atoned for by the dignified Jacob, the very human +interest of Rachel, and the simple earnestness of +Joseph himself. The "St Catherine," otherwise known +as "The Little Jewish Bride" (B. 342), and a "Portrait +of Himself with a Mezetin Cap and Feather" (B. 20), +are the only others of the year. In the following +year he achieved, with conspicuous success, the most +ambitious etching he had yet attempted, the magnificent +"Death of the Virgin" (B. 99), which, with the +exception of the unfortunate angels hovering above, +is admirable alike in conception and execution, attaining +by straightforward simplicity the full pathos of the +scene. The truthfulness and variety of attitude and +expression, the wholly effective yet unforced arrangement +of the composition, and the perfection of the +chiaroscuro are beyond praise, and justify the somewhat +bold assertion that beyond this the etcher's art +cannot go. It is no matter for wonder, therefore, that +this splendid plate seems to have absorbed most of +the time he could devote to etching that year, for a +little sketch of "A Jew in a High Cap" (B. 133), and +the fine "Portrait of Himself leaning on a Stone Sill" +(B. 21), alone share the date with it. His interest or +his leisure would indeed appear to have been exhausted +for some time, since only two small etchings, "The +Beheading of St John the Baptist" (B. 92), and "An +Old Man with a divided Fur Cap" (B. 265), are dated +1640.<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span></p> + +<p>A return of energy, however, marked 1641, from +which year we have twelve dated plates; among them, +the first three, to our certain knowledge, of a long +series of landscapes, the elaborate study known as +"Rembrandt's Mill" (B. 233), the beautiful "Cottage +and Barn" (B. 225), and the "Landscape with a +Cottage and Mill Sail" (B. 226). There are four subjects +from scripture—a "Virgin and Child in the +Clouds" (B. 61), "The Baptism of the Eunuch" +(B. 98), one called "Jacob and Laban" (B. 118), and +"The Angel departing from Tobit and his Family" +(B. 43), in which his inability to perceive the absurd +and undignified is once again demonstrated in the +inflated petticoat and foreshortened legs which are +all that is seen of the angel. A little night-effect, +"The Schoolmaster" (B. 128), and the grand and very +rare "Portrait of Anslo" (B. 271), are the most +important of the remainder. With the exception of +a "Bearded Man seated at a Table in an Arbour" +(B. 257), the only etchings of 1642 were three sacred +subjects, all small, and two of them, "The Raising of +Lazarus" (B. 72) and "The Descent from the Cross" +(B. 82), mere sketches. The finished plate represents +"St Jerome" (B. 105), distinguished as being in Rembrandt's +dark manner, seated reading at a table in a +room lighted only by one window high up in front +of him, so that the contrasts of light and shade are +strong, and the effect very excellent.</p> + +<div class="illustration"> + <a id="image098" href="images/098-rembrandtsmill-h.jpg"> + <img src="images/098-rembrandtsmill.jpg" + alt="Rembrandt's Mill" + title="Rembrandt's Mill" /> + </a> + <div class="caption">REMBRANDT'S MILL (B. 233)<br />(1641)</div> +</div> + +<p>1643 has only two signed etchings, but both are +masterpieces of out-door work—"The Hog" (B. 157), +and the justly-renowned "Three Trees" (B. 212). +There is only one etching dated 1644, a landscape +<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>with figures, called "The Shepherd and his Family" +(B. 220).</p> + +<p>A superb combination of pure etching and dry-point +dates from 1645—the "View of Omval, near Amsterdam" +(B. 209), one of the most entirely satisfactory +of the etchings, both for perfection of workmanship +and beauty of effect. The transition from the loving +care bestowed upon the splendid study of the gnarled +and shattered willow-tree in front, through the more +broadly yet quite adequately expressed foliage behind +it on the left, to the slight yet all-sufficient treatment +of the river and landscape beyond it on the right, shows +a precise adaptation of the necessary means to the +desired end, which, had no other line of Rembrandt's +etching come down to us, would have been enough +to stamp him as the finest known exponent of the +art. A second landscape of that year is a study of +a boat-house, known as "The Grotto" (B. 231); and +a third, the one known as "Six's Bridge" (B. 208), a +masterly little sketch from nature. As an example +of the utmost expressiveness with the fewest necessary +means, of a thorough grasp of the essentials and rejection +of superfluities, and of a profound mastery of +technical methods, this etching cannot easily be over-estimated. +An outline sketch of the "Repose in +Egypt" (B. 58), and a more highly finished "Abraham +conversing with Isaac" just previous to the projected +sacrifice (B. 34), are the only subject-etchings of that +year, which is further remarkable for the absence of +any portraits or studies of heads.</p> + +<p>The next few years are singularly devoid of dated +etchings. There are three from 1646—a small sketch<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> +of "An Old Beggar Woman" (B. 170); a subject +known as "Ledikant" (B. 186), one of those frank +improprieties to the perpetration of which Rembrandt, +with the freedom of his time, more than once degraded +his talents, from our modern point of view; +and a direct study from the nude model, "A Man +seated on the Ground" (B. 196). 1647 has only two, +both highly-finished endeavours to realise a wholly +pictorial effect—an endeavour which, however successful, +is always to some extent a mis-application of the +art, a deliberate sacrifice of its special advantages, in +order to attain an object more easily and efficiently +obtainable in other ways. Still, regarded as attempts +to express the full tonality, there is much to admire +and study in these two portraits of "Six" (B. 285), +and "Ephraim Bonus" (B. 278), the Jewish physician, +descending a staircase, with his right hand on the +banister, as if pausing on his return from visiting +a patient, a reversed reproduction of the picture in +the Six collection already referred to.</p> + +<div class="illustration"> + <a id="image100" href="images/100-beggars-h.jpg"> + <img src="images/100-beggars.jpg" + alt="Beggars At The Door Of A House" + title="Beggars At The Door Of A House" /> + </a> + <div class="caption">BEGGARS AT THE DOOR OF A HOUSE. (B. 176)<br />(1648)</div> +</div> + +<p>In 1648 he once more undertook a "Portrait of +Himself" (B. 22), a very different presentment from +the earlier ones, with their feathered caps and embroidered +cloaks, their flowing locks and brushed up +moustaches. Time and trouble have told upon him, +and it is pathetic to contrast the proud elegance of +the Rembrandt of 1639 (B. 21), his fine clothes, rich +velvet cap flung carelessly on one side of his long +curling hair, and his self-satisfied air, with this grave, +soberly-clad, middle-aged man, in his plain, high, +square-topped, broad-brimmed hat, and dark working +blouse. His cavalier curls are cropped, his once airily +<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>upturned moustache trimmed short, the dainty tuft +upon his chin is gone. He has grown stout, his +throat hangs in puffy folds below his chin, his nose +has coarsened, and he bears his two-and-forty years +but badly; but if his face has aged, it has also +strengthened, he has learned as well as suffered, +and, if there is no longer in his eyes the look of +undoubting self-approval, there is still the same keen, +penetrating gaze of observation, and a wiser self-confidence +born of trials and labours past and +overcome. Among all the portraits of Rembrandt, +real or supposed, there is none which makes one feel +so strongly that here, indeed, one is face to face with +him, as he saw himself when he sat drawing from the +mirror in front of him.</p> + +<div class="illustration"> + <a id="image102" href="images/102-shell-h.jpg"> + <img src="images/102-shell.jpg" + alt="The Shell" + title="The Shell" /> + </a> + <div class="caption">THE SHELL (B. 159)<br />(1650)</div> +</div> + +<p>Another splendid example of that year is the +"Beggars at the Door of a House" (B. 176), a +masterpiece of composition and workmanship. It +has all the rich effect of a highly-laboured piece of +work, yet a careful study of it shows how simple +and direct are the means actually employed; for the +elaborately-finished effect, it will be found, is due, +not to the multiplication of lines, but to the absolute +rightness and appropriateness of the comparatively few +that are used. The crispness and firmness of the +drawing are quite magnificent, and it is satisfactory +to know that this marvellous little plate, simple and +unsensational as it is, comes third, according to M. +Amand Durand, in popularity with the purchasers of +reproductions. Yet another masterpiece of the same +year is "The Jews' Synagogue" (B. 126); and a +fourth etching is "The Marriage of Jason and Creusa" +<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>(B. 112), a composition of many figures, made to +illustrate his friend Jan Six's tragedy of Medea, +published that year, in which, as usual with him, +the attempt to convey the classical spirit was scarcely +successful.</p> + +<p>There is no etching which we can definitely assign +to 1649. In 1650, on the other hand, we have six, +including four landscapes, to which he again turned +his attention after an interval of five years. These +are "A Village by the High-Road" (B. 217), with +its big tree and high-gabled cottages; the excellent +"Village with a Square Tower" (B. 218); the "Canal +with Swans" (B. 235); and the sketch of "A Canal +with a Large Boat" (B. 236) lying broadside on +athwart the foreground, which is, however, chiefly +interesting from the background, which has given rise +to a question as to whether Rembrandt was about +that time on his travels to some place unknown. This +hilly distance, with the steep cliff on the left, and the +Italian-looking tower in the centre, certainly bears no +resemblance to anything in his ordinary surroundings, +but there is nothing in it to assure us that it was +done from nature, and as we know that he more than +once adapted a landscape from some Italian master, +generally Titian, it would be rash to found any conclusion +on the resemblance.</p> + +<p>A remarkable instance of patient and loving care +is seen in the "Shell" (B. 159), an astonishingly +truthful and minute study of still life, which is equally +attractive in the first state against a plain white +background, and in the second against a nearly black +one, which, however, may have been added by some<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> +other hand. The sixth etching of that year, "Christ +appearing to the Disciples" (B. 89), is a sketch in +outline with a little tentative shading here and there, +and, though handled with freedom and boldness, has +little of interest or beauty to recommend it.</p> + +<p>During 1651 he devoted himself once and once +only to each class of work; for there is one subject, +"The Flight into Egypt" (B. 53), showing Joseph +carrying a lantern, and leading the ass bearing the +Virgin and Child through the night; one landscape, +"The Goldweigher's Field" (B. 234)—so called from +the view including the country-house of his friend +Uijtenbogaerd, the treasurer, whose portrait, etched +by Rembrandt, is known as "The Goldweigher"; and +one portrait, "Clement de Jonghe" (B. 272), one of +the best, if not the best, he ever did. Still fewer +etchings were produced in 1652, and one of the two, +the larger "Christ disputing with the Doctors" (B. 65), +is only a sketch—in places, indeed, it degenerates to a +mere scrawl—displaying, for Rembrandt, an unwonted +amount of indifferent and inexpressive drawing; but +the other, a landscape, generally known in England +as the "Vista" (B. 222), with the two large trees +on the left and the dense wood in the centre, is, +perhaps, the finest specimen of work in pure dry-point +ever produced.</p> + +<p>1653 is, again, a blank as far as dated etchings +are concerned, but to 1654 belong eight, seven of +which are subjects from the New Testament; a +"Circumcision" (B. 47), known as the one with the +cask and net; a sketch of "The Holy Family crossing +a Rill during the Flight into Egypt" (B. 55), in which<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> +the figures are clumsily and unpleasantly thrown into +relief by a band of shadow closely following their +outlines in very naïve fashion, but which, nevertheless, +contains a great deal of bold and expressive drawing; +"Jesus and His Parents returning from Jerusalem" +(B. 60), in which we have another instance of an +altogether foreign landscape, which might as well be +adduced in evidence of his foreign travels as that of +four years before. In this case, however, it has +evidently been so closely copied from an unknown +original that there can be no doubt that there is somewhere, +or at any rate was then, a drawing of the +subject, and there is, furthermore, a very high degree +of probability that the drawing was by Titian. The +figures are full of movement, and there is, in especial, +much animation in the young Christ, who, led by +His father, himself leads His mother, turning half +backwards as He walks to speak to her, but the types +of the heads, especially that of the Virgin Mary, are +disagreeably ugly and vulgar. The Virgin in "The +Holy Family with the Serpent" (B. 63), has, on +the other hand, an unusual amount of grace, but +this, it has to be admitted, is due to the fact that it +is borrowed from Mantegna, and the plate is otherwise +an indifferent piece of work. "Christ and the +Disciples at Emmaus" (B. 87) is, again, no more than +a sketch, presenting with much vividness the actions +of surprise on the part of the two disciples and of +the serving-man descending the stairs in front; but +here, as so often elsewhere, Rembrandt has failed to +rise to any sense of the sublimity or dignity of Christ, +and as, in this example, he sits in full face in the<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> +very centre of the picture, the fault cannot well be +overlooked or condoned. A far more satisfactory production, +indeed the best of the year, is "The Descent +from the Cross by Torchlight" (B. 83), with its bold +drawing and coarse yet effective handling, but, like +all the work of 1654, it has serious and obvious defects; +while the last to be noted, "The Game of Golf" or +Kolf (B. 125), is yet another instance of Rembrandt's +contentedly signing a work which would disgrace a +man without a tithe of his genius, and is one of +those plates which, if it be authentic—and no one +else that I know of disputes it—renders any test of +genuineness by workmanship impossible.</p> + +<p>1655 saw Rembrandt employed once more as an +illustrator, the book being one entitled "Piedra gloriosa +ò de la estatua de Nebucadnezar," by his friend +Manasseh ben Israel, for which he etched four subjects +on one plate, afterwards sub-divided—"Jacob's Dream," +"The Combat of David and Goliath," "Nebuchadnezzar's +Dream," and "The Vision of Ezekiel" (B. 36). +"Abraham's Sacrifice" (B. 35), of the same year, is +another of those bold and rapid sketches in which +Rembrandt seems to have dashed at his subject and +realised it by sheer force of energy, caring little about +detail, shading where he wanted shadows, and omitting +them where he wanted light, without any regard +to where light and shade would have been, yet putting +such vitality, such genuine, undeniable, human feeling +into it, that even bad drawing passes unnoticed. The +swirl of the broad-winged angel swooping down from +behind on Abraham, grasping his left arm just above +he elbow to hold back the knife, while with his right<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> +he removes Abraham's right hand from the eyes of the +resignedly kneeling Isaac, is marvellous. The startled +surprise of Abraham is amazingly true; and, carried +away by the vigour of the actions and the sound +breadth of the work, we ignore the fact that Abraham +is left-handed, and that the angel has no forearm. +Another equally bold work in outline is "Christ before +Pilate" (B. 76), with its wonderful crowd of figures in +the foreground relieved against the platform on which +Christ and Pilate stand surrounded by soldiers. The +only highly-finished work of the year is the "Portrait +of Thomas Jacobsz Haring" (B. 275), known as "The +Young Haring," to distinguish it from the etching of +his father "The Old Haring."</p> + +<p>There are only two etchings dated 1656,—"Abraham +entertaining the Angels" (B. 29), in which yet again we +have forced upon us the incapacity of Rembrandt's +mind to evolve an acceptable supernatural figure, and +the splendid "Portrait of Jan Lutma" (B. 276). It is +impossible to look on this and doubt that it is an +admirable likeness of a delightful old man. With +what a shrewd humorous expression he sits in that +high-backed arm-chair, surmounted by lions' heads, +which figures in so many of Rembrandt's portraits at +that time. How broad and easy, yet neither over-laboured +nor careless, is the handling. Rembrandt +never worked better, and one cannot but feel convinced, +in regarding the result, that, to both artist and +sitter, the work was a labour of love, and the sittings +periods of mutual enjoyment. In this, the last dated +portrait we have, he reached the highest pitch of excellence +he ever attained.</p> + +<div class="illustration"> + <a id="image106" href="images/106-janlutma-h.jpg"> + <img src="images/106-janlutma.jpg" + alt="Jan Lutma" + title="Jan Lutma" /> + </a> + <div class="caption">JAN LUTMA. (B. 276)<br />(1656)</div> +</div> + +<p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> +In 1657, as far as we know, he executed only one +etching, "St Francis praying" (B. 107), unfinished, +and chiefly notable for the fine study of a tree which +it contains. Three figures of nude women, "A Woman +preparing to dress after Bathing" (B. 199), "A Woman +sitting with her Feet in Water" (B. 200), and a so-called +"Negress lying down" (B. 205), are dated 1658, +while 1659 was marked by two very diverse subjects, +"St Peter and St John at the Gate of the Temple" +(B. 94), and "Jupiter disguised as a Satyr discovering +the sleeping Antiope" (B. 203).</p> + +<p>Throughout 1660 Rembrandt would seem to have +left his etching needle to rust in idleness, but he resumed +it once more in 1661, and produced a study of +the nude, "A Woman with her Back turned sitting +cross-legged upon a Bed, holding an Arrow in her +right Hand" (B. 202); and with this the list of +authentic dated etchings is brought to a close.</p> + +<p>There are one hundred and one etchings generally +accepted as Rembrandt's to which no date can positively +be assigned, but lack of space forbids our considering +them at length, and we must be content to +review them somewhat hastily, dwelling only on those +of special importance. The earlier years, from 1628 or +1629 to about 1635, are chiefly characterised by a +number of small portraits of himself, and of various +unknown old men and old women, and by a remarkable +series of sketches of beggars and peasants. About +1631 we find the first study from the nude, "Diana +bathing" (B. 201), altogether excellent as an example +of well-directed line, devoted, however, to a coarse and +unshapely figure. Of approximately the same date is<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> +a masterly portrait of "An Old Lady," in all probability +Rembrandt's mother (B. 343), seated at a table, +turned in three-quarter face to the right, her hands +lightly folded in her lap, which is worthy of remark as +showing how rapidly Rembrandt mastered all the available +styles of etching, and how subtly and skilfully he +combined them.</p> + +<p>A little later, the assigned dates ranging between +1633 and 1636, we have the first portrait, outside his +family circle, to which we can definitely attach a name, +that of the minister "Jan Cornelis Sylvius" (B. 266), +with whose family Saskia was staying before her +marriage. If, as we may imagine, it was undertaken +to ingratiate himself with people so important to him, +or later out of gratitude for their good offices, we can +only hope that they were not over-critical, for it must +be confessed that this exercise in pure dry-point is +about as bad an example as could be found. A sheet +of sketches (B. 367), dating from 1635 or 1636, is noteworthy +for the charming "Head of Saskia" included in +it, and a "Portrait of Himself in a flat cap and slashed +vest" (B. 26), slightly but beautifully etched, as +undoubtedly an admirable presentment of himself +as he appeared about 1638. Four scripture subjects +are, a sketch of "The Flight into Egypt" (B. 54), +dating anywhere between 1630 and 1640; a "Holy +Family," known as "The Virgin with the Linen" (B. 62), +dating between 1632 and 1640; a beautiful little +"Crucifixion" (B. 80), dating from 1634 or 1635; and "An +Old Man caressing a Boy," who stands between his knees +(B. 33), dating from 1638 or 1639, believed by some +authorities to represent "Abraham caressing Isaac."<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> + +<p>There are, altogether, forty-eight etchings attributed +with every probability of correctness to the years before +1640, many of which deserve more attention than +we can spare them; while two, "A Sketch of a Tree" +(B. 372), and "The Presentation in the vaulted Temple" +(B. 49), are placed by some a year or two earlier, by +others a year or two later, than that year. To the year +itself probably belongs a landscape "A large Tree by +a House" (B. 207), and to it or to the following year +"The Virgin mourning the Death of Jesus" (B. 85), +"The Flute-Player" (B. 188), and "A View of +Amsterdam" (B. 210); while to 1641 are generally +assigned two sketches of lion-hunts (B. 115 and 116), +more remarkable for energy of action then accuracy +of drawing; a vigorous "Battle-Scene" (B. 117); "The +Draughtsman" (B. 130), and "A Portrait of a Boy" +(B. 310). Other landscapes, of doubtful date, but +almost certainly of some year between 1640 and 1650, +are, "The Bull" (B. 253), "A Village with a River and +Sailing Vessel" (B. 228), the beautiful "Landscape +with a Man sketching" (B. 219), and the "Landscape +with a ruined Tower" (B. 223). Portraits of known +originals are those of "Jan Asselyn" (B. 277), a +fellow-artist, a dwarfed, deformed little man, nicknamed +by his contemporaries the little Crab, whose +personal failings evidently did not weigh on him, for +he stands gazing at the spectator with a superb air of +ludicrous conceit; and a magnificent one of the same +"Jan Sylvius" (B. 280) with whom Rembrandt had so +conspicuously failed before, so full of life and movement +that it is hard to believe, though an indubitable fact, +that it was etched from a study in 1645 or 1646,<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> +seven or eight years after the death of the minister. +The scripture subjects of this decade include an oval +"Crucifixion" (B. 79), and "The Triumph of Mordecai" +(B. 40).</p> + +<p>In the debatable land between the late forties and +the early fifties there are two magnificent works, one, +oddly included in the usual classifications among the +portraits, "Dr Faustus" (B. 270), the other the famous +Hundred Guilder print, "Jesus Christ healing the Sick" +(B. 74). There are, all told, twenty-eight etchings +dating between 1640 and 1650.</p> + +<p>Only eighteen of uncertain date are placed between +1650 and the end of Rembrandt's career as an etcher +in 1661, but they are nearly all worthy of more space +than can be devoted to them. One is a landscape, +"The Sportsman" (B. 211). Five are portraits, one +of "A Youth," long known as Rembrandt, but undoubtedly +his son Titus (B. 11); the large one of +"Coppenol" (B. 283), probably among the last of the +etchings, but beautifully and minutely finished in an +exquisitely delicate fashion, though the hands are +less well expressed than usual with Rembrandt, +who, whether in painting or drawing, delighted in +bringing out with care the full character revealed +by them; a portrait in dry-point of "Dr Arnoldus +Tholinx" (B. 284), of which it would be impossible to +speak too highly; a less admirable one of "Abraham +Francen" (B. 273), whose long and faithful friendship +with the painter has been referred to in the <i>Life</i>; +and one of Jacob Haring (B. 274), known as "The Old +Haring."</p> + +<p>There are nine scripture subjects of the period, two<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> +from the Old Testament, "King David at Prayer" +(B. 41), a strong and unhesitating piece of work, in +which, however, the face of the king is somewhat too +simply expressed, but was probably not considered +by Rembrandt as finished; and "Tobit Blind" (B. 42), +scarcely more than a sketch, but full of the sentiment +of helpless blindness. Of the seven subjects from the +New Testament two are of the first importance, +"Christ preaching" (B. 67), known as the little La +Tombe, because, it is supposed, the plate came into +the possession of the dealer of that name; and the +"Three Crosses" (B. 78), the former being an etching +heightened by dry-point, the second a work in dry-point +throughout. "Jesus Christ entombed" (B. 86) +is a powerful and effective etching dating probably +from the early fifties, and "The Presentation in the +Temple" (B. 50), further identified as being in +Rembrandt's dark manner, from about the middle of +the decade. "The Nativity" (B. 45), of about the same +time, is an exquisite little composition expressed with +the utmost simplicity compatible with the desired +result. In "Christ in the Garden of Olives" (B. 75), on +the other hand, this rapidity of work has been carried +too far, and degenerates into sheer carelessness, though, +apart from details, the arrangement of the masses of +light and shade is good. "Christ and the Samaritan +Woman" (B. 70), dating from 1657 or 1658, is drawn +with precision and delicacy, but the device of relieving +the face of the woman by a dark and impossible shadow +on a building in the background, is scarcely a happy or +successful one. A figure of "A Nude Woman sitting +by a Dutch stove" (B. 197), a portrait of "A Goldsmith at<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> +his Work" (B. 123), and "A Sheet of Sketches" (B. 364), +of which only three copies are known, bring the tale of +etchings to which an approximate date may be assigned +to a conclusion.</p> + +<p>There remain seventeen, concerning the probable +dates of which conjectures vary so widely, that it is +safer to admit we do not know, and cannot guess +with any prospect of success. Thus the clever little +sketch of "Two Beggars walking towards the right" +(B. 144), has been dated 1629, 1634, and 1648; another +"Beggar leaning upon a Stick" (B. 162), 1631 and 1641, +and a pathetic little composition of "Christ's Body +carried to the Tomb" (B. 84), 1632 and 1645; while +the small "Portrait of Coppenol" (B. 282), has been +attributed by one to 1632, but by another to as far +away as 1651. Other plates of equally uncertain date +are five landscapes—the exquisite "Landscape with a +Flock of Sheep" (B. 224), and the no less admirable +"Peasant with Milk Pails" (B. 213); "The Cottage +with white Pales" (B. 232), "The Canal" (B. 221), +the "Landscape with an Obelisque" (B. 227), and the +"Landscape with a Cow drinking" (B. 237). Three +are scripture subjects—"The Adoration of the Shepherds" +(B. 46), a hurriedly executed night effect, +dating between 1632 and 1640 according to Vosmaer, +from 1652 according to Middleton; a second night +effect, "The Repose in Egypt" (B. 57), also assigned +by Vosmaer to some date between 1632 and 1640, +by M. Michel to 1641 or 1642, and by Middleton to +1647; and a very indifferent "St Peter" (B. 96), with +a signature and date which Middleton reads 1645, +Vosmaer 1655. Another dated plate is "The Bathers"<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> +(B. 195), which, according to M. Michel, was originally +dated 1631, the 3 having subsequently been altered +by Rembrandt into a 5. As to the why and wherefore +of such an incomprehensible error on the artist's +part, he offers no conjecture, but that the etching does +not, at any rate, belong to the earlier year is indicated +by the fact that it is signed Rembrandt in full, while +all the certain plates of that year are signed with a +monogram, the first to bear the full name being the +"St Jerome" (B. 101) of 1632. A third plate bearing +a date, concerning the interpretation of which the +authorities differ, is the mysterious allegorical one +"The Phœnix" (B. 110), Vosmaer and Wilson making +it 1648, M. Michel and Middleton 1658; while a +fourth, "A Sheet of Sketches with a head of Himself" +(B. 370), is dated so indistinctly that it has been read +as 1630, 1631, and 1650. As, however, it is signed +with a monogram, it certainly belongs to one of the +earlier years. "The Star of the Kings" (B. 113), a subject +from contemporary life, representing a party of boys +carrying a large illuminated star through the streets +of a town at Epiphany, dating either from 1641 or +1652, is the last to be mentioned of the undisputed +etchings.</p> + + +<h2>DISPUTED ETCHINGS AND DRAWINGS</h2> + +<p>At the question of the disputed etchings we have +not space even to glance. It is a delicate and difficult +one, and could only be treated to any advantage at +considerable length. It is, furthermore, one of interest +to experts and collectors alone, and so directly opposite<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> +in many cases are their opinions that it is certain no +finality can ever be hoped for. The reader who desires +to enter upon this thorny ground must content himself +with pinning his faith finally to one or another recognised +authority, and abiding by his decision; unless, +having first thoroughly studied the undisputed etchings, +he is prepared to undertake the trial and judgment +of each for himself, in which case he will, without +doubt, sooner or later find himself differing on one +point or another with every previous writer on the +subject.</p> + +<p>The less ambitious reader, who wishes only to know +and appreciate what Rembrandt beyond question did +do, will be wiser to confine himself to a study of the +undisputed plates. In them he will find ample justification +for the high position to which Rembrandt as +an etcher has been elevated by his successors in the +art. Beginning with the early etchings of himself or +the members of his family, often mere drawings on +copper, with little or no appeal to the variety of line +and tone obtainable in etching, he may follow the +artist's sure and rapid development, until he finds him +master of every method the art permits. He may +trace the progress of his work, from a first sketch of +an idea, dashed off on the copper in one sitting, to +the high perfection of such an elaborate portrait as +that of "Burgomaster Six." He will further perceive, +as was first pointed out by Sir F. Seymour Haden, +how during the first ten years he confined himself +almost entirely to pure etching, how during the following +ten he began more and more to supplement his +work with additions in dry-point, and how during the<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> +last ten years he to a considerable extent expressed +himself by means of the point alone. He will, in +especial, discover, if he compares Rembrandt's etched +work with that of other masters, and without doing +so he can never rightly understand it, that it is not in +technique, masterly as that often is, so much as in +expressiveness that his pre-eminence lies. It is in +the mental qualities more than in the manual, that he +so incomparably excels. Drawing often carelessly, +blind or indifferent to superficial beauties, he, nevertheless, +gets straight to the heart of the matter, grasps +the essentials, and feels clearly and records frankly +and simply all that speaks to the fundamental humanity +in himself, and must therefore strike an answering chord +in the breasts of his fellow-men. It is in this perceiving +and revealing the true inwardness of the matter, +through and apart from the mere accidents of environment, +that he is unapproachable, far more than in the +strength and direction of line, depth of shadow or +brightness of light, application of acid or scraping of +copper. In such a plate as the "Blind Tobit" (B. 42) +there is not a detail of the technique which other men +could not have done as well; but for such another +presentment of the hurried, helpless groping for the +door by a blind, weak old man not yet inured to the +perpetual darkness that has fallen on him, we must +wait for a second Rembrandt—and the wait is likely +to be long.</p> + +<p>Of the drawings I propose to speak very briefly. +In the first place, their name is legion, and to treat +them properly would take a volume in itself, such a +volume as we may hope some day to see written. M.<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> +Michel gives a list of nearly nine hundred, which does +not pretend to be a full one. The British Museum +alone contains ninety authentic drawings and a considerable +number of more or less doubtful ones. In +the second place, their qualities are such as to appeal +almost exclusively to the artist. Rembrandt's impetuous +energy did not lend itself to the production +of the minute and elegant drawings characteristic of +so many Italian masters. He made the drawing for +the sake of what it had to tell him, not for the purpose +of creating a thing beautiful in itself. An idea crossed +his mind, or an object struck his eye, and straightway +he jotted it down with whatever came the handiest +in the simplest possible manner consistent with the +necessity that the note so made should subsequently +recall to his memory the idea or object.</p> + +<p>Most attractive, perhaps, to the amateur, are the +numberless little sketches of landscapes, just the simple +everyday scenes that caught his eye during his daily +walks, jotted down on the spot, briefly, but with extraordinary +truth and vivacity, and always with a +sense of balance and proportion, and an intuition of +the salient points, transmuted by his own genius into +gems of reticent perfection.<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1><a name="CATALOGUE_OF_WORKS" id="CATALOGUE_OF_WORKS"></a>CATALOGUE OF WORKS</h1> + +<p class="subtitle">ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY HANG</p> + +<p><i>The following abbreviations are used in this list.—S. = signed, C. = +canvas, P. = panel.</i></p> + +<p><i>Where a number is given, thus</i> [No. 6], <i>it is the number of the Catalogue +of the Gallery. The dates given must in some cases be accepted as +approximate only.</i></p> + +<p class="country">AUSTRIA-HUNGARY</p> + +<dl class="catalogue"> +<dt>BUDA-PESTH, ACADEMY.</dt> +<dd><span class="smcap">Portrait of an Old Man with a white beard</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 28⅖ × 21⅘. [<abbr title="Gallery Catalogue number">No.</abbr> 235.]</dd> +<dd><span class="smcap">Repose of the Holy Family</span>. 1655.</dd> + +<dt>COLLECTION OF COUNT J. ANDRASSY.</dt> +<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 19⅗ × 15⅕.</dd> + +<dt>COLLECTION OF MR GEORGE VON RATH.</dt> +<dd><span class="smcap">Mountain Landscape</span>. <abbr title="Signed">S.</abbr> 1638. <abbr title="Panel">P.</abbr> 22 × 28⅗.</dd> +<dd><span class="smcap">Slaughtered Ox</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 21⅕ × 17⅕.</dd> +<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Panel">P.</abbr> 29⅖ × 20⅖.</dd> + +<dt>CRACOW, CZARTORYSKI MUSEUM.</dt> +<dd><span class="smcap">Landscape</span>. <abbr title="Signed">S.</abbr> 1638. <abbr title="Panel">P.</abbr> 17¾ × 25¼. +<div class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></div></dd> +<dt>INNSBRUCK, FERDINANDEUM.</dt> +<dd><span class="smcap">Head of an Old Man</span>. <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 8⅘ × 6⅘.</dd> + +<dt>PRAGUE. COUNT NOSTITZ.</dt> +<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 58 × 54. [<abbr title="Gallery Catalogue number">No.</abbr> 269.]</dd> + +<dt>TARNOWITZ, GALICIA. COUNT TARNOWSKI.</dt> +<dd><span class="smcap">Polish Horseman</span>. 1655. <abbr title="Canvas">C.</abbr> 46 × 53⅖.</dd> + +<dt>VIENNA, ACADEMY.</dt> +<dd><span class="smcap">Portrait of a Young Woman</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 39⅕ × 28⅘.</dd> + +<dt>COUNT KÖNIGSWARTER.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Canvas">C.</abbr> 23 × 17½.</dd> + +<dt>PRINCE LIECHTENSTEIN.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 23⅗ × 17⅗.</dd> +<dd><span class="smcap">Young Girl at her Toilet</span>, called the Jewish fiancée. <abbr title="Signed">S.</abbr> 1632. +<abbr title="Canvas">C.</abbr> 43⅕ × 37⅕.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 36⅘ × 28⅘.</dd> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1636.</dd> +<dd><span class="smcap">Portrait of a Woman</span>. Companion to above. <abbr title="Signed">S.</abbr> 1636.</dd> + +<dt>PRINCE LUBOMIRSKI.</dt> +<dd><span class="smcap">Study of Rembrandt with his Mouth open</span>. 1629. +<abbr title="Panel">P.</abbr> 17⅗ × 13⅕.</dd> + +<dt>FRANZ XAVIER MEYER.</dt> +<dd><span class="smcap">A Philosopher reading by Candlelight</span>. 1627. Copper, +5⅗ × 5⅗. A very doubtful picture.</dd> + + +<dt><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> +IMPERIAL MUSEUM.</dt> +<dd><span class="smcap">Portrait of a Man</span>. 1630. <abbr title="Panel">P.</abbr> 36⅖ × 28. [<abbr title="Gallery Catalogue number">No.</abbr> 1139.]</dd> +<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Panel">P.</abbr> 36⅖ × 28. [<abbr title="Gallery Catalogue number">No.</abbr> 1140.]</dd> +<dd><span class="smcap">St Paul</span>. 1636. <abbr title="Canvas">C.</abbr> 50⅖ × 44.</dd> +<dd><span class="smcap">Portrait of Rembrandt's Mother</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 32 × 24⅘. [<abbr title="Gallery Catalogue number">No.</abbr> 1141.]</dd> +<dd><span class="smcap">Portrait of Himself</span>. 1658. <abbr title="Canvas">C.</abbr> 45⅕ × 32⅖. [<abbr title="Gallery Catalogue number">No.</abbr> 1142.]</dd> +<dd><span class="smcap">Young Man Singing</span>. 1658. <abbr title="Canvas">C.</abbr> 28⅖ × 28⅘. [<abbr title="Gallery Catalogue number">No.</abbr> 1144.]</dd> +<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1668. <abbr title="Panel">P.</abbr> 20 × 16⅖. [<abbr title="Gallery Catalogue number">No.</abbr> 1143.]</dd> + +<dt>COUNT SCHÖNBORN-BUCHHEIM.</dt> +<dd><span class="smcap">Samson captured by the Philistines</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 95⅕ × 114⅘.</dd> + +<dt>A. STRASSER.</dt> +<dd><span class="smcap">Study of an Angel</span>. 1655. <abbr title="Panel">P.</abbr> 10⅖ × 9⅖.</dd> +</dl> + +<p class="country">BELGIUM</p> + +<dl class="catalogue"> +<dt>ANTWERP, MUSEUM.</dt> +<dd><span class="smcap">Portrait of Henry Swalm</span>, known as "Portrait of a Burgomaster." +<abbr title="Signed">S.</abbr> 1637. <abbr title="Canvas">C.</abbr> 55⅗ × 43⅗. [<abbr title="Gallery Catalogue number">No.</abbr> 705.]</dd> +<dd><span class="smcap">The Young Fisher</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Panel">P.</abbr> 9⅓ × 7⅕ [<abbr title="Gallery Catalogue number">No.</abbr> 294.]</dd> +<dd><span class="smcap">Saskia</span>. <abbr title="Canvas">C.</abbr> 44⅘ × 33⅗. [<abbr title="Gallery Catalogue number">No.</abbr> 293.]</dd> +<dd><span class="smcap">Portrait of an Old Jew</span>. <abbr title="Panel">P.</abbr> 9⅓ × 7⅗. [<abbr title="Gallery Catalogue number">No.</abbr> 295.]</dd> + +<dt>BRUSSELS, DUC D'ARENBERG.</dt> +<dd><span class="smcap">Tobias curing his Father's Blindness</span>. <abbr title="Signed">S.</abbr> 163—. <abbr title="Panel">P.</abbr> 19⅕ × 15⅗.</dd> + +<dt>COUNT MERODE-WESTERLOO.</dt> +<dd><span class="smcap">St Peter repenting in Prison</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 23⅖ × 19⅕.</dd> +<dt><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> +MUSEUM.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1641. <abbr title="Canvas">C.</abbr> 42 × 33⅕. [<abbr title="Gallery Catalogue number">No.</abbr> 397.]</dd> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1654. <abbr title="Panel">P.</abbr> 27⅗ × 28. [<abbr title="Gallery Catalogue number">No.</abbr> 397a.]</dd> +</dl> + +<p class="country">BRITISH ISLES</p> + +<dl class="catalogue"> +<dt>LONDON. NATIONAL GALLERY.</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 27 × 21. [<abbr title="Gallery Catalogue number">No.</abbr> 775.]</dd> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 30⅛ × 22½. [<abbr title="Gallery Catalogue number">No.</abbr> 850.]</dd> +<dd><span class="smcap">Ecce Homo</span>. Grisaille. 1636. <abbr title="Canvas">C.</abbr> 21⅜ × 17¾. [<abbr title="Gallery Catalogue number">No.</abbr> 1400.]</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Canvas">C.</abbr> 39 × 31½. [<abbr title="Gallery Catalogue number">No.</abbr> 672.]</dd> +<dd><span class="smcap">The Woman taken in Adultery</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Panel">P.</abbr> 32½ × 25½. [<abbr title="Gallery Catalogue number">No.</abbr> 45.]</dd> +<dd><span class="smcap">Adoration of the Shepherds</span>. <abbr title="Signed">S.</abbr> 1646. <abbr title="Canvas">C.</abbr> 25 × 22. [<abbr title="Gallery Catalogue number">No.</abbr> 47.]</dd> +<dd><span class="smcap">A Woman Bathing</span>. <abbr title="Signed">S.</abbr> 1654. <abbr title="Panel">P.</abbr> 24 × 18¼. [<abbr title="Gallery Catalogue number">No.</abbr> 54.]</dd> +<dd><span class="smcap">Portrait of a Rabbi</span>. <abbr title="Signed">S.</abbr> 1657(?). <abbr title="Canvas">C.</abbr> 30 × 26. [<abbr title="Gallery Catalogue number">No.</abbr> 190.]</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 39 × 32¾. [<abbr title="Gallery Catalogue number">No.</abbr> 243.]</dd> +<dd><span class="smcap">Portrait of a Monk</span>. 1660. <abbr title="Canvas">C.</abbr> 34½ × 25½. [<abbr title="Gallery Catalogue number">No.</abbr> 166.]</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. 1664. <abbr title="Canvas">C.</abbr> 33 × 27½. [<abbr title="Gallery Catalogue number">No.</abbr> 221.]</dd> +<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Signed">S.</abbr> 1666. <abbr title="Canvas">C.</abbr> 26¼ × 23¼. [<abbr title="Gallery Catalogue number">No.</abbr> 237.]</dd> +<dd><span class="smcap">Portrait of a Jew Merchant</span>. <abbr title="Canvas">C.</abbr> 53 × 41. [<abbr title="Gallery Catalogue number">No.</abbr> 51.]</dd> +<dd><span class="smcap">Landscape</span>. <abbr title="Panel">P.</abbr> 22 × 34. [<abbr title="Gallery Catalogue number">No.</abbr> 72.]</dd> +<dd><span class="smcap">Christ taken down from the Cross</span>. <abbr title="Panel">P.</abbr> 13 × 11. [<abbr title="Gallery Catalogue number">No.</abbr> 43.]</dd> +<dd><span class="smcap">Portrait of a Burgomaster</span>. <abbr title="Canvas">C.</abbr> 50½ × 38. [<abbr title="Gallery Catalogue number">No.</abbr> 1674.]</dd> +<dd><span class="smcap">Portrait of an Old Lady</span>. <abbr title="Canvas">C.</abbr> 50½ × 38. [<abbr title="Gallery Catalogue number">No.</abbr> 1675.]</dd> + +<dt><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> +HERTFORD HOUSE COLLECTION.</dt> +<dd><span class="smcap">Portrait of Burgomaster Pellicorne and his Son Caspar</span>. <abbr title="Signed">S.</abbr> 1632. +<abbr title="Canvas">C.</abbr> 61 × 48.</dd> +<dd><span class="smcap">Suzanna van Collen, Wife of Pellicorne, and her Daughter</span>. <abbr title="Signed">S.</abbr> 1632. +<abbr title="Canvas">C.</abbr> 61 × 48¼.</dd> +<dd><span class="smcap">The Good Samaritan</span>. 1632. <abbr title="Panel">P.</abbr> 9¾ × 8.</dd> +<dd><span class="smcap">Portrait of a Boy</span>. <abbr title="Signed">S.</abbr> 1633. Copper, 8 × 6¾.</dd> +<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1633-1635. <abbr title="Panel">P.</abbr> 26 × 20.</dd> +<dd><span class="smcap">Portrait of a Young Negro</span>, known as the Black Archer. Oval. 1640. +<abbr title="Panel">P.</abbr> 26 × 20.</dd> +<dd><span class="smcap">Landscape</span>. 1640. <abbr title="Panel">P.</abbr> 18 × 25.</dd> +<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 25 × 19¼.</dd> +<dd><span class="smcap">Portrait of Himself</span>. 1660. 8½ × 6.</dd> +<dd><span class="smcap">Portrait of Titus</span>. 1658. <abbr title="Canvas">C.</abbr> 26½ × 22.</dd> +<dd><span class="smcap">The Unmerciful Servant</span>. 1664. <abbr title="Canvas">C.</abbr> 70½ × 86¼.</dd> + +<dt>BUCKINGHAM PALACE.</dt> +<dd><span class="smcap">The Shipbuilder and his Wife</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 44 × 65. [<abbr title="Gallery Catalogue number">No.</abbr> 16.]</dd> +<dd><span class="smcap">The Burgomaster Pancras and his Wife</span>. Called Rembrandt and Saskia. +<abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 60 × 77. [<abbr title="Gallery Catalogue number">No.</abbr> 30.]</dd> +<dd><span class="smcap">Christ and Mary Magdalene at the Tomb</span>. <abbr title="Signed">S.</abbr> 1638. <abbr title="Panel">P.</abbr> 23½ × 19½. +[<abbr title="Gallery Catalogue number">No.</abbr> 41.]</dd> +<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Signed">S.</abbr> 1641. <abbr title="Canvas">C.</abbr> 41 × 33. [<abbr title="Gallery Catalogue number">No.</abbr> 162.]</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 164—. <abbr title="Panel">P.</abbr> 27 × 23. [<abbr title="Gallery Catalogue number">No.</abbr> 174.]</dd> +<dd><span class="smcap">The Adoration of the Magi</span>. <abbr title="Signed">S.</abbr> 1657. <abbr title="Panel">P.</abbr> 48 × 40½. [<abbr title="Gallery Catalogue number">No.</abbr> 154.]</dd> +<dd><span class="smcap">A Jewish Rabbi</span>. <abbr title="Canvas">C.</abbr> 30 × 38⅞. [<abbr title="Gallery Catalogue number">No.</abbr> 131.]</dd> + +<dt><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> +HAMPTON COURT.</dt> +<dd><span class="smcap">Portrait of a Rabbi</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 28 × 24. [<abbr title="Gallery Catalogue number">No.</abbr> 381.]</dd> + +<dt>EDINBURGH. NATIONAL GALLERY.</dt> +<dd><span class="smcap">A Young Woman in Bed</span>. <abbr title="Signed">S.</abbr> 1650. <abbr title="Panel">P.</abbr> 32 × 26½.</dd> + +<dt>DUBLIN. NATIONAL GALLERY.</dt> +<dd><span class="smcap">Portrait of a Young Man</span>. Said to be Louis van der Linden. 1631. +<abbr title="Panel">P.</abbr> 27 × 21½.</dd> +<dd><span class="smcap">Shepherds reposing at Night</span>. <abbr title="Signed">S.</abbr> 1647. <abbr title="Panel">P.</abbr> 13½ × 19. [<abbr title="Gallery Catalogue number">No.</abbr> 115.]</dd> +<dd><span class="smcap">Descent From the Cross</span>. <abbr title="Signed">S.</abbr> 1650. <abbr title="Canvas">C.</abbr> 70 × 77½. Lent by the Duke of +Abercorn.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 24 × 18. [<abbr title="Gallery Catalogue number">No.</abbr> 48.]</dd> + +<dt>GLASGOW. CORPORATION GALLERIES.</dt> +<dd><span class="smcap">The Slaughter-house</span>. <abbr title="Signed">S.</abbr> 16—. <abbr title="Panel">P.</abbr> 28 × 20. [<abbr title="Gallery Catalogue number">No.</abbr> 707.]</dd> +<dd><span class="smcap">Tobias and the Angel</span>. 1654. <abbr title="Panel">P.</abbr> 29½ × 26. [<abbr title="Gallery Catalogue number">No.</abbr> 705.]</dd> +<dd><span class="smcap">A Man in Armour</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 53½ × 40½. [<abbr title="Gallery Catalogue number">No.</abbr> 706.]</dd> +<dd><span class="smcap">The Painter's Study</span>. <abbr title="Panel">P.</abbr> 20 × 24. [<abbr title="Gallery Catalogue number">No.</abbr> 709.]</dd> +<dd><span class="smcap">Jeremiah mourning over the Destruction of Jerusalem</span>. <abbr title="Canvas">C.</abbr> 15½ × 12. +[<abbr title="Gallery Catalogue number">No.</abbr> 714.]</dd> +<dd><span class="smcap">Study of an Old Man</span>. <abbr title="Panel">P.</abbr> 9 × 8. [<abbr title="Gallery Catalogue number">No.</abbr> 711.]</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Panel">P.</abbr> 26 × 20. [<abbr title="Gallery Catalogue number">No.</abbr> 710.]</dd> + +<dt>HUNTERIAN MUSEUM.</dt> +<dd><span class="smcap">Entombment</span>. 1634. <abbr title="Panel">P.</abbr> 12⅘ × 16.</dd> + +<dt>CAMBRIDGE. FITZWILLIAM MUSEUM.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1650. <abbr title="Canvas">C.</abbr> 54 × 46⅖. [<abbr title="Gallery Catalogue number">No.</abbr> 152.]</dd> + +<dt><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> +DULWICH COLLEGE.</dt> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 11¼ × 9. [<abbr title="Gallery Catalogue number">No.</abbr> 189.]</dd> +<dd><span class="smcap">A Young Girl at a Window</span>. <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 31 × 25. [<abbr title="Gallery Catalogue number">No.</abbr> 206.]</dd> + +<dt>WINDSOR CASTLE.</dt> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 25 × 19.</dd> +<dd><span class="smcap">An Old Woman</span>, known as the Countess of Desmond. +1631. <abbr title="Panel">P.</abbr> 23½ × 18.</dd> + +<dt>ALTHORP PARK. THE EARL SPENCER, K.G.</dt> +<dd><span class="smcap">A Boy</span>, formerly called a portrait of William III. <abbr title="Panel">P.</abbr> 1660. +<abbr title="Canvas">C.</abbr> 24½ × 21.</dd> +<dd><span class="smcap">Woman with Flowers</span>. 1660. <abbr title="Canvas">C.</abbr> 38 × 35½.</dd> +<dd><span class="smcap">The Circumcision</span>. <abbr title="Panel">P.</abbr> 1661. <abbr title="Canvas">C.</abbr> 21½ × 28½.</dd> +<dd><span class="smcap">Rembrandt's Mother</span>. <abbr title="Canvas">C.</abbr> 56 × 39.</dd> + +<dt>ASHRIDGE PARK. THE EARL BROWNLOW.</dt> +<dd><span class="smcap">Portrait of a Jew</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 27 × 23.</dd> +<dd><span class="smcap">Portrait of a Man</span>, said to be Peter Cornelius van +Hooft, the poet. <abbr title="Signed">S.</abbr> 1653. <abbr title="Canvas">C.</abbr> 55 × 52½.</dd> +<dd><span class="smcap">Isaac and Esau</span>. <abbr title="Panel">P.</abbr> 22½ × 27.</dd> +<dd><span class="smcap">Landscape</span>. A very doubtful picture. <abbr title="Panel">P.</abbr> 8 × 9½.</dd> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Canvas">C.</abbr> 29½ × 24½.</dd> + +<dt>BASILDON PARK. CHARLES MORRISON.</dt> +<dd><span class="smcap">Portrait of a Young Woman</span>, called Rembrandt's daughter. <abbr title="Signed">S.</abbr> 1665. +<abbr title="Canvas">C.</abbr> 39½ × 33.</dd> + +<dt>BELVOIR CASTLE. DUKE OF RUTLAND.</dt> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 31 × 26½.</dd> + +<dt><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> +BOWOOD. MARQUESS OF LANSDOWNE.</dt> +<dd><span class="smcap">The Mill</span>. 1654. <abbr title="Canvas">C.</abbr> 34 × 40½.</dd> + +<dt>BRIGHTON. WILLIAM CHAMBERLIN.</dt> +<dd><span class="smcap">Portrait of a Man-at-Arms</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 26 × 20.</dd> + +<dt>BROOM HALL, DUNFERMLINE. LORD ELGIN.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 26 × 19⅕.</dd> + +<dt>CANFORD MANOR, WIMBORNE. LORD WIMBORNE.</dt> +<dd><span class="smcap">St Paul</span>. <abbr title="Signed">S.</abbr> 1658.</dd> +<dd><span class="smcap">Portrait of a Man</span>. 1660.</dd> + +<dt>CASTLE HOWARD. THE EARL OF CARLISLE.</dt> +<dd><span class="smcap">Portrait of a Young Artist drawing</span>. <abbr title="Signed">S.</abbr> 164—. Life-size. 1648.</dd> + +<dt>CHATSWORTH. DUKE OF DEVONSHIRE, K.G.</dt> +<dd><span class="smcap">Portrait of a Rabbi</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 40 × 31½.</dd> + +<dt>DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.</dt> +<dd><span class="smcap">The Cradle</span>. 1643-1645. <abbr title="Panel">P.</abbr> 24 × 30½.</dd> +<dd><span class="smcap">Portrait of a Man</span>, known as "Rembrandt's Cook." <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 34 +× 29½.</dd> +<dd><span class="smcap">The Holy Family</span>. <abbr title="Panel">P.</abbr> 30 × 25.</dd> + +<dt>DRAYTON MANOR. SIR ROBERT PEEL.</dt> +<dd><span class="smcap">The Finding of Moses</span>. 1635. <abbr title="Canvas">C.</abbr> oval, 18⅘ × 23⅗.</dd> + +<dt>DUNCOMBE PARK. THE EARL OF FEVERSHAM.</dt> +<dd><span class="smcap">A Merchant</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 45 × 38.</dd> + +<dt>EDINBURGH. ARTHUR SANDERSON.</dt> +<dd><span class="smcap">His Mother in a Hood</span>. 1630. <abbr title="Panel">P.</abbr> 14⅖ × 12⅕.</dd> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 51⅗ × 39⅗.</dd> + +<dt><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> +RICHARD SAUNDERSON (in 1836).</dt> +<dd><span class="smcap">Abraham receiving the Angels</span>.</dd> + +<dt>GLASGOW. WILLIAM BEATTIE.</dt> +<dd><span class="smcap">Study of Himself</span>. 1629. <abbr title="Panel">P.</abbr> 10⅕ × 8⅗.</dd> + +<dt>GOSFORD HOUSE. EARL OF WEMYSS AND MARCH.</dt> +<dd><span class="smcap">A Monk reading</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 29 × 24.</dd> + +<dt>THE GRANGE, ALRESFORD. LORD ASHBURTON.</dt> +<dd><span class="smcap">Portrait of a Man</span>. 1635. <abbr title="Panel">P.</abbr> 30 × 25.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. 1637. <abbr title="Canvas">C.</abbr> 48 × 37½.</dd> +<dd><span class="smcap">Portrait of Lieven Willemsz van Coppenol</span>. About 1650. <abbr title="Panel">P.</abbr> 14 × 11.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. About 1658. <abbr title="Canvas">C.</abbr> 30 × 25½.</dd> +<dd><span class="smcap">Portrait of a Man</span>, said to be Cornelius Jansenius. <abbr title="Panel">P.</abbr> 32 × 26.</dd> + +<dt>GRITTLETON. SIR A. D. NEELD, <span class="smcap">Bart.</span></dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 23½ × 20.</dd> +<dd><span class="smcap">Portrait of a Burgomaster</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 15 × 12.</dd> + +<dt>HINTON ST GEORGE. THE EARL POULETT.</dt> +<dd><span class="smcap">Portrait of a Boy</span>. <abbr title="Signed">S.</abbr> 1628.</dd> + +<dt>KEDDLESTON HALL. REV. LORD SCARSDALE.</dt> +<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 34 × 27.</dd> + +<dt>KNOWSLEY HALL. THE EARL OF DERBY, K.G.</dt> +<dd><span class="smcap">The Feast of Belshazzar</span>. 1636. Doubtful Rembrandt. +<abbr title="Canvas">C.</abbr> 65 × 81½.</dd> +<dt><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> +LONDON. W. C. ALEXANDER.</dt> +<dd><span class="smcap">Rembrandt's Mother</span>. 1628. <abbr title="Panel">P.</abbr> 8¾ × 6¾.</dd> +<dd><span class="smcap">The Painter's Sister</span>. Doubtful. <abbr title="Canvas">C.</abbr> 27 × 20½.</dd> + +<dt>WENTWORTH B. BEAUMONT.</dt> +<dd><span class="smcap">The Tribute Money</span>. <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 25 × 33½.</dd> + +<dt>ALFRED BEIT.</dt> +<dd><span class="smcap">St Francis Praying</span>. <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 23⅕ × 18⅘.</dd> +<dd><span class="smcap">Portrait of a Young Man</span>. 1660. <abbr title="Canvas">C.</abbr> 40 × 32½.</dd> + +<dt>R. B. BERENS.</dt> +<dd><span class="smcap">Portrait of the Painter</span>. An early work. <abbr title="Panel">P.</abbr> 24 × 18</dd> + +<dt>BRIDGEWATER HOUSE. EARL OF ELLESMERE.</dt> +<dd><span class="smcap">A Young Woman</span>, aged 18. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 27½ × 21.</dd> +<dd><span class="smcap">A Young Woman</span>. Oval. 1635.</dd> +<dd><span class="smcap">Portrait of a Burgomaster</span>, or, a Minister. <abbr title="Signed">S.</abbr> 1637. +<abbr title="Canvas">C.</abbr> 52 × 38.</dd> +<dd><span class="smcap">Hannah hearing the Young Samuel repeat his Prayers</span>. +<abbr title="Signed">S.</abbr> 1648. <abbr title="Panel">P.</abbr> 16 × 18.</dd> +<dd><span class="smcap">Study of an Old Man</span>. 1655.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 165—. <abbr title="Canvas">C.</abbr> 26½ × 20¾.</dd> + +<dt>MONTAGUE HOUSE. DUKE OF BUCCLEUCH, K.G.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 48½ × 38½.</dd> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 31½ × 26.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 31 × 25½.</dd> + +<dt><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> +BARONESS BURDETT-COUTTS.</dt> +<dd><span class="smcap">A Forest Scene</span>. <abbr title="Panel">P.</abbr> 16 × 14.</dd> + +<dt>W. C. CARTWRIGHT.</dt> +<dd><span class="smcap">Dead Peacocks</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Canvas">C.</abbr> 54 × 50½.</dd> + +<dt>THE EARL OF CRAWFORD, K.G.</dt> +<dd><span class="smcap">Portrait of Titus</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 29½ × 24½.</dd> + +<dt>THE EARL OF DERBY, K.G.</dt> +<dd><span class="smcap">A Rabbi</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 28 × 21.</dd> +<dd><span class="smcap">Joseph's Coat</span>. 1647. <abbr title="Canvas">C.</abbr> 48 × 38.</dd> + +<dt>DEVONSHIRE HOUSE. THE DUKE OF DEVONSHIRE, K.G.</dt> +<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1651. <abbr title="Canvas">C.</abbr> 28½ × 25.</dd> +<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1652. <abbr title="Canvas">C.</abbr> 43 × 34.</dd> + +<dt>GEORGE C. W. FITZWILLIAM.</dt> +<dd><span class="smcap">Portrait of a Man</span>. 1632. <abbr title="Panel">P.</abbr> 22½ × 18½.</dd> + +<dt>F. FLEISCHMANN.</dt> +<dd><span class="smcap">Rembrandt's Father</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 23 × 19½.</dd> + +<dt>ALEXANDER HENDERSON.</dt> +<dd><span class="smcap">Burgomaster Six</span>. 1655. <abbr title="Canvas">C.</abbr> 36½ × 29.</dd> +<dd><span class="smcap">Portrait of his Wife, Margaretha, Daughter of Dr. Tulp</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Panel">P.</abbr> +36½ × 29.</dd> + +<dt>CAPTAIN HEYWOOD-LONSDALE.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1635 or 8. <abbr title="Panel">P.</abbr> 25 × 20.</dd> + +<dt><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> +DORCHESTER HOUSE. CAPTAIN G. L. HOLFORD.</dt> +<dd><span class="smcap">Martin Looten</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 36 × 29½.</dd> +<dd><span class="smcap">A Man with a Sword</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Canvas">C.</abbr> 39 × 34.</dd> +<dd><span class="smcap">Portrait of a Lady</span>, incorrectly called the wife of Jan Sylvius. +1645. <abbr title="Canvas">C.</abbr> 49 × 40.</dd> +<dd><span class="smcap">Portrait of Titus</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 29 × 24½.</dd> + +<dt>LORD FRANCIS PELHAM HOPE. (Collection sold in 1898.)</dt> +<dd><span class="smcap">A Lady and Gentleman</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 51 × 42.</dd> +<dd><span class="smcap">The Ship of St Peter</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 63 × 50.</dd> + +<dt>THE EARL OF HOPETOUN.</dt> +<dd><span class="smcap">Rembrandt's Mother</span>. Oval. <abbr title="Panel">P.</abbr> 27 × 21.</dd> + +<dt>R. W. HUDSON.</dt> +<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 26⅘ × 21⅗.</dd> + +<dt>THE EARL OF ILCHESTER.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 51½ × 40.</dd> + +<dt>VICTORIA AND ALBERT MUSEUM.</dt> +<dd><span class="smcap">Abraham dismissing Hagar and Ishmael</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 15 × 20½.</dd> + +<dt>LORD IVEAGH.</dt> +<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Signed">S.</abbr> 1642. <abbr title="Canvas">C.</abbr> 42 × 36.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. 1663. <abbr title="Canvas">C.</abbr> 45 × 37½.</dd> + +<dt>MRS JOSEPH.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Panel">P.</abbr> 26 × 20½.</dd> + +<dt><span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> +LESSER (1893).</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr></dd> + +<dt>COLONEL LINDSAY (1893).</dt> +<dd><span class="smcap">Portrait of a Very Old Woman</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 30 × 25⅖.</dd> + +<dt>MRS ALFRED MORRISON.</dt> +<dd><span class="smcap">Portrait of Dr Bonus</span>. <abbr title="Signed">S.</abbr> 1642. <abbr title="Canvas">C.</abbr> 41 × 30.</dd> + +<dt>DUKE OF NEWCASTLE.</dt> +<dd><span class="smcap">Portrait of an Orator</span>. <abbr title="Canvas">C.</abbr> 37½ × 29½.</dd> + +<dt>THE EARL OF NORTHBROOK.</dt> +<dd><span class="smcap">Landscape</span>. 1640. <abbr title="Panel">P.</abbr> 8½ × 11.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> 1667. <abbr title="Canvas">C.</abbr> 27 × 22½.</dd> + +<dt>LORD PENRHYN.</dt> +<dd><span class="smcap">Portrait of Catrina Hoogh</span>. <abbr title="Signed">S.</abbr> 1657. <abbr title="Canvas">C.</abbr> 49½ × 38½.</dd> + +<dt>JAMES REISS</dt> +<dd><span class="smcap">Landscape</span>. <abbr title="Panel">P.</abbr> 11½ × 16.</dd> + +<dt>MRS OWEN ROE.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Canvas">C.</abbr> 40 × 33.</dd> + +<dt>LADY DE ROTHSCHILD.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 35 × 28.</dd> + +<dt>EDWARD H. SCOTT.</dt> +<dd><span class="smcap">Rembrandt's Father's Mill</span>. <abbr title="Canvas">C.</abbr> 32½ × 42.</dd> + +<dt>COLONEL STERLING.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Canvas">C.</abbr> 23 × 17.</dd> + +<dt><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> +STEPHEN TUCKER.</dt> +<dd><span class="smcap">The Angel departing from Tobit</span>. <abbr title="Panel">P.</abbr> 25½ × 19½.</dd> + +<dt>SIR CHARLES TURNER.</dt> +<dd><span class="smcap">Portrait of a Girl</span>. 1650. <abbr title="Panel">P.</abbr> 8⅖ × 7⅕.</dd> + +<dt>LORD WANTAGE.</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 29½ × 25.</dd> + +<dt>T. HUMPHRY WARD.</dt> +<dd><span class="smcap">An Old Man</span>. 1630 or 1658. <abbr title="Canvas">C.</abbr> 20 × 14¾.</dd> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1646. <abbr title="Canvas">C.</abbr> 28 × 23.</dd> +<dd><span class="smcap">The Dismissal of Hagar</span>. <abbr title="Panel">P.</abbr> 26 × 22½.</dd> + +<dt>GROSVENOR HOUSE. DUKE OF WESTMINSTER, K.G.</dt> +<dd><span class="smcap">The Salutation</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 33.] <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 22 × 18½.</dd> +<dd><span class="smcap">Portrait of a Gentleman with a Hawk</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 14.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 44 +× 37½.</dd> +<dd><span class="smcap">A Lady with a Fan</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 15.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 44 × 37½.</dd> +<dd><span class="smcap">Portrait of Nicholas Berchem</span>. [NO. 19.] <abbr title="Signed">S.</abbr> 1647. Cedar panel, +28½ × 25½.</dd> +<dd><span class="smcap">Portrait of his Wife</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 20], the daughter of Jan Wils. <abbr title="Signed">S.</abbr> 1647. +Cedar panel, 28½ × 25.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Panel">P.</abbr> 15½ × 11½.</dd> +<dd><span class="smcap">Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 83.] <abbr title="Panel">P.</abbr> 39 × 61.</dd> + +<dt>HENRY WILLETT.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Panel">P.</abbr> 20 × 17.</dd> + +<dt>SIR MATTHEW WILSON.</dt> +<dd><span class="smcap">Portrait of a Lady</span>. Oval. <abbr title="Panel">P.</abbr> 27 × 21.</dd> + +<dt><span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> +THE EARL OF YARBOROUGH.</dt> +<dd><span class="smcap">Portrait of an Old Lady</span>. 1637. <abbr title="Panel">P.</abbr> 40½ × 35.</dd> + +<dt>NEW HALL, BODENHAM. ALFRED BUCKLEY.</dt> +<dd><span class="smcap">Sketch of a Man's Head</span>. <abbr title="Panel">P.</abbr> 9 × 7.</dd> + +<dt>PANSHANGER. THE EARL COWPER, K.G.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Canvas">C.</abbr> 44½ × 42.</dd> +<dd><span class="smcap">Portrait of Marshal Turenne</span>. 1649. <abbr title="Canvas">C.</abbr> 113 × 94.</dd> +<dd><span class="smcap">Head of a Man</span>. <abbr title="Panel">P.</abbr> 12½ × 9½.</dd> + +<dt>PETWORTH. LORD LECONFIELD.</dt> +<dd><span class="smcap">Portrait of the Painter's Sister</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 25 × 18½.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1632. Oval. <abbr title="Panel">P.</abbr> 25 × 18½.</dd> +<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 49 × 39½.</dd> +<dd><span class="smcap">Portrait of a Youth</span>. <abbr title="Signed">S.</abbr> 1666. <abbr title="Canvas">C.</abbr> 29 × 24.</dd> +<dd><span class="smcap">Girl with a Rosebud</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 32 × 25.</dd> + +<dt>RICHMOND. THE EXECUTORS OF THE LATE SIR FRANCIS COOK.</dt> +<dd><span class="smcap">The Painter's Sister</span>. <abbr title="Signed">S.</abbr> 1632. Oval. <abbr title="Panel">P.</abbr> 27 × 21.</dd> +<dd><span class="smcap">Portrait of Alotte Adriaans, Wife of Elias Van Trip</span>. <abbr title="Signed">S.</abbr> 1639. +<abbr title="Panel">P.</abbr> 25½ × 22.</dd> +<dd><span class="smcap">Tobit and His Wife</span>. <abbr title="Signed">S.</abbr> 1650. <abbr title="Panel">P.</abbr> 16¼ × 21¼.</dd> +<dd><span class="smcap">Study of an Old Man</span>. <abbr title="Panel">P.</abbr> 13½ × 10½.</dd> +<dd><span class="smcap">The Prodigal Son</span>. <abbr title="Signed">S.</abbr> 1634. A very doubtful picture. <abbr title="Canvas">C.</abbr> 51 × 66.</dd> + +<dt><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> +ROSSIE PRIORY, INCHTURE, PERTHSHIRE. LORD KINNAIRD.</dt> +<dd><span class="smcap">Portrait of a Young Woman</span>. <abbr title="Signed">S.</abbr> 1636.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 36 × 30.</dd> + +<dt>WELBECK ABBEY, NOTTS. DUKE OF PORTLAND.</dt> +<dd><span class="smcap">Head of a Boy</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 17 × 14.</dd> + +<dt>WILTON HOUSE. THE EARL OF PEMBROKE.</dt> +<dd><span class="smcap">An Old Woman Reading</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Canvas">C.</abbr> 29 × 24.</dd> + +<dt>WOBURN ABBEY. DUKE OF BEDFORD.</dt> +<dd><span class="smcap">Portrait of an Old Man</span>. 1632.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. 1635. <abbr title="Canvas">C.</abbr> 34½ × 30½.</dd> + +<dt>PRESENT OWNERS UNKNOWN.</dt> +<dd><span class="smcap">Portrait of a Saint</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 43 × 38.</dd> +<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Panel">P.</abbr> 29½ × 23.</dd> +<dd><span class="smcap">Landscape</span>. <abbr title="Canvas">C.</abbr> 14 × 18½.</dd> +</dl> + +<p class="country">DENMARK.</p> + +<dl class="catalogue"> +<dt>COPENHAGEN. NEW CARLSBERG GLYPTOTEK.</dt> +<dd><span class="smcap">Man Reading</span>. 1645. <abbr title="Canvas">C.</abbr> 24½ × 28.</dd> + +<dt>COUNT MOLTKE.</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. [NO. 32.] 1654. <abbr title="Canvas">C.</abbr></dd> + +<dt>COPENHAGEN. MUSEUM.</dt> +<dd><span class="smcap">Christ at Emmaus</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 292.] <abbr title="Signed">S.</abbr> 1648. <abbr title="Canvas">C.</abbr> 33½ × 42½.</dd> +<dd><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span> +<span class="smcap">Portrait of a Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 273.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 29 × 25.</dd> +<dd><span class="smcap">Portrait of a Young Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 274.] Companion to the last. +<abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 29 × 25.</dd> +</dl> + +<p class="country">FRANCE.</p> +<dl class="catalogue"> +<dt>PARIS. THE LOUVRE.</dt> +<dd><span class="smcap">A Philosopher in Meditation</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2540, Grand Gallery.] <abbr title="Signed">S.</abbr> 1633. +<abbr title="Panel">P.</abbr> 11⅗ × 13⅕.</dd> +<dd><span class="smcap">A Philosopher in Meditation</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2541, Grand Gallery.] 1633. +<abbr title="Panel">P.</abbr> 11⅕ × 9⅕.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2552, Salle XV.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 23⅕ +× 18.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2553, Grand Gallery.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> +27⅕ × 21⅕.</dd> +<dd><span class="smcap">The Angel Raphael leaving Tobit</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2536, Grand Gallery.] <abbr title="Signed">S.</abbr> 1637. +<abbr title="Panel">P.</abbr> 27⅕ × 20⅘.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2554, Grand Gallery.] <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 32 +× 24⅘.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2544, Grand Gallery.] <abbr title="Signed">S.</abbr> 1638. Oval. +<abbr title="Panel">P.</abbr> 36 × 22⅖.</dd> +<dd><span class="smcap">The Carpenter's Home</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2542, Salon Carré.] <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 16⅖ +× 13⅗.</dd> +<dd><span class="smcap">A Woman Bathing</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2550, Salle Lacaze.] 1647. <abbr title="Panel">P.</abbr> 24⅘ × 19⅕.</dd> +<dd><span class="smcap">Christ at Emmaus</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2539, Salon Carré.] <abbr title="Signed">S.</abbr> 1648. <abbr title="Panel">P.</abbr> 27⅕ × 26.</dd> +<dd><span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> +<span class="smcap">The Good Samaritan</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2537, Grand Gallery.] <abbr title="Signed">S.</abbr> 1648. <abbr title="Panel">P.</abbr> 45⅗ × 54.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2551, Salle Lacaze.] <abbr title="Signed">S.</abbr> 1651. <abbr title="Canvas">C.</abbr> 33⅕ × +26⅖.</dd> +<dd><span class="smcap">Portrait of Hendrickje Stoffels</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2547, Salon Carré.] <abbr title="Panel">P.</abbr> about +1652. <abbr title="Canvas">C.</abbr> 28⅘ × 24.</dd> +<dd><span class="smcap">Bathsheba, or a Woman bathing</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2549, Salle Lacaze.] <abbr title="Signed">S.</abbr> 1654. +<abbr title="Canvas">C.</abbr> 56⅘ × 56⅘.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2546, Grand Gallery.] 1655. <abbr title="Panel">P.</abbr> 10⅖ × +7⅗.</dd> +<dd><span class="smcap">The Slaughter-house</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2548, Grand Gallery.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Panel">P.</abbr> 37⅗ +× 27⅗.</dd> +<dd><span class="smcap">Portrait of a Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2545, Salon Carré.] <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 29⅕ +× 24⅖.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2555, Salon Carré.] <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 44⅖ +× 34.</dd> +<dd><span class="smcap">Saint Matthew</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2538, Grand Gallery.] <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 38⅖ × +32⅖.</dd> +<dd><span class="smcap">Venus and Cupid</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2543, Grand Gallery.] 1661. <abbr title="Canvas">C.</abbr> 44 × 35⅕.</dd> + +<dt>ÉPINAL. MUSEUM.</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 101.] <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 45⅗ × 32.</dd> + +<dt>NANTES. MUSEUM.</dt> +<dd><span class="smcap">Portrait of Rembrandt's Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 522, attributed to van Vliet.] +1628. <abbr title="Panel">P.</abbr> 7 × 5⅖.</dd> + +<dt>PARIS. MME. ANDRÉ-JACQUEMART.</dt> +<dd><span class="smcap">Christ at Emmaus</span>. <abbr title="Signed">S.</abbr> R.H. 1629. Paper on panel 15⅗ × 16⅘.</dd> +<dd><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> +<span class="smcap">Portrait of Lysbeth van Rijn</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 26 × 20⅖.</dd> +<dd><span class="smcap">Portrait of Arnold Tholinx</span>. <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 30⅖ × 25⅕.</dd> + +<dt>LÉON BONNAT.</dt> +<dd><span class="smcap">Petitioners To a Biblical King</span>. 1633. <abbr title="Panel">P.</abbr> 11⅖ × 10⅗.</dd> +<dd><span class="smcap">Jean Six at a Window</span>. Very doubtful. <abbr title="Panel">P.</abbr> 10 × 8.</dd> +<dd><span class="smcap">Figure of Susannah</span>. Oval. 1647. <abbr title="Panel">P.</abbr> 8⅘ × 7.</dd> +<dd><span class="smcap">Tasters in a Cellar</span>. 1650. <abbr title="Panel">P.</abbr> 19⅘ × 25⅕.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. 1650. <abbr title="Panel">P.</abbr> 22 × 17⅗.</dd> +<dd><span class="smcap">Portrait of a Rabbi</span>. 1655. <abbr title="Panel">P.</abbr> <span class="fraction" title="8-7/25">8<sup>7</sup>⁄<sub>25</sub></span> × <span class="fraction" title="9-39/50">9<sup>39</sup>⁄<sub>50</sub></span>.</dd> +<dd><span class="smcap">Head of an Old Man</span>. 1660. <abbr title="Panel">P.</abbr> 10 × 8⅘.</dd> + +<dt>MARQUIS BONI DE CASTELLANE.</dt> +<dd><span class="smcap">Portrait of Nicholas Ruts</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 46 × 34½.</dd> + +<dt>PRINCE DE CHALAIS.</dt> +<dd><span class="smcap">Portrait of a Man</span>.</dd> + +<dt>LÉON GAUCHEZ.</dt> +<dd><span class="smcap">Lucretia</span>. <abbr title="Signed">S.</abbr> 1664. <abbr title="Canvas">C.</abbr> 46⅖ × 39⅕.</dd> + +<dt>LEOPOLD GOLDSCHMIDT.</dt> +<dd><span class="smcap">Portrait of a Woman</span>. Called Rembrandt's cook. 1655. <abbr title="Canvas">C.</abbr> 29⅘ +× 24⅗.</dd> + +<dt>HARJES.</dt> +<dd><span class="smcap">Old Man With a White Beard</span>. <abbr title="Canvas">C.</abbr> 25⅕ × 23⅕.</dd> + +<dt>BARONESS HIRSCH-GEREUTH (THE LATE).</dt> +<dd><span class="smcap">Portrait of his Sister, or Saskia</span>. Oval. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 23 × 17⅗.</dd> + +<dt><span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> +MAURICE KANN.</dt> +<dd><span class="smcap">Head of Christ</span>. 1660. <abbr title="Canvas">C.</abbr> 18⅗ × 14⅘.</dd> +<dd><span class="smcap">A Man in a Red Cloak</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Panel">P.</abbr> 15⅖ × 12⅖.</dd> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Panel">P.</abbr> between 1666 and 1668. <abbr title="Canvas">C.</abbr> 36⅖ × 29⅘.</dd> + +<dt>RODOLPHE KANN.</dt> +<dd><span class="smcap">Head of Christ</span>. 1652. <abbr title="Panel">P.</abbr> 10⅖ × 8.</dd> +<dd><span class="smcap">Portrait of Titus</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 31⅗ × 23⅗.</dd> +<dd><span class="smcap">Portrait of a Rabbi</span>. 1655. <abbr title="Panel">P.</abbr> 10 × 7⅘.</dd> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1657. <abbr title="Panel">P.</abbr> 8⅘ × 7⅕.</dd> +<dd><span class="smcap">Old Woman cutting her Nails</span>. <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 50⅖ × 40.</dd> +<dd><span class="smcap">Portrait of a Young Woman</span>. 1668. <abbr title="Canvas">C.</abbr> 37⅕ × 29⅕.</dd> + +<dt>MME. LACROIX.</dt> +<dd><span class="smcap">Landscape, with Swans</span>. 1645. <abbr title="Canvas">C.</abbr> 25⅗ × 17⅕.</dd> + +<dt>ALBERT LEHMANN.</dt> +<dd><span class="smcap">Zachariah receiving the Prophecy of the Birth of John the Baptist</span>. +<abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 22⅖ × 19⅕.</dd> + +<dt>PAUL MATHEY.</dt> +<dd><span class="smcap">Head of an Old Man</span>. <abbr title="Panel">P.</abbr> 20 × 24.</dd> + +<dt>HENRY PEREIRE.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 24 × 18⅘.</dd> +<dd><span class="smcap">Portrait of Cornelia Pronck</span>. Wife of the man. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 24 × +18⅘.</dd> + +<dt>JULES PORGÈS.</dt> +<dd><span class="smcap">The Good Samaritan</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Canvas">C.</abbr> 38⅕ × 50.</dd> +<dd><span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> +<span class="smcap">Portrait of a Rabbi</span>. <abbr title="Signed">S.</abbr> 1642. <abbr title="Panel">P.</abbr> 30 × 24⅖.</dd> +<dd><span class="smcap">An Old Woman meditating over a Book</span>. 1649. <abbr title="Canvas">C.</abbr> 39⅕ × 31⅕.</dd> +<dd><span class="smcap">Portrait of Rembrandt's Brother</span>. 1650. <abbr title="Panel">P.</abbr> 22⅖ × 17⅕.</dd> +<dd><span class="smcap">Portrait of a Woman holding a Book</span>. 1650. <abbr title="Panel">P.</abbr> 22⅖ × 17⅕.</dd> + +<dt>COUNTESS EDMOND DE POURTALÈS.</dt> +<dd><span class="smcap">Portrait of a Young Man rising from a Chair</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 50 × 40.</dd> + +<dt>BARON ALPHONSE DE ROTHSCHILD.</dt> +<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 30⅗ × 23.</dd> + +<dt>BARON GUSTAVE DE ROTHSCHILD.</dt> +<dd><span class="smcap">Portrait of Martin Daey</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 82⅘ × 52⅘.</dd> +<dd><span class="smcap">Portrait of Machteld van Doorn, Wife of Martin Daey</span>. <abbr title="Canvas">C.</abbr> 82⅘ +× 52⅘.</dd> +<dd><span class="smcap">The Standard-Bearer</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 50 × 42.</dd> + +<dt>BARONESS NATHANIEL DE ROTHSCHILD.</dt> +<dd><span class="smcap">Portrait of a Boy</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 17⅗ × 13⅕.</dd> + +<dt>BARON N. DE ROTHSCHILD.</dt> +<dd><span class="smcap">Portrait of Anthoni Copal</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 33⅕ × 26⅘.</dd> + +<dt>DURAND RUEL.</dt> +<dd><span class="smcap">David playing before Saul</span>. 1663. <abbr title="Canvas">C.</abbr> 52⅕ × 65⅗.</dd> + +<dt>BARON ARTHUR DE SCHICKLER.</dt> +<dd><span class="smcap">Judas with the Price of the Betrayal</span>. 1629. <abbr title="Canvas">C.</abbr> 31⅗ × 41⅕.</dd> + +<dt><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> +A. SCHLOSS.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. Oval. 1634. <abbr title="Panel">P.</abbr> 26⅘ × 21.</dd> +<dd><span class="smcap">Old Man</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 10 × 7⅗.</dd> + +<dt>HENRI SCHNEIDER.</dt> +<dd><span class="smcap">Hans Alenson</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 71⅕ × 52⅘.</dd> +<dd><span class="smcap">The Wife of Alenson</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 71⅕ × 52⅘.</dd> + +<dt>CHARLES SEDELMEYER.</dt> +<dd><span class="smcap">Pilate washing his Hands</span>. 1656. <abbr title="Canvas">C.</abbr> 51⅕ × 72.</dd> + +<dt>CHARLES WALTNER.</dt> +<dd><span class="smcap">An Old Rabbi</span>. 1654-56. <abbr title="Canvas">C.</abbr> 32⅘ × 26.</dd> + +<dt>E. WARNECK.</dt> +<dd><span class="smcap">Diana bathing</span>. 1631. <abbr title="Panel">P.</abbr> 7⅕ × 6⅘.</dd> +<dd><span class="smcap">Rembrandt laughing</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 8⅕ × 7.</dd> +<dd><span class="smcap">Study of a Rabbi</span>. 1650 To 1655. <abbr title="Panel">P.</abbr> 8⅘ × 7⅖.</dd> +<dd><span class="smcap">Study of a Young Boy</span>. 1654. <abbr title="Panel">P.</abbr> 9⅕ × 7⅘.</dd> + +<dt>DR MELVIL WASSERMANN.</dt> +<dd><span class="smcap">Study of his Father</span>. 1630. <abbr title="Panel">P.</abbr> 11⅖ × 9⅕.</dd> +<dd><span class="smcap">Portrait of an Old Man</span>. 1633. <abbr title="Panel">P.</abbr> 10⅖ × 8⅖.</dd> + +<dt>ROUEN. M. DUTUIT.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 32⅖ × 21⅗.</dd> + +<dt>TOURS. MUSEUM.</dt> +<dd><span class="smcap">Portrait of His Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 437.] A copy of the one in the Museum +at Nantes. 1628. <abbr title="Panel">P.</abbr> 6 × 4.</dd> +</dl> + +<div class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></div> + +<p class="country">GERMANY.</p> +<dl class="catalogue"> +<dt>BERLIN GALLERY. ROYAL MUSEUM.</dt> +<dd><span class="smcap">The Money-Changer</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 D.] <abbr title="Signed">S.</abbr> 1627. <abbr title="Panel">P.</abbr> 12⅕ × 16⅘.</dd> +<dd><span class="smcap">Judith</span>, or <span class="smcap">Minerva</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 <abbr title="Canvas">C.</abbr>] 1631. <abbr title="Panel">P.</abbr> 23⅗ × 19⅕.</dd> +<dd><span class="smcap">The Rape of Proserpina</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 823.] 1632. <abbr title="Panel">P.</abbr> 33⅕ × 31⅕.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 810.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 22⅘ × 18⅘.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 808.] 1634. <abbr title="Panel">P.</abbr> 22 × 18⅖.</dd> +<dd><span class="smcap">Samson threatening his Father-in-law</span> [<abbr title="Gallery Catalogue number">No.</abbr> 802], formerly called The +Duke of Gueldres. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 62⅖ × 51⅗.</dd> +<dd><span class="smcap">Portrait of the Minister Anslo consoling a Widow</span>. <abbr title="Signed">S.</abbr> 1641. +<abbr title="Canvas">C.</abbr> 73⅗ × 89⅗.</dd> +<dd><span class="smcap">Portrait of Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 812.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 28⅘ × 23⅕.</dd> +<dd><span class="smcap">Portrait of a Rabbi</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 A.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 44 × 32⅘.</dd> +<dd><span class="smcap">The Wife of Tobias with the Goat</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 805.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Panel">P.</abbr> 8 × 10⅘.</dd> +<dd><span class="smcap">Joseph's Dream</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 806.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Panel">P.</abbr> 8 × 10⅘.</dd> +<dd><span class="smcap">Susannah and the Elders</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 E.] <abbr title="Signed">S.</abbr> 1647. <abbr title="Panel">P.</abbr> 30⅖ × 36⅖.</dd> +<dd><span class="smcap">Daniel's Vision</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 F.] 1650. <abbr title="Canvas">C.</abbr> 38⅖ × 46⅖.</dd> +<dd><span class="smcap">Joseph accused by Potiphar's Wife</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 H.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 41½ +× 34.</dd> +<dd><span class="smcap">Study of an Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 J.] 1655. <abbr title="Canvas">C.</abbr> 20⅖ × 14⅘.</dd> +<dd><span class="smcap">John the Baptist preaching</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 K.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 25 × 31.</dd> +<dd><span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> +<span class="smcap">Jacob Wrestling with the Angel</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828.] <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 54⅘ × 46⅖.</dd> +<dd><span class="smcap">Moses breaking the Tables of the Law</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 811.] <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 66⅘ +× 54.</dd> +<dd><span class="smcap">Portrait of Hendrickje Stoffels</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 B.] 1662. <abbr title="Canvas">C.</abbr> 34⅘ × 26.</dd> + +<dt>ALTFRANKEN. COUNT LUCKNER.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 39⅕ × 28.</dd> + +<dt>ANHOLT. PRINCE OF SALM-SALM.</dt> +<dd><span class="smcap">Diana, Actæon, and Callisto</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 28⅘ × 38.</dd> + +<dt>ASCHAFFENBOURG. ROYAL MUSEUM.</dt> +<dd><span class="smcap">The Risen Christ</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 32 × 25⅕.</dd> + +<dt>BERLIN. VON CARSTANGEN.</dt> +<dd><span class="smcap">Portrait of J. <abbr title="Canvas">C.</abbr> Sylvius</span>. <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 52 × 44.</dd> +<dd><span class="smcap">Christ at the Column</span>. 1646. <abbr title="Panel">P.</abbr> 13⅗ × 11⅕.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1665. <abbr title="Canvas">C.</abbr> 32⅘ × 25⅕.</dd> + +<dt>EMPEROR FREDERICK MUSEUM.</dt> +<dd><span class="smcap">Rembrandt's Brother</span>. 1650. <abbr title="Canvas">C.</abbr> 26⅘ × 20⅗.</dd> + +<dt>CARL HOLLITSCHER.</dt> +<dd><span class="smcap">St Paul in Meditation</span>. 1635. <abbr title="Canvas">C.</abbr> 47⅕ × 38.</dd> +<dd><span class="smcap">Christ on the Cross</span>. 1648. <abbr title="Panel">P.</abbr> 14 × 9⅗.</dd> + +<dt>ROBERT VON MENDELSSOHN.</dt> +<dd><span class="smcap">Rembrandt</span>. <abbr title="Signed">S.</abbr> 1651. <abbr title="Panel">P.</abbr> 26⅖ × 21⅕.</dd> + +<dt>SANS-SOUCI.</dt> +<dd><span class="smcap">The Capture of Samson</span>. <abbr title="Signed">S.</abbr> 1628. <abbr title="Panel">P.</abbr> 24 × 19⅗.</dd> + +<dt><span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> +JAMES SIMON.</dt> +<dd><span class="smcap">Portrait of a Young Girl</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 17⅗ × 14⅖.</dd> + +<dt>BONN. PROFESSOR G. MARTIUS.</dt> +<dd><span class="smcap">An Old Woman</span>. 1640. <abbr title="Panel">P.</abbr> 27⅕ × 22⅕.</dd> + +<dt>BRUNSWICK. GRAND DUCAL MUSEUM.</dt> +<dd><span class="smcap">An Unknown Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 232.] 1631. <abbr title="Panel">P.</abbr> 25⅖ × 19⅕.</dd> +<dd><span class="smcap">Portrait of a Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 233.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 25⅖ × 19⅕.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 237.] <abbr title="Signed">S.</abbr> 1638. <abbr title="Panel">P.</abbr> 32⅘ × 27.</dd> +<dd><span class="smcap">Stormy Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 236.] <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 20⅘ × 28⅘.</dd> +<dd><span class="smcap">Noli Me Tangere</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 235.] <abbr title="Signed">S.</abbr> 1651. <abbr title="Canvas">C.</abbr> 26 × 31⅗.</dd> +<dd><span class="smcap">Portrait of a Family</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 238] <abbr title="Signed">S.</abbr> 1668. <abbr title="Canvas">C.</abbr> 50⅖ × 66⅗.</dd> + +<dt>CARLSRUHE. GRAND DUCAL MUSEUM.</dt> +<dd><span class="smcap">Portrait of Himself</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 238.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Panel">P.</abbr> 29⅗ × 23⅗.</dd> + +<dt>CASSEL. MUSEUM.</dt> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 208.] 1627. <abbr title="Panel">P.</abbr> 8 × 6⅖.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 209.] <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 26⅖ × 22⅖.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 210.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 20 × 15⅗.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 211.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 23⅗ × 19⅗.</dd> +<dd><span class="smcap">Portrait</span>, said to be Coppenol. [<abbr title="Gallery Catalogue number">No.</abbr> 212.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 40 × 31⅕.</dd> +<dd><span class="smcap">Jan Herman Krul</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 213.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Canvas">C.</abbr> 49⅕ × 37⅗.</dd> +<dd><span class="smcap">Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 214.] 1634. <abbr title="Panel">P.</abbr> 39⅕ × 30⅘.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 215.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 31⅗ × 25⅗.</dd> +<dd><span class="smcap">A Young Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 216.] 1635. <abbr title="Panel">P.</abbr> 28⅘ × 23⅗.</dd> +<dd><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> +<span class="smcap">A Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 217.] <abbr title="Signed">S.</abbr> 1639. <abbr title="Canvas">C.</abbr> 79⅕ × 48⅖.</dd> +<dd><span class="smcap">Holy Family</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 218.] Called "The Woodchopper." <abbr title="Signed">S.</abbr> 1646. <abbr title="Panel">P.</abbr> 18 +× 26⅘.</dd> +<dd><span class="smcap">A Winter Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 219.] <abbr title="Signed">S.</abbr> 1646. <abbr title="Panel">P.</abbr> 6⅖ × 8⅘.</dd> +<dd><span class="smcap">The Ruin</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 220.] <abbr title="Signed">S.</abbr> 1650. <abbr title="Panel">P.</abbr> 26⅖ × 34⅖.</dd> +<dd><span class="smcap">Portrait of Bruyningh</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 221.] <abbr title="Signed">S.</abbr> 1652. <abbr title="Canvas">C.</abbr> 42 × 36.</dd> +<dd><span class="smcap">Man in Armour</span>, known as "The Watch." [<abbr title="Gallery Catalogue number">No.</abbr> 223.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 45⅕ +× 36.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 226.] 1655. <abbr title="Panel">P.</abbr> 8 × 6.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 225.] 1657. <abbr title="Panel">P.</abbr> 8 × 6⅔.</dd> +<dd><span class="smcap">An Architect, or Geometrician</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 224.] 1656. <abbr title="Canvas">C.</abbr> 48 × 36.</dd> +<dd><span class="smcap">Jacob Blessing Joseph's Sons</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 227.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 69⅗ × 80.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 222.] <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 29⅕ × 23⅗.</dd> + +<dt>COLOGNE. BARON A. VON OPPENHEIM.</dt> +<dd><span class="smcap">A Young Girl</span>. 1655. <abbr title="Panel">P.</abbr> 8⅖ × 7.</dd> + +<dt>DARMSTADT. GRAND-DUCAL GALLERY.</dt> +<dd><span class="smcap">The Flagellation</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 347.] <abbr title="Signed">S.</abbr> 1668. <abbr title="Canvas">C.</abbr> 37⅗ × 29⅕.</dd> + +<dt>DRESDEN. ROYAL GALLERY.</dt> +<dd><span class="smcap">Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1556.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 21 × 17⅗.</dd> +<dd><span class="smcap">A Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1557.] Willem Burchgraeff. [<abbr title="Gallery Catalogue number">No.</abbr> 182.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 27 +× 21.</dd> +<dd><span class="smcap">The Capture of Ganymede</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1558.] <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 68⅗ × 52.</dd> +<dd><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> +<span class="smcap">Rembrandt and Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1559.] <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 64 × 52⅘.</dd> +<dd><span class="smcap">The Marriage of Samson</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1560.] <abbr title="Signed">S.</abbr> 1638. <abbr title="Canvas">C.</abbr> 50⅖ × 70⅖.</dd> +<dd><span class="smcap">The Man with the Bittern</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1661.] <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 48⅖ × 35⅗.</dd> +<dd><span class="smcap">Saskia holding a Pink</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1562.] <abbr title="Signed">S.</abbr> 1641. <abbr title="Panel">P.</abbr> 39⅕ × 32⅘.</dd> +<dd><span class="smcap">The Sacrifice of Manoah</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1563.] <abbr title="Signed">S.</abbr> 1641. <abbr title="Canvas">C.</abbr> 96⅖ × 114.</dd> +<dd><span class="smcap">Old Woman weighing Gold</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1564.] <abbr title="Canvas">C.</abbr> 44⅘ × 39⅗.</dd> +<dd><span class="smcap">A Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1565.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 30⅘ × 26⅘.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1571.] 1645. <abbr title="Canvas">C.</abbr> 37⅗ × 30⅘.</dd> +<dd><span class="smcap">The Entombment</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1566.] <abbr title="Signed">S.</abbr> 1653. <abbr title="Canvas">C.</abbr> 38⅘ × 27⅗.</dd> +<dd><span class="smcap">An Old Man with a Beard</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1567.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Panel">P.</abbr> 40 × 30⅘.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1568.] 1656. <abbr title="Canvas">C.</abbr> 35⅘ × 27⅖.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1569.] <abbr title="Signed">S.</abbr> 1657. <abbr title="Canvas">C.</abbr> 34⅕ × 26.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1570.] 1666. <abbr title="Canvas">C.</abbr> 32⅘ × 28⅖.</dd> + +<dt>ELBERFELD. KARL VON DER HEYDT.</dt> +<dd><span class="smcap">The Denial of St Peter</span>. <abbr title="Signed">S.</abbr> 1628. Copper, 8⅘ × 6⅘.</dd> +<dd><span class="smcap">A Lady</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 30⅘ × 25⅗.</dd> + +<dt>FRANKFORT. STÆDEL ART INSTITUTE.</dt> +<dd><span class="smcap">David playing before Saul</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 183.] <abbr title="Panel">P.</abbr> 24⅘ × 20.</dd> +<dd><span class="smcap">Portrait of Margaretha van Bilderbeecq</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 182.] Oval. <abbr title="Signed">S.</abbr> 1633. +<abbr title="Panel">P.</abbr> 26⅘ × 22⅖.</dd> +<dd><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> +<span class="smcap">Parable of the Labourers in the Vineyard</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 181.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> +61⅕ × 54⅘.</dd> + +<dt>GOTHA. MUSEUM.</dt> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 181.] <abbr title="Signed">S.</abbr> 1629. <abbr title="Panel">P.</abbr> 7⅕ × 5⅗.</dd> + +<dt>HAMBURG. KUNST-HALLE.</dt> +<dd><span class="smcap">Maurice Huygens</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 52 × 44.</dd> + +<dt>CONSUL WEBER.</dt> +<dd><span class="smcap">Presentation in the Temple</span>. <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 22 × 17⅗.</dd> +<dd><span class="smcap">The Woman taken in Adultery</span>. 1644. <abbr title="Canvas">C.</abbr> 45⅗ × 54.</dd> +<dd><span class="smcap">A Pilgrim at Prayer</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 36 × 31⅕.</dd> + +<dt>LEIPZIG. JULIUS O. GOTTCHALD.</dt> +<dd><span class="smcap">Study of an Old Man</span>. 1630. <abbr title="Panel">P.</abbr> 8⅕ × 6⅘.</dd> + +<dt>MUSEUM.</dt> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 347.] 1654. <abbr title="Panel">P.</abbr> 10⅖ × 8⅖.</dd> + +<dt>ALFRED THIEME.</dt> +<dd><span class="smcap">The Good Samaritan</span>. 1640. <abbr title="Canvas">C.</abbr> 12⅖ × 15.</dd> +<dd><span class="smcap">Portrait called the Constable of Bourbon</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Canvas">C.</abbr> 36⅖ × 29⅗.</dd> + +<dt>METZ. MUSEUM.</dt> +<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 23⅗ × 17⅗.</dd> + +<dt><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> +MUNICH. ROYAL GALLERY.</dt> +<dd><span class="smcap">Holy Family</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 324.] <abbr title="Signed">S.</abbr> 1631. <abbr title="Canvas">C.</abbr> 77⅕ × 52.</dd> +<dd><span class="smcap">Portrait of a Turk</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 325.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 33⅗ × 25⅕.</dd> +<dd><span class="smcap">The Descent from the Cross</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 326.] <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 35⅗ × 26.</dd> +<dd><span class="smcap">The Elevation of the Cross</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 327.] 1633. <abbr title="Canvas">C.</abbr> 38⅖ × 28⅘.</dd> +<dd><span class="smcap">The Ascension</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 328.] <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 36⅘ × 26⅘.</dd> +<dd><span class="smcap">The Entombment</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 330.] 1638. <abbr title="Canvas">C.</abbr> 37⅕ × 27⅗.</dd> +<dd><span class="smcap">The Resurrection</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 329.] <abbr title="Signed">S.</abbr> 1639. <abbr title="Canvas">C.</abbr> 37⅗ × 28.</dd> +<dd><span class="smcap">The Adoration of the Shepherds</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 331.] <abbr title="Signed">S.</abbr> 1646. <abbr title="Canvas">C.</abbr> 38⅘ × +28⅘.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 333.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Panel">P.</abbr> 32⅘ × 26⅘.</dd> + +<dt>DR MARTIN SCHUBART.</dt> +<dd><span class="smcap">An Old Man</span>. 1632. <abbr title="Panel">P.</abbr> 25 × 18⅗.</dd> + +<dt>NORDKIRCHEN. COUNT ESTERHAZY.</dt> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1629.</dd> + +<dt>NUREMBERG. MUSEUM.</dt> +<dd><span class="smcap">Rembrandt</span> [<abbr title="Gallery Catalogue number">No.</abbr> 298], in armour. <abbr title="Signed">S.</abbr> 1629. <abbr title="Panel">P.</abbr> 15⅗ × 12⅘.</dd> +<dd><span class="smcap">Saint Paul</span>. 1629.</dd> + +<dt>OLDENBURG. AUGUSTEUM.</dt> +<dd><span class="smcap">The Prophetess Anna</span>, or the painter's mother. [<abbr title="Gallery Catalogue number">No.</abbr> 166.] <abbr title="Signed">S.</abbr> 1631. +<abbr title="Canvas">C.</abbr> 24 × 19⅕.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 167.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 26⅗ × 20⅖.</dd> +<dd><span class="smcap">Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 169.] 1645. <abbr title="Panel">P.</abbr> 11⅗ × 16.</dd> + +<dt><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> +POSEN. COUNT EDWARD RACZYNSKI.</dt> +<dd><span class="smcap">Christ</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 39 × 32⅗.</dd> + +<dt>SCHWERIN. GRAND DUCAL MUSEUM.</dt> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 854.] <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 27⅕ × 20⅘.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 855.] 1656. <abbr title="Canvas">C.</abbr> 22⅘ × 18⅘.</dd> + +<dt>STRASBURG. MUSEUM.</dt> +<dd><span class="smcap">An Old Man</span>, holding a scroll. 1650. <abbr title="Canvas">C.</abbr> 24⅖ × 18⅖.</dd> + +<dt>STUTTGART. MUSEUM.</dt> +<dd><span class="smcap">St Paul in Prison</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 225.] <abbr title="Signed">S.</abbr> 1627. <abbr title="Panel">P.</abbr> 28 × 23⅕.</dd> + +<dt>WEIMAR. GRAND DUKE OF SAXE-WEIMAR.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 24⅖ × 19⅕.</dd> +</dl> + +<p class="country">HOLLAND.</p> +<dl class="catalogue"> +<dt>THE HAGUE. MAURITSHUIS, ROYAL MUSEUM.</dt> +<dd><span class="smcap">Rembrandt's Mother</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 556, Room XIV.] 1628. <abbr title="Panel">P.</abbr> 7 × 5.</dd> +<dd><span class="smcap">Rembrandt's Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 565, Room XIV.] 1628. <abbr title="Panel">P.</abbr> 18⅘ × 15⅗.</dd> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 148, Room XIV.] 1629. <abbr title="Panel">P.</abbr> 14⅘ × 11⅗.</dd> +<dd><span class="smcap">A Man Laughing</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 598, Room XIV.] 1630. <abbr title="Panel">P.</abbr> 6 × 4⅘.</dd> +<dd><span class="smcap">A Young Girl</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 577, Room XIV.] <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 22 × 18.</dd> +<dd><span class="smcap">The Presentation in the Temple</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 145, Room XIV.] <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> +24 × 19⅕.</dd> +<dd><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> +<span class="smcap">The Anatomy Lesson of Professor Pieterszoon Tulp</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 146, Room +XIII.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 64⅘ × 86⅖.</dd> +<dd><span class="smcap">Rembrandt As an Officer</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 149, Room XIV.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 24⅘ +× 18⅘.</dd> +<dd><span class="smcap">The Flight Into Egypt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 579, Room XIV.] <abbr title="Signed">S.</abbr> 1636. <abbr title="Panel">P.</abbr> 15⅕ × +14.</dd> +<dd><span class="smcap">A Woman at Her Toilet</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 552, Room XIV.] <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 29 × 25.</dd> +<dd><span class="smcap">Susannah at the Bath</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 147, Room XIV.] <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 18⅘ × +15⅗.</dd> +<dd><span class="smcap">Portrait Believed To Be Rembrandt's Brother Adriaen</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 560, +Room XIV.] <abbr title="Signed">S.</abbr> 1650. <abbr title="Canvas">C.</abbr> 31⅕ × 26⅖.</dd> +<dd><span class="smcap">Homer Reciting His Poems</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 584, Room XIV.] <abbr title="Signed">S.</abbr> 1663. <abbr title="Canvas">C.</abbr> 43⅕ +× 32⅘.</dd> + +<dt>AMSTERDAM. RYKSMUSEUM.</dt> +<dd><span class="smcap">Rembrandt's Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1248.] 1629. <abbr title="Canvas">C.</abbr> 21⅗ × 18⅖.</dd> +<dd><span class="smcap">A Young Lady, Known As the Lady of Utrecht</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 42⅖ × 32⅖.</dd> +<dd><span class="smcap">Elizabeth Bas [<abbr title="Gallery Catalogue number">No.</abbr> 1249], Widow of Admiral Swartenhout</span>. 1640. <abbr title="Canvas">C.</abbr> 46⅖ × 35⅕.</dd> +<dd><span class="smcap">The Sortie of the Company of Captain Frans Banning Cocq</span> [<abbr title="Gallery Catalogue number">No.</abbr> 1246], Called "the Night Watch." <abbr title="Signed">S.</abbr> 1642. <abbr title="Canvas">C.</abbr> 143⅗ × 174.</dd> +<dd><span class="smcap">Mythological Subject</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1251.] 1650. <abbr title="Canvas">C.</abbr> 34 × 26⅘.</dd> +<dd><span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> +<span class="smcap">The Anatomy Lesson of Dr Johannes Deyman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1250.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 40 × 52⅘.</dd> +<dd><span class="smcap">The Syndics of the Drapers</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1247.] <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 74 × 109⅗.</dd> +<dd><span class="smcap">The Jewish Bride</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1252.] <abbr title="Signed">S.</abbr> 1665. <abbr title="Canvas">C.</abbr> 47⅕ × 65⅗.</dd> + +<dt>DR C. HOFSTEDE DE GROOT.</dt> +<dd><span class="smcap">Rembrandt's Sister</span>. 1630. <abbr title="Panel">P.</abbr> 5¼ × 3¾.</dd> + +<dt>SIX COLLECTION.</dt> +<dd><span class="smcap">Joseph Interpreting His Dreams</span>. <abbr title="Signed">S.</abbr> 1630. Cardboard, 20 × 15⅕.</dd> +<dd><span class="smcap">Anna Vymer</span>. <abbr title="Signed">S.</abbr> 1641. <abbr title="Panel">P.</abbr> 40 × 32.</dd> +<dd><span class="smcap">Portrait of Ephraim Bonus</span>. 1647. <abbr title="Panel">P.</abbr> 7⅗ × 6.</dd> +<dd><span class="smcap">Burgomaster Six</span>. 1660. <abbr title="Canvas">C.</abbr> 44 × 40.</dd> + +<dt>THE HAGUE. DR BREDIUS.</dt> +<dd><span class="smcap">A Woman Praying</span>. 1654. <abbr title="Panel">P.</abbr> 7¾ × 6.</dd> + +<dt>PRINCE HENRI DES PAYS-BAS.</dt> +<dd><span class="smcap">Rembrandt</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 24⅔ × 19⅕.</dd> + +<dt>D. F. SCHEURLEER.</dt> +<dd><span class="smcap">Head of a Boy</span>. 1629. 10⅖ × 8⅕.</dd> + +<dt>STEENGRACHT COLLECTION.</dt> +<dd><span class="smcap">The Toilet of Bathsheba</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 20⅘ × 30⅖.</dd> + +<dt>LEEUWARDEN. BARON VAN HARINXMA THOE SLOOTEN.</dt> +<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Panel">P.</abbr> 9⅖ × 8⅕.</dd> + +<dt><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> +ROTTERDAM. BOYMANS MUSEUM.</dt> +<dd><span class="smcap">Portrait of Rembrandt's Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 237, Room B.] <abbr title="Signed">S.</abbr> 1630. Oval. +<abbr title="Panel">P.</abbr> 29⅕ × 22⅖.</dd> +<dd><span class="smcap">The Peace of the Country</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 238, Room D.] <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 29⅗ +× 40.</dd> +</dl> + +<p class="country">ITALY.</p> +<dl class="catalogue"> +<dt>FLORENCE. PITTI PALACE.</dt> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 60, Room 5.] 1635. <abbr title="Canvas">C.</abbr> 24⅘ × 20⅘.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 16, Room 6.] <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 40⅘ × 33⅕.</dd> + +<dt>UFFIZI.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 451, Room 13.] 1655. <abbr title="Canvas">C.</abbr> 28⅘ × 23⅕.</dd> +<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 452, Room 13.] 1666. <abbr title="Canvas">C.</abbr> 28⅘ × 23⅕.</dd> + +<dt>SIGNOR FABRI.</dt> +<dd><span class="smcap">Study of an Old Man</span>. <abbr title="Panel">P.</abbr> 23⅗ × 18⅘.</dd> + +<dt>MILAN. BRERA.</dt> +<dd><span class="smcap">A Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 449.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 22 × 19⅕.</dd> +</dl> + +<p class="country">ROUMANIA.</p> +<dl class="catalogue"> +<dt>SINAIA. THE KING OF ROUMANIA.</dt> +<dd><span class="smcap">Esther, Haman, and Ahasuerus</span>. 1668. <abbr title="Canvas">C.</abbr> 94 × 76.</dd> +</dl> + +<div class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></div> +<p class="country">RUSSIA.</p> +<dl class="catalogue"> +<dt>ST PETERSBURG. THE HERMITAGE.</dt> +<dd><span class="smcap">Portrait of Rembrandt's Father</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 814.] <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 14⅖ × +10⅖.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 808.] <abbr title="Signed">S.</abbr> 1631. <abbr title="Canvas">C.</abbr> 45⅕ × 36⅘.</dd> +<dd><span class="smcap">The Descent From the Cross</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 800.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 63⅕ × 46⅘.</dd> +<dd><span class="smcap">The Incredulity of St Thomas</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 801.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 22 × 20⅖.</dd> +<dd><span class="smcap">The Jewish Bride</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 812.] <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 50 × 40⅖.</dd> +<dd><span class="smcap">A Young Man</span> [<abbr title="Gallery Catalogue number">No.</abbr> 828]. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 28 × 20⅘.</dd> +<dd><span class="smcap">The Sacrifice of Isaac</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 792.] <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 77⅕ × 53⅕.</dd> +<dd><span class="smcap">Portrait of an Oriental</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 813.] <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 39⅗ × 30⅖.</dd> +<dd><span class="smcap">Danae</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 892.] <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 74 × 82.</dd> +<dd><span class="smcap">Portrait of a Man, called Sobieski</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 811.] <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 38⅘ +× 26⅗.</dd> +<dd><span class="smcap">The Parable of the Master of the Vineyard</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 798.] <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> +12⅖ × 16⅘.</dd> +<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 829.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 30⅖ × 22⅖.</dd> +<dd><span class="smcap">The Reconciliation of David and Absalom</span>. [<abbr title="Gallery Catalogue number">No.</abbr>1777.] <abbr title="Signed">S.</abbr> 1642. <abbr title="Panel">P.</abbr> +30 × 24⅗.</dd> +<dd><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> +<span class="smcap">Rembrandt's Mother</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 807.] <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 31⅗ × 24⅖.</dd> +<dd><span class="smcap">The Holy Family</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 796.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 46⅘ × 36⅖.</dd> +<dd><span class="smcap">Portrait of a Man, erroneously called Manasseh Ben Israel</span>. [<abbr title="Gallery Catalogue number">No.</abbr> +820.] <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 51⅗ × 44⅘.</dd> +<dd><span class="smcap">Abraham Receiving the Angels</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 791.] 1650. <abbr title="Canvas">C.</abbr> 48⅗ × 65.</dd> +<dd><span class="smcap">The Sons of Jacob showing him Joseph's Coat</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 793.] <abbr title="Signed">S.</abbr> 1650. +<abbr title="Canvas">C.</abbr> 61⅘ × 67⅕.</dd> +<dd><span class="smcap">The Disgrace of Haman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 795.] <abbr title="Signed">S.</abbr> 1650. <abbr title="Canvas">C.</abbr> 50⅘ × 46⅘.</dd> +<dd><span class="smcap">Pallas</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 809.] 1650. <abbr title="Canvas">C.</abbr> 46⅘ × 36⅖.</dd> +<dd><span class="smcap">Hannah Teaching the Infant Samuel to Read</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 822.] <abbr title="Signed">S.</abbr> 1650. <abbr title="Canvas">C.</abbr> +46⅘ × 37⅗.</dd> +<dd><span class="smcap">Girl with a Broom</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 826.] <abbr title="Signed">S.</abbr> 1651. <abbr title="Canvas">C.</abbr> 43⅗ × 36⅘.</dd> +<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 804.] 1654. <abbr title="Canvas">C.</abbr> 53⅕ × 42⅘.</dd> +<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 805.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 43⅗ × 33⅗.</dd> +<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 806.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 29⅗ × 25⅕.</dd> +<dd><span class="smcap">An Old Jew</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 810.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 43⅗ × 33⅗.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 818.] 1654. <abbr title="Canvas">C.</abbr> 43⅕ × 34⅖.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 823.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 35⅕ × 28⅘.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 824.] <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 29⅗ × 25⅕.</dd> +<dd><span class="smcap">Joseph Accused by Potiphar's Wife</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 794.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 42 × +38⅘.</dd> +<dd><span class="smcap">St Peter's Denial</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 799.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 61⅕ × 67⅕.</dd> +<dd><span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> +<span class="smcap">A Young Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 819.] <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 40⅘ × 34⅘.</dd> +<dd><span class="smcap">Young Woman trying on an Earring</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 817.] <abbr title="Signed">S.</abbr> 1657. <abbr title="Panel">P.</abbr> 16 × +14⅕.</dd> +<dd><span class="smcap">A Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 825.] 1660. <abbr title="Canvas">C.</abbr> 28⅘ × 22⅖.</dd> +<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 821.] <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 28⅖ × 24⅖.</dd> +<dd><span class="smcap">Portrait of Jeremias de Decker, the Poet</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 827.] <abbr title="Signed">S.</abbr> 1666. <abbr title="Panel">P.</abbr> +28⅖ × 22⅖.</dd> +<dd><span class="smcap">The Prodigal Son</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 797.] 1669. <abbr title="Canvas">C.</abbr> 104⅘ × 100.</dd> +<dd><span class="smcap">An Old Jew</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 815.] <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 20⅖ × 16⅘.</dd> + +<dt>PRINCE JOUSOUPOFF.</dt> +<dd><span class="smcap">Head of a Young Boy</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> <span class="fraction" title="7-22/25">7<sup>22</sup>⁄<sub>25</sub></span> × <span class="fraction" title="6-17/25">6<sup>17</sup>⁄<sub>25</sub></span>.</dd> +<dd><span class="smcap">Susannah and the Elders</span>. <abbr title="Signed">S.</abbr> 1637.</dd> +<dd><span class="smcap">A Young Man</span>. 1660. <abbr title="Canvas">C.</abbr> 32⅘ × 39⅕.</dd> +<dd><span class="smcap">A Lady With an Ostrich Feather</span>. 1660. <abbr title="Canvas">C.</abbr> 33 × 39⅗.</dd> + +<dt>PRINCE OF LEUCHTEMBERG.</dt> +<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 108]. 1643. <abbr title="Panel">P.</abbr> 30 × 24⅘.</dd> + +<dt>COUNT A. W. ORLOFF-DAVIDOFF.</dt> +<dd><span class="smcap">Christ</span>. 1660. <abbr title="Canvas">C.</abbr> <span class="fraction" title="43-19/25">43<sup>19</sup>⁄<sub>25</sub></span> × 38⅘.</dd> + +<dt><span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> +COUNT S. STROGANOFF.</dt> +<dd><span class="smcap">A Philosopher in Meditation</span>. <abbr title="Signed">S.</abbr> 1630. <abbr title="Panel">P.</abbr> 23⅖ × 18-2⅗0</dd> +<dd><span class="smcap">A Young Monk</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 32⅖ × 26⅘.</dd> +</dl> + +<p class="country">SPAIN.</p> +<dl class="catalogue"> +<dt>MADRID. PRADO.</dt> +<dd><span class="smcap">Queen Artemisia receiving the Ashes of Mausolus</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1544.] +Otherwise Known As Cleopatra at her toilet. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 56⅘ × 61⅕.</dd> +</dl> + +<p class="country">SWEDEN.</p> +<dl class="catalogue"> +<dt>STOCKHOLM. ROYAL MUSEUM.</dt> +<dd><span class="smcap">A Young Girl</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 591.] 1630. <abbr title="Panel">P.</abbr> 23⅗ × 24⅘.</dd> +<dd><span class="smcap">St Anastasius</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 579.] <abbr title="Signed">S.</abbr> 1631. <abbr title="Panel">P.</abbr> 24 × 19⅕.</dd> +<dd><span class="smcap">Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 583.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 28⅘ × 21⅗.</dd> +<dd><span class="smcap">Study of an Old Man as St Peter</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1349.] <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 32⅘ +× 24⅘.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 585.] <abbr title="Signed">S.</abbr> 1633.</dd> +<dd><span class="smcap">The Young Servant</span>. <abbr title="Signed">S.</abbr> 1654. <abbr title="Canvas">C.</abbr> 31⅕ × 25⅕.</dd> +<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 581.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 35⅗ × 29⅕.</dd> +<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 582.] <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 35⅗ × 29⅕.</dd> +<dd><span class="smcap">The Conspiracy of Claudius Civilis</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 578.] 1661. <abbr title="Canvas">C.</abbr> 78⅖ +× 123⅗.</dd> + +<dt><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> +VANAS. COUNT AXEL DE WACHTMEISTER.</dt> +<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 25⅒ × 18⅖.</dd> +<dd><span class="smcap">A Young Man</span>. 1643. <abbr title="Canvas">C.</abbr> 42 × 36.</dd> +</dl> + +<p class="country">UNITED STATES OF AMERICA.</p> +<dl class="catalogue"> +<dt>CHICAGO. ARMOUR.</dt> +<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Canvas">C.</abbr> 33⅗ × 26⅘.</dd> + +<dt>P. C. HANFORD.</dt> +<dd><span class="smcap">An Accountant by a Table</span>. <abbr title="Canvas">C.</abbr> 40⅘ × 32.</dd> + +<dt>NEW YORK. W. H. BEERS.</dt> +<dd><span class="smcap">Rembrandt's Father</span>. 1632. <abbr title="Canvas">C.</abbr> 30 × 24⅘.</dd> + +<dt>ROBERT W. DE FOREST.</dt> +<dd><span class="smcap">Head of a Young Man</span>. 25½ × 19½.</dd> + +<dt>H. O. HAVEMEYER.</dt> +<dd><span class="smcap">Portrait of Christian Paul van Beersteyn</span>, Burgomaster of Delft. <abbr title="Signed">S.</abbr> +1632.</dd> +<dd><span class="smcap">Portrait of Volkera Nicolai Knobbert</span>, wife of Beersteyn. <abbr title="Signed">S.</abbr> 1632.</dd> +<dd><span class="smcap">Portrait of Paulus Doomer</span>, called "The Gilder." <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 29⅕ +× 21⅗.</dd> +<dd><span class="smcap">A Woman</span>, aged 87. <abbr title="Signed">S.</abbr> 1640 or 1646. <abbr title="Canvas">C.</abbr> 27⅗ × 24.</dd> + +<dt><span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> +ROBERT HOE.</dt> +<dd><span class="smcap">Young Gipsy holding a Medallion</span>. 1650. <abbr title="Canvas">C.</abbr></dd> + +<dt>MORRIS K. JESSUP.</dt> +<dd><span class="smcap">Portrait of a Young Man</span>, erroneously called Six.</dd> +<dd><span class="smcap">Portrait of his Wife</span>.</dd> + +<dt>METROPOLITAN MUSEUM.</dt> +<dd><span class="smcap">A Man</span>. [no. 277.] 1640. <abbr title="Canvas">C.</abbr> 30¾ × 24¾.</dd> +<dd><span class="smcap">An Old Man</span>. [no. 274.] <abbr title="Signed">S.</abbr> 1665. <abbr title="Canvas">C.</abbr> 27⅝ × 24⅜.</dd> +<dd><span class="smcap">The Mills</span>. [no. 276.] <abbr title="Canvas">C.</abbr> 21½ × 26¼.</dd> +<dd><span class="smcap">The Adoration of the Shepherds</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 278.] <abbr title="Panel">P.</abbr> 24⅜ × <span class="fraction" title="20-7/16">20<sup>7</sup>⁄<sub>16</sub></span>.</dd> + +<dt>J. PIERPONT MORGAN.</dt> +<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Canvas">C.</abbr> 43½ × 33½.</dd> + +<dt>R. MORTIMER.</dt> +<dd><span class="smcap">Portrait of a Young Man putting on His Armour</span>. 1634. <abbr title="Canvas">C.</abbr> 40⅖ +× 33⅗.</dd> + +<dt>W. SCHAUS.</dt> +<dd><span class="smcap">Portrait of an Admiral</span>, erroneously called "Van Tromp." 1658. <abbr title="Panel">P.</abbr> +36 × 29¾.</dd> + +<dt>CHARLES STEWART SMITH.</dt> +<dd><span class="smcap">St John</span>. Oval. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 25 × 19.</dd> + +<dt><span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> +C. T. YERKES.</dt> +<dd><span class="smcap">The Raising of Lazarus</span>. 1628. <abbr title="Panel">P.</abbr> 16⅘ × 14.</dd> +<dd><span class="smcap">Joris de Caulery</span>. <abbr title="Signed">S.</abbr> 1632.</dd> +<dd><span class="smcap">Portrait of a Rabbi</span>. 1635. <abbr title="Panel">P.</abbr> 25 × 20⅘.</dd> +<dd><span class="smcap">Philemon and Baucis</span>. <abbr title="Signed">S.</abbr> 1658. <abbr title="Panel">P.</abbr> 21⅗ × 27⅗.</dd> + +<dt>PHILADELPHIA. P. A. B. WIDENER.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. 1633. <abbr title="Panel">P.</abbr> 23⅗ × 18⅕.</dd> + +<dt>PITTSBURGH. A. M. BYERS.</dt> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Panel">P.</abbr> 31⅖ × 26⅖.</dd> + +<dt>SAN FRANCISCO. WILLIAM H. CROCKER.</dt> +<dd><span class="smcap">Portrait of a Young Boy</span>. <abbr title="Panel">P.</abbr> 16⅖ × 14.</dd> + +<dt>UNKNOWN OWNERS.</dt> +<dd><span class="smcap">A Young Man, Called Tulp</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 28⅘ × 20⅖.</dd> +<dd><span class="smcap">Portrait of a Young Woman</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 28⅘ × 20⅖.</dd> +<dd><span class="smcap">A Man</span>, called Matthys Kalkoen. <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 44⅘ × 36.</dd> +<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1634.</dd> +<dd><span class="smcap">Portrait called "The Dutch Admiral.</span>" <abbr title="Signed">S.</abbr> 1643.</dd> +<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Signed">S.</abbr> 1643.</dd> +<dd><span class="smcap">An Orphan Girl of Amsterdam</span>. <abbr title="Signed">S.</abbr> 1645. <abbr title="Canvas">C.</abbr> 64 × 33⅗.</dd> +<dd>"<span class="smcap">The Standard-Bearer</span>." 1662. <abbr title="Canvas">C.</abbr> 56 × 58.</dd> +<dd><span class="smcap">Portrait Called Six</span>. <abbr title="Signed">S.</abbr> <abbr title="Canvas">C.</abbr> 48 × 36⅘.</dd> +</dl> + +<hr style="width: 65%;" /> +<div class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></div> +<h1><a name="INDEX" id="INDEX"></a>INDEX</h1> + +<dl class="index"> +<dt><i>Abraham caressing Isaac</i> (etching), <a href="#Page_108">108</a></dt> +<dt><i>Abraham conversing with Isaac</i> (etching), <a href="#Page_99">99</a></dt> +<dt><i>Abraham dismissing Hagar</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Abraham entertaining the Angels</i>, <a href="#Page_75">75</a>;</dt> +<dd>(etching), <a href="#Page_106">106</a></dd> +<dt><i>Abraham's Sacrifice</i>, <a href="#Page_64">64</a>;</dt> +<dd>(etching), <a href="#Page_105">105</a></dd> +<dt><i>Actæon, Diana, and Callisto</i>, <a href="#Page_63">63</a></dt> +<dt><i>Adam and Eve</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Admiral, Portrait of an</i>, <a href="#Page_79">79</a></dt> +<dt><i>Adoration of the Magi, The</i>, <a href="#Page_78">78</a></dt> +<dt><i>Adoration of the Shepherds, The</i>, <a href="#Page_32">32</a>, <a href="#Page_73">73</a>;</dt> +<dd>(etching), <a href="#Page_112">112</a></dd> +<dt>Adriaen, Rembrandt's Brother, <a href="#Page_12">12</a>, <a href="#Page_14">14</a>, <a href="#Page_28">28</a>, <a href="#Page_38">38</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_51">51</a></dd> +<dt><i>Adriaans, Alotte, Portrait of</i>, <a href="#Page_67">67</a></dt> +<dt>Alenson, the Minister, <a href="#Page_25">25</a>;</dt> +<dd><i>Portraits of, and his wife</i>, <a href="#Page_61">61</a></dd> +<dt>Amsterdam, prosperity of, <a href="#Page_14">14</a>, <a href="#Page_15">15</a></dt> +<dt><i>Amsterdam, View of</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Anatomy Lesson, The</i>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_58">58</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_58">58</a></dd> +<dt><i>Anatomy Lesson of Dr Deyman, The</i>, (1656), <a href="#Page_77">77</a></dt> +<dt><i>Angel, An</i>, <a href="#Page_78">78</a></dt> +<dt><i>Angel quitting Tobit, The</i>, <a href="#Page_65">65</a>;</dt> +<dd>(etching), <a href="#Page_98">98</a></dd> +<dt><i>Anna</i>, <a href="#Page_55">55</a></dt> +<dt>Anslo, the Minister, <a href="#Page_25">25</a>;</dt> +<dd><i>Portrait of</i> <a href="#Page_68">68</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_68">68</a></dd> +<dt><i>Architect, An</i>, <a href="#Page_77">77</a></dt> +<dt><i>Artemisia receiving the Ashes of Mausolus</i>, <a href="#Page_62">62</a></dt> +<dt><i>Ascension, The</i>, <a href="#Page_20">20</a>, <a href="#Page_64">64</a></dt> +<dt>Asselyn, Jan, <a href="#Page_25">25</a>;</dt> +<dd><i>Portrait of</i> (etching), <a href="#Page_109">109</a></dd> +</dl> + +<dl class="index"> +<dt><i>Baptism of the Eunuch, The</i> (etching), <a href="#Page_98">98</a></dt> +<dt>Bartsch, Adam, <a href="#Page_90">90</a></dt> +<dt><i>Bas, Elizabeth, Portrait of</i>, <a href="#Page_68">68</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_68">68</a></dd> +<dt><i>Bathers, The</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Bathsheba</i> (Louvre), <a href="#Page_76">76</a></dt> +<dt><i>Bathsheba at her Toilet</i>, <a href="#Page_71">71</a></dt> +<dt><i>Battle-Scene</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Baucis and Philemon receiving Jupiter and Mercury</i>, <a href="#Page_79">79</a></dt> +<dt><i>Beersteyn Christian Paul van, Portrait of</i>, <a href="#Page_56">56</a></dt> +<dt><i>Beggars at the Door of a House</i> (etching), <a href="#Page_101">101</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_100">100</a></dd> +<dt>Beggars, etchings of, <a href="#Page_101">101</a>, <a href="#Page_112">112</a></dt> +<dt><i>Belshazzar's Feast</i>, <a href="#Page_64">64</a></dt> +<dt><i>Berchem, Nicholas; Portraits of, and his wife</i>, <a href="#Page_73">73</a></dt> +<dt><i>Bilderbeecq, Margaretha van, Portrait of</i>, <a href="#Page_58">58</a></dt> +<dt><i>Blind Fiddler, The</i> (etching), <a href="#Page_95">95</a></dt> +<dt>Bonus, Dr Ephraim, <a href="#Page_25">25</a>;</dt> +<dd><i>Portraits of</i> <a href="#Page_69">69</a>, <a href="#Page_73">73</a>;</dd> +<dd>(etching), <a href="#Page_100">100</a></dd> +<dt><i>Boy, Portrait of a</i> (Hinton St George), <a href="#Page_51">51</a>;</dt> +<dd>(Belvoir Castle), <a href="#Page_78">78</a>;</dd> +<dd><i>head of a</i>, <a href="#Page_52">52</a>;</dd> +<dd>(etching), <a href="#Page_109">109</a></dd> +<dt><i>Bruyningh, Portrait of</i>, <a href="#Page_76">76</a></dt> +<dt><i>Bull, The</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Burchgraeff, Willem, Portrait of</i>, <a href="#Page_58">58</a></dt> +</dl> + +<dl class="index"> +<dt><i>Canal, The</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Canal with a Large Boat</i> (etching), <a href="#Page_102">102</a></dt> +<dt><i>Canal with Swans</i> (etching), <a href="#Page_102">102</a></dt> +<dt>Cappelle, Van de, <a href="#Page_25">25</a></dt> +<dt><i>Capuchin, The</i>, <a href="#Page_81">81</a></dt> +<dt>Cattenburch, Dirck van, <a href="#Page_37">37</a>, <a href="#Page_87">87</a></dt> +<dt><i>Caulery, Joris de, Portrait of</i>, <a href="#Page_57">57</a></dt> +<dt><i>Christ, Head of</i> (M. Rudolphe Kann), <a href="#Page_76">76</a>;</dt> +<dd>(M. Maurice Kann), <a href="#Page_80">80</a></dd> +<dt><i>Christ, Half-length portraits of</i></dt> +<dd><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> +(St. Petersburg), <a href="#Page_79">79</a>;</dd> +<dd>(Aschaffenbourg), <a href="#Page_81">81</a></dd> +<dt><i>Christ appearing to the Disciples</i> (etching), <a href="#Page_103">103</a></dt> +<dt><i>Christ and Mary Magdalene at the Tomb</i>, <a href="#Page_66">66</a></dt> +<dt><i>Christ and Mary Magdalene in the Garden</i>, <a href="#Page_75">75</a></dt> +<dt><i>Christ and the Disciples at Emmaus</i> (etchings), <a href="#Page_96">96</a>, <a href="#Page_104">104</a></dt> +<dt><i>Christ and the Samaritan Woman</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Christ at Emmaus</i> (Mme. André-Jacquemart), <a href="#Page_51">51</a>;</dt> +<dd>(Louvre), <a href="#Page_74">74</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_74">74</a>;</dd> +<dd>(Copenhagen), <a href="#Page_74">74</a></dd> +<dt><i>Christ before Pilate</i> (etching), <a href="#Page_106">106</a></dt> +<dt><i>Christ bound to the Column</i>, <a href="#Page_73">73</a></dt> +<dt><i>Christ disputing with the Doctors</i> (etching), <a href="#Page_103">103</a></dt> +<dt><i>Christ driving the Money-Lenders from the Temple</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Christ Entombed</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Christ healing the Sick</i> (etching), <a href="#Page_85">85</a>, <a href="#Page_87">87</a>, <a href="#Page_110">110</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_86">86</a></dd> +<dt><i>Christ in the Garden of Olives</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Christ on the Cross</i>, <a href="#Page_74">74</a></dt> +<dt><i>Christ preaching</i> (etching), <a href="#Page_87">87</a>, <a href="#Page_111">111</a></dt> +<dt><i>Christ taken from the Cross</i>, <a href="#Page_68">68</a></dt> +<dt><i>Christ's Body carried to the Tomb</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Circumcision, The</i>, <a href="#Page_32">32</a>, <a href="#Page_81">81</a>;</dt> +<dd>(etching), <a href="#Page_103">103</a></dd> +<dt><i>Cleopatra at her Toilet</i>, <a href="#Page_62">62</a></dt> +<dt><i>Collen, Suzanna van, Portrait of</i>, <a href="#Page_56">56</a></dt> +<dt><i>Concord of the Country, The</i>, <a href="#Page_67">67</a></dt> +<dt><i>Conspiracy of Claudius Civilis, The</i>, <a href="#Page_41">41</a>, <a href="#Page_81">81</a></dt> +<dt><i>Constable of Bourbon</i>, <a href="#Page_72">72</a></dt> +<dt>Coppenol, <a href="#Page_6">6</a>, <a href="#Page_25">25</a>;</dt> +<dd><i>Portraits of</i>, <a href="#Page_55">55</a>, <a href="#Page_57">57</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_54">54</a>;</dd> +<dd>(etchings), <a href="#Page_110">110</a>, <a href="#Page_112">112</a></dd> +<dt>Cornelia, daughter of Rembrandt and Hendrickje, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a></dt> +<dt><i>Cottage and Barn</i> (etching), <a href="#Page_98">98</a></dt> +<dt><i>Cottage with white Pales</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Cradle, The</i>, <a href="#Page_76">76</a></dt> +<dt>Crayers, Louis, <a href="#Page_35">35</a>, <a href="#Page_40">40</a>, <a href="#Page_45">45</a></dt> +<dt><i>Crucifixion, The</i> (etchings), <a href="#Page_108">108</a>, <a href="#Page_110">110</a></dt> +</dl> + +<dl class="index"> +<dt><i>Daey, Martin, Portrait of</i>, <a href="#Page_61">61</a></dt> +<dt><i>Danae</i>, <a href="#Page_64">64</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_64">64</a></dd> +<dt><i>Daniel's Vision</i>, <a href="#Page_72">72</a></dt> +<dt><i>David and Absalom, Reconciliation of</i>, <a href="#Page_68">68</a></dt> +<dt><i>David and Goliath, Combat of</i> (etching), <a href="#Page_105">105</a></dt> +<dt><i>David at Prayer</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>David playing before Saul</i> (Frankfort), <a href="#Page_57">57</a>;</dt> +<dd>(1665), <a href="#Page_83">83</a></dd> +<dt><i>Dead Peacocks</i>, <a href="#Page_68">68</a></dt> +<dt><i>Death of the Virgin, The</i> (etching), <a href="#Page_97">97</a></dt> +<dt>Decker, Jeremias de, <a href="#Page_45">45</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_83">83</a></dd> +<dt><i>Deposition, The</i> (Duke of Abercorn), <a href="#Page_75">75</a></dt> +<dt><i>Descent from the Cross, The</i>, <a href="#Page_20">20</a>, <a href="#Page_60">60</a>, <a href="#Page_62">62</a>;</dt> +<dd>(etchings), <a href="#Page_87">87</a>, <a href="#Page_95">95</a>, <a href="#Page_98">98</a>, <a href="#Page_105">105</a></dd> +<dt><i>Desmond, The Countess of</i>, <a href="#Page_54">54</a></dt> +<dt>Deyman, Dr, <a href="#Page_25">25</a>, <a href="#Page_38">38</a></dt> +<dt><i>Diana bathing</i>, <a href="#Page_55">55</a>;</dt> +<dd>(etching), <a href="#Page_107">107</a></dd> +<dt>Dircx, Geertje, <a href="#Page_33">33</a></dt> +<dt><i>Doomer Paul, Portrait of</i>, <a href="#Page_67">67</a></dt> +<dt><i>Doorn, Machteld van, Portrait of</i>, <a href="#Page_61">61</a></dt> +<dt>Dou, Gerard, Rembrandt's first pupil, <a href="#Page_11">11</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a></dd> +<dt><i>Draughtsman, The</i> (etching), <a href="#Page_109">109</a></dt> +<dt>Drawings, Rembrandt's, <a href="#Page_115">115</a></dt> +<dt><i>Dutch Admiral and his Wife, The</i>, <a href="#Page_71">71</a></dt> +</dl> + +<dl class="index"> +<dt><i>Ecce Homo</i>, <a href="#Page_65">65</a>; (etching), <a href="#Page_87">87</a></dt> +<dt>Elevation of the Cross, The, <a href="#Page_59">59</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_60">60</a></dd> +<dt><i>Entombment, The</i> (Glasgow), <a href="#Page_59">59</a>;</dt> +<dd>(Munich), <a href="#Page_66">66</a>; (Dresden), <a href="#Page_76">76</a></dd> +<dt><i>Esther, Haman, and Ahasuerus</i>, <a href="#Page_83">83</a></dt> +<dt>Etchings, The, early appreciation of, <a href="#Page_85">85</a>;</dt> +<dd>the various states, <a href="#Page_88">88</a>;</dd> +<dd>catalogues of, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>;</dd> +<dd>authentic etchings, <a href="#Page_93">93</a>;</dd> +<dd>disputed etchings, <a href="#Page_113">113</a>;</dd> +<dd>qualities of the etchings, <a href="#Page_114">114</a>, <a href="#Page_115">115</a></dd> +</dl> + +<div class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></div> +<dl class="index"> +<dt><i>Family Group</i> (Brunswick), <a href="#Page_83">83</a></dt> +<dt><i>Faustus, Dr</i> (etching), <a href="#Page_110">110</a></dt> +<dt><i>Flagellation, The</i>, <a href="#Page_83">83</a></dt> +<dt><i>Flight into Egypt, The</i> (The Hague), <a href="#Page_64">64</a>;</dt> +<dd>(Buda-Pesth), <a href="#Page_77">77</a>;</dd> +<dd>(etchings), <a href="#Page_103">103</a>, <a href="#Page_108">108</a></dd> +<dt><i>Flute Player, The</i> (etching), <a href="#Page_109">109</a></dt> +<dt>Francen, Abraham, <a href="#Page_25">25</a>, <a href="#Page_47">47</a>;</dt> +<dd><i>Portrait of</i> (etching), <a href="#Page_110">110</a></dd> +<dt>Frederick-Henry, Prince (Stathouder),</dt> +<dd>commissions to Rembrandt, <a href="#Page_20">20</a>, <a href="#Page_27">27</a>, <a href="#Page_32">32</a>, <a href="#Page_59">59</a></dd> +</dl> + +<dl class="index"> +<dt><i>Game of Golf, The</i> (etching), <a href="#Page_105">105</a></dt> +<dt>Gelder, Aert de, <a href="#Page_44">44</a></dt> +<dt><i>Gentleman with the Hawk, The</i>, <a href="#Page_71">71</a></dt> +<dt id="index_gerritsz">Gerritsz, Harmen, Rembrandt's father, <a href="#Page_6">6</a>, <a href="#Page_11">11</a>;</dt> +<dd><i>Portraits of</i>, <a href="#Page_11">11</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, <a href="#Page_57">57</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_12">12</a>;</dd> +<dd>(etchings), <a href="#Page_94">94</a>, <a href="#Page_95">95</a></dd> +<dt><i>Gilder, The</i>, <a href="#Page_67">67</a></dt> +<dt><i>Girl, Head of a</i>, <a href="#Page_59">59</a></dt> +<dt><i>Girl with a Broom</i>, <a href="#Page_75">75</a></dt> +<dt><i>Goldsmith at his Work, A</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Goldweigher, The</i> (etching), <a href="#Page_103">103</a></dt> +<dt><i>Goldweigher's Field, The</i> (etching), <a href="#Page_103">103</a></dt> +<dt><i>Good Samaritan</i>, The (Wallace Collection), <a href="#Page_57">57</a>;</dt> +<dd>(Cracow), <a href="#Page_66">66</a>;</dd> +<dd>(M. Porgès), <a href="#Page_66">66</a>;</dd> +<dd>(circa 1640), <a href="#Page_67">67</a>;</dd> +<dd>(Louvre), <a href="#Page_74">74</a>;</dd> +<dd>(etchings), <a href="#Page_87">87</a>, <a href="#Page_95">95</a></dd> +<dt><i>Grotius</i>, <a href="#Page_57">57</a></dt> +<dt><i>Grotto, The</i> (etching), <a href="#Page_99">99</a></dt> +</dl> + +<dl class="index"> +<dt><i>Hagar and Ishmael, Expulsion of</i>, <a href="#Page_67">67</a></dt> +<dt><i>Haman, The Disgrace of</i>, <a href="#Page_75">75</a></dt> +<dt><i>Hannah teaching Samuel to read</i> (Bridgewater House), <a href="#Page_74">74</a>;</dt> +<dd>(St Petersburg), <a href="#Page_75">75</a></dd> +<dt>Haring, Jacob, <a href="#Page_38">38</a>;</dt> +<dd><i>Portrait of</i> (etching), <a href="#Page_110">110</a></dd> +<dt>Haring, Thomas Jacobsz, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>;</dt> +<dd><i>Portrait of</i> (etching) <a href="#Page_106">106</a></dd> +<dt>Harmen Gerritsz, <i>see</i> <a href="#index_gerritsz">Gerritsz</a></dt> +<dt>Heertsbeeck, Isaac van, <a href="#Page_36">36</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a></dt> +<dt id="index_hendrickje">Hendrickje, her relations with Rembrandt, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>;</dt> +<dd>her children, <a href="#Page_35">35</a>;</dd> +<dd>partnership with Titus, <a href="#Page_42">42</a>, <a href="#Page_88">88</a>;</dd> +<dd>her will, <a href="#Page_44">44</a>;</dd> +<dd>her death, <a href="#Page_44">44</a>;</dd> +<dd><i>Portraits of</i> (Louvre), <a href="#Page_34">34</a>, <a href="#Page_76">76</a>, <a href="#Page_81">81</a>;</dd> +<dd>(Berlin), <a href="#Page_82">82</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_44">44</a></dd> +<dt><i>Hog, The</i> (etching), <a href="#Page_98">98</a></dt> +<dt><i>Holy Family, The</i> (Munich), <a href="#Page_55">55</a>;</dt> +<dd>(Louvre), <a href="#Page_67">67</a>;</dd> +<dd>(Downton), <a href="#Page_71">71</a>;</dd> +<dd>(St Petersburg), <a href="#Page_72">72</a>;</dd> +<dd>(Cassel), <a href="#Page_73">73</a>;</dd> +<dd>(etching), <a href="#Page_108">108</a></dd> +<dt><i>Holy Family crossing a Rill during the Flight into Egypt</i>, <a href="#Page_103">103</a></dt> +<dt><i>Holy Family with the Serpent, The</i> (etching), <a href="#Page_104">104</a></dt> +<dt><i>Homer reciting his Poems</i>, <a href="#Page_82">82</a></dt> +<dt><i>Hoogh, Catrina, Portrait of</i>, <a href="#Page_78">78</a></dt> +<dt><i>House of the Carpenter, The</i>, <a href="#Page_67">67</a></dt> +<dt><i>Hundred Guilder Print, The</i>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_110">110</a></dt> +<dt>Huygens, Constantin, <a href="#Page_11">11</a>, <a href="#Page_20">20</a>, <a href="#Page_27">27</a></dt> +<dt><i>Huygens, Maurice, Portrait of</i>, <a href="#Page_53">53</a></dt> +</dl> + +<dl class="index"> +<dt><i>Jacob and Esau, Reconciliation of</i>, <a href="#Page_68">68</a></dt> +<dt><i>Jacob and Laban</i> (etching), <a href="#Page_98">98</a></dt> +<dt><i>Jacob blessing Joseph's Sons</i>, <a href="#Page_78">78</a></dt> +<dt><i>Jacob wrestling with the Angel</i>, <a href="#Page_80">80</a></dt> +<dt><i>Jacob's Dream</i> (etching), <a href="#Page_105">105</a></dt> +<dt><i>Jacob's Sons bringing him Joseph's Coat</i>, <a href="#Page_75">75</a></dt> +<dt><i>Jansenius</i>, <a href="#Page_82">82</a></dt> +<dt><i>Jesus and His Parents returning from Jerusalem</i> (etching), <a href="#Page_104">104</a></dt> +<dt><i>Jew in a High Cap, A</i> (etching), <a href="#Page_97">97</a></dt> +<dt><i>Jews' Synagogue, The</i> (etching), <a href="#Page_101">101</a></dt> +<dt><i>Jewish Bride, The</i> (Prince Liechtenstein), <a href="#Page_19">19</a>;</dt> +<dd>(St Petersburg), <a href="#Page_61">61</a>;</dd> +<dd>(Amsterdam), <a href="#Page_83">83</a></dd> +<dt><i>Jewish Bride, The Little</i> (etching), <a href="#Page_97">97</a></dt> +<dt><i>John the Baptist preaching</i>, <a href="#Page_78">78</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_78">78</a></dd> +<dt><i>John the Baptist, Beheading of</i>, (etching), <a href="#Page_97">97</a></dt> +<dt>Jonghe, Clement de, <a href="#Page_25">25</a>, <a href="#Page_85">85</a>, <a href="#Page_87">87</a>;</dt> +<dd><i>Portrait of</i> (etching), <a href="#Page_103">103</a>; <i>ill.</i>, <a href="#Page_90">90</a></dd> +<dt><i>Joseph accused by Potiphar's Wife</i>, <a href="#Page_77">77</a></dt> +<dt><i>Joseph and Potiphar's Wife</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Joseph interpreting his Dreams</i>, <a href="#Page_53">53</a></dt> +<dt><i>Joseph relating his Dreams</i> (etchings), <a href="#Page_97">97</a></dt> +<dt><span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></dt> +<dt><i>Joseph's Coat</i>, <a href="#Page_74">74</a></dt> +<dt><i>Judas with the Price of the Betrayal</i>, <a href="#Page_51">51</a></dt> +<dt><i>Judith</i>, <a href="#Page_55">55</a></dt> +<dt><i>Jupiter and Antiope</i> (etching), <a href="#Page_107">107</a></dt> +</dl> + +<dl class="index"> +<dt><i>Kalkoen, Matthys, Portrait of</i>, <a href="#Page_57">57</a></dt> +<dt><i>Knobbert, Volkera Nicolai, Portrait of</i>, <a href="#Page_56">56</a></dt> +<dt><i>Krul, Jan Herman, Portrait of</i>, <a href="#Page_58">58</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_58">58</a></dd> +</dl> + +<dl class="index"> +<dt><i>Lady, Portrait of a</i> (Capt. Holford), <a href="#Page_73">73</a></dt> +<dt><i>Lady of Utrecht, The</i>, <a href="#Page_67">67</a></dt> +<dt><i>Lady with the Fan, The</i> (Buckingham Palace), <a href="#Page_68">68</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_70">70</a>;</dd> +<dd>(Grosvenor House), <a href="#Page_71">71</a></dd> +<dt><i>Lady with the Parrot, The</i>, <a href="#Page_78">78</a></dt> +<dt>Landscapes by Rembrandt, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_73">73</a>, <a href="#Page_76">76</a>, <a href="#Page_98">98</a>, <a href="#Page_102">102</a>, <a href="#Page_109">109</a></dt> +<dt><i>Landscape with Cottage and Mill Sail</i> (etching), <a href="#Page_98">98</a></dt> +<dt><i>Landscape with a Cow drinking</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Landscape with a Flock of Sheep</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Landscape with a Man sketching</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Landscape with an Obelisque</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Landscape with a ruined Tower</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Large Tree by a House</i> (etching), <a href="#Page_109">109</a></dt> +<dt>Lastman, Pieter, <a href="#Page_9">9</a>, <a href="#Page_10">10</a></dt> +<dt>La Tombe, Pieter de, <a href="#Page_25">25</a>, <a href="#Page_85">85</a>, <a href="#Page_111">111</a></dt> +<dt><i>Ledikant</i> (etching), <a href="#Page_100">100</a></dt> +<dt>Lievensz, Jan, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_30">30</a>, <a href="#Page_89">89</a></dt> +<dt><i>Lion Hunt, A</i> (etchings), <a href="#Page_109">109</a></dt> +<dt><i>Looten, Martin, Portrait of</i>, <a href="#Page_57">57</a></dt> +<dt><i>Lucretia, Death of, The</i>, <a href="#Page_82">82</a></dt> +<dt>Lutma, Jan, <a href="#Page_25">25</a>;</dt> +<dd><i>Portrait of</i> (etching), <a href="#Page_106">106</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_106">106</a></dd> +<dt>Lysbeth, Rembrandt's Sister, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_28">28</a>, <a href="#Page_38">38</a>;</dt> +<dd><i>Portraits of</i>, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a></dd> +</dl> + +<dl class="index"> +<dt><i>Man, Portrait of a</i> (National Gallery), <a href="#Page_63">63</a>;</dt> +<dd>(St Petersburg), <a href="#Page_65">65</a>, <a href="#Page_82">82</a>;</dd> +<dd>(Cassel), <a href="#Page_67">67</a>;</dd> +<dd>(Brussels), <a href="#Page_68">68</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_70">70</a>;</dd> +<dd>(Mr Armour), <a href="#Page_71">71</a>;</dd> +<dd>(Mr M. K. Jessup), <a href="#Page_71">71</a>;</dd> +<dd>(Earl of Brownlow), <a href="#Page_76">76</a>;</dd> +<dd>(M. Kann), <a href="#Page_82">82</a></dd> +<dt><i>Man and his Wife, Portraits of a</i> (Vienna), <a href="#Page_56">56</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_56">56</a>;</dd> +<dd>(Prince Liechtenstein), <a href="#Page_64">64</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_64">64</a>;</dd> +<dd>(Prince Jousoupoff), <a href="#Page_81">81</a></dd> +<dt><i>Man in Armour</i> (Brunswick), <a href="#Page_66">66</a>;</dt> +<dd>(Glasgow), <a href="#Page_77">77</a>;</dd> +<dd>(Cassel), <a href="#Page_77">77</a></dd> +<dt><i>Man in a Red Cloak</i> (M. Kann), <a href="#Page_79">79</a></dt> +<dt><i>Man reading by a Window</i> (Copenhagen), <a href="#Page_73">73</a></dt> +<dt><i>Man sketching in a Book</i> (Dresden), <a href="#Page_78">78</a></dt> +<dt><i>Man with a Sword</i> (Capt. Holford), <a href="#Page_72">72</a></dt> +<dt><i>Man with a Baton</i> (Louvre), <a href="#Page_75">75</a></dt> +<dt><i>Man with the Bittern</i> (Dresden), <a href="#Page_67">67</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_66">66</a></dd> +<dt><i>Man seated on the Ground</i> (etching), <a href="#Page_100">100</a></dt> +<dt><i>Man in an Arbour</i> (etching), <a href="#Page_98">98</a></dt> +<dt>Manasseh ben Israel, his "Piedra Gloriosa," <a href="#Page_87">87</a>, <a href="#Page_105">105</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_72">72</a>;</dd> +<dd>(etching), <a href="#Page_96">96</a></dd> +<dt><i>Manoah and his Wife, The Offering of</i>, <a href="#Page_68">68</a></dt> +<dt><i>Marriage of Jason and Creusa, The</i> (etching), <a href="#Page_101">101</a></dt> +<dt><i>Merchant, Portrait of a</i> (St Petersburg), <a href="#Page_55">55</a>;</dt> +<dd>(Lord Feversham), <a href="#Page_79">79</a></dd> +<dt><i>Metamorphosis of Narcissus, The</i>, <a href="#Page_75">75</a></dt> +<dt><i>Mill, The</i>, <a href="#Page_76">76</a></dt> +<dt><i>Minerva</i>, <a href="#Page_55">55</a></dt> +<dt><i>Minister, Portrait of a</i>, <a href="#Page_65">65</a></dt> +<dt><i>Monks, figures of</i>, <a href="#Page_81">81</a></dt> +<dt><i>Mordecai, The Triumph of</i> (etching), <a href="#Page_110">110</a></dt> +<dt><i>Moses breaking the Tables of the Law</i>, <a href="#Page_80">80</a></dt> +<dt><i>Moses, The Saving of</i>, <a href="#Page_67">67</a></dt> +<dt><i>Mountebank, A</i> (etching), <a href="#Page_96">96</a></dt> +</dl> + +<dl class="index"> +<dt><i>Nativity, The</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Nebuchadnezzar's Dream</i> (etching), <a href="#Page_105">105</a></dt> +<dt><i>Negress, A</i> (etching), <a href="#Page_107">107</a></dt> +<dt><span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> +Neeltje, Rembrandt's Mother, <a href="#Page_2">2</a>, <a href="#Page_7">7</a>, <a href="#Page_14">14</a>, <a href="#Page_28">28</a>;</dt> +<dd><i>Portraits of</i>, see <i><a href="#index_rembrandtsmother">Rembrandt's Mother</a></i></dd> +<dt><i>Night-Watch, The</i>, <a href="#Page_30">30</a>, <a href="#Page_69">69</a></dt> +<dt><i>Noli me tangere</i>, <a href="#Page_75">75</a></dt> +</dl> + +<dl class="index"> +<dt><i>Old Man caressing a Boy</i> (etching), <a href="#Page_108">108</a></dt> +<dt><i>Old Beggar Man conversing with a Woman</i> (etching), <a href="#Page_94">94</a></dt> +<dt><i>Old Beggar Woman</i> (etching), <a href="#Page_100">100</a></dt> +<dt><i>Old Jew</i> (St Petersburg), <a href="#Page_76">76</a></dt> +<dt><i>Old Lady, Portrait of an</i> (National Gallery), <a href="#Page_61">61</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_62">62</a>;</dd> +<dd>(Earl of Yarborough), <a href="#Page_65">65</a>;</dd> +<dd><i>see</i> also <i><a href="#index_oldwoman">Old Woman</a></i></dd> +<dt><i>Old Man, Portrait of an</i> (Berlin), <a href="#Page_48">48</a>;</dt> +<dd>(Cassel), <a href="#Page_53">53</a>;</dd> +<dd>(Louvre), <a href="#Page_66">66</a>;</dd> +<dd>(Buda-Pesth), <a href="#Page_69">69</a>;</dd> +<dd>(M. Schloss, Paris), <a href="#Page_71">71</a>;</dd> +<dd>(Lady Cook), <a href="#Page_73">73</a>;</dd> +<dd>(Dresden), <a href="#Page_73">73</a>, <a href="#Page_76">76</a>, <a href="#Page_78">78</a>, <a href="#Page_83">83</a>;</dd> +<dd>(Leeuwarden), <a href="#Page_73">73</a>;</dd> +<dd>(Strasburg), <a href="#Page_75">75</a>;</dd> +<dd>(Duke of Devonshire), <a href="#Page_75">75</a>, <a href="#Page_76">76</a>;</dd> +<dd>(St Petersburg), <a href="#Page_76">76</a>;</dd> +<dd>(Stockholm), <a href="#Page_77">77</a>;</dd> +<dd>(Pitti), <a href="#Page_79">79</a>;</dd> +<dd>(Nat. Gallery), <a href="#Page_79">79</a>;</dd> +<dd>(Col. Lindsay), <a href="#Page_81">81</a>;</dd> +<dd>(New York), <a href="#Page_82">82</a>;</dd> +<dd>(Earl of Northbrook), <a href="#Page_83">83</a></dd> +<dt><i>Old Man with a divided Fur Cap</i> (etching), <a href="#Page_97">97</a></dt> +<dt id="index_oldwoman"><i>Old Woman, Portraits of an</i> (Wilton House), <a href="#Page_53">53</a>;</dt> +<dd>(St Petersburg), <a href="#Page_71">71</a>, <a href="#Page_76">76</a>;</dd> +<dd>(M. Porgès), <a href="#Page_74">74</a>;</dd> +<dd>(Brussels), <a href="#Page_76">76</a>;</dd> +<dd>(Stockholm), <a href="#Page_77">77</a>;</dd> +<dd>(M. Kann), <a href="#Page_78">78</a>;</dd> +<dd>(Épinal), <a href="#Page_82">82</a>;</dd> +<dd>(Lord Wantage), <a href="#Page_82">82</a>;</dd> +<dd>(etchings), <a href="#Page_95">95</a>, <a href="#Page_108">108</a></dd> +<dt><i>Old Woman Sleeping</i> (etching), <a href="#Page_105">105</a></dt> +<dt><i>Old Woman weighing Money</i> (Dresden), <a href="#Page_71">71</a></dt> +<dt><i>Omval, View of</i> (etching), <a href="#Page_99">99</a></dt> +<dt><i>Oriental, Portrait of an</i>, <a href="#Page_65">65</a></dt> +<dt><i>Oriental Heads</i> (etching), <a href="#Page_127">127</a></dt> +<dt><i>Orphan Girl of Amsterdam, An</i>, <a href="#Page_72">72</a></dt> +</dl> + +<dl class="index"> +<dt><i>Pallas</i>, <a href="#Page_75">75</a></dt> +<dt><i>Pancake Woman, The</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Pancras, Burgomaster, and his Wife</i>, <a href="#Page_62">62</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_62">62</a></dd> +<dt><i>Parable of the Labourers in the Vineyard</i>, <a href="#Page_78">78</a></dt> +<dt><i>Parable of the Master of the Vineyard</i>, <a href="#Page_65">65</a></dt> +<dt><i>Peasant with Milk Pails</i> (etching), <a href="#Page_112">112</a></dt> +<dt><i>Pellicorne, Burgomaster Jan, Portrait of</i>, <a href="#Page_56">56</a></dt> +<dt><i>Persian, The</i> (etching), <a href="#Page_95">95</a></dt> +<dt><i>Petitioners to a Biblical Prince</i>, <a href="#Page_59">59</a></dt> +<dt><i>Philon the Jew</i>, <a href="#Page_53">53</a></dt> +<dt><i>Philosopher in Meditation, A</i> (Stroganoff Collection), <a href="#Page_53">53</a>;</dt> +<dd>(Louvre), <a href="#Page_59">59</a></dd> +<dt><i>Philosopher reading by Candlelight</i>, <a href="#Page_49">49</a></dt> +<dt><i>Phœnix</i>, The (etching), <a href="#Page_113">113</a></dt> +<dt>"Piedra Gloriosa," Rembrandt's illustrations to, <a href="#Page_87">87</a>, <a href="#Page_105">105</a></dt> +<dt><i>Pilate washing his Hands</i>, <a href="#Page_78">78</a></dt> +<dt><i>Pilgrim at Prayer, A</i>, <a href="#Page_81">81</a></dt> +<dt><i>Pluto carrying off Proserpine</i>, <a href="#Page_57">57</a></dt> +<dt><i>Presentation in the Temple, The</i> (Hamburg), <a href="#Page_52">52</a>;</dt> +<dd>(TheHague), <a href="#Page_55">55</a>, <a href="#Page_60">60</a>;</dd> +<dd>(etchings), <a href="#Page_94">94</a>, <a href="#Page_111">111</a></dd> +<dt><i>Presentation in the Vaulted Temple</i>, The (etching), <a href="#Page_109">109</a></dt> +<dt><i>Prodigal Son, The</i>, <a href="#Page_62">62</a>, <a href="#Page_83">83</a>;</dt> +<dd>(etching), <a href="#Page_96">96</a></dd> +</dl> + +<dl class="index"> +<dt><i>Rabbi, A</i> (Hampton Court), <a href="#Page_63">63</a>;</dt> +<dd>(M. Porgès), <a href="#Page_68">68</a>;</dd> +<dd>(Berlin), <a href="#Page_72">72</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_74">74</a>;</dd> +<dd>(Nat. Gallery), <a href="#Page_78">78</a>;</dd> +<dd>(Duke of Devonshire), <a href="#Page_128">128</a></dd> +<dt><i>Raising of the Cross, The</i>, <a href="#Page_20">20</a></dt> +<dt><i>Raising of Lazarus, The</i>, <a href="#Page_51">51</a>;</dt> +<dd>(etchings), <a href="#Page_87">87</a>, <a href="#Page_98">98</a></dd> +<dt><i>Rape of Ganymede, The</i>, <a href="#Page_63">63</a></dt> +<dt><i>Rat-Killer, The</i> (etching), <a href="#Page_95">95</a></dt> +<dt>Rembrandt, date of birth discussed, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;</dt> +<dd>birthplace, <a href="#Page_5">5</a>;</dd> +<dd>his father, <a href="#Page_6">6</a>;</dd> +<dd>entered as a student at Leyden University, <a href="#Page_7">7</a>;</dd> +<dd>apprenticed to Swanenburch, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</dd> +<dd>under Lastman at Amsterdam, <a href="#Page_10">10</a>;</dd> +<dd>return to Leyden, <a href="#Page_10">10</a>;</dd> +<dd>removal to Amsterdam, <a href="#Page_11">11</a>;</dd> +<dd><i>the Anatomy Lesson</i>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>;</dd> +<dd>early portraits, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>;</dd> +<dd>meeting with Saskia, <a href="#Page_19">19</a>;</dd> +<dd>marriage, <a href="#Page_22">22</a>;</dd> +<dd>early extravagance, <a href="#Page_23">23</a>;</dd> +<dd>his first child, <a href="#Page_24">24</a>;</dd> +<dd>family quarrels, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>;</dd> +<dd>his friends, <a href="#Page_25">25</a>;</dd> +<dd>birth and death of two daughters, <a href="#Page_27">27</a>;</dd> +<dd><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> +financial difficulties, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>;</dd> +<dd>birth of Titus, <a href="#Page_30">30</a>;</dd> +<dd>death of Saskia, <a href="#Page_30">30</a>;</dd> +<dd>decline of prosperity, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>;</dd> +<dd>relations with Hendrickje Stoffels, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>;</dd> +<dd>bankruptcy, <a href="#Page_38">38</a>;</dd> +<dd>sale of his property, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>;</dd> +<dd>fresh commissions, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>;</dd> +<dd>failing sight, <a href="#Page_43">43</a>;</dd> +<dd>death of Hendrickje, <a href="#Page_44">44</a>;</dd> +<dd>his last pupil, <a href="#Page_44">44</a>;</dd> +<dd>death of Rembrandt, <a href="#Page_46">46</a></dd> +<dt><i>Rembrandt, Portraits of himself</i>—</dt> +<dd>(Count Andrassy), <a href="#Page_53">53</a>;</dd> +<dd>(Lord Ashburton), <a href="#Page_65">65</a>, <a href="#Page_79">79</a>;</dd> +<dd>(Berlin), <a href="#Page_61">61</a>;</dd> +<dd>(Bridgewater House), <a href="#Page_79">79</a>;</dd> +<dd>(Duke of Buccleuch), <a href="#Page_79">79</a>, <a href="#Page_80">80</a>;</dd> +<dd>(Buckingham Palace), <a href="#Page_72">72</a>;</dd> +<dd>(Cambridge), <a href="#Page_75">75</a>;</dd> +<dd>(Carlsruhe), <a href="#Page_71">71</a>;</dd> +<dd>(Herr von Carstangen), <a href="#Page_83">83</a>;</dd> +<dd>(Cassel), <a href="#Page_49">49</a>, <a href="#Page_61">61</a>, <a href="#Page_79">79</a>; (Gotha), <a href="#Page_51">51</a>;</dd> +<dd>(The Hague), <a href="#Page_51">51</a>, <a href="#Page_61">61</a>;</dd> +<dd>(Heywood-Lonsdale), <a href="#Page_65">65</a>;</dd> +<dd>(Lord Ilchester), <a href="#Page_78">78</a>;</dd> +<dd>(Lord Iveagh), <a href="#Page_78">78</a>;</dd> +<dd>(Lord Kinnaird), <a href="#Page_82">82</a>;</dd> +<dd>(Leipzig), <a href="#Page_75">75</a>;</dd> +<dd>(Louvre), <a href="#Page_61">61</a>, <a href="#Page_65">65</a>, <a href="#Page_80">80</a>;</dd> +<dd>(Herr Mendelssohn), <a href="#Page_75">75</a>;</dd> +<dd>(Munich), <a href="#Page_78">78</a>;</dd> +<dd>(Nat. Gallery), <a href="#Page_67">67</a>, <a href="#Page_82">82</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_28">28</a>, <a href="#Page_46">46</a>;</dd> +<dd>(Sir A. D. Neeld), <a href="#Page_80">80</a>;</dd> +<dd>(Prince Henri of the Pays Bas), <a href="#Page_71">71</a>;</dd> +<dd>(Pitti), <a href="#Page_63">63</a>;</dd> +<dd>(Lady de Rothschild), <a href="#Page_78">78</a>;</dd> +<dd>(Uffizi), <a href="#Page_83">83</a>;</dd> +<dd>(Vienna), <a href="#Page_79">79</a>, <a href="#Page_83">83</a>;</dd> +<dd>(Wallace Collection), <a href="#Page_61">61</a>;</dd> +<dd>(Warneck Collection), <a href="#Page_58">58</a>;</dd> +<dd>(Weimar), <a href="#Page_71">71</a></dd> +<dd>Etchings, <a href="#Page_3">3</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_100">100</a>, <a href="#Page_108">108</a></dd> +<dt><i>Rembrandt's Brother</i>, Portrait of (Berlin), <a href="#Page_75">75</a>;</dt> +<dd>(The Hague), <a href="#Page_75">75</a></dd> +<dt>"<i>Rembrandt's Cook</i>" (Downton), <a href="#Page_82">82</a></dt> +<dt><i>Rembrandt's Father</i>, see <a href="#index_gerritsz">Gerritsz</a></dt> +<dt><i>Rembrandt and his Wife</i> (etching), <a href="#Page_96">96</a></dt> +<dt id="index_rembrandtsmother"><i>Rembrandt's Mother, Portraits of</i>, <a href="#Page_49">49</a>, <a href="#Page_51">51</a>, <a href="#Page_55">55</a>, <a href="#Page_57">57</a>, <a href="#Page_67">67</a>, <a href="#Page_71">71</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_6">6</a>;</dd> +<dd>(etchings), <a href="#Page_93">93</a>, <a href="#Page_95">95</a>, <a href="#Page_108">108</a></dd> +<dt><i>Rembrandt's Mill</i> (etching), <a href="#Page_98">98</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_98">98</a></dd> +<dt><i>Repose in Egypt</i> (etchings), <a href="#Page_99">99</a>, <a href="#Page_112">112</a></dt> +<dt><i>Resurrection, The</i>, <a href="#Page_66">66</a></dt> +<dt>Robinson, Sir J. C., <a href="#Page_48">48</a></dt> +<dt><i>Ruin, The</i>, <a href="#Page_75">75</a></dt> +</dl> + +<dl class="index"> +<dt><i>Saint, A</i>, <a href="#Page_65">65</a></dt> +<dt><i>St Anastasius</i>, <a href="#Page_54">54</a></dt> +<dt><i>St Catherine</i> (etching), <a href="#Page_97">97</a></dt> +<dt><i>St Francis praying</i> (etching), <a href="#Page_107">107</a></dt> +<dt><i>St Jerome</i> (etchings), <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_113">113</a></dt> +<dt><i>St Matthew</i>, <a href="#Page_81">81</a></dt> +<dt><i>St Paul</i> (Vienna), <a href="#Page_65">65</a>;</dt> +<dd>(Lord Wimborne), <a href="#Page_79">79</a></dd> +<dt><i>St Paul in Prison</i> (Stuttgart), <a href="#Page_49">49</a></dt> +<dt><i>St Peter</i>, <a href="#Page_52">52</a>;</dt> +<dd>(etching), <a href="#Page_112">112</a></dd> +<dt><i>St Peter, The Denial of</i> (Elberfeld), <a href="#Page_51">51</a>;</dt> +<dd>(St Petersburg), <a href="#Page_78">78</a></dd> +<dt><i>St Peter and St John at the Gate of the Temple</i> (etchings), <a href="#Page_107">107</a></dt> +<dt><i>St Stephen, The Martyrdom of</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>St Thomas, Incredulity of</i>, <a href="#Page_62">62</a></dt> +<dt><i>Salutation, The</i>, <a href="#Page_67">67</a></dt> +<dt><i>Samson captured by the Philistines</i> (Berlin), <a href="#Page_50">50</a></dt> +<dt><i>Samson overpowered by the Philistines</i> (Count Schonborn), <a href="#Page_64">64</a></dt> +<dt><i>Samson propounding his Riddle to the Philistines</i>, <a href="#Page_66">66</a></dt> +<dt><i>Samson threatening his Father-in-Law</i>, <a href="#Page_64">64</a></dt> +<dt id="index_saskia">Saskia, Early Portraits of, <a href="#Page_14">14</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_57">57</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_18">18</a>;</dd> +<dd>her birth and family, <a href="#Page_18">18</a>;</dd> +<dd>first meeting with Rembrandt, <a href="#Page_19">19</a>;</dd> +<dd>marriage, <a href="#Page_22">22</a>;</dd> +<dd>her character, <a href="#Page_22">22</a>;</dd> +<dd>children, <a href="#Page_24">24</a>, <a href="#Page_27">27</a>, <a href="#Page_30">30</a>;</dd> +<dd>death, <a href="#Page_30">30</a>;</dd> +<dd>her will, <a href="#Page_31">31</a>;</dd> +<dd><i>Portraits of</i> (Dresden), <a href="#Page_58">58</a>;</dd> +<dd>(St Petersburg), <a href="#Page_61">61</a>;</dd> +<dd>(M. Schloss), <a href="#Page_61">61</a>;</dd> +<dd>(Cassel), <a href="#Page_61">61</a>;</dd> +<dd>1635, <a href="#Page_62">62</a>;</dd> +<dd>Rembrandt and Saskia (Dresden), <a href="#Page_62">62</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_24">24</a>;</dd> +<dd>(Buckingham Palace), <a href="#Page_62">62</a>;</dd> +<dd>(Berlin), <a href="#Page_71">71</a>;</dd> +<dd>(etchings), <a href="#Page_95">95</a>, <a href="#Page_108">108</a>;</dd> +<dd>pencil drawing of (at Berlin), <a href="#Page_4">4</a></dd> +<dt><i>Schoolmaster, The</i> (etching), <a href="#Page_98">98</a></dt> +<dt>Six, Burgomaster, <a href="#Page_25">25</a>, <a href="#Page_34">34</a>, <a href="#Page_38">38</a>;</dt> +<dd><i>Portrait of</i>, (Six Collection), <a href="#Page_79">79</a>;</dd> +<dd>(etching), <a href="#Page_100">100</a>, <a href="#Page_114">114</a></dd> +<dt><i>Six's Bridge</i> (etching), <a href="#Page_99">99</a></dt> +<dt><i>Shell, The</i> (etching), <a href="#Page_102">102</a>; <i>ill.</i>, <a href="#Page_102">102</a></dt> +<dt><i>Shepherds reposing at Night</i>, <a href="#Page_74">74</a></dt> +<dt><i>Shipbuilder and his Wife, The</i>, <a href="#Page_58">58</a>;</dt> +<dd><i>ill.</i>, Frontispiece</dd> +<dt><span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></dt> +<dt>Sketches, sheets of (etchings), <a href="#Page_112">112</a>, <a href="#Page_113">113</a></dt> +<dt><i>Slaughter-house, The</i> (Herr Rath), <a href="#Page_66">66</a>;</dt> +<dd>(Glasgow), <a href="#Page_75">75</a>;</dd> +<dd>(Louvre), <a href="#Page_77">77</a></dd> +<dt><i>Sobieski</i>, <a href="#Page_65">65</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_66">66</a></dd> +<dt><i>Sortie of the Banning Cocq Company</i>, <a href="#Page_30">30</a>, <a href="#Page_69">69</a></dt> +<dt><i>Sportsman, The</i> (etching), <a href="#Page_110">110</a></dt> +<dt><i>Standard Bearer, The</i> (Baron G. de Rothschild), <a href="#Page_65">65</a>;</dt> +<dd>(in America), <a href="#Page_81">81</a></dd> +<dt><i>Star of the Kings, The</i> (etching), <a href="#Page_113">113</a></dt> +<dt>Stoffels, Hendrickje, <i>see</i> <a href="#index_hendrickje">Hendrickje</a></dt> +<dt><i>Storm, an Effect of</i>, <a href="#Page_67">67</a></dt> +<dt><i>Susannah and the Elders</i> (Prince Jousoupoff), <a href="#Page_65">65</a>;</dt> +<dd>(Berlin), <a href="#Page_73">73</a></dd> +<dt><i>Susannah</i>, Study of, <a href="#Page_74">74</a></dt> +<dt>Swalm, Henry, <a href="#Page_25">25</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_65">65</a></dd> +<dt>Swanenburch, Jacob van, <a href="#Page_8">8</a></dt> +<dt>Sylvius, Jan Cornelis, <a href="#Page_18">18</a>, <a href="#Page_21">21</a>, <a href="#Page_25">25</a>;</dt> +<dd>Portrait of, <a href="#Page_72">72</a>;</dd> +<dd>(etchings), <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a></dd> +<dt><i>Syndics of the Drapers' Guild, The</i>, <a href="#Page_43">43</a>, <a href="#Page_82">82</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_80">80</a></dd> +</dl> + +<dl class="index"> +<dt>Tholinx, Arnold, <a href="#Page_38">38</a>;</dt> +<dd><i>Portrait of</i>, <a href="#Page_77">77</a>;</dd> +<dd>(etching), <a href="#Page_110">110</a></dd> +<dt><i>Three Crosses, The</i> (etching), <a href="#Page_87">87</a>, <a href="#Page_111">111</a></dt> +<dt><i>Three Trees, The</i> (etching), <a href="#Page_87">87</a>, <a href="#Page_98">98</a>,</dt> +<dd><i>ill.</i>, <a href="#Page_92">92</a></dd> +<dt>Titia, Rembrandt's Granddaughter, <a href="#Page_46">46</a>, <a href="#Page_47">47</a></dt> +<dt>Titus, Rembrandt's Son, <a href="#Page_30">30</a>, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>;</dt> +<dd>his will, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>;</dd> +<dd>partnership with Hendrickje, <a href="#Page_42">42</a>;</dd> +<dd>marriage, <a href="#Page_46">46</a>;</dd> +<dd>death, <a href="#Page_46">46</a>;</dd> +<dd><i>Portraits of</i> (M. Kann), <a href="#Page_77">77</a>;</dd> +<dd>(Earl of Crawford), <a href="#Page_77">77</a>;</dd> +<dd>(Vienna), <a href="#Page_79">79</a>;</dd> +<dd>(Capt. Holford), <a href="#Page_81">81</a>;</dd> +<dd>(etching), <a href="#Page_110">110</a></dd> +<dt><i>Tobias and the Angel</i>, <a href="#Page_76">76</a></dt> +<dt><i>Tobias restoring his Father's Sight</i>, <a href="#Page_62">62</a></dt> +<dt><i>Tobias' Wife with the Goat</i>, <a href="#Page_72">72</a></dt> +<dt><i>Tobit and his Wife</i>, <a href="#Page_75">75</a></dt> +<dt><i>Tobit Blind</i> (etching), <a href="#Page_111">111</a>, <a href="#Page_115">115</a></dt> +<dt><i>Tree, Sketch of a</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Tribute Money, The</i>, <a href="#Page_72">72</a></dt> +<dt>Tulp, Dr, <a href="#Page_13">13</a>, <a href="#Page_25">25</a>, <a href="#Page_41">41</a>;</dt> +<dd><i>Portraits of</i>, <a href="#Page_57">57</a></dd> +<dt><i>Turenne, Marshal, Portrait of</i>, <a href="#Page_74">74</a></dt> +</dl> + +<dl class="index"> +<dt>Uijtenbogaerd, Jan, <i>Portraits of</i> (etchings), <a href="#Page_87">87</a>, <a href="#Page_96">96</a>, <a href="#Page_103">103</a></dt> +<dt><i>Unmerciful Servant, The</i>, <a href="#Page_82">82</a></dt> +<dt>Uylenborch, Hendrick van, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>, <a href="#Page_40">40</a></dt> +<dt>Uylenborch, Magdalena van, wife of Titus, <a href="#Page_46">46</a>, <a href="#Page_47">47</a></dt> +<dt>Uylenborch, Saskia van—<i>see</i> <a href="#index_saskia">Saskia</a>.</dt> +</dl> + +<dl class="index"> +<dt>Van Loo, Albert, <a href="#Page_26">26</a>, <a href="#Page_46">46</a></dt> +<dt>Van Loo, Gerrit and Hiskia, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a></dt> +<dt><i>Venus and Cupid</i>, <a href="#Page_81">81</a></dt> +<dt><i>Virgin mourning the Death of Jesus, The</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Virgin and Child in the Clouds, The</i> (etching), <a href="#Page_98">98</a></dt> +<dt><i>Vision of Ezekiel, The</i> (etching), <a href="#Page_105">105</a></dt> +<dt><i>Village by the High Road</i> (etching), <a href="#Page_102">102</a></dt> +<dt><i>Village with a River and Sailing Vessel</i> (etching), <a href="#Page_109">109</a></dt> +<dt><i>Village with a Square Tower</i> (etching), <a href="#Page_102">102</a></dt> +<dt><i>Vista, The</i> (etching), <a href="#Page_103">103</a></dt> +<dt><i>Vymer, Anna, Portrait of</i>, <a href="#Page_68">68</a></dt> +</dl> + +<dl class="index"> +<dt><i>Winter Scene, A</i>, <a href="#Page_73">73</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_74">74</a></dd> +<dt><i>Woman, Portrait of a</i> (Mr Byers), <a href="#Page_64">64</a>;</dt> +<dd>(Lord Kinnaird), <a href="#Page_64">64</a>;</dd> +<dd>(Lord Iveagh), <a href="#Page_69">69</a>;</dd> +<dd>(M. Kann), <a href="#Page_82">82</a>;</dd> +<dd>and see <i><a href="#index_oldwoman">Old Woman</a></i></dd> +<dt><i>Woman bathing</i> (Louvre), <a href="#Page_74">74</a>;</dt> +<dd>(Nat. Gallery), <a href="#Page_76">76</a></dd> +<dt><i>Woman taken in Adultery, The</i>, <a href="#Page_72">72</a>;</dt> +<dd><i>ill.</i>, <a href="#Page_72">72</a></dd> +<dt><i>Woman by a Dutch Stove</i> (etching), <a href="#Page_111">111</a></dt> +<dt><i>Woman preparing to dress after Bathing</i> (etching), <a href="#Page_107">107</a></dt> +<dt><i>Woman with her Feet in Water</i> (etching), <a href="#Page_107">107</a></dt> +<dt><i>Woman with an Arrow</i> (etching), <a href="#Page_107">107</a></dt> +<dt><i>Woodchopper, The</i>, <a href="#Page_73">73</a></dt> +</dl> + +<div class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></div> +<dl class="index"> +<dt><i>Young Girl, Portrait of a</i> (Stockholm), <a href="#Page_51">51</a>;</dt> +<dd>(The Hague), <a href="#Page_53">53</a>;</dd> +<dd>(Bridgewater House), <a href="#Page_61">61</a>;</dd> +<dd>(Dulwich), <a href="#Page_72">72</a>;</dd> +<dd><i>ill.</i>, <a href="#Page_72">72</a></dd> +<dt><i>Young Man, Portrait of a</i> (Earl Cowper), <a href="#Page_72">72</a>;</dt> +<dd>(Mr Humphry Ward), <a href="#Page_73">73</a>;</dd> +<dd>(Copenhagen), <a href="#Page_77">77</a>;</dd> +<dd>(Louvre), <a href="#Page_78">78</a></dd> +<dt><i>Young Man and his Wife</i> (Prince Liechtenstein), <a href="#Page_64">64</a></dt> +<dt><i>Young Man in a Cap and Breastplate</i> (Dresden), <a href="#Page_71">71</a></dt> +<dt><i>Young Man laughing</i>, <a href="#Page_52">52</a></dt> +<dt><i>Young Man with the Turban</i>, <a href="#Page_54">54</a></dt> +<dt><i>Young Man seated in Meditation</i> (etching), <a href="#Page_96">96</a></dt> +<dt><i>Young Painter with Paper and Crayon</i>, <a href="#Page_74">74</a></dt> +<dt><i>Young Servant</i> (Stockholm), <a href="#Page_76">76</a></dt> +<dt><i>Young Woman, Portrait of a</i> (Cassel), <a href="#Page_63">63</a>;</dt> +<dd>(Dr Bredius), <a href="#Page_65">65</a>;</dd> +<dd>(Dresden), <a href="#Page_68">68</a>;</dd> +<dd>(Copenhagen), <a href="#Page_78">78</a></dd> +<dt><i>Young Woman in Bed</i> (Edinburgh), <a href="#Page_75">75</a></dt> +<dt><i>Young Woman reading</i> (etching), <a href="#Page_95">95</a></dt> +<dt><i>Youth</i> (Lord Leconfield), <a href="#Page_83">83</a></dt> +</dl> + +<dl class="index"> +<dt><i>Zachariah receiving the Prophecy of the Birth of John the Baptist</i>, <a href="#Page_55">55</a></dt> +<dt>"Zeewærts-Lof, Der," <a href="#Page_87">87</a></dt> +<dt>Zoomer, Jan Pietersen, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a></dt> +</dl> + +<p class="center"><small>THE RIVERSIDE PRESS LIMITED, EDINBURGH</small></p> + +<hr style="width: 65%;" /> +<h1><a name="NOTICE" id="NOTICE"></a>NOTICE.</h1> + +<p><big>PHOTOGRAPHS of most of the +works mentioned in this volume are +to be obtained in various sizes from</big></p> +<p id="notice_mansell">W. A. MANSELL & Co.</p> +<p id="notice_dealers">Art Photograph Publishers and Dealers,</p> +<p><big>405, OXFORD STREET,<br /> +<span id="notice_london">LONDON, W.</span></big></p> + +<hr style="width: 65%;" /> +<p class="center">16, PALL MALL EAST, S.W.</p> +<p class="center smcap">Permanent Carbon Prints, Permanent Prints, +Photogravures, from most of the Pictures in the</p> + +<p class="franz_title">Galleries</p> +<p class="center smcap">at</p> + +<dl class="galleries"> +<dt>LONDON.</dt> +<dd>National Gallery</dd> +<dd>Tate Gallery</dd> +<dd>Dulwich Gallery</dd> +<dt>EDINBURGH.</dt> +<dt>GLASGOW.</dt> +<dt>BRUSSELS.</dt> + +<dt>MILAN.</dt> +<dt>VENICE.</dt> +<dt>MUNICH.</dt> +<dt>BERLIN.</dt> +<dt>DRESDEN.</dt> + +<dt>VIENNA.</dt> +<dd>Liechtenstein.</dd> +<dd>Belvedere.</dd> +<dd>Czernin.</dd> +<dt>AMSTERDAM.</dt> +<dt>Hague, Haarlem.</dt> +<dt>CASSEL.</dt> +</dl> + +<p class="center smcap">Etc., Etc.</p> + +<p class="franz_title">Royal Collections</p> +<p class="center smcap">at</p> + +<dl class="galleries"> +<dt>BUCKINGHAM PALACE.</dt> +<dt>WINDSOR CASTLE.</dt> +</dl> + +<p class="franz_title"><small>Private Collections</small></p> +<p class="center smcap">of</p> + +<dl class="galleries"> +<dt class="smcap">The Duke of Devonshire.</dt> +<dt class="smcap">The Earl Spencer.</dt> +<dt class="smcap">The Earl of Northbrook.</dt> +</dl> + +<p class="center"><i>ART BOOKS—ART ALBUMS—ARTISTIC FRAMING</i></p> +<hr style='width: 45%;' /> +<p id="franz_franz">FRANZ HANFSTÆNGL</p> +<p class="center">16, PALL MALL EAST, S.W.</p> +<hr style='width: 45%;' /> +<p class="center">Lists and Prospectuses Free. 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