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+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
+
+
+
+
+
+
+
+
+
+Transcriber's notes:
+
+Text in italics has been marked with _. Text in bold has been marked
+with *. Text in small caps has been marked with =.
+
+
+
+
+The Great Masters in Painting and Sculpture
+
+Edited by G. C. Williamson
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+THE GREAT MASTERS IN PAINTING AND SCULPTURE.
+
+_The following Volumes have been issued, price 5s. net each._
+
+    BERNARDINO LUINI. By =George C. Williamson=, Litt.D., Editor of the
+    Series.
+
+    VELASQUEZ. By =R. A. M. Stevenson=.
+
+    ANDREA DEL SARTO. By =H. Guinness=.
+
+    LUCA SIGNORELLI. By =Maud Cruttwell=.
+
+    RAPHAEL. By =H. Strachey=.
+
+    CARLO CRIVELLI. By =G. McNeil Rushforth=, M.A., Lecturer in
+    Classics, Oriel College, Oxford.
+
+    CORREGGIO. By =Selwyn Brinton=, M.A., Author of "The Renaissance in
+    Italian Art."
+
+    DONATELLO. By =Hope Rea=, Author of "Tuscan Artists."
+
+    PERUGINO. By =G. C. Williamson=, Litt.D.
+
+    SODOMA. By the =Contessa Lorenzo Priuli-Bon=.
+
+    LUCA DELLA ROBBIA. By the =Marchesa Burlamacchi=.
+
+    GIORGIONE. By =Herbert Cook=, M.A., F.S.A.
+
+    MEMLINO. By =W. H. James Weale=, late Keeper of the National Art
+    Library.
+
+    PIERO DELLA FRANCESCA. By =W. G. Waters=, M.A.
+
+    PINTORICCHIO. By =Evelyn March Phillipps=.
+
+    FRANCIA. By =George C. Williamson=, Litt.D.
+
+    BRUNELLESCHI. By =Leader Scott=.
+
+    MANTEGNA. By =Maud Cruttwell=.
+
+    REMBRANDT VAN RIJN. By =Malcolm Bell=.
+
+
+    _In preparation._
+
+    WILKIE. By =Lord Ronald Sutherland-Gower=, M.A., F.S.A., Trustee of
+    the National Portrait Gallery.
+
+    TINTORETTO. By =J. B. Stoughton Holborn=, M.A. of Merton College,
+    Oxford.
+
+    GIOTTO. By =F. Mason Perkins=.
+
+    EL GRECO. By =Manuel B. Cossio=, Litt.D., Ph.D., Director of the
+    Musée Pédagogique, Madrid.
+
+    DÜRER. By =Hans W. Singer=, M.A., Ph.D., Assistant Director of the
+    Royal Print Room, Dresden.
+
+    PAOLO VERONESE. By =Roger E. Fry=.
+
+    GAUDENZIO FERRARI. By =Ethel Halsey=.
+
+    _Others to follow._
+
+       *       *       *       *       *
+
+LONDON: GEORGE BELL & SONS
+
+
+
+
+[Illustration: Buckingham Palace, London.
+
+The Ship builder & his wife. (1633)]
+
+
+
+
+REMBRANDT VAN RIJN
+
+BY MALCOLM BELL
+
+AUTHOR OF "SIR EDWARD BURNE-JONES: A RECORD AND REVIEW," ETC.
+
+[Illustration: logo]
+
+LONDON
+
+GEORGE BELL & SONS
+
+1901
+
+
+
+
+PREFACE
+
+
+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.
+
+
+
+
+CONTENTS
+
+
+                                             PAGE
+
+=List of Illustrations=                       vii
+
+=Bibliography=                                 ix
+
+=Chronological Table=                        xiii
+
+
+PART I.--REMBRANDT THE MAN
+
+Chapter I. =Birth and Early Years=              1
+
+       II. =Art Education and Early Works=      8
+
+      III. =Days of Prosperity=                16
+
+       IV. =Days of Decline=                   32
+
+
+PART II.--REMBRANDT THE PAINTER
+
+        V. =Early Years= (1627-1633)           48
+
+       VI. =Time of Prosperity=                61
+
+      VII. =Years of Decline=                  71
+
+
+PART III.--REMBRANDT THE ETCHER
+
+     VIII. =The History of the Etchings=       85
+
+       IX. =The Authentic Etchings=            93
+
+
+=Catalogue of Works=                          117
+
+=Index=                                       157
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                     PAGE
+
+The Shipbuilder and his Wife, 1633, _Frontispiece_
+                                              _Buckingham Palace_
+
+Portrait of Rembrandt's Mother, about 1628            _The Hague_       6
+
+Portrait of Rembrandt's Father, about 1631               _Cassel_      12
+
+Portrait of Saskia, 1632           _Prince Liechtenstein, Vienna_      18
+
+Rembrandt and Saskia, about 1635                        _Dresden_      24
+
+Portrait of Rembrandt, 1640            _National Gallery, London_      28
+
+Portrait of Saskia, 1641                                _Dresden_      30
+
+Portrait of Hendrickje Stoffels, about 1662              _Louvre_      44
+
+Portrait of Rembrandt, about 1664      _National Gallery, London_      46
+
+Portrait called Coppenol, 1631                    _The Hermitage_      54
+
+Portrait of a Man, 1630-1632            _Imperial Museum, Vienna_      56
+
+Portrait of a Woman, 1630-1632          _Imperial Museum, Vienna_      56
+
+The Anatomy Lesson, 1632                              _The Hague_      58
+
+Portrait of Jan Herman Krul, 1633                        _Cassel_      58
+
+The Elevation of the Cross, 1633                         _Munich_      60
+
+Portrait of an Old Woman, 1634         _National Gallery, London_      62
+
+The Burgomaster Pancras and his Wife,
+  about 1635                                  _Buckingham Palace_      62
+
+Portrait of a Man, 1635                _National Gallery, London_      62
+
+Danae, 1636                                       _The Hermitage_      64
+
+Portrait of a Man, 1636            _Prince Liechtenstein, Vienna_      64
+
+Portrait of a Lady, 1636           _Prince Liechtenstein, Vienna_      64
+
+Portrait called Sobieski, 1637                    _The Hermitage_      66
+
+The Man with the Bittern, 1639                          _Dresden_      66
+
+Portrait of Elizabeth Bas, about 1640                 _Amsterdam_      68
+
+Anslo consoling a Widow, 1641                            _Berlin_      68
+
+The Lady with the Fan, 1641                   _Buckingham Palace_      70
+
+Portrait of a Man, 1641                                _Brussels_      70
+
+The Woman taken in Adultery, 1644      _National Gallery, London_      72
+
+A Girl at a Window, 1645                        _Dulwich Gallery_      72
+
+Portrait of a Rabbi, 1645                                _Berlin_      74
+
+A Winter Scene, 1646                                     _Cassel_      74
+
+Christ at Emmaus, 1648                                   _Louvre_      76
+
+John the Baptist preaching, 1656                         _Berlin_      78
+
+The Syndics of the Drapers, 1661                      _Amsterdam_      80
+
+
+_ETCHINGS_
+
+_The Numbers given are those of Bartsch's Catalogue_
+
+Christ healing the Sick (74)                                           86
+
+Clement de Jonghe (272)                                                90
+
+The Three Trees (212)                                                  92
+
+Rembrandt's Mill (233)                                                 98
+
+Beggars at the Door of a House (176)                                  100
+
+The Shell (159)                                                       102
+
+Jan Lutma (276)                                                       106
+
+
+
+
+BIBLIOGRAPHY
+
+
+=Amand-Durand.= "Œuvre de Rembrandt reproduit et publié par." 2 parts.
+Paris, 1880.
+
+=Baldinucci, Filippo.= "Cominciamento e progresso dell' arte dell'
+intagliare in rame." Florence, 1686.
+
+=Bartsch, Adam.= "Catalogue raisonné de toutes les estampes qui forment
+l'œuvre de Rembrandt et ceux de ses principaux imitateurs." 2 vols.
+Vienna, 1797.
+
+=Bell, Malcolm.= "Rembrandt van Rijn and his Work." 4to. London, 1899.
+
+=Blanc, Charles.= "L'œuvre complet de Rembrandt, décrit et commenté
+par." Paris, 1864 and 1880.
+
+=Bode, W.= "Studien zur Geschichte der holländischen Malerei."
+Brunswick, 1883.
+
+=Bredius, A.=, and =de Roever, N.= _Oud-Holland._ A magazine published
+at Amsterdam.
+
+=Bredius, A.= "Les chefs-d'œuvre du Musée royal d'Amsterdam." Paris,
+1890.
+
+=Bredius, A.= "Die Meisterwerke der Königlichen Gemälde Galerie im
+Haag." Munich, 1890.
+
+=Burger, W.= "Les Musées de Belgique et de Hollande." Paris, 1858, 1860,
+and 1862.
+
+=Busken-Huet.= "Het Land van Rembrandt." Harlem, 1886.
+
+=Chalon, John.= Works of Rembrandt, etched by. London, 1822.
+
+=Claussin, Chevalier de.= "Catalogue raisonné de toutes les estampes qui
+forment l'œuvre de Rembrandt." Paris, 1824.
+
+=Claussin, Chevalier de.= "Supplément au Catalogue de Rembrandt." Paris,
+1828.
+
+=Dargenville.= "Abrégé de la Vie des plus fameux peintres." Paris, 1745.
+
+=Daulby, Daniel.= "A descriptive catalogue of the works of Rembrandt and
+of his scholars." London and Liverpool, 1796.
+
+=Descamps.= "Vies des peintres flamands et hollandais." Marseilles,
+1840.
+
+=Dyk, J. van.= "Beschryving van alle de Schilderyen op het Stadhuis van
+Amsterdam." Amsterdam, 1758.
+
+=Dutuit, E.= "L'œuvre complet de Rembrandt décrit et catalogué par."
+Paris, 1880.
+
+=Eckhoff.= "La femme de Rembrandt." 1862.
+
+=Félibien.= "Entretien sur les Vies et les Ouvrages des plus excellents
+peintres." 1666-1688.
+
+=Fromentin, Eugène.= "Les Maitres d'autrefois." Paris, 1877.
+
+=Galland, G.= "Geschichte der holländischen Baukunst und Bildnerei."
+Leipzig, 1890.
+
+=Gersaint.= "Catalogue raisonné de toutes les pièces qui forment l'œuvre
+de Rembrandt." Paris, 1751.
+
+=Hamerton, P. G.= "Etching and Etchers." London, 1868.
+
+=Hamerton, P. G.= Rembrandt's Etchings. Portfolio. London, 1894.
+
+=Havard, Henri.= "L'art et les artistes hollandais." Paris, 1879.
+
+=Hoogstraten, Samuel van.= "Inleyding tot de hooge School der
+Schilderkonst." Rotterdam, 1678.
+
+=Houbraken, Arnold.= "De groote Schoubourgh der nederlandsche
+Kontschilders." Amsterdam, 1718-1719.
+
+=Humphreys, Noel.= Rembrandt's Etchings. London, 1871.
+
+=Huygens, Constantin.= "Autobiographie inédite." Library of the Academy
+of Sciences, Amsterdam.
+
+=Kolloff, Édouard.= "Rembrandt's Leben und Werke," included in
+_Historisches Taschenbuch_ of von Raumer. Leipzig, 1854.
+
+=Langbehn, Dr.= "Rembrandt als Erzieher." Published anonymously,
+Leipzig, 1890.
+
+=Lemcke, C.= Rembrandt van Rijn, in the _Kunst and Künstler_, Leipzig,
+1877.
+
+=Lippmann, F.= Original drawings by Rembrandt reproduced in Phototype.
+London, Berlin, and Paris, 1889-1892.
+
+=Madsen, Karl.= "Studier fra Sverig." Copenhagen, 1892.
+
+=Michel, Emile.= "Rembrandt sa vie, son œuvre et son temps." Paris,
+1893.
+
+=Middleton, C. H.= "Notes on the Etched Work of Rembrandt." London,
+1877.
+
+=Middleton, C. H.= "A descriptive Catalogue of the Etched Work of
+Rembrandt." London, 1878.
+
+=Orlers, J. J.= "Beschryving der Stad Leiden." Leyden, 1641.
+
+=Oud-Holland.= See _Bredius_.
+
+=Piles, R. de.= "Abrégé de la vie des Peintres." 1699.
+
+=Riegel, Herman.= "Beitrage zur niederländischen Kunstgeschichte."
+Berlin, 1882.
+
+=Rovinski, Dmitri.= "L'œuvre gravé de Rembrandt." Reproductions of all
+the states of all the etchings. St. Petersburg, 1890.
+
+=Sandrart, Joachim de.= "Academia nobilissimae artis pictoriæ."
+Nuremberg, 1675-1683.
+
+=Scheltema, Dr.= "Rembrandt, Discours sur sa vie et son génie." Paris,
+1866.
+
+=Schmidt, W.= "Handzeichnungen alter Meister in Königlichen Kupferstich
+Kabinet zu Munchen. Munich.
+
+=Schneider, L.= "Geschichte der niederländischen Litteratur." Leipzig,
+1888.
+
+=Seidlitz, von.= "Rembrandt's Radirungen." Published in Zeitschrift für
+bildende Kunst. 1892.
+
+=Seymour Haden, Sir Francis.= "Introductory Remarks to the Catalogue of
+the Etched Work of Rembrandt, selected for exhibition at the Burlington
+Fine Arts Club, London, 1877."
+
+=Seymour Haden, Sir Francis.= "L'œuvre gravé de Rembrandt." Paris, 1880.
+
+=Seymour Haden, Sir Francis.= "The Etched Work of Rembrandt, True and
+False." London, 1895.
+
+=Smith, John.= "Catalogue raisonné of the Works of the most eminent
+Dutch, Flemish, and French Painters." London, 1829-1842.
+
+=Springer, Anton.= "Bilder aus der neueren Kunstgeschichte. Vol. II.
+Rembrandt und seine Genossen." Bonn, 1886.
+
+=Vosmaer, Charles.= "Rembrandt Hermannsz. Sa vie et ses œuvres." Paris
+and the Hague, 1877.
+
+=Weyerman, J. Campo.= "De Levens Beschryvingen der nederlandsche
+Konstschilders." The Hague, 1749.
+
+=Willigen, van der.= "Les artistes de Harlem." 1870.
+
+=Willshire, W. H.= "An Introduction to the Study and Collection of
+Ancient Prints." London, 1877.
+
+=Wilson, T.= A Descriptive Catalogue of the Prints of Rembrandt.
+Published as by "An amateur." London, 1836.
+
+=Woltmann, A.=, and =Woermann, K.= "Geschichte de Malerei." Leipzig.
+
+=Yver, Pierre.= "Supplément au Catalogue raisonné de MM. Gersaint,
+Helle, et Glomy." Amsterdam, 1756.
+
+
+
+
+CHRONOLOGICAL TABLE
+
+
+------+---------------------+---------------------+---------------------+
+      |    =Events in=      |  =Principal Work=   |     =Important=
+=Year=| =Rembrandt's Life=  |       =Dated=       | =Historical Event=
+------+---------------------+---------------------+---------------------+
+ 1606 |Born July 15th.      |                     |
+      |                     |                     |
+ 1608 |                     |                     |Milton born.
+      |                     |                     |
+ 1609 |                     |                     |Truce between Spain
+      |                     |                     |and Holland.
+      |                     |                     |
+ 1610 |                     |                     |The Colony of Virginia
+      |                     |                     |established.
+      |                     |                     |
+ 1612 |                     |                     |Henry, Prince of
+      |                     |                     |Wales, died.
+      |                     |                     |
+ 1616 |                     |                     |Shakespeare died.
+      |                     |                     |
+ 1618 |                     |                     |Thirty Years' War
+      |                     |                     |began.
+      |                     |                     |
+ 1620 |Entered at Leyden    |                     |The Pilgrim Fathers
+      |University, and later|                     |landed in New England.
+      |Swanenburch's Studio.|                     |
+      |                     |                     |
+ 1622 |                     |                     |Renewal of War with
+      |                     |                     |Spain.
+      |                     |                     |
+ 1623 |Went to Lastman's    |                     |Charles went to Spain.
+      |Studio.              |                     |
+      |                     |                     |
+ 1624 |Returned to Leyden.  |                     |Manhattan founded.
+      |                     |                     |
+ 1625 |                     |                     |Charles I. came to the
+      |                     |                     |throne. Prince
+      |                     |                     |Frederick-Henry became
+      |                     |                     |Stathouder.
+      |                     |                     |
+ 1627 |First known pictures.|St Paul in Prison.   |Expedition to
+      |                     |                     |Rochelle.
+      |                     |                     |
+ 1628 |Gerard Dou became his|Capture of Samson.   |Assassination of
+      |pupil.               |                     |Buckingham.
+      |                     |                     |
+ 1629 |                     |Portrait of Himself  |Charter granted to
+      |                     |(Gotha).             |Massachusetts.
+      |                     |                     |
+ 1630 |His father died.     |Joseph interpreting  |Puritan emigration to
+      |                     |his Dreams.          |New England.
+      |                     |                     |
+ 1631 |Left Leyden for      |Presentation in the  |Dryden born.
+      |Amsterdam.           |Temple.              |
+      |                     |                     |
+ 1632 |Living on the        |The Anatomy Lesson.  |Gustavus Adolphus
+      |Bloemgracht.         |                     |killed at Lutzen.
+      |                     |                     |
+ 1633 |Moved to Saint       |The Shipbuilder and  |Milton's _L'Allegro_
+      |Anthonie's Breestraat|his Wife.            |and _Il Penseroso_.
+      |(about).             |                     |
+      |                     |                     |
+ 1634 |Married on June 22nd.|Descent from the     |The Exchange at
+      |                     |Cross (Hermitage).   |Amsterdam built.
+      |                     |                     |
+ 1635 |Rombertus born.      |Abraham's Sacrifice. |Ben Jonson died.
+      |                     |                     |
+ 1636 |Living in Nieuwe     |Danae.               |
+      |Doelstraat.          |                     |
+      |                     |                     |
+ 1637 |                     |Susannah at the Bath.|Trial of Hampden.
+      |                     |                     |
+ 1638 |Cornelia born.       |Christ and Mary      |Milton's _Lycidas_.
+      |                     |Magdalen.            |
+      |                     |                     |
+ 1639 |Moved to             |Resurrection.        |Massinger died.
+      |Jode-Breestraat.     |                     |
+      |                     |                     |
+ 1640 |His mother died.     |Portrait of Elizabeth|The Long Parliament
+      |                     |Bas.                 |met.
+      |                     |                     |
+ 1641 |Titus born.          |Portrait of Anslo.   |Execution of
+      |                     |                     |Strafford.
+      |                     |                     |
+ 1642 |Saskia died.         |The Night Watch.     |The Civil War began.
+      |                     |                     |
+ 1643 |                     |Bathsheba.           |Death of Hampden.
+      |                     |                     |
+ 1644 |                     |Woman taken in       |The Battle of Marston
+      |                     |Adultery.            |Moor.
+      |                     |                     |
+ 1645 |                     |Holy Family          |Battle of Naseby.
+      |                     |(Hermitage).         |
+      |                     |                     |
+ 1646 |Finished two pictures|Adoration of the     |Charles I. surrendered
+      |for the Stathouder.  |Shepherds.           |to the Scots.
+      |                     |                     |
+ 1647 |An estimate made of  |Susannah and the     |William II. became
+      |Saskia's property.   |Elders.              |Stathouder.
+      |                     |                     |
+ 1648 |                     |Christ at Emmaus.    |Peace of Westphalia.
+      |                     |                     |
+ 1649 |Hendrickje Stoffels  |No dated picture.    |Execution of
+      |first heard of.      |                     |Charles I.
+      |                     |                     |
+ 1650 |                     |Deposition.          |John de Witt became
+      |                     |                     |Grand Pensioner.
+      |                     |                     |
+ 1651 |                     |Noli me tangere.     |Battle of Worcester.
+      |                     |                     |
+ 1652 |Hendrickje's first   |Portrait of          |War between England
+      |daughter born.       |Bruyningh.           |and Holland.
+      |                     |                     |
+ 1653 |Borrowed money in    |Portrait called Van  |Peace restored.
+      |large sums.          |der Hooft.           |
+      |                     |                     |
+ 1654 |Birth of second      |Bathsheba (Louvre).  |Oliver Cromwell,
+      |daughter, Cornelia.  |                     |Lord Protector.
+      |                     |                     |
+ 1655 |                     |Joseph accused by    |Cromwell pensioned
+      |                     |Potiphar's Wife.     |Manasseh ben Israel.
+      |                     |                     |
+ 1656 |Declared bankrupt.   |Parable of Labourers |War between Spain and
+      |                     |in the Vineyard.     |England.
+      |                     |                     |
+ 1657 |Sale of his property |Portrait of Catrina  |Cromwell refused title
+      |ordered.             |Hoogh.               |of King.
+      |                     |                     |
+ 1658 |Pictures, etc., sold.|An Old Woman cutting |Cromwell died.
+      |                     |her Nails.           |
+      |                     |                     |
+ 1659 |                     |Jacob wrestling with |Treaty of the Hague.
+      |                     |the Angel.           |
+      |                     |                     |
+ 1660 |Association formed by|Portrait of Himself  |Charles II. landed at
+      |Hendrickje and Titus.|(Louvre).            |Dover.
+      |                     |                     |
+ 1661 |The last known       |The Syndics.         |Mazarin died.
+      |etching.             |                     |
+      |                     |                     |
+ 1662 |Hendrickje (probably)|No dated picture.    |Charter given to Royal
+      |died.                |                     |Society.
+      |                     |                     |
+ 1663 |                     |Homer.               |
+      |                     |                     |
+ 1664 |Moved to the         |Lucretia.            |War between Holland
+      |Lauriergracht.       |                     |and England.
+      |                     |                     |
+ 1665 |Titus awarded his    |Portrait of a Man    |Plague in London.
+      |property.            |(Metrop. Mus.,       |
+      |                     |New York).           |
+      |                     |                     |
+ 1666 |                     |Portrait of J. de    |Fire of London.
+      |                     |Decker.              |
+      |                     |                     |
+ 1667 |                     |Portrait of an Old   |Peace between England
+      |                     |Man.                 |and Holland.
+      |                     |                     |
+ 1668 |Titus' marriage and  |The Flagellation.    |Alliance between
+      |death.               |                     |Holland, England, and
+      |                     |                     |Sweden.
+      |                     |                     |
+ 1669 |Rembrandt died.      |No dated picture.    |
+------+---------------------+---------------------+---------------------+
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+CHAPTER I
+
+BIRTH AND EARLY YEARS
+
+
+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?"
+
+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 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."
+
+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.
+
+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 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, _Rembrandt Hermanni Leidensis 14 jare oud_, 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, "_aet._ 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.
+
+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, 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.
+
+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.
+
+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 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.
+
+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.
+
+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 Cornelis, the son of Clæs, with his son Clæs, shared the
+other half between them.
+
+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.
+
+[Illustration: [_Bredius Collection, the Hague_
+
+PORTRAIT OF REMBRANDT'S MOTHER
+
+(ABOUT 1628)]
+
+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 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.
+
+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.
+
+
+
+
+CHAPTER II
+
+ART EDUCATION AND EARLY WORKS
+
+
+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.
+
+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 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.
+
+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 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.
+
+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.
+
+That so indefatigable and untiring a worker as 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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Cassel Gallery_
+
+PORTRAIT OF REMBRANDT'S FATHER
+
+(ABOUT 1631)]
+
+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 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.
+
+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 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.
+
+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.
+
+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 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."
+
+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.
+
+
+
+
+CHAPTER III
+
+DAYS OF PROSPERITY
+
+
+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.
+
+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
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF SASKIA
+
+(1632)]
+
+Among the less close relations was a cousin Aaltje, who was married to
+Jan Cornelis Sylvius, a minister of 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).
+
+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.
+
+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.
+
+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, 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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+REMBRANDT AND SASKIA
+
+(ABOUT 1635)]
+
+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 artist must then have been at the height of his prosperity and
+fame.
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+The strongest reason for supposing that he was in some financial
+embarrassment is found in his correspondence 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.
+
+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.
+
+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,
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(1640)]
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+PORTRAIT OF SASKIA
+
+(1641)]
+
+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 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.
+
+
+
+
+CHAPTER IV
+
+DAYS OF DECLINE
+
+
+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.
+
+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.
+
+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, 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.
+
+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, 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.
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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, for we find them again settled down, this time in
+the Rozengracht, in a house opposite a pleasure garden called the
+Doolhof.
+
+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.
+
+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, 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.
+
+[Illustration: [_Louvre, Paris_
+
+PORTRAIT OF HENDRICKJE STOFFELS
+
+(ABOUT 1652)]
+
+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 again commanded to
+refund the 4200 florins, and again appealed.
+
+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.
+
+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 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.
+
+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.
+
+"Tuesday, 8 October, 1669, Rembrandt van Rijn, painter, on the
+Rozengracht, opposite the Doolhof. Leaves two children."
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(ABOUT 1664)]
+
+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.
+
+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.
+
+
+
+
+REMBRANDT THE PAINTER
+
+
+
+
+CHAPTER V
+
+EARLY YEARS (1627-1633)
+
+
+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.
+
+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.
+
+The other picture known to belong to this first year, "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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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" (_see_ illustration,
+p. 6). 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.
+
+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
+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.
+
+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.
+
+Six out of the seventeen pictures attributed to 1630 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, but known, for some
+mysterious reason as, "The Countess of Desmond," may be mentioned.
+
+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.
+
+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.
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED COPPENOL
+
+(1631)]
+
+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
+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.
+
+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].
+
+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=C.=], 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.
+
+Once satisfactorily established in Amsterdam, Rembrandt 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.
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A MAN
+
+(1630-1632)]
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A WOMAN
+
+(1630-1632)]
+
+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
+[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."
+
+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."
+
+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.
+
+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.
+
+[Illustration: [_The Hague_
+
+THE ANATOMY LESSON
+
+(1632)]
+
+[Illustration: [_Cassel_
+
+PORTRAIT OF JAN HERMAN KRUL
+
+(1633)]
+
+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 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.
+
+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.
+
+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 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.
+
+[Illustration: [_Munich Gallery_
+
+THE ELEVATION OF THE CROSS
+
+(1633)]
+
+
+
+
+CHAPTER VI
+
+TIME OF PROSPERITY (1634-1642)
+
+
+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 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.
+
+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 (_see_
+illustration, p. 24). The other, at Buckingham Palace, long known as
+"The Burgomaster Pancras and his Wife," is less certain.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF AN OLD WOMAN
+
+(1634)]
+
+[Illustration: [_Buckingham Palace_
+
+THE BURGOMASTER PANCRAS AND HIS WIFE
+
+(ABOUT 1635)]
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF A MAN
+
+(1635)]
+
+Apart from these, there are nine dated portraits, 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 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.
+
+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].
+
+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.
+
+[Illustration: [_The Hermitage_
+
+DANAE
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A MAN
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A LADY
+
+(1636)]
+
+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 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].
+
+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 angel is concerned, led him to the border-line between the
+ungraceful and the ridiculous.
+
+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].
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED SOBIESKI
+
+(1637)]
+
+[Illustration: [_Dresden Gallery_
+
+THE MAN WITH THE BITTERN
+
+(1639)]
+
+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; 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].
+
+There are six pictures dated 1640--four subjects and two portraits--one
+of himself in the National Gallery [No. 672], (_see_ ill., p. 28), 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.
+
+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 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].
+
+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].
+
+[Illustration: [_Amsterdam Gallery_
+
+PORTRAIT OF ELIZABETH BAS
+
+(ABOUT 1640)]
+
+[Illustration: [_Berlin_
+
+ANSLO CONSOLING A WIDOW
+
+(1641)]
+
+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 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].
+
+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.
+
+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.
+
+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
+his positions with an impartial hand, and a comically stiff and formal
+collection of effigies was often the result.
+
+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.
+
+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.
+
+[Illustration: [_Buckingham Palace_
+
+THE LADY WITH THE FAN
+
+(1641)]
+
+[Illustration: [_Brussels Gallery_
+
+PORTRAIT OF A MAN
+
+(1641)]
+
+
+
+
+CHAPTER VII
+
+YEARS OF DECLINE (1643-1658)
+
+
+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.
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+THE WOMAN TAKEN IN ADULTERY
+
+(1644)]
+
+[Illustration: [_Dulwich Gallery_
+
+A GIRL AT A WINDOW
+
+(1645)]
+
+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=A=], 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 of Himself,"
+at Buckingham Palace, which, though the last figure of the date is
+wanting, was, in all likelihood, a work of that year.
+
+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.
+
+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].
+
+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 Berlin Gallery [No. 828=E=]. 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+PORTRAIT OF A RABBI
+
+(1645)]
+
+[Illustration: [_Cassel Gallery_
+
+A WINTER SCENE
+
+(1646)]
+
+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 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.
+
+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].
+
+The next two years are very deficient in dated 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.
+
+[Illustration: [_Louvre, Paris_
+
+CHRIST AT EMMAUS
+
+(1648)]
+
+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=A=], "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" 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=E=], and one in
+the Hermitage [No. 794], for "The Flight into Egypt," at Buda-Pesth,
+though belonging to the period, is undated.
+
+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 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=K=]. 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+JOHN THE BAPTIST PREACHING
+
+(1656)]
+
+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 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."
+
+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.
+
+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 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].
+
+[Illustration: [_Amsterdam Gallery_
+
+THE SYNDICS OF THE DRAPERS
+
+(1661)]
+
+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 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.
+
+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 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].
+
+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=B=] (_see_ ill., p. 44).
+
+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] (_see_ ill., p. 46), belong to about that time. One, a
+"Portrait of an Old Man," in the 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.
+
+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.
+
+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.
+
+There is still a considerable number of pictures to which no very
+approximate date can be assigned, but 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.
+
+
+
+
+REMBRANDT THE ETCHER
+
+
+
+
+CHAPTER VIII
+
+HISTORY OF THE ETCHINGS
+
+
+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.
+
+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 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.
+
+[Illustration: CHRIST HEALING THE SICK. (B. 74)
+
+(1649-50)]
+
+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 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.
+
+The numerous other portraits, the four illustrations to Manasseh ben
+Israel's work, _Piedra Gloriosa_, and that to _Der Zeeværts-Lof_, 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.
+
+When we have recalled the partnership formally 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.
+
+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.
+
+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.
+
+Others, again, would be given to fellow-artists, such 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 _Groote Schilderboek_, 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.
+
+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, 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.
+
+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.
+
+[Illustration: CLEMENT DE JONGHE. (B. 272)
+
+(1651)]
+
+There is no doubt that Bartsch was too generous in 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.
+
+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, 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.
+
+[Illustration: THE THREE TREES. (B. 212)
+
+(1643)]
+
+
+
+
+CHAPTER IX
+
+THE AUTHENTIC ETCHINGS
+
+
+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.
+
+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 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.
+
+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.
+
+He was again his own model twice in 1631--one, 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.
+
+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 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).
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: REMBRANDT'S MILL (B. 233)
+
+(1641)]
+
+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 with figures,
+called "The Shepherd and his Family" (B. 220).
+
+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.
+
+The next few years are singularly devoid of dated etchings. There are
+three from 1646--a small sketch 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.
+
+[Illustration: BEGGARS AT THE DOOR OF A HOUSE. (B. 176)
+
+(1648)]
+
+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 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.
+
+[Illustration: THE SHELL (B. 159)
+
+(1650)]
+
+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" (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.
+
+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.
+
+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 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.
+
+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.
+
+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 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
+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.
+
+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 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."
+
+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.
+
+[Illustration: JAN LUTMA. (B. 276)
+
+(1656)]
+
+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).
+
+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.
+
+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 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.
+
+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."
+
+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,
+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).
+
+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.
+
+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 _Life_;
+and one of Jacob Haring (B. 274), known as "The Old Haring."
+
+There are nine scripture subjects of the period, two 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
+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.
+
+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" (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.
+
+
+DISPUTED ETCHINGS AND DRAWINGS
+
+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 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.
+
+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 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.
+
+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. 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.
+
+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.
+
+
+
+
+CATALOGUE OF WORKS
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY HANG
+
+    _The following abbreviations are used in this list.--S. = signed, C.
+    = canvas, P. = panel._
+
+    _Where a number is given, thus_ [No. 6], _it is the number of the
+    Catalogue of the Gallery. The dates given must in some cases be
+    accepted as approximate only._
+
+
+  AUSTRIA-HUNGARY
+
+  BUDA-PESTH, ACADEMY.
+    =Portrait of an Old Man with a white beard=. S. 1640. P. 28-2/5 ×
+      21-4/5. [No. 235.]
+    =Repose of the Holy Family=. 1655.
+
+  COLLECTION OF COUNT J. ANDRASSY.
+    =Portrait of Himself=. S. 1630. P. 19-3/5 × 15-1/5.
+
+  COLLECTION OF MR GEORGE VON RATH.
+    =Mountain Landscape=. S. 1638. P. 22 × 28-3/5.
+    =Slaughtered Ox=. S. 1639. P. 21-1/5 × 17-1/5.
+    =Portrait of a Woman=. S. 1660. P. 29-2/5 × 20-2/5.
+
+  CRACOW, CZARTORYSKI MUSEUM.
+    =Landscape=. S. 1638. P. 17-3/4 × 25-1/4.
+
+  INNSBRUCK, FERDINANDEUM.
+    =Head of an Old Man=. S. 1630. P. 8-4/5 × 6-4/5.
+
+  PRAGUE. COUNT NOSTITZ.
+    =An Old Man=. S. 1634. C. 58 × 54. [No. 269.]
+
+  TARNOWITZ, GALICIA. COUNT TARNOWSKI.
+    =Polish Horseman=. 1655. C. 46 × 53-2/5.
+
+  VIENNA, ACADEMY.
+    =Portrait of a Young Woman=. S. 1632. C. 39-1/5 × 28-4/5.
+
+  COUNT KÖNIGSWARTER.
+    =Portrait of Rembrandt=. S. 1640. C. 23 × 17-1/2.
+
+  PRINCE LIECHTENSTEIN.
+    =Portrait of Saskia=. S. 1632. P. 23-3/5 × 17-3/5.
+    =Young Girl at her Toilet=, called the Jewish fiancée. S. 1632.
+      C. 43-1/5 × 37-1/5.
+    =Portrait of Rembrandt=. S. 1635. C. 36-4/5 × 28-4/5.
+    =Portrait of a Man=. S. 1636.
+    =Portrait of a Woman=. Companion to above. S. 1636.
+
+  PRINCE LUBOMIRSKI.
+    =Study of Rembrandt with his Mouth open=. 1629.
+      P. 17-3/5 × 13-1/5.
+
+  FRANZ XAVIER MEYER.
+    =A Philosopher reading by Candlelight=. 1627. Copper,
+      5-3/5 × 5-3/5. A very doubtful picture.
+
+  IMPERIAL MUSEUM.
+    =Portrait of a Man=. 1630. P. 36-2/5 × 28. [No. 1139.]
+    =Portrait of a Woman=. P. 36-2/5 × 28. [No. 1140.]
+    =St Paul=. 1636. C. 50-2/5 × 44.
+    =Portrait of Rembrandt's Mother=. S. 1639. P. 32 × 24-4/5.
+      [No. 1141.]
+    =Portrait of Himself=. 1658. C. 45-1/5 × 32-2/5. [No. 1142.]
+    =Young Man Singing=. 1658. C. 28-2/5 × 28-4/5. [No. 1144.]
+    =Portrait of Himself=. S. 1668. P. 20 × 16-2/5. [No. 1143.]
+
+  COUNT SCHÖNBORN-BUCHHEIM.
+    =Samson captured by the Philistines=. S. 1636. C. 95-1/5 × 114-4/5.
+
+  A. STRASSER.
+    =Study of an Angel=. 1655. P. 10-2/5 × 9-2/5.
+
+
+  BELGIUM
+
+  ANTWERP, MUSEUM.
+    =Portrait of Henry Swalm=, known as "Portrait of a Burgomaster."
+      S. 1637. C. 55-3/5 × 43-3/5. [No. 705.]
+    =The Young Fisher=. S. 1659. P. 9-1/3 × 7-1/5 [No. 294.]
+    =Saskia=. C. 44-4/5 × 33-3/5. [No. 293.]
+    =Portrait of an Old Jew=. P. 9-1/3 × 7-3/5. [No. 295.]
+
+  BRUSSELS, DUC D'ARENBERG.
+    =Tobias curing his Father's Blindness=.  S. 163--.  P. 19-1/5 ×
+      15-3/5.
+
+  COUNT MERODE-WESTERLOO.
+    =St Peter repenting in Prison=.  S. 1631.  P. 23-2/5 × 19-1/5.
+
+  MUSEUM.
+    =Portrait of a Man=. S. 1641. C. 42 × 33-1/5. [No. 397.]
+    =Portrait of an Old Woman=. S. 1654. P. 27-3/5 × 28. [No. 397a.]
+
+
+  BRITISH ISLES
+
+  LONDON. NATIONAL GALLERY.
+    =Portrait of an Old Woman=. S. 1634. P. 27 × 21. [No. 775.]
+    =Portrait of a Man=. S. 1635. C. 30-1/8 × 22-1/2. [No. 850.]
+    =Ecce Homo=. Grisaille. 1636. C. 21-3/8 × 17-3/4. [No. 1400.]
+    =Portrait of Rembrandt=. S. 1640. C. 39 × 31-1/2. [No. 672.]
+    =The Woman taken in Adultery=. S. 1644. P. 32-1/2 × 25-1/2. [No. 45.]
+    =Adoration of the Shepherds=. S. 1646. C. 25 × 22. [No. 47.]
+    =A Woman Bathing=. S. 1654. P. 24 × 18-1/4. [No. 54.]
+    =Portrait of a Rabbi=. S. 1657(?). C. 30 × 26. [No. 190.]
+    =Portrait of an Old Man=. S. 1659. C. 39 × 32-3/4. [No. 243.]
+    =Portrait of a Monk=. 1660. C. 34-1/2 × 25-1/2. [No. 166.]
+    =Portrait of Rembrandt=. 1664. C. 33 × 27-1/2. [No. 221.]
+    =Portrait of a Woman=. S. 1666. C. 26-1/4 × 23-1/4. [No. 237.]
+    =Portrait of a Jew Merchant=. C. 53 × 41. [No. 51.]
+    =Landscape=. P. 22 × 34. [No. 72.]
+    =Christ taken down from the Cross=. P. 13 × 11. [No. 43.]
+    =Portrait of a Burgomaster=. C. 50-1/2 × 38. [No. 1674.]
+    =Portrait of an Old Lady=. C. 50-1/2 × 38. [No. 1675.]
+
+  HERTFORD HOUSE COLLECTION.
+    =Portrait of Burgomaster Pellicorne and his Son Caspar=. S. 1632.
+      C. 61 × 48.
+    =Suzanna van Collen, Wife of Pellicorne, and her Daughter=. S. 1632.
+      C. 61 × 48-1/4.
+    =The Good Samaritan=. 1632. P. 9-3/4 × 8.
+    =Portrait of a Boy=. S. 1633. Copper, 8 × 6-3/4.
+    =Portrait of Himself=. S. 1633-1635. P. 26 × 20.
+    =Portrait of a Young Negro=, known as the Black Archer. Oval. 1640.
+      P. 26 × 20.
+    =Landscape=. 1640. P. 18 × 25.
+    =Portrait of Himself=. S. 1640. P. 25 × 19-1/4.
+    =Portrait of Himself=. 1660. 8-1/2 × 6.
+    =Portrait of Titus=. 1658. C. 26-1/2 × 22.
+    =The Unmerciful Servant=. 1664. C. 70-1/2 × 86-1/4.
+
+  BUCKINGHAM PALACE.
+    =The Shipbuilder and his Wife=. S. 1633. C. 44 × 65. [No. 16.]
+    =The Burgomaster Pancras and his Wife=. Called Rembrandt and Saskia.
+      S. 1635. C. 60 × 77. [No. 30.]
+    =Christ and Mary Magdalene at the Tomb=. S. 1638. P. 23-1/2 × 19-1/2.
+      [No. 41.]
+    =Portrait of a Lady=. S. 1641. C. 41 × 33. [No. 162.]
+    =Portrait of Rembrandt=. S. 164--. P. 27 × 23. [No. 174.]
+    =The Adoration of the Magi=. S. 1657. P. 48 × 40-1/2. [No. 154.]
+    =A Jewish Rabbi=. C. 30 × 38-7/8. [No. 131.]
+
+  HAMPTON COURT.
+    =Portrait of a Rabbi=. S. 1635. P. 28 × 24. [No. 381.]
+
+  EDINBURGH. NATIONAL GALLERY.
+    =A Young Woman in Bed=. S. 1650. P. 32 × 26-1/2.
+
+  DUBLIN. NATIONAL GALLERY.
+    =Portrait of a Young Man=. Said to be Louis van der Linden. 1631.
+      P. 27 × 21-1/2.
+    =Shepherds reposing at Night=. S. 1647. P. 13-1/2 × 19. [No. 115.]
+    =Descent From the Cross=. S. 1650. C. 70 × 77-1/2. Lent by the Duke of
+      Abercorn.
+    =Portrait of an Old Man=. S. P. 24 × 18. [No. 48.]
+
+  GLASGOW. CORPORATION GALLERIES.
+    =The Slaughter-house=. S. 16--. P. 28 × 20. [No. 707.]
+    =Tobias and the Angel=. 1654. P. 29-1/2 × 26. [No. 705.]
+    =A Man in Armour=. S. 1655. C. 53-1/2 × 40-1/2. [No. 706.]
+    =The Painter's Study=. P. 20 × 24. [No. 709.]
+    =Jeremiah mourning over the Destruction of Jerusalem=. C. 15-1/2 × 12.
+      [No. 714.]
+    =Study of an Old Man=. P. 9 × 8. [No. 711.]
+    =Portrait of Rembrandt=. P. 26 × 20. [No. 710.]
+
+  HUNTERIAN MUSEUM.
+    =Entombment=. 1634. P. 12-4/5 × 16.
+
+  CAMBRIDGE. FITZWILLIAM MUSEUM.
+    =Portrait of Rembrandt=. S. 1650. C. 54 × 46-2/5. [No. 152.]
+
+  DULWICH COLLEGE.
+    =A Young Man=. S. 1632. P. 11-1/4 × 9. [No. 189.]
+    =A Young Girl at a Window=. S. 1645. C. 31 × 25. [No. 206.]
+
+  WINDSOR CASTLE.
+    =A Young Man=. S. 1631. P. 25 × 19.
+    =An Old Woman=, known as the Countess of Desmond.
+      1631. P. 23-1/2 × 18.
+
+  ALTHORP PARK. THE EARL SPENCER, K.G.
+    =A Boy=, formerly called a portrait of William III. P. 1660.
+      C. 24-1/2 × 21.
+    =Woman with Flowers=. 1660. C. 38 × 35-1/2.
+    =The Circumcision=. P. 1661. C. 21-1/2 × 28-1/2.
+    =Rembrandt's Mother=. C. 56 × 39.
+
+  ASHRIDGE PARK. THE EARL BROWNLOW.
+    =Portrait of a Jew=. S. 1632. P. 27 × 23.
+    =Portrait of a Man=, said to be Peter Cornelius van
+      Hooft, the poet. S. 1653. C. 55 × 52-1/2.
+    =Isaac and Esau=. P. 22-1/2 × 27.
+    =Landscape=. A very doubtful picture. P. 8 × 9-1/2.
+    =Portrait of an Old Woman=. C. 29-1/2 × 24-1/2.
+
+  BASILDON PARK. CHARLES MORRISON.
+    =Portrait of a Young Woman=, called Rembrandt's daughter. S. 1665.
+      C. 39-1/2 × 33.
+
+  BELVOIR CASTLE. DUKE OF RUTLAND.
+    =A Young Man=. S. 1660. C. 31 × 26-1/2.
+
+  BOWOOD. MARQUESS OF LANSDOWNE.
+    =The Mill=. 1654. C. 34 × 40-1/2.
+
+  BRIGHTON. WILLIAM CHAMBERLIN.
+    =Portrait of a Man-at-Arms=. S. P. 26 × 20.
+
+  BROOM HALL, DUNFERMLINE. LORD ELGIN.
+    =Portrait of Saskia=. S. 1633. P. 26 × 19-1/5.
+
+  CANFORD MANOR, WIMBORNE. LORD WIMBORNE.
+    =St Paul=. S. 1658.
+    =Portrait of a Man=. 1660.
+
+  CASTLE HOWARD. THE EARL OF CARLISLE.
+    =Portrait of a Young Artist drawing=. S. 164--. Life-size. 1648.
+
+  CHATSWORTH. DUKE OF DEVONSHIRE, K.G.
+    =Portrait of a Rabbi=. S. 1635. P. 40 × 31-1/2.
+
+  DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.
+    =The Cradle=. 1643-1645. P. 24 × 30-1/2.
+    =Portrait of a Man=, known as "Rembrandt's Cook." S. 1661. C. 34
+      × 29-1/2.
+    =The Holy Family=. P. 30 × 25.
+
+  DRAYTON MANOR. SIR ROBERT PEEL.
+    =The Finding of Moses=. 1635. C. oval, 18-4/5 × 23-3/5.
+
+  DUNCOMBE PARK. THE EARL OF FEVERSHAM.
+    =A Merchant=. S. 1659. C. 45 × 38.
+
+  EDINBURGH. ARTHUR SANDERSON.
+    =His Mother in a Hood=. 1630. P. 14-2/5 × 12-1/5.
+    =Portrait of an Old Woman=. S. 1635. C. 51-3/5 × 39-3/5.
+
+  RICHARD SAUNDERSON (in 1836).
+    =Abraham receiving the Angels=.
+
+  GLASGOW. WILLIAM BEATTIE.
+    =Study of Himself=. 1629. P. 10-1/5 × 8-3/5.
+
+  GOSFORD HOUSE. EARL OF WEMYSS AND MARCH.
+    =A Monk reading=. S. 1660. C. 29 × 24.
+
+  THE GRANGE, ALRESFORD. LORD ASHBURTON.
+    =Portrait of a Man=. 1635. P. 30 × 25.
+    =Portrait of an Old Man=. 1637. C. 48 × 37-1/2.
+    =Portrait of Lieven Willemsz van Coppenol=. About 1650. P. 14 × 11.
+    =Portrait of Rembrandt=. About 1658. C. 30 × 25-1/2.
+    =Portrait of a Man=, said to be Cornelius Jansenius. P. 32 × 26.
+
+  GRITTLETON. SIR A. D. NEELD, =Bart.=
+    =Portrait of Rembrandt=. S. 1660. C. 23-1/2 × 20.
+    =Portrait of a Burgomaster=. S. P. 15 × 12.
+
+  HINTON ST GEORGE. THE EARL POULETT.
+    =Portrait of a Boy=. S. 1628.
+
+  KEDDLESTON HALL. REV. LORD SCARSDALE.
+    =Portrait of an Old Man=. S. 1645. C. 34 × 27.
+
+  KNOWSLEY HALL. THE EARL OF DERBY, K.G.
+    =The Feast of Belshazzar=. 1636. Doubtful Rembrandt.
+      C. 65 × 81-1/2.
+
+  LONDON. W. C. ALEXANDER.
+    =Rembrandt's Mother=. 1628. P. 8-3/4 × 6-3/4.
+    =The Painter's Sister=. Doubtful. C. 27 × 20-1/2.
+
+  WENTWORTH B. BEAUMONT.
+    =The Tribute Money=. S. 1645. C. 25 × 33-1/2.
+
+  ALFRED BEIT.
+    =St Francis Praying=. S. 1637. P. 23-1/5 × 18-4/5.
+    =Portrait of a Young Man=. 1660. C. 40 × 32-1/2.
+
+  R. B. BERENS.
+    =Portrait of the Painter=. An early work. P. 24 × 18
+
+  BRIDGEWATER HOUSE. EARL OF ELLESMERE.
+    =A Young Woman=, aged 18. S. 1634. P. 27-1/2 × 21.
+    =A Young Woman=. Oval. 1635.
+    =Portrait of a Burgomaster=, or, a Minister. S. 1637.
+      C. 52 × 38.
+    =Hannah hearing the Young Samuel repeat his Prayers=.
+      S. 1648. P. 16 × 18.
+    =Study of an Old Man=. 1655.
+    =Portrait of Rembrandt=. S. 165--. C. 26-1/2 × 20-3/4.
+
+  MONTAGUE HOUSE. DUKE OF BUCCLEUCH, K.G.
+    =Portrait of Saskia=. S. 1633. C. 48-1/2 × 38-1/2.
+    =Portrait of an Old Woman=. S. 1655. C. 31-1/2 × 26.
+    =Portrait of Rembrandt=. S. 1659. C. 31 × 25-1/2.
+
+  BARONESS BURDETT-COUTTS.
+    =A Forest Scene=. P. 16 × 14.
+
+  W. C. CARTWRIGHT.
+    =Dead Peacocks=. S. 1640. C. 54 × 50-1/2.
+
+  THE EARL OF CRAWFORD, K.G.
+    =Portrait of Titus=. S. 1655. C. 29-1/2 × 24-1/2.
+
+  THE EARL OF DERBY, K.G.
+    =A Rabbi=. S. 1635. P. 28 × 21.
+    =Joseph's Coat=. 1647. C. 48 × 38.
+
+  DEVONSHIRE HOUSE. THE DUKE OF DEVONSHIRE, K.G.
+    =An Old Man=. S. 1651. C. 28-1/2 × 25.
+    =An Old Man=. S. 1652. C. 43 × 34.
+
+  GEORGE C. W. FITZWILLIAM.
+    =Portrait of a Man=. 1632. P. 22-1/2 × 18-1/2.
+
+  F. FLEISCHMANN.
+    =Rembrandt's Father=. S. 1631. P. 23 × 19-1/2.
+
+  ALEXANDER HENDERSON.
+    =Burgomaster Six=. 1655. C. 36-1/2 × 29.
+    =Portrait of his Wife, Margaretha, Daughter of Dr. Tulp=. S. 1655. P.
+      36-1/2 × 29.
+
+  CAPTAIN HEYWOOD-LONSDALE.
+    =Portrait of Rembrandt=. S. 1635 or 8. P. 25 × 20.
+
+  DORCHESTER HOUSE. CAPTAIN G. L. HOLFORD.
+    =Martin Looten=. S. 1632. P. 36 × 29-1/2.
+    =A Man with a Sword=. S. 1644. C. 39 × 34.
+    =Portrait of a Lady=, incorrectly called the wife of Jan Sylvius.
+      1645. C. 49 × 40.
+    =Portrait of Titus=. S. 1660. C. 29 × 24-1/2.
+
+  LORD FRANCIS PELHAM HOPE. (Collection sold in 1898.)
+    =A Lady and Gentleman=. S. 1633. C. 51 × 42.
+    =The Ship of St Peter=. S. 1635. C. 63 × 50.
+
+  THE EARL OF HOPETOUN.
+    =Rembrandt's Mother=. Oval. P. 27 × 21.
+
+  R. W. HUDSON.
+    =An Old Man=. S. 1635. P. 26-4/5 × 21-3/5.
+
+  THE EARL OF ILCHESTER.
+    =Portrait of Rembrandt=. S. 1658. C. 51-1/2 × 40.
+
+  VICTORIA AND ALBERT MUSEUM.
+    =Abraham dismissing Hagar and Ishmael=. S. 1640. P. 15 × 20-1/2.
+
+  LORD IVEAGH.
+    =Portrait of a Woman=. S. 1642. C. 42 × 36.
+    =Portrait of Rembrandt=. 1663. C. 45 × 37-1/2.
+
+  MRS JOSEPH.
+    =Portrait of Saskia=. S. 1636. P. 26 × 20-1/2.
+
+  LESSER (1893).
+    =Portrait of an Old Woman=. S. 1635. C.
+
+  COLONEL LINDSAY (1893).
+    =Portrait of a Very Old Woman=. S. 1660. C. 30 × 25-2/5.
+
+  MRS ALFRED MORRISON.
+    =Portrait of Dr Bonus=. S. 1642. C. 41 × 30.
+
+  DUKE OF NEWCASTLE.
+    =Portrait of an Orator=. C. 37-1/2 × 29-1/2.
+
+  THE EARL OF NORTHBROOK.
+    =Landscape=. 1640. P. 8-1/2 × 11.
+    =Portrait of an Old Man=. S. 1667. C. 27 × 22-1/2.
+
+  LORD PENRHYN.
+    =Portrait of Catrina Hoogh=. S. 1657. C. 49-1/2 × 38-1/2.
+
+  JAMES REISS
+    =Landscape=. P. 11-1/2 × 16.
+
+  MRS OWEN ROE.
+    =Portrait of a Man=. C. 40 × 33.
+
+  LADY DE ROTHSCHILD.
+    =Portrait of Rembrandt=. S. 1656. C. 35 × 28.
+
+  EDWARD H. SCOTT.
+    =Rembrandt's Father's Mill=. C. 32-1/2 × 42.
+
+  COLONEL STERLING.
+    =Portrait of a Man=. C. 23 × 17.
+
+  STEPHEN TUCKER.
+    =The Angel departing from Tobit=. P. 25-1/2 × 19-1/2.
+
+  SIR CHARLES TURNER.
+    =Portrait of a Girl=. 1650. P. 8-2/5 × 7-1/5.
+
+  LORD WANTAGE.
+    =Portrait of an Old Woman=. S. 1661. C. 29-1/2 × 25.
+
+  T. HUMPHRY WARD.
+    =An Old Man=. 1630 or 1658. C. 20 × 14-3/4.
+    =A Young Man=. S. 1646. C. 28 × 23.
+    =The Dismissal of Hagar=. P. 26 × 22-1/2.
+
+  GROSVENOR HOUSE. DUKE OF WESTMINSTER, K.G.
+    =The Salutation=. [No. 33.] S. 1640. P. 22 × 18-1/2.
+    =Portrait of a Gentleman with a Hawk=. [No. 14.] S. 1643. C. 44
+      × 37-1/2.
+    =A Lady with a Fan=. [No. 15.] S. 1643. C. 44 × 37-1/2.
+    =Portrait of Nicholas Berchem=. [NO. 19.] S. 1647. Cedar panel,
+      28-1/2 × 25-1/2.
+    =Portrait of his Wife=. [No. 20], the daughter of Jan Wils. S. 1647.
+      Cedar panel, 28-1/2 × 25.
+    =Portrait of Rembrandt=. P. 15-1/2 × 11-1/2.
+    =Landscape=. [No. 83.] P. 39 × 61.
+
+  HENRY WILLETT.
+    =Portrait of a Man=. P. 20 × 17.
+
+  SIR MATTHEW WILSON.
+    =Portrait of a Lady=. Oval. P. 27 × 21.
+
+  THE EARL OF YARBOROUGH.
+    =Portrait of an Old Lady=. 1637. P. 40-1/2 × 35.
+
+  NEW HALL, BODENHAM. ALFRED BUCKLEY.
+    =Sketch of a Man's Head=. P. 9 × 7.
+
+  PANSHANGER. THE EARL COWPER, K.G.
+    =Portrait of a Man=. S. 1644. C. 44-1/2 × 42.
+    =Portrait of Marshal Turenne=. 1649. C. 113 × 94.
+    =Head of a Man=. P. 12-1/2 × 9-1/2.
+
+  PETWORTH. LORD LECONFIELD.
+    =Portrait of the Painter's Sister=. S. 1631. P. 25 × 18-1/2.
+    =Portrait of Rembrandt=. S. 1632. Oval. P. 25 × 18-1/2.
+    =Portrait of a Lady=. S. 1635. C. 49 × 39-1/2.
+    =Portrait of a Youth=. S. 1666. C. 29 × 24.
+    =Girl with a Rosebud=. S. P. 32 × 25.
+
+  RICHMOND. THE EXECUTORS OF THE LATE SIR FRANCIS COOK.
+    =The Painter's Sister=. S. 1632. Oval. P. 27 × 21.
+    =Portrait of Alotte Adriaans, Wife of Elias Van Trip=. S. 1639.
+      P. 25-1/2 × 22.
+    =Tobit and His Wife=.  S. 1650.  P. 16-1/4 × 21-1/4.
+    =Study of an Old Man=. P. 13-1/2 × 10-1/2.
+    =The Prodigal Son=. S. 1634. A very doubtful picture. C. 51 × 66.
+
+  ROSSIE PRIORY, INCHTURE, PERTHSHIRE. LORD KINNAIRD.
+    =Portrait of a Young Woman=. S. 1636.
+    =Portrait of Rembrandt=. S. 1661. C. 36 × 30.
+
+  WELBECK ABBEY, NOTTS. DUKE OF PORTLAND.
+    =Head of a Boy=. S. 1634. P. 17 × 14.
+
+  WILTON HOUSE. THE EARL OF PEMBROKE.
+    =An Old Woman Reading=. S. 1631. C. 29 × 24.
+
+  WOBURN ABBEY. DUKE OF BEDFORD.
+    =Portrait of an Old Man=. 1632.
+    =Portrait of Rembrandt=. 1635. C. 34-1/2 × 30-1/2.
+
+  PRESENT OWNERS UNKNOWN.
+    =Portrait of a Saint=. S. 1635. C. 43 × 38.
+    =Portrait of a Lady=. P. 29-1/2 × 23.
+    =Landscape=. C. 14 × 18-1/2.
+
+
+  DENMARK.
+
+  COPENHAGEN. NEW CARLSBERG GLYPTOTEK.
+    =Man Reading=. 1645. C. 24-1/2 × 28.
+
+  COUNT MOLTKE.
+    =Portrait of an Old Woman=. [NO. 32.] 1654. C.
+
+  COPENHAGEN. MUSEUM.
+    =Christ at Emmaus=. [No. 292.] S. 1648. C. 33-1/2 × 42-1/2.
+    =Portrait of a Young Man=. [No. 273.] S. 1656. C.
+      29 × 25.
+    =Portrait of a Young Woman=. [No. 274.] Companion to the last.
+      S. 1656. C. 29 × 25.
+
+
+  FRANCE.
+
+  PARIS. THE LOUVRE.
+    =A Philosopher in Meditation=. [No. 2540, Grand Gallery.] S. 1633.
+      P. 11-3/5 × 13-1/5.
+    =A Philosopher in Meditation=. [No. 2541, Grand Gallery.] 1633.
+      P. 11-1/5 × 9-1/5.
+    =Portrait of Rembrandt=. [No. 2552, Salle XV.] S. 1633. C. 23-1/5
+      × 18.
+    =Portrait of Rembrandt=. [No. 2553, Grand Gallery.] S. 1634. P.
+      27-1/5 × 21-1/5.
+    =The Angel Raphael leaving Tobit=. [No. 2536, Grand Gallery.] S. 1637.
+      P. 27-1/5 × 20-4/5.
+    =Portrait of Rembrandt=. [No. 2554, Grand Gallery.] S. 1637. P. 32
+      × 24-4/5.
+    =Portrait of an Old Man=. [No. 2544, Grand Gallery.] S. 1638. Oval.
+      P. 36 × 22-2/5.
+    =The Carpenter's Home=. [No. 2542, Salon Carré.] S. 1640. P. 16-2/5
+      × 13-3/5.
+    =A Woman Bathing=. [No. 2550, Salle Lacaze.] 1647. P. 24-4/5 × 19-1/5.
+    =Christ at Emmaus=. [No. 2539, Salon Carré.] S. 1648. P. 27-1/5 × 26.
+    =The Good Samaritan=. [No. 2537, Grand Gallery.] S. 1648. P. 45-3/5
+      × 54.
+    =Portrait of a Man=. [No. 2551, Salle Lacaze.] S. 1651. C. 33-1/5 ×
+      26-2/5.
+    =Portrait of Hendrickje Stoffels=. [No. 2547, Salon Carré.] P. about
+      1652. C. 28-4/5 × 24.
+    =Bathsheba, or a Woman bathing=. [No. 2549, Salle Lacaze.] S. 1654.
+      C. 56-4/5 × 56-4/5.
+    =Portrait of a Man=. [No. 2546, Grand Gallery.] 1655. P. 10-2/5 ×
+      7-3/5.
+    =The Slaughter-house=. [No. 2548, Grand Gallery.] S. 1655. P. 37-3/5
+      × 27-3/5.
+    =Portrait of a Young Man=. [No. 2545, Salon Carré.] S. 1658. C. 29-1/5
+      × 24-2/5.
+    =Portrait of Rembrandt=. [No. 2555, Salon Carré.] S. 1660. C. 44-2/5
+      × 34.
+    =Saint Matthew=. [No. 2538, Grand Gallery.] S. 1661. C. 38-2/5 ×
+      32-2/5.
+    =Venus and Cupid=. [No. 2543, Grand Gallery.] 1661. C. 44 × 35-1/5.
+
+  ÉPINAL. MUSEUM.
+    =Portrait of an Old Woman=. [No. 101.] S. 1661. C. 45-3/5 × 32.
+
+  NANTES. MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 522, attributed to van Vliet.]
+      1628. P. 7 × 5-2/5.
+
+  PARIS. MME. ANDRÉ-JACQUEMART.
+    =Christ at Emmaus=. S. R.H. 1629. Paper on panel 15-3/5 × 16-4/5.
+    =Portrait of Lysbeth van Rijn=. S. 1632. C. 26 × 20-2/5.
+    =Portrait of Arnold Tholinx=. S. 1656. C. 30-2/5 × 25-1/5.
+
+  LÉON BONNAT.
+    =Petitioners To a Biblical King=. 1633. P. 11-2/5 × 10-3/5.
+    =Jean Six at a Window=. Very doubtful. P. 10 × 8.
+    =Figure of Susannah=. Oval. 1647. P. 8-4/5 × 7.
+    =Tasters in a Cellar=. 1650. P. 19-4/5 × 25-1/5.
+    =Portrait of an Old Man=. 1650. P. 22 × 17-3/5.
+    =Portrait of a Rabbi=. 1655. P. 8-7/25 × 9-39/50.
+    =Head of an Old Man=. 1660. P. 10 × 8-4/5.
+
+  MARQUIS BONI DE CASTELLANE.
+    =Portrait of Nicholas Ruts=. S. 1631. P. 46 × 34-1/2.
+
+  PRINCE DE CHALAIS.
+    =Portrait of a Man=.
+
+  LÉON GAUCHEZ.
+    =Lucretia=. S. 1664. C. 46-2/5 × 39-1/5.
+
+  LEOPOLD GOLDSCHMIDT.
+    =Portrait of a Woman=. Called Rembrandt's cook. 1655. C. 29-4/5
+      × 24-3/5.
+
+  HARJES.
+    =Old Man With a White Beard=. C. 25-1/5 × 23-1/5.
+
+  BARONESS HIRSCH-GEREUTH (THE LATE).
+    =Portrait of his Sister, or Saskia=. Oval. S. 1633. P. 23 × 17-3/5.
+
+  MAURICE KANN.
+    =Head of Christ=. 1660. C. 18-3/5 × 14-4/5.
+    =A Man in a Red Cloak=. S. 1659. P. 15-2/5 × 12-2/5.
+    =Portrait of a Man=. P. between 1666 and 1668. C. 36-2/5 × 29-4/5.
+
+  RODOLPHE KANN.
+    =Head of Christ=. 1652. P. 10-2/5 × 8.
+    =Portrait of Titus=. S. 1655. C. 31-3/5 × 23-3/5.
+    =Portrait of a Rabbi=. 1655. P. 10 × 7-4/5.
+    =Portrait of an Old Woman=. S. 1657. P. 8-4/5 × 7-1/5.
+    =Old Woman cutting her Nails=. S. 1658. C. 50-2/5 × 40.
+    =Portrait of a Young Woman=. 1668. C. 37-1/5 × 29-1/5.
+
+  MME. LACROIX.
+    =Landscape, with Swans=. 1645. C. 25-3/5 × 17-1/5.
+
+  ALBERT LEHMANN.
+    =Zachariah receiving the Prophecy of the Birth of John the Baptist=.
+      S. 1632. P. 22-2/5 × 19-1/5.
+
+  PAUL MATHEY.
+    =Head of an Old Man=. P. 20 × 24.
+
+  HENRY PEREIRE.
+    =Portrait of a Man=. S. 1632. P. 24 × 18-4/5.
+    =Portrait of Cornelia Pronck=. Wife of the man. S. 1633. P. 24 ×
+      18-4/5.
+
+  JULES PORGÈS.
+    =The Good Samaritan=. S. 1639. C. 38-1/5 × 50.
+    =Portrait of a Rabbi=. S. 1642. P. 30 × 24-2/5.
+    =An Old Woman meditating over a Book=. 1649. C. 39-1/5 × 31-1/5.
+    =Portrait of Rembrandt's Brother=. 1650. P. 22-2/5 × 17-1/5.
+    =Portrait of a Woman holding a Book=. 1650. P. 22-2/5 × 17-1/5.
+
+  COUNTESS EDMOND DE POURTALÈS.
+    =Portrait of a Young Man rising from a Chair=. S. 1633. C. 50 × 40.
+
+  BARON ALPHONSE DE ROTHSCHILD.
+    =Portrait of an Old Woman=. S. 1632. P. 30-3/5 × 23.
+
+  BARON GUSTAVE DE ROTHSCHILD.
+    =Portrait of Martin Daey=. S. 1634. C. 82-4/5 × 52-4/5.
+    =Portrait of Machteld van Doorn, Wife of Martin Daey=. C. 82-4/5
+      × 52-4/5.
+    =The Standard-Bearer=. S. 1636. C. 50 × 42.
+
+  BARONESS NATHANIEL DE ROTHSCHILD.
+    =Portrait of a Boy=. S. 1633. P. 17-3/5 × 13-1/5.
+
+  BARON N. DE ROTHSCHILD.
+    =Portrait of Anthoni Copal=. S. 1635. P. 33-1/5 × 26-4/5.
+
+  DURAND RUEL.
+    =David playing before Saul=. 1663. C. 52-1/5 × 65-3/5.
+
+  BARON ARTHUR DE SCHICKLER.
+    =Judas with the Price of the Betrayal=. 1629. C. 31-3/5 × 41-1/5.
+
+  A. SCHLOSS.
+    =Portrait of Saskia=. Oval. 1634. P. 26-4/5 × 21.
+    =Old Man=. S. 1643. P. 10 × 7-3/5.
+
+  HENRI SCHNEIDER.
+    =Hans Alenson=. S. 1634. C. 71-1/5 × 52-4/5.
+    =The Wife of Alenson=. S. 1634. C. 71-1/5 × 52-4/5.
+
+  CHARLES SEDELMEYER.
+    =Pilate washing his Hands=. 1656. C. 51-1/5 × 72.
+
+  CHARLES WALTNER.
+    =An Old Rabbi=. 1654-56. C. 32-4/5 × 26.
+
+  E. WARNECK.
+    =Diana bathing=. 1631. P. 7-1/5 × 6-4/5.
+    =Rembrandt laughing=. S. 1633. P. 8-1/5 × 7.
+    =Study of a Rabbi=. 1650 To 1655. P. 8-4/5 × 7-2/5.
+    =Study of a Young Boy=. 1654. P. 9-1/5 × 7-4/5.
+
+  DR MELVIL WASSERMANN.
+    =Study of his Father=. 1630. P. 11-2/5 × 9-1/5.
+    =Portrait of an Old Man=. 1633. P. 10-2/5 × 8-2/5.
+
+  ROUEN. M. DUTUIT.
+    =Portrait of Rembrandt=. S. 1631. P. 32-2/5 × 21-3/5.
+
+  TOURS. MUSEUM.
+    =Portrait of His Father=. [No. 437.] A copy of the one in the Museum
+      at Nantes. 1628. P. 6 × 4.
+
+
+  GERMANY.
+
+  BERLIN GALLERY. ROYAL MUSEUM.
+    =The Money-Changer=. [No. 828 D.] S. 1627. P. 12-1/5 × 16-4/5.
+    =Judith=, or =Minerva=. [No. 828 C.] 1631. P. 23-3/5 × 19-1/5.
+    =The Rape of Proserpina=. [No. 823.] 1632. P. 33-1/5 × 31-1/5.
+    =Rembrandt=. [No. 810.] S. 1634. P. 22-4/5 × 18-4/5.
+    =Rembrandt=. [No. 808.] 1634. P. 22 × 18-2/5.
+    =Samson threatening his Father-in-law= [No. 802], formerly called The
+      Duke of Gueldres. S. 1635. C. 62-2/5 × 51-3/5.
+    =Portrait of the Minister Anslo consoling a Widow=. S. 1641.
+      C. 73-3/5 × 89-3/5.
+    =Portrait of Saskia=. [No. 812.] S. 1643. P. 28-4/5 × 23-1/5.
+    =Portrait of a Rabbi=. [No. 828 A.] S. 1645. C. 44 × 32-4/5.
+    =The Wife of Tobias with the Goat=. [No. 805.] S. 1645. P. 8 × 10-4/5.
+    =Joseph's Dream=. [No. 806.] S. 1645. P. 8 × 10-4/5.
+    =Susannah and the Elders=. [No. 828 E.] S. 1647. P. 30-2/5 × 36-2/5.
+    =Daniel's Vision=. [No. 828 F.] 1650. C. 38-2/5 × 46-2/5.
+    =Joseph accused by Potiphar's Wife=. [No. 828 H.] S. 1655. C. 41-1/2
+      × 34.
+    =Study of an Old Man=. [No. 828 J.] 1655. C. 20-2/5 × 14-4/5.
+    =John the Baptist preaching=. [No. 828 K.] S. 1656. C. 25 × 31.
+    =Jacob Wrestling with the Angel=. [No. 828.] S. 1659. C. 54-4/5 ×
+      46-2/5.
+    =Moses breaking the Tables of the Law=. [No. 811.] S. 1659. C. 66-4/5
+      × 54.
+    =Portrait of Hendrickje Stoffels=. [No. 828 B.] 1662. C. 34-4/5 × 26.
+
+  ALTFRANKEN. COUNT LUCKNER.
+    =Portrait of Saskia=. S. 1635. P. 39-1/5 × 28.
+
+  ANHOLT. PRINCE OF SALM-SALM.
+    =Diana, Actæon, and Callisto=. S. 1635. C. 28-4/5 × 38.
+
+  ASCHAFFENBOURG. ROYAL MUSEUM.
+    =The Risen Christ=. S. 1661. C. 32 × 25-1/5.
+
+  BERLIN. VON CARSTANGEN.
+    =Portrait of J. C. Sylvius=. S. 1645. C. 52 × 44.
+    =Christ at the Column=. 1646. P. 13-3/5 × 11-1/5.
+    =Portrait of Rembrandt=. S. 1665. C. 32-4/5 × 25-1/5.
+
+  EMPEROR FREDERICK MUSEUM.
+    =Rembrandt's Brother=. 1650. C. 26-4/5 × 20-3/5.
+
+  CARL HOLLITSCHER.
+    =St Paul in Meditation=. 1635. C. 47-1/5 × 38.
+    =Christ on the Cross=. 1648. P. 14 × 9-3/5.
+
+  ROBERT VON MENDELSSOHN.
+    =Rembrandt=. S. 1651. P. 26-2/5 × 21-1/5.
+
+  SANS-SOUCI.
+    =The Capture of Samson=. S. 1628. P. 24 × 19-3/5.
+
+  JAMES SIMON.
+    =Portrait of a Young Girl=. S. 1634. P. 17-3/5 × 14-2/5.
+
+  BONN. PROFESSOR G. MARTIUS.
+    =An Old Woman=. 1640. P. 27-1/5 × 22-1/5.
+
+  BRUNSWICK. GRAND DUCAL MUSEUM.
+    =An Unknown Man=. [No. 232.] 1631. P. 25-2/5 × 19-1/5.
+    =Portrait of a Woman=. [No. 233.] S. 1633. P. 25-2/5 × 19-1/5.
+    =Portrait of a Man=. [No. 237.] S. 1638. P. 32-4/5 × 27.
+    =Stormy Landscape=. [No. 236.] S. 1640. P. 20-4/5 × 28-4/5.
+    =Noli Me Tangere=. [No. 235.] S. 1651. C. 26 × 31-3/5.
+    =Portrait of a Family=. [No. 238] S. 1668. C. 50-2/5 × 66-3/5.
+
+  CARLSRUHE. GRAND DUCAL MUSEUM.
+    =Portrait of Himself=. [No. 238.] S. 1645. P. 29-3/5 × 23-3/5.
+
+  CASSEL. MUSEUM.
+    =Rembrandt=. [No. 208.] 1627. P. 8 × 6-2/5.
+    =An Old Man=. [No. 209.] S. 1630. P. 26-2/5 × 22-2/5.
+    =An Old Man=. [No. 210.] S. 1632. P. 20 × 15-3/5.
+    =An Old Man=. [No. 211.] S. 1632. P. 23-3/5 × 19-3/5.
+    =Portrait=, said to be Coppenol. [No. 212.] S. 1632. C. 40 × 31-1/5.
+    =Jan Herman Krul=. [No. 213.] S. 1633. C. 49-1/5 × 37-3/5.
+    =Saskia=. [No. 214.] 1634. P. 39-1/5 × 30-4/5.
+    =Rembrandt=. [No. 215.] S. 1634. P. 31-3/5 × 25-3/5.
+    =A Young Woman=. [No. 216.] 1635. P. 28-4/5 × 23-3/5.
+    =A Man=. [No. 217.] S. 1639. C. 79-1/5 × 48-2/5.
+    =Holy Family=. [No. 218.] Called "The Woodchopper." S. 1646. P. 18
+      × 26-4/5.
+    =A Winter Landscape=. [No. 219.] S. 1646. P. 6-2/5 × 8-4/5.
+    =The Ruin=. [No. 220.] S. 1650. P. 26-2/5 × 34-2/5.
+    =Portrait of Bruyningh=. [No. 221.] S. 1652. C. 42 × 36.
+    =Man in Armour=, known as "The Watch." [No. 223.] S. 1655. C. 45-1/5
+      × 36.
+    =An Old Man=. [No. 226.] 1655. P. 8 × 6.
+    =An Old Man=. [No. 225.] 1657. P. 8 × 6-2/3.
+    =An Architect, or Geometrician=. [No. 224.] 1656. C. 48 × 36.
+    =Jacob Blessing Joseph's Sons=. [No. 227.] S. 1656. C. 69-3/5 × 80.
+    =Portrait of Rembrandt=. [No. 222.] S. 1659. C. 29-1/5 × 23-3/5.
+
+  COLOGNE. BARON A. VON OPPENHEIM.
+    =A Young Girl=. 1655. P. 8-2/5 × 7.
+
+  DARMSTADT. GRAND-DUCAL GALLERY.
+    =The Flagellation=. [No. 347.] S. 1668. C. 37-3/5 × 29-1/5.
+
+  DRESDEN. ROYAL GALLERY.
+    =Saskia=. [No. 1556.] S. 1633. P. 21 × 17-3/5.
+    =A Man=. [No. 1557.] Willem Burchgraeff. [No. 182.] S. 1633. P. 27
+      × 21.
+    =The Capture of Ganymede=. [No. 1558.] S. 1635. C. 68-3/5 × 52.
+    =Rembrandt and Saskia=. [No. 1559.] S. 1635. C. 64 × 52-4/5.
+    =The Marriage of Samson=. [No. 1560.] S. 1638. C. 50-2/5 × 70-2/5.
+    =The Man with the Bittern=. [No. 1661.] S. 1639. P. 48-2/5 × 35-3/5.
+    =Saskia holding a Pink=. [No. 1562.] S. 1641. P. 39-1/5 × 32-4/5.
+    =The Sacrifice of Manoah=. [No. 1563.] S. 1641. C. 96-2/5 × 114.
+    =Old Woman weighing Gold=. [No. 1564.] C. 44-4/5 × 39-3/5.
+    =A Young Man=. [No. 1565.] S. 1643. C. 30-4/5 × 26-4/5.
+    =An Old Man=. [No. 1571.] 1645. C. 37-3/5 × 30-4/5.
+    =The Entombment=. [No. 1566.] S. 1653. C. 38-4/5 × 27-3/5.
+    =An Old Man with a Beard=. [No. 1567.] S. 1654. P. 40 × 30-4/5.
+    =Portrait of a Man=. [No. 1568.] 1656. C. 35-4/5 × 27-2/5.
+    =Rembrandt=. [No. 1569.] S. 1657. C. 34-1/5 × 26.
+    =An Old Man=. [No. 1570.] 1666. C. 32-4/5 × 28-2/5.
+
+  ELBERFELD. KARL VON DER HEYDT.
+    =The Denial of St Peter=. S. 1628. Copper, 8-4/5 × 6-4/5.
+    =A Lady=. S. 1635. P. 30-4/5 × 25-3/5.
+
+  FRANKFORT. STÆDEL ART INSTITUTE.
+    =David playing before Saul=. [No. 183.] P. 24-4/5 × 20.
+    =Portrait of Margaretha van Bilderbeecq=. [No. 182.] Oval. S. 1633.
+      P. 26-4/5 × 22-2/5.
+    =Parable of the Labourers in the Vineyard=. [No. 181.] S. 1656. C.
+      61-1/5 × 54-4/5.
+
+  GOTHA. MUSEUM.
+    =Rembrandt=. [No. 181.] S. 1629. P. 7-1/5 × 5-3/5.
+
+  HAMBURG. KUNST-HALLE.
+    =Maurice Huygens=. S. 1632. C. 52 × 44.
+
+  CONSUL WEBER.
+    =Presentation in the Temple=. S. 1630. P. 22 × 17-3/5.
+    =The Woman taken in Adultery=. 1644. C. 45-3/5 × 54.
+    =A Pilgrim at Prayer=. S. 1661. C. 36 × 31-1/5.
+
+  LEIPZIG. JULIUS O. GOTTCHALD.
+    =Study of an Old Man=. 1630. P. 8-1/5 × 6-4/5.
+
+  MUSEUM.
+    =Rembrandt=. [No. 347.] 1654. P. 10-2/5 × 8-2/5.
+
+  ALFRED THIEME.
+    =The Good Samaritan=. 1640. C. 12-2/5 × 15.
+    =Portrait called the Constable of Bourbon=. S. 1644. C. 36-2/5 ×
+      29-3/5.
+
+  METZ. MUSEUM.
+    =An Old Man=. S. 1633. P. 23-3/5 × 17-3/5.
+
+  MUNICH. ROYAL GALLERY.
+    =Holy Family=. [No. 324.] S. 1631. C. 77-1/5 × 52.
+    =Portrait of a Turk=. [No. 325.] S. 1633. P. 33-3/5 × 25-1/5.
+    =The Descent from the Cross=. [No. 326.] S. 1633. P. 35-3/5 × 26.
+    =The Elevation of the Cross=. [No. 327.] 1633. C. 38-2/5 × 28-4/5.
+    =The Ascension=. [No. 328.] S. 1636. C. 36-4/5 × 26-4/5.
+    =The Entombment=. [No. 330.] 1638. C. 37-1/5 × 27-3/5.
+    =The Resurrection=. [No. 329.] S. 1639. C. 37-3/5 × 28.
+    =The Adoration of the Shepherds=. [No. 331.] S. 1646. C. 38-4/5 ×
+      28-4/5.
+    =Rembrandt=. [No. 333.] S. 1654. P. 32-4/5 × 26-4/5.
+
+  DR MARTIN SCHUBART.
+    =An Old Man=. 1632. P. 25 × 18-3/5.
+
+  NORDKIRCHEN. COUNT ESTERHAZY.
+    =A Young Man=. S. 1629.
+
+  NUREMBERG. MUSEUM.
+    =Rembrandt= [No. 298], in armour. S. 1629. P. 15-3/5 × 12-4/5.
+    =Saint Paul=. 1629.
+
+  OLDENBURG. AUGUSTEUM.
+    =The Prophetess Anna=, or the painter's mother. [No. 166.] S. 1631.
+      C. 24 × 19-1/5.
+    =An Old Man=. [No. 167.] S. 1632. C. 26-3/5 × 20-2/5.
+    =Landscape=. [No. 169.] 1645. P. 11-3/5 × 16.
+
+  POSEN. COUNT EDWARD RACZYNSKI.
+    =Christ=. S. 1661. C. 39 × 32-3/5.
+
+  SCHWERIN. GRAND DUCAL MUSEUM.
+    =An Old Man=. [No. 854.] S. 1630. P. 27-1/5 × 20-4/5.
+    =An Old Man=. [No. 855.] 1656. C. 22-4/5 × 18-4/5.
+
+  STRASBURG. MUSEUM.
+    =An Old Man=, holding a scroll. 1650. C. 24-2/5 × 18-2/5.
+
+  STUTTGART. MUSEUM.
+    =St Paul in Prison=. [No. 225.] S. 1627. P. 28 × 23-1/5.
+
+  WEIMAR. GRAND DUKE OF SAXE-WEIMAR.
+    =Portrait of Rembrandt=. S. 1643. C. 24-2/5 × 19-1/5.
+
+
+  HOLLAND.
+
+  THE HAGUE. MAURITSHUIS, ROYAL MUSEUM.
+    =Rembrandt's Mother=. [No. 556, Room XIV.] 1628. P. 7 × 5.
+    =Rembrandt's Father=. [No. 565, Room XIV.] 1628. P. 18-4/5 × 15-3/5.
+    =Rembrandt=. [No. 148, Room XIV.] 1629. P. 14-4/5 × 11-3/5.
+    =A Man Laughing=. [No. 598, Room XIV.] 1630. P. 6 × 4-4/5.
+    =A Young Girl=. [No. 577, Room XIV.] S. 1630. P. 22 × 18.
+    =The Presentation in the Temple=. [No. 145, Room XIV.] S. 1631. P.
+      24 × 19-1/5.
+    =The Anatomy Lesson of Professor Pieterszoon Tulp=. [No. 146, Room
+      XIII.] S. 1632. C. 64-4/5 × 86-2/5.
+    =Rembrandt As an Officer=. [No. 149, Room XIV.] S. 1634. P. 24-4/5
+      × 18-4/5.
+    =The Flight Into Egypt=. [No. 579, Room XIV.] S. 1636. P. 15-1/5 ×
+      14.
+    =A Woman at Her Toilet=. [No. 552, Room XIV.] S. 1637. P. 29 × 25.
+    =Susannah at the Bath=. [No. 147, Room XIV.] S. 1637. P. 18-4/5 ×
+      15-3/5.
+    =Portrait Believed To Be Rembrandt's Brother Adriaen=. [No. 560,
+      Room XIV.] S. 1650. C. 31-1/5 × 26-2/5.
+    =Homer Reciting His Poems=. [No. 584, Room XIV.] S. 1663. C. 43-1/5
+      × 32-4/5.
+
+  AMSTERDAM. RYKSMUSEUM.
+    =Rembrandt's Father=. [No. 1248.] 1629. C. 21-3/5 × 18-2/5.
+    =A Young Lady, Known As the Lady of Utrecht=. S. 1639. P. 42-2/5 ×
+      32-2/5.
+    =Elizabeth Bas [No. 1249], Widow of Admiral Swartenhout=. 1640. C.
+      46-2/5 × 35-1/5.
+    =The Sortie of the Company of Captain Frans Banning Cocq= [No.
+      1246], Called "the Night Watch." S. 1642. C. 143-3/5 × 174.
+    =Mythological Subject=. [No. 1251.] 1650. C. 34 × 26-4/5.
+    =The Anatomy Lesson of Dr Johannes Deyman=. [No. 1250.] S. 1656. C.
+      40 × 52-4/5.
+    =The Syndics of the Drapers=. [No. 1247.] S. 1661. C. 74 × 109-3/5.
+    =The Jewish Bride=. [No. 1252.] S. 1665. C. 47-1/5 × 65-3/5.
+
+  DR C. HOFSTEDE DE GROOT.
+    =Rembrandt's Sister=. 1630. P. 5-1/4 × 3-3/4.
+
+  SIX COLLECTION.
+    =Joseph Interpreting His Dreams=. S. 1630. Cardboard, 20 × 15-1/5.
+    =Anna Vymer=. S. 1641. P. 40 × 32.
+    =Portrait of Ephraim Bonus=. 1647. P. 7-3/5 × 6.
+    =Burgomaster Six=. 1660. C. 44 × 40.
+
+  THE HAGUE. DR BREDIUS.
+    =A Woman Praying=. 1654. P. 7-3/4 × 6.
+
+  PRINCE HENRI DES PAYS-BAS.
+    =Rembrandt=. S. 1643. C. 24-2/3 × 19-1/5.
+
+  D. F. SCHEURLEER.
+    =Head of a Boy=. 1629. 10-2/5 × 8-1/5.
+
+  STEENGRACHT COLLECTION.
+    =The Toilet of Bathsheba=. S. 1643. P. 20-4/5 × 30-2/5.
+
+  LEEUWARDEN. BARON VAN HARINXMA THOE SLOOTEN.
+    =Portrait of an Old Man=. S. 1644. P. 9-2/5 × 8-1/5.
+
+  ROTTERDAM. BOYMANS MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 237, Room B.] S. 1630. Oval.
+      P. 29-1/5 × 22-2/5.
+    =The Peace of the Country=. [No. 238, Room D.] S. 1640. P. 29-3/5
+      × 40.
+
+
+  ITALY.
+
+  FLORENCE. PITTI PALACE.
+    =Rembrandt=. [No. 60, Room 5.] 1635. C. 24-4/5 × 20-4/5.
+    =An Old Man=. [No. 16, Room 6.] S. 1658. C. 40-4/5 × 33-1/5.
+
+  UFFIZI.
+    =Portrait of Rembrandt=. [No. 451, Room 13.] 1655. C. 28-4/5 × 23-1/5.
+    =Portrait of Rembrandt=. [No. 452, Room 13.] 1666. C. 28-4/5 × 23-1/5.
+
+  SIGNOR FABRI.
+    =Study of an Old Man=. P. 23-3/5 × 18-4/5.
+
+  MILAN. BRERA.
+    =A Woman=. [No. 449.] S. 1632. P. 22 × 19-1/5.
+
+
+  ROUMANIA.
+
+  SINAIA. THE KING OF ROUMANIA.
+    =Esther, Haman, and Ahasuerus=. 1668. C. 94 × 76.
+
+
+  RUSSIA.
+
+  ST PETERSBURG. THE HERMITAGE.
+    =Portrait of Rembrandt's Father=. [No. 814.] S. 1630. P. 14-2/5 ×
+      10-2/5.
+    =Portrait of a Man=. [No. 808.] S. 1631. C. 45-1/5 × 36-4/5.
+    =The Descent From the Cross=. [No. 800.] S. 1634. C. 63-1/5 × 46-4/5.
+    =The Incredulity of St Thomas=. [No. 801.] S. 1634. P. 22 × 20-2/5.
+    =The Jewish Bride=. [No. 812.] S. 1634. C. 50 × 40-2/5.
+    =A Young Man= [No. 828]. S. 1634. P. 28 × 20-4/5.
+    =The Sacrifice of Isaac=. [No. 792.] S. 1635. C. 77-1/5 × 53-1/5.
+    =Portrait of an Oriental=. [No. 813.] S. 1636. C. 39-3/5 × 30-2/5.
+    =Danae=. [No. 892.] S. 1636. C. 74 × 82.
+    =Portrait of a Man, called Sobieski=. [No. 811.] S. 1637. P. 38-4/5
+      × 26-3/5.
+    =The Parable of the Master of the Vineyard=. [No. 798.] S. 1637. P.
+      12-2/5 × 16-4/5.
+    =An Old Woman=. [No. 829.] S. 1643. P. 30-2/5 × 22-2/5.
+    =The Reconciliation of David and Absalom=. [No.  1777.] S. 1642. P.
+      30 × 24-3/5.
+    =Rembrandt's Mother=. [No. 807.] S. 1643. P. 31-3/5 × 24-2/5.
+    =The Holy Family=. [No. 796.] S. 1645. C. 46-4/5 × 36-2/5.
+    =Portrait of a Man, erroneously called Manasseh Ben Israel=. [No.
+      820.] S. 1645. C. 51-3/5 × 44-4/5.
+    =Abraham Receiving the Angels=. [No. 791.] 1650. C. 48-3/5 × 65.
+    =The Sons of Jacob showing him Joseph's Coat=. [No. 793.] S. 1650.
+      C. 61-4/5 × 67-1/5.
+    =The Disgrace of Haman=. [No. 795.] S. 1650. C. 50-4/5 × 46-4/5.
+    =Pallas=. [No. 809.] 1650. C. 46-4/5 × 36-2/5.
+    =Hannah Teaching the Infant Samuel to Read=. [No. 822.] S. 1650. C.
+      46-4/5 × 37-3/5.
+    =Girl with a Broom=. [No. 826.] S. 1651. C. 43-3/5 × 36-4/5.
+    =An Old Woman=. [No. 804.] 1654. C. 53-1/5 × 42-4/5.
+    =An Old Woman=. [No. 805.] S. 1654. C. 43-3/5 × 33-3/5.
+    =An Old Woman=. [No. 806.] S. 1654. C. 29-3/5 × 25-1/5.
+    =An Old Jew=. [No. 810.] S. 1654. C. 43-3/5 × 33-3/5.
+    =An Old Man=. [No. 818.] 1654. C. 43-1/5 × 34-2/5.
+    =An Old Man=. [No. 823.] S. 1654. C. 35-1/5 × 28-4/5.
+    =An Old Man=. [No. 824.] S. 1654. C. 29-3/5 × 25-1/5.
+    =Joseph Accused by Potiphar's Wife=. [No. 794.] S. 1655. C. 42 ×
+      38-4/5.
+    =St Peter's Denial=. [No. 799.] S. 1656. C. 61-1/5 × 67-1/5.
+    =A Young Woman=. [No. 819.] S. 1656. C. 40-4/5 × 34-4/5.
+    =Young Woman trying on an Earring=. [No. 817.] S. 1657. P. 16 ×
+      14-1/5.
+    =A Young Man=. [No. 825.] 1660. C. 28-4/5 × 22-2/5.
+    =Portrait of a Man=. [No. 821.] S. 1661. C. 28-2/5 × 24-2/5.
+    =Portrait of Jeremias de Decker, the Poet=. [No. 827.] S. 1666. P.
+      28-2/5 × 22-2/5.
+    =The Prodigal Son=. [No. 797.] 1669. C. 104-4/5 × 100.
+    =An Old Jew=. [No. 815.] S. P. 20-2/5 × 16-4/5.
+
+  PRINCE JOUSOUPOFF.
+    =Head of a Young Boy=. S. 1633. P. 7-22/25 × 6-17/25.
+    =Susannah and the Elders=. S. 1637.
+    =A Young Man=. 1660. C. 32-4/5 × 39-1/5.
+    =A Lady With an Ostrich Feather=. 1660. C. 33 × 39-3/5.
+
+  PRINCE OF LEUCHTEMBERG.
+    =Rembrandt=. [No. 108]. 1643. P. 30 × 24-4/5.
+
+  COUNT A. W. ORLOFF-DAVIDOFF.
+    =Christ=. 1660. C. 43-19/25 × 38-4/5.
+
+  COUNT S. STROGANOFF.
+    =A Philosopher in Meditation=. S. 1630. P. 23-2/5 × 18-23/50
+    =A Young Monk=. S. 1660. C. 32-2/5 × 26-4/5.
+
+
+  SPAIN.
+
+  MADRID. PRADO.
+    =Queen Artemisia receiving the Ashes of Mausolus=. [No. 1544.]
+      Otherwise Known As Cleopatra at her toilet. S. 1634. C. 56-4/5 ×
+      61-1/5.
+
+
+  SWEDEN.
+
+  STOCKHOLM. ROYAL MUSEUM.
+    =A Young Girl=. [No. 591.] 1630. P. 23-3/5 × 24-4/5.
+    =St Anastasius=. [No. 579.] S. 1631. P. 24 × 19-1/5.
+    =Saskia=. [No. 583.] S. 1632. C. 28-4/5 × 21-3/5.
+    =Study of an Old Man as St Peter=. [No. 1349.] S. 1632. C. 32-4/5
+      × 24-4/5.
+    =An Old Man=. [No. 585.] S. 1633.
+    =The Young Servant=. S. 1654. C. 31-1/5 × 25-1/5.
+    =An Old Man=. [No. 581.] S. 1655. C. 35-3/5 × 29-1/5.
+    =An Old Woman=. [No. 582.] S. 1655. C. 35-3/5 × 29-1/5.
+    =The Conspiracy of Claudius Civilis=. [No. 578.] 1661. C. 78-2/5
+      × 123-3/5.
+
+  VANAS. COUNT AXEL DE WACHTMEISTER.
+    =A Young Man=. S. 1632. P. 25-1/10 × 18-2/5.
+    =A Young Man=. 1643. C. 42 × 36.
+
+
+  UNITED STATES OF AMERICA.
+
+  CHICAGO. ARMOUR.
+    =Portrait of a Man=. S. 1643. C. 33-3/5 × 26-4/5.
+
+  P. C. HANFORD.
+    =An Accountant by a Table=. C. 40-4/5 × 32.
+
+  NEW YORK. W. H. BEERS.
+    =Rembrandt's Father=. 1632. C. 30 × 24-4/5.
+
+  ROBERT W. DE FOREST.
+    =Head of a Young Man=. 25-1/2 × 19-1/2.
+
+  H. O. HAVEMEYER.
+    =Portrait of Christian Paul van Beersteyn=, Burgomaster of Delft. S.
+      1632.
+    =Portrait of Volkera Nicolai Knobbert=, wife of Beersteyn. S. 1632.
+    =Portrait of Paulus Doomer=, called "The Gilder." S. 1640. P. 29-1/5
+      × 21-3/5.
+    =A Woman=, aged 87. S. 1640 or 1646. C. 27-3/5 × 24.
+
+  ROBERT HOE.
+    =Young Gipsy holding a Medallion=. 1650. C.
+
+  MORRIS K. JESSUP.
+    =Portrait of a Young Man=, erroneously called Six.
+    =Portrait of his Wife=.
+
+  METROPOLITAN MUSEUM.
+    =A Man=. [no. 277.] 1640. C. 30-3/4 × 24-3/4.
+    =An Old Man=. [no. 274.] S. 1665. C. 27-5/8 × 24-3/8.
+    =The Mills=. [no. 276.] C. 21-1/2 × 26-1/4.
+    =The Adoration of the Shepherds=. [No. 278.] P. 24-3/8 × 20-7/16.
+
+  J. PIERPONT MORGAN.
+    =Portrait of Rembrandt=. C. 43-1/2 × 33-1/2.
+
+  R. MORTIMER.
+    =Portrait of a Young Man putting on His Armour=. 1634. C. 40-2/5
+      × 33-3/5.
+
+  W. SCHAUS.
+    =Portrait of an Admiral=, erroneously called "Van Tromp." 1658. P.
+      36 × 29-3/4.
+
+  CHARLES STEWART SMITH.
+    =St John=. Oval. S. 1632. P. 25 × 19.
+
+  C. T. YERKES.
+    =The Raising of Lazarus=. 1628. P. 16-4/5 × 14.
+    =Joris de Caulery=. S. 1632.
+    =Portrait of a Rabbi=. 1635. P. 25 × 20-4/5.
+    =Philemon and Baucis=. S. 1658. P. 21-3/5 × 27-3/5.
+
+  PHILADELPHIA. P. A. B. WIDENER.
+    =Portrait of Saskia=. 1633. P. 23-3/5 × 18-1/5.
+
+  PITTSBURGH. A. M. BYERS.
+    =Portrait of Saskia=. S. 1636. P. 31-2/5 × 26-2/5.
+
+  SAN FRANCISCO. WILLIAM H. CROCKER.
+    =Portrait of a Young Boy=. P. 16-2/5 × 14.
+
+  UNKNOWN OWNERS.
+    =A Young Man, Called Tulp=. S. 1634. P. 28-4/5 × 20-2/5.
+    =Portrait of a Young Woman=. S. 1634. P. 28-4/5 × 20-2/5.
+    =A Man=, called Matthys Kalkoen. S. 1632. C. 44-4/5 × 36.
+    =Portrait of Saskia=. S. 1634.
+    =Portrait called "The Dutch Admiral."= S. 1643.
+    =Portrait of a Lady=. S. 1643.
+    =An Orphan Girl of Amsterdam=. S. 1645. C. 64 × 33-3/5.
+    "=The Standard-Bearer=." 1662. C. 56 × 58.
+    =Portrait Called Six=. S. C. 48 × 36-4/5.
+
+
+
+
+INDEX
+
+
+  _Abraham caressing Isaac_ (etching), 108
+
+  _Abraham conversing with Isaac_ (etching), 99
+
+  _Abraham dismissing Hagar_ (etching), 96
+
+  _Abraham entertaining the Angels_, 75;
+    (etching), 106
+
+  _Abraham's Sacrifice_, 64;
+    (etching), 105
+
+  _Actæon, Diana, and Callisto_, 63
+
+  _Adam and Eve_ (etching), 96
+
+  _Admiral, Portrait of an_, 79
+
+  _Adoration of the Magi, The_, 78
+
+  _Adoration of the Shepherds, The_, 32, 73;
+    (etching), 112
+
+  Adriaen, Rembrandt's Brother, 12, 14, 28, 38;
+    _Portrait of_, 51
+
+  _Adriaans, Alotte, Portrait of_, 67
+
+  Alenson, the  Minister, 25;
+    _Portraits of, and his wife_, 61
+
+  Amsterdam, prosperity of, 14, 15
+
+  _Amsterdam, View of_ (etching), 109
+
+  _Anatomy Lesson, The_, 13, 16, 58;
+    _ill._, 58
+
+  _Anatomy Lesson of Dr Deyman, The_, (1656), 77
+
+  _Angel, An_, 78
+
+  _Angel quitting Tobit, The_, 65;
+    (etching), 98
+
+  _Anna_, 55
+
+  Anslo, the Minister, 25;
+    _Portrait of_ 68;
+    _ill._, 68
+
+  _Architect, An_, 77
+
+  _Artemisia receiving the Ashes of Mausolus_, 62
+
+  _Ascension, The_, 20, 64
+
+  Asselyn, Jan, 25;
+    _Portrait of_ (etching), 109
+
+
+  _Baptism of the Eunuch, The_ (etching), 98
+
+  Bartsch, Adam, 90
+
+  _Bas, Elizabeth, Portrait of_, 68;
+    _ill._, 68
+
+  _Bathers, The_ (etching), 112
+
+  _Bathsheba_ (Louvre), 76
+
+  _Bathsheba at her Toilet_, 71
+
+  _Battle-Scene_ (etching), 109
+
+  _Baucis and Philemon receiving Jupiter and Mercury_, 79
+
+  _Beersteyn Christian Paul van, Portrait of_, 56
+
+  _Beggars at the Door of a House_ (etching), 101;
+    _ill._, 100
+
+  Beggars, etchings of, 101, 112
+
+  _Belshazzar's Feast_, 64
+
+  _Berchem, Nicholas; Portraits of, and his wife_, 73
+
+  _Bilderbeecq, Margaretha van, Portrait of_, 58
+
+  _Blind Fiddler, The_ (etching), 95
+
+  Bonus, Dr Ephraim, 25;
+    _Portraits of_ 69, 73;
+    (etching), 100
+
+  _Boy, Portrait of a_ (Hinton St George), 51;
+    (Belvoir Castle), 78;
+    _head of a_, 52;
+    (etching), 109
+
+  _Bruyningh, Portrait of_, 76
+
+  _Bull, The_ (etching), 109
+
+  _Burchgraeff, Willem, Portrait of_, 58
+
+
+  _Canal, The_ (etching), 112
+
+  _Canal with a Large Boat_ (etching), 102
+
+  _Canal with Swans_ (etching), 102
+
+  Cappelle, Van de, 25
+
+  _Capuchin, The_, 81
+
+  Cattenburch, Dirck van, 37, 87
+
+  _Caulery, Joris de, Portrait of_, 57
+
+  _Christ, Head of_ (M. Rudolphe Kann), 76;
+    (M. Maurice Kann), 80
+
+  _Christ, Half-length portraits of_
+    (St. Petersburg), 79;
+    (Aschaffenbourg), 81
+
+  _Christ appearing to the Disciples_ (etching), 103
+
+  _Christ and Mary Magdalene at the Tomb_, 66
+
+  _Christ and Mary Magdalene in the Garden_, 75
+
+  _Christ and the Disciples at Emmaus_ (etchings), 96, 104
+
+  _Christ and the Samaritan Woman_ (etching), 111
+
+  _Christ at Emmaus_ (Mme. André-Jacquemart), 51;
+    (Louvre), 74;
+    _ill._, 74;
+    (Copenhagen), 74
+
+  _Christ before Pilate_ (etching), 106
+
+  _Christ bound to the Column_, 73
+
+  _Christ disputing with the Doctors_ (etching), 103
+
+  _Christ driving the Money-Lenders from the Temple_ (etching), 96
+
+  _Christ Entombed_ (etching), 111
+
+  _Christ healing the Sick_ (etching), 85, 87, 110;
+    _ill._, 86
+
+  _Christ in the Garden of Olives_ (etching), 111
+
+  _Christ on the Cross_, 74
+
+  _Christ preaching_ (etching), 87, 111
+
+  _Christ taken from the Cross_, 68
+
+  _Christ's Body carried to the Tomb_ (etching), 112
+
+  _Circumcision, The_, 32, 81;
+    (etching), 103
+
+  _Cleopatra at her Toilet_, 62
+
+  _Collen, Suzanna van, Portrait of_, 56
+
+  _Concord of the Country, The_, 67
+
+  _Conspiracy of Claudius Civilis, The_, 41, 81
+
+  _Constable of Bourbon_, 72
+
+  Coppenol, 6, 25;
+    _Portraits of_, 55, 57;
+    _ill._, 54;
+    (etchings), 110, 112
+
+  Cornelia, daughter of Rembrandt and Hendrickje, 35, 39, 46, 47
+
+  _Cottage and Barn_ (etching), 98
+
+  _Cottage with white Pales_ (etching), 112
+
+  _Cradle, The_, 76
+
+  Crayers, Louis, 35, 40, 45
+
+  _Crucifixion, The_ (etchings), 108, 110
+
+
+  _Daey, Martin, Portrait of_, 61
+
+  _Danae_, 64;
+    _ill._, 64
+
+  _Daniel's Vision_, 72
+
+  _David and Absalom, Reconciliation of_, 68
+
+  _David and Goliath, Combat of_ (etching), 105
+
+  _David at Prayer_ (etching), 111
+
+  _David playing before Saul_ (Frankfort), 57;
+    (1665), 83
+
+  _Dead Peacocks_, 68
+
+  _Death of the Virgin, The_ (etching), 97
+
+  Decker, Jeremias de, 45;
+    _Portrait of_, 83
+
+  _Deposition, The_ (Duke of Abercorn), 75
+
+  _Descent from the Cross, The_, 20, 60, 62;
+    (etchings), 87, 95, 98, 105
+
+  _Desmond, The Countess of_, 54
+
+  Deyman, Dr, 25, 38
+
+  _Diana bathing_, 55;
+    (etching), 107
+
+  Dircx, Geertje, 33
+
+  _Doomer Paul, Portrait of_, 67
+
+  _Doorn, Machteld van, Portrait of_, 61
+
+  Dou, Gerard, Rembrandt's first pupil, 11;
+    _Portrait of_, 54, 55
+
+  _Draughtsman, The_ (etching), 109
+
+  Drawings, Rembrandt's, 115
+
+  _Dutch Admiral and his Wife, The_, 71
+
+
+  _Ecce Homo_, 65; (etching), 87
+
+  Elevation of the Cross, The, 59;
+    _ill._, 60
+
+  _Entombment, The_ (Glasgow), 59;
+    (Munich), 66; (Dresden), 76
+
+  _Esther, Haman, and Ahasuerus_, 83
+
+  Etchings, The, early appreciation of, 85;
+    the various states, 88;
+    catalogues of, 90, 91;
+    authentic etchings, 93;
+    disputed etchings, 113;
+    qualities of the etchings, 114, 115
+
+
+  _Family Group_ (Brunswick), 83
+
+  _Faustus, Dr_ (etching), 110
+
+  _Flagellation, The_, 83
+
+  _Flight into Egypt, The_ (The Hague), 64;
+    (Buda-Pesth), 77;
+    (etchings), 103, 108
+
+  _Flute Player, The_ (etching), 109
+
+  Francen, Abraham, 25, 47;
+    _Portrait of_ (etching), 110
+
+  Frederick-Henry, Prince (Stathouder),
+    commissions to Rembrandt, 20, 27, 32, 59
+
+
+  _Game of Golf, The_ (etching), 105
+
+  Gelder, Aert de, 44
+
+  _Gentleman with the Hawk, The_, 71
+
+  Gerritsz, Harmen, Rembrandt's father, 6, 11;
+    _Portraits of_, 11, 52, 53, 54, 55, 57;
+    _ill._, 12;
+    (etchings), 94, 95
+
+  _Gilder, The_, 67
+
+  _Girl, Head of a_, 59
+
+  _Girl with a Broom_, 75
+
+  _Goldsmith at his Work, A_ (etching), 111
+
+  _Goldweigher, The_ (etching), 103
+
+  _Goldweigher's Field, The_ (etching), 103
+
+  _Good Samaritan_, The (Wallace Collection), 57;
+    (Cracow), 66;
+    (M. Porgès), 66;
+    (circa 1640), 67;
+    (Louvre), 74;
+    (etchings), 87, 95
+
+  _Grotius_, 57
+
+  _Grotto, The_ (etching), 99
+
+
+  _Hagar and Ishmael, Expulsion of_, 67
+
+  _Haman, The Disgrace of_, 75
+
+  _Hannah  teaching Samuel to read_ (Bridgewater House), 74;
+    (St Petersburg), 75
+
+  Haring, Jacob, 38;
+    _Portrait of_ (etching), 110
+
+  Haring, Thomas Jacobsz, 38, 39;
+    _Portrait of_ (etching) 106
+
+  Harmen Gerritsz, _see_ Gerritsz
+
+  Heertsbeeck, Isaac van, 36, 40, 41, 44, 45
+
+  Hendrickje, her relations with Rembrandt, 34, 35;
+    her children, 35;
+    partnership with Titus, 42, 88;
+    her will, 44;
+    her death, 44;
+    _Portraits of_ (Louvre), 34, 76, 81;
+    (Berlin), 82;
+    _ill._, 44
+
+  _Hog, The_ (etching), 98
+
+  _Holy Family, The_ (Munich), 55;
+    (Louvre), 67;
+    (Downton), 71;
+    (St Petersburg), 72;
+    (Cassel), 73;
+    (etching), 108
+
+  _Holy Family crossing a Rill during the Flight into Egypt_, 103
+
+  _Holy Family with the Serpent, The_ (etching), 104
+
+  _Homer reciting his Poems_, 82
+
+  _Hoogh, Catrina, Portrait of_, 78
+
+  _House of the Carpenter, The_, 67
+
+  _Hundred Guilder Print, The_, 85, 86, 110
+
+  Huygens, Constantin, 11, 20, 27
+
+  _Huygens, Maurice, Portrait of_, 53
+
+
+  _Jacob and Esau, Reconciliation of_, 68
+
+  _Jacob and Laban_ (etching), 98
+
+  _Jacob blessing Joseph's Sons_, 78
+
+  _Jacob wrestling with the Angel_, 80
+
+  _Jacob's Dream_ (etching), 105
+
+  _Jacob's Sons bringing him Joseph's Coat_, 75
+
+  _Jansenius_, 82
+
+  _Jesus and His Parents returning from Jerusalem_ (etching), 104
+
+  _Jew in a High Cap, A_ (etching), 97
+
+  _Jews' Synagogue, The_ (etching), 101
+
+  _Jewish Bride, The_ (Prince Liechtenstein), 19;
+    (St Petersburg), 61;
+    (Amsterdam), 83
+
+  _Jewish Bride, The Little_ (etching), 97
+
+  _John the Baptist preaching_, 78;
+    _ill._, 78
+
+  _John the Baptist, Beheading of_, (etching), 97
+
+  Jonghe,  Clement de, 25, 85, 87;
+    _Portrait of_ (etching), 103; _ill._, 90
+
+  _Joseph accused by Potiphar's Wife_, 77
+
+  _Joseph and Potiphar's Wife_ (etching), 96
+
+  _Joseph interpreting his Dreams_, 53
+
+  _Joseph relating his Dreams_ (etchings), 97
+
+  _Joseph's Coat_, 74
+
+  _Judas with the Price of the Betrayal_, 51
+
+  _Judith_, 55
+
+  _Jupiter and Antiope_ (etching), 107
+
+
+  _Kalkoen, Matthys, Portrait of_, 57
+
+  _Knobbert, Volkera Nicolai, Portrait of_, 56
+
+  _Krul, Jan Herman, Portrait of_, 58;
+    _ill._, 58
+
+
+  _Lady, Portrait of a_ (Capt. Holford), 73
+
+  _Lady of Utrecht, The_, 67
+
+  _Lady with the Fan, The_ (Buckingham Palace), 68;
+    _ill._, 70;
+    (Grosvenor House), 71
+
+  _Lady with the Parrot, The_, 78
+
+  Landscapes by Rembrandt, 66, 67, 73, 76, 98, 102, 109
+
+  _Landscape with Cottage and Mill Sail_ (etching), 98
+
+  _Landscape with a Cow drinking_ (etching), 112
+
+  _Landscape with a Flock of Sheep_ (etching), 112
+
+  _Landscape with a Man sketching_ (etching), 109
+
+  _Landscape with an Obelisque_ (etching), 112
+
+  _Landscape with a ruined Tower_ (etching), 109
+
+  _Large Tree by a House_ (etching), 109
+
+  Lastman, Pieter, 9, 10
+
+  La Tombe, Pieter de, 25, 85, 111
+
+  _Ledikant_ (etching), 100
+
+  Lievensz, Jan, 9, 11, 12, 30, 89
+
+  _Lion Hunt, A_ (etchings), 109
+
+  _Looten, Martin, Portrait of_, 57
+
+  _Lucretia, Death of, The_, 82
+
+  Lutma, Jan, 25;
+    _Portrait of_ (etching), 106;
+    _ill._, 106
+
+  Lysbeth, Rembrandt's Sister, 13, 14, 28, 38;
+    _Portraits of_, 51, 57, 58
+
+
+  _Man, Portrait of a_ (National Gallery), 63;
+    (St Petersburg), 65, 82;
+    (Cassel), 67;
+    (Brussels), 68;
+    _ill._, 70;
+    (Mr Armour), 71;
+    (Mr M. K. Jessup), 71;
+    (Earl of Brownlow), 76;
+    (M. Kann), 82
+
+  _Man and his Wife, Portraits of a_ (Vienna), 56;
+    _ill._, 56;
+    (Prince Liechtenstein), 64;
+    _ill._, 64;
+    (Prince Jousoupoff), 81
+
+  _Man in Armour_ (Brunswick), 66;
+    (Glasgow), 77;
+    (Cassel), 77
+
+  _Man in a Red Cloak_ (M. Kann), 79
+
+  _Man reading by a Window_ (Copenhagen), 73
+
+  _Man sketching in a Book_ (Dresden), 78
+
+  _Man with a Sword_ (Capt. Holford), 72
+
+  _Man with a Baton_ (Louvre), 75
+
+  _Man with the Bittern_ (Dresden), 67;
+    _ill._, 66
+
+  _Man seated on the Ground_ (etching), 100
+
+  _Man in an Arbour_ (etching), 98
+
+  Manasseh ben Israel, his "Piedra Gloriosa," 87, 105;
+    _Portrait of_, 72;
+    (etching), 96
+
+  _Manoah and his Wife, The Offering of_, 68
+
+  _Marriage of Jason and Creusa, The_ (etching), 101
+
+  _Merchant, Portrait of a_ (St Petersburg), 55;
+    (Lord Feversham), 79
+
+  _Metamorphosis of Narcissus, The_, 75
+
+  _Mill, The_, 76
+
+  _Minerva_, 55
+
+  _Minister, Portrait of a_, 65
+
+  _Monks, figures of_, 81
+
+  _Mordecai, The Triumph of_ (etching), 110
+
+  _Moses breaking the Tables of the Law_, 80
+
+  _Moses, The Saving of_, 67
+
+  _Mountebank, A_ (etching), 96
+
+
+  _Nativity, The_ (etching), 111
+
+  _Nebuchadnezzar's Dream_ (etching), 105
+
+  _Negress, A_ (etching), 107
+
+  Neeltje, Rembrandt's Mother, 2, 7, 14, 28;
+    _Portraits of_, see _Rembrandt's Mother_
+
+  _Night-Watch, The_, 30, 69
+
+  _Noli me tangere_, 75
+
+
+  _Old Man caressing a Boy_ (etching), 108
+
+  _Old Beggar Man conversing with a Woman_ (etching), 94
+
+  _Old Beggar Woman_ (etching), 100
+
+  _Old Jew_ (St Petersburg), 76
+
+  _Old Lady, Portrait of an_ (National Gallery), 61;
+    _ill._, 62;
+    (Earl of Yarborough), 65;
+    _see_ also _Old Woman_
+
+  _Old Man, Portrait of an_ (Berlin), 48;
+    (Cassel), 53;
+    (Louvre), 66;
+    (Buda-Pesth), 69;
+    (M. Schloss, Paris), 71;
+    (Lady Cook), 73;
+    (Dresden), 73, 76, 78, 83;
+    (Leeuwarden), 73;
+    (Strasburg), 75;
+    (Duke of Devonshire), 75, 76;
+    (St Petersburg), 76;
+    (Stockholm), 77;
+    (Pitti), 79;
+    (Nat. Gallery), 79;
+    (Col. Lindsay), 81;
+    (New York), 82;
+    (Earl of Northbrook), 83
+
+  _Old Man with a divided Fur Cap_ (etching), 97
+
+  _Old Woman, Portraits of an_ (Wilton House), 53;
+    (St Petersburg), 71, 76;
+    (M. Porgès), 74;
+    (Brussels), 76;
+    (Stockholm), 77;
+    (M. Kann), 78;
+    (Épinal), 82;
+    (Lord Wantage), 82;
+    (etchings), 95, 108
+
+  _Old Woman Sleeping_ (etching), 105
+
+  _Old Woman weighing Money_ (Dresden), 71
+
+  _Omval, View of_ (etching), 99
+
+  _Oriental, Portrait of an_, 65
+
+  _Oriental Heads_ (etching), 127
+
+  _Orphan Girl of Amsterdam, An_, 72
+
+
+  _Pallas_, 75
+
+  _Pancake Woman, The_ (etching), 96
+
+  _Pancras, Burgomaster, and his Wife_, 62;
+    _ill._, 62
+
+  _Parable of the Labourers in the Vineyard_, 78
+
+  _Parable of the Master of the Vineyard_, 65
+
+  _Peasant with Milk Pails_ (etching), 112
+
+  _Pellicorne, Burgomaster Jan, Portrait of_, 56
+
+  _Persian, The_ (etching), 95
+
+  _Petitioners to a Biblical Prince_, 59
+
+  _Philon the Jew_, 53
+
+  _Philosopher in Meditation, A_ (Stroganoff Collection), 53;
+    (Louvre), 59
+
+  _Philosopher reading by Candlelight_, 49
+
+  _Phœnix_, The (etching), 113
+
+  "Piedra Gloriosa," Rembrandt's illustrations to, 87, 105
+
+  _Pilate washing his Hands_, 78
+
+  _Pilgrim at Prayer, A_, 81
+
+  _Pluto carrying off Proserpine_, 57
+
+  _Presentation in the Temple, The_ (Hamburg), 52;
+    (The  Hague), 55, 60;
+    (etchings), 94, 111
+
+  _Presentation in the Vaulted Temple_, The (etching), 109
+
+  _Prodigal Son, The_, 62, 83;
+    (etching), 96
+
+
+  _Rabbi, A_ (Hampton Court), 63;
+    (M. Porgès), 68;
+    (Berlin), 72;
+    _ill._, 74;
+    (Nat. Gallery), 78;
+    (Duke of Devonshire), 128
+
+  _Raising of the Cross, The_, 20
+
+  _Raising of Lazarus, The_, 51;
+    (etchings), 87, 98
+
+  _Rape of Ganymede, The_, 63
+
+  _Rat-Killer, The_ (etching), 95
+
+  Rembrandt, date of birth discussed, 2, 3;
+    birthplace, 5;
+    his father, 6;
+    entered as a student at Leyden University, 7;
+    apprenticed to Swanenburch, 8, 9;
+    under Lastman at Amsterdam, 10;
+    return to Leyden, 10;
+    removal to Amsterdam, 11;
+    _the Anatomy Lesson_, 13, 16;
+    early portraits, 13, 16, 17;
+    meeting with Saskia, 19;
+    marriage, 22;
+    early extravagance, 23;
+    his first child, 24;
+    family quarrels, 23, 26;
+    his friends, 25;
+    birth and death of two daughters, 27;
+    financial difficulties, 26, 28, 29;
+    birth of Titus, 30;
+    death of Saskia, 30;
+    decline of prosperity, 32, 36;
+    relations with Hendrickje Stoffels, 34, 35;
+    bankruptcy, 38;
+    sale of his property, 39, 40;
+    fresh commissions, 41, 43;
+    failing sight, 43;
+    death of Hendrickje, 44;
+    his last pupil, 44;
+    death of Rembrandt, 46
+
+  _Rembrandt, Portraits of himself_--
+    (Count Andrassy), 53;
+    (Lord Ashburton), 65, 79;
+    (Berlin), 61;
+    (Bridgewater House), 79;
+    (Duke of Buccleuch), 79, 80;
+    (Buckingham Palace), 72;
+    (Cambridge), 75;
+    (Carlsruhe), 71;
+    (Herr von Carstangen), 83;
+    (Cassel), 49, 61, 79; (Gotha), 51;
+    (The Hague), 51, 61;
+    (Heywood-Lonsdale), 65;
+    (Lord Ilchester), 78;
+    (Lord Iveagh), 78;
+    (Lord Kinnaird), 82;
+    (Leipzig), 75;
+    (Louvre), 61, 65, 80;
+    (Herr Mendelssohn), 75;
+    (Munich), 78;
+    (Nat. Gallery), 67, 82;
+    _ill._, 28, 46;
+    (Sir A. D. Neeld), 80;
+    (Prince Henri of the Pays Bas), 71;
+    (Pitti), 63;
+    (Lady de Rothschild), 78;
+    (Uffizi), 83;
+    (Vienna), 79, 83;
+    (Wallace Collection), 61;
+    (Warneck Collection), 58;
+    (Weimar), 71
+    Etchings, 3, 94, 95, 97, 100, 108
+
+  _Rembrandt's Brother_, Portrait of (Berlin), 75;
+    (The Hague), 75
+
+  "_Rembrandt's Cook_" (Downton), 82
+
+  _Rembrandt's Father_, see Gerritsz
+
+  _Rembrandt and his Wife_ (etching), 96
+
+  _Rembrandt's Mother, Portraits of_, 49, 51, 55, 57, 67, 71;
+    _ill._, 6;
+    (etchings), 93, 95, 108
+
+  _Rembrandt's Mill_ (etching), 98;
+    _ill._, 98
+
+  _Repose in Egypt_ (etchings), 99, 112
+
+  _Resurrection, The_, 66
+
+  Robinson, Sir J. C., 48
+
+  _Ruin, The_, 75
+
+
+  _Saint, A_, 65
+
+  _St Anastasius_, 54
+
+  _St Catherine_ (etching), 97
+
+  _St Francis praying_ (etching), 107
+
+  _St Jerome_ (etchings), 95, 96, 98, 113
+
+  _St Matthew_, 81
+
+  _St Paul_ (Vienna), 65;
+    (Lord Wimborne), 79
+
+  _St Paul in Prison_ (Stuttgart), 49
+
+  _St Peter_, 52;
+    (etching), 112
+
+  _St Peter, The Denial of_ (Elberfeld), 51;
+    (St Petersburg), 78
+
+  _St Peter and St John at the Gate of the Temple_ (etchings), 107
+
+  _St Stephen, The Martyrdom of_ (etching), 96
+
+  _St Thomas, Incredulity of_, 62
+
+  _Salutation, The_, 67
+
+  _Samson captured by the Philistines_ (Berlin), 50
+
+  _Samson overpowered by the Philistines_ (Count Schonborn), 64
+
+  _Samson propounding his Riddle to the Philistines_, 66
+
+  _Samson threatening his Father-in-Law_, 64
+
+  Saskia, Early Portraits of, 14, 17, 18, 57;
+    _ill._, 18;
+    her birth and family, 18;
+    first meeting with Rembrandt, 19;
+    marriage, 22;
+    her character, 22;
+    children, 24, 27, 30;
+    death, 30;
+    her will, 31;
+    _Portraits of_ (Dresden), 58;
+    (St Petersburg), 61;
+    (M. Schloss), 61;
+    (Cassel), 61;
+    1635, 62;
+    Rembrandt and Saskia (Dresden), 62;
+    _ill._, 24;
+    (Buckingham Palace), 62;
+    (Berlin), 71;
+    (etchings), 95, 108;
+    pencil drawing of (at Berlin), 4
+
+  _Schoolmaster, The_ (etching), 98
+
+  Six, Burgomaster, 25, 34, 38;
+    _Portrait of_, (Six Collection), 79;
+    (etching), 100, 114
+
+  _Six's Bridge_ (etching), 99
+
+  _Shell, The_ (etching), 102; _ill._, 102
+
+  _Shepherds reposing at Night_, 74
+
+  _Shipbuilder and his Wife, The_, 58;
+    _ill._, Frontispiece
+
+  Sketches, sheets of (etchings), 112, 113
+
+  _Slaughter-house, The_ (Herr Rath), 66;
+    (Glasgow), 75;
+    (Louvre), 77
+
+  _Sobieski_, 65;
+    _ill._, 66
+
+  _Sortie of the Banning Cocq Company_, 30, 69
+
+  _Sportsman, The_ (etching), 110
+
+  _Standard Bearer, The_ (Baron G. de Rothschild), 65;
+    (in America), 81
+
+  _Star of the Kings, The_ (etching), 113
+
+  Stoffels, Hendrickje, _see_ Hendrickje
+
+  _Storm, an Effect of_,  67
+
+  _Susannah and the Elders_ (Prince Jousoupoff), 65;
+    (Berlin), 73
+
+  _Susannah_, Study of, 74
+
+  Swalm, Henry, 25;
+    _Portrait of_, 65
+
+  Swanenburch, Jacob van, 8
+
+  Sylvius, Jan Cornelis, 18, 21, 25;
+    Portrait of, 72;
+    (etchings), 87, 88, 108, 109
+
+  _Syndics of the Drapers' Guild, The_, 43, 82;
+    _ill._, 80
+
+
+  Tholinx, Arnold, 38;
+    _Portrait of_, 77;
+    (etching), 110
+
+  _Three Crosses, The_ (etching), 87, 111
+
+  _Three Trees, The_ (etching), 87, 98,
+    _ill._, 92
+
+  Titia, Rembrandt's Granddaughter, 46, 47
+
+  Titus, Rembrandt's Son, 30, 33, 35;
+    his will, 38, 39;
+    partnership with Hendrickje, 42;
+    marriage, 46;
+    death, 46;
+    _Portraits of_ (M. Kann), 77;
+    (Earl of Crawford), 77;
+    (Vienna), 79;
+    (Capt. Holford), 81;
+    (etching), 110
+
+  _Tobias and the Angel_, 76
+
+  _Tobias restoring his Father's Sight_, 62
+
+  _Tobias' Wife with the Goat_, 72
+
+  _Tobit and his Wife_, 75
+
+  _Tobit Blind_ (etching), 111, 115
+
+  _Tree, Sketch of a_ (etching), 109
+
+  _Tribute Money, The_, 72
+
+  Tulp, Dr, 13, 25, 41;
+    _Portraits of_, 57
+
+  _Turenne, Marshal, Portrait of_, 74
+
+
+  Uijtenbogaerd, Jan, _Portraits of_ (etchings), 87, 96, 103
+
+  _Unmerciful Servant, The_, 82
+
+  Uylenborch, Hendrick van, 16, 25, 29, 31, 40
+
+  Uylenborch, Magdalena van, wife of Titus, 46, 47
+
+  Uylenborch, Saskia van--_see_ Saskia.
+
+
+  Van Loo, Albert, 26, 46
+
+  Van Loo, Gerrit and Hiskia, 21, 22, 23, 25
+
+  _Venus and Cupid_, 81
+
+  _Virgin mourning the Death of Jesus, The_ (etching), 109
+
+  _Virgin and Child in the Clouds, The_ (etching), 98
+
+  _Vision of Ezekiel, The_ (etching), 105
+
+  _Village by the High Road_ (etching), 102
+
+  _Village with a River and Sailing Vessel_ (etching), 109
+
+  _Village with a Square Tower_ (etching), 102
+
+  _Vista, The_ (etching), 103
+
+  _Vymer, Anna, Portrait of_, 68
+
+
+  _Winter Scene, A_, 73;
+    _ill._, 74
+
+  _Woman, Portrait of a_ (Mr Byers), 64;
+    (Lord Kinnaird), 64;
+    (Lord Iveagh), 69;
+    (M. Kann), 82;
+    and see _Old Woman_
+
+  _Woman bathing_ (Louvre), 74;
+    (Nat. Gallery), 76
+
+  _Woman taken in Adultery, The_, 72;
+    _ill._, 72
+
+  _Woman by a Dutch Stove_ (etching), 111
+
+  _Woman preparing to dress after Bathing_ (etching), 107
+
+  _Woman with her Feet in Water_ (etching), 107
+
+  _Woman with an Arrow_ (etching), 107
+
+  _Woodchopper, The_, 73
+
+
+  _Young Girl, Portrait of a_ (Stockholm), 51;
+    (The Hague), 53;
+    (Bridgewater House), 61;
+    (Dulwich), 72;
+    _ill._, 72
+
+  _Young Man, Portrait of a_ (Earl Cowper), 72;
+    (Mr Humphry Ward), 73;
+    (Copenhagen), 77;
+    (Louvre), 78
+
+  _Young Man and his Wife_ (Prince Liechtenstein), 64
+
+  _Young Man in a Cap and Breastplate_ (Dresden), 71
+
+  _Young Man laughing_, 52
+
+  _Young Man with the Turban_, 54
+
+  _Young Man seated in Meditation_ (etching), 96
+
+  _Young Painter with Paper and Crayon_, 74
+
+  _Young Servant_ (Stockholm), 76
+
+  _Young Woman, Portrait of a_ (Cassel), 63;
+    (Dr Bredius), 65;
+    (Dresden), 68;
+    (Copenhagen), 78
+
+  _Young Woman in Bed_ (Edinburgh), 75
+
+  _Young Woman reading_ (etching), 95
+
+  _Youth_ (Lord Leconfield), 83
+
+
+  _Zachariah receiving the Prophecy of the Birth of John the
+    Baptist_, 55
+
+  "Zeewærts-Lof, Der," 87
+
+  Zoomer, Jan Pietersen, 85, 86, 87
+
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+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: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK REMBRANDT VAN RIJN ***
+
+
+
+
+Produced by Thierry Alberto, J�lio Reis, Robert Cicconetti
+and the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+Transcriber's notes:
+
+Text in italics has been marked with _. Text in bold has been marked
+with *. Text in small caps has been marked with =.
+
+The oe-ligature has been rendered [oe] and [OE], as in "Ph[oe]nix".
+
+
+
+
+The Great Masters in Painting and Sculpture
+
+Edited by G. C. Williamson
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+THE GREAT MASTERS IN PAINTING AND SCULPTURE.
+
+_The following Volumes have been issued, price 5s. net each._
+
+    BERNARDINO LUINI. By =George C. Williamson=, Litt.D., Editor of the
+    Series.
+
+    VELASQUEZ. By =R. A. M. Stevenson=.
+
+    ANDREA DEL SARTO. By =H. Guinness=.
+
+    LUCA SIGNORELLI. By =Maud Cruttwell=.
+
+    RAPHAEL. By =H. Strachey=.
+
+    CARLO CRIVELLI. By =G. McNeil Rushforth=, M.A., Lecturer in
+    Classics, Oriel College, Oxford.
+
+    CORREGGIO. By =Selwyn Brinton=, M.A., Author of "The Renaissance in
+    Italian Art."
+
+    DONATELLO. By =Hope Rea=, Author of "Tuscan Artists."
+
+    PERUGINO. By =G. C. Williamson=, Litt.D.
+
+    SODOMA. By the =Contessa Lorenzo Priuli-Bon=.
+
+    LUCA DELLA ROBBIA. By the =Marchesa Burlamacchi=.
+
+    GIORGIONE. By =Herbert Cook=, M.A., F.S.A.
+
+    MEMLINO. By =W. H. James Weale=, late Keeper of the National Art
+    Library.
+
+    PIERO DELLA FRANCESCA. By =W. G. Waters=, M.A.
+
+    PINTORICCHIO. By =Evelyn March Phillipps=.
+
+    FRANCIA. By =George C. Williamson=, Litt.D.
+
+    BRUNELLESCHI. By =Leader Scott=.
+
+    MANTEGNA. By =Maud Cruttwell=.
+
+    REMBRANDT VAN RIJN. By =Malcolm Bell=.
+
+
+    _In preparation._
+
+    WILKIE. By =Lord Ronald Sutherland-Gower=, M.A., F.S.A., Trustee of
+    the National Portrait Gallery.
+
+    TINTORETTO. By =J. B. Stoughton Holborn=, M.A. of Merton College,
+    Oxford.
+
+    GIOTTO. By =F. Mason Perkins=.
+
+    EL GRECO. By =Manuel B. Cossio=, Litt.D., Ph.D., Director of the
+    Mus�e P�dagogique, Madrid.
+
+    D�RER. By =Hans W. Singer=, M.A., Ph.D., Assistant Director of the
+    Royal Print Room, Dresden.
+
+    PAOLO VERONESE. By =Roger E. Fry=.
+
+    GAUDENZIO FERRARI. By =Ethel Halsey=.
+
+    _Others to follow._
+
+       *       *       *       *       *
+
+LONDON: GEORGE BELL & SONS
+
+
+
+
+[Illustration: Buckingham Palace, London.
+
+The Ship builder & his wife. (1633)]
+
+
+
+
+REMBRANDT VAN RIJN
+
+BY MALCOLM BELL
+
+AUTHOR OF "SIR EDWARD BURNE-JONES: A RECORD AND REVIEW," ETC.
+
+[Illustration: logo]
+
+LONDON
+
+GEORGE BELL & SONS
+
+1901
+
+
+
+
+PREFACE
+
+
+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.
+
+
+
+
+CONTENTS
+
+
+                                             PAGE
+
+=List of Illustrations=                       vii
+
+=Bibliography=                                 ix
+
+=Chronological Table=                        xiii
+
+
+PART I.--REMBRANDT THE MAN
+
+Chapter I. =Birth and Early Years=              1
+
+       II. =Art Education and Early Works=      8
+
+      III. =Days of Prosperity=                16
+
+       IV. =Days of Decline=                   32
+
+
+PART II.--REMBRANDT THE PAINTER
+
+        V. =Early Years= (1627-1633)           48
+
+       VI. =Time of Prosperity=                61
+
+      VII. =Years of Decline=                  71
+
+
+PART III.--REMBRANDT THE ETCHER
+
+     VIII. =The History of the Etchings=       85
+
+       IX. =The Authentic Etchings=            93
+
+
+=Catalogue of Works=                          117
+
+=Index=                                       157
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                     PAGE
+
+The Shipbuilder and his Wife, 1633, _Frontispiece_
+                                              _Buckingham Palace_
+
+Portrait of Rembrandt's Mother, about 1628            _The Hague_       6
+
+Portrait of Rembrandt's Father, about 1631               _Cassel_      12
+
+Portrait of Saskia, 1632           _Prince Liechtenstein, Vienna_      18
+
+Rembrandt and Saskia, about 1635                        _Dresden_      24
+
+Portrait of Rembrandt, 1640            _National Gallery, London_      28
+
+Portrait of Saskia, 1641                                _Dresden_      30
+
+Portrait of Hendrickje Stoffels, about 1662              _Louvre_      44
+
+Portrait of Rembrandt, about 1664      _National Gallery, London_      46
+
+Portrait called Coppenol, 1631                    _The Hermitage_      54
+
+Portrait of a Man, 1630-1632            _Imperial Museum, Vienna_      56
+
+Portrait of a Woman, 1630-1632          _Imperial Museum, Vienna_      56
+
+The Anatomy Lesson, 1632                              _The Hague_      58
+
+Portrait of Jan Herman Krul, 1633                        _Cassel_      58
+
+The Elevation of the Cross, 1633                         _Munich_      60
+
+Portrait of an Old Woman, 1634         _National Gallery, London_      62
+
+The Burgomaster Pancras and his Wife,
+  about 1635                                  _Buckingham Palace_      62
+
+Portrait of a Man, 1635                _National Gallery, London_      62
+
+Danae, 1636                                       _The Hermitage_      64
+
+Portrait of a Man, 1636            _Prince Liechtenstein, Vienna_      64
+
+Portrait of a Lady, 1636           _Prince Liechtenstein, Vienna_      64
+
+Portrait called Sobieski, 1637                    _The Hermitage_      66
+
+The Man with the Bittern, 1639                          _Dresden_      66
+
+Portrait of Elizabeth Bas, about 1640                 _Amsterdam_      68
+
+Anslo consoling a Widow, 1641                            _Berlin_      68
+
+The Lady with the Fan, 1641                   _Buckingham Palace_      70
+
+Portrait of a Man, 1641                                _Brussels_      70
+
+The Woman taken in Adultery, 1644      _National Gallery, London_      72
+
+A Girl at a Window, 1645                        _Dulwich Gallery_      72
+
+Portrait of a Rabbi, 1645                                _Berlin_      74
+
+A Winter Scene, 1646                                     _Cassel_      74
+
+Christ at Emmaus, 1648                                   _Louvre_      76
+
+John the Baptist preaching, 1656                         _Berlin_      78
+
+The Syndics of the Drapers, 1661                      _Amsterdam_      80
+
+
+_ETCHINGS_
+
+_The Numbers given are those of Bartsch's Catalogue_
+
+Christ healing the Sick (74)                                           86
+
+Clement de Jonghe (272)                                                90
+
+The Three Trees (212)                                                  92
+
+Rembrandt's Mill (233)                                                 98
+
+Beggars at the Door of a House (176)                                  100
+
+The Shell (159)                                                       102
+
+Jan Lutma (276)                                                       106
+
+
+
+
+BIBLIOGRAPHY
+
+
+=Amand-Durand.= "[OE]uvre de Rembrandt reproduit et publi� par." 2
+parts. Paris, 1880.
+
+=Baldinucci, Filippo.= "Cominciamento e progresso dell' arte dell'
+intagliare in rame." Florence, 1686.
+
+=Bartsch, Adam.= "Catalogue raisonn� de toutes les estampes qui forment
+l'[oe]uvre de Rembrandt et ceux de ses principaux imitateurs." 2 vols.
+Vienna, 1797.
+
+=Bell, Malcolm.= "Rembrandt van Rijn and his Work." 4to. London, 1899.
+
+=Blanc, Charles.= "L'[oe]uvre complet de Rembrandt, d�crit et comment�
+par." Paris, 1864 and 1880.
+
+=Bode, W.= "Studien zur Geschichte der holl�ndischen Malerei."
+Brunswick, 1883.
+
+=Bredius, A.=, and =de Roever, N.= _Oud-Holland._ A magazine published
+at Amsterdam.
+
+=Bredius, A.= "Les chefs-d'[oe]uvre du Mus�e royal d'Amsterdam." Paris,
+1890.
+
+=Bredius, A.= "Die Meisterwerke der K�niglichen Gem�lde Galerie im
+Haag." Munich, 1890.
+
+=Burger, W.= "Les Mus�es de Belgique et de Hollande." Paris, 1858, 1860,
+and 1862.
+
+=Busken-Huet.= "Het Land van Rembrandt." Harlem, 1886.
+
+=Chalon, John.= Works of Rembrandt, etched by. London, 1822.
+
+=Claussin, Chevalier de.= "Catalogue raisonn� de toutes les estampes qui
+forment l'[oe]uvre de Rembrandt." Paris, 1824.
+
+=Claussin, Chevalier de.= "Suppl�ment au Catalogue de Rembrandt." Paris,
+1828.
+
+=Dargenville.= "Abr�g� de la Vie des plus fameux peintres." Paris, 1745.
+
+=Daulby, Daniel.= "A descriptive catalogue of the works of Rembrandt and
+of his scholars." London and Liverpool, 1796.
+
+=Descamps.= "Vies des peintres flamands et hollandais." Marseilles,
+1840.
+
+=Dyk, J. van.= "Beschryving van alle de Schilderyen op het Stadhuis van
+Amsterdam." Amsterdam, 1758.
+
+=Dutuit, E.= "L'[oe]uvre complet de Rembrandt d�crit et catalogu� par."
+Paris, 1880.
+
+=Eckhoff.= "La femme de Rembrandt." 1862.
+
+=F�libien.= "Entretien sur les Vies et les Ouvrages des plus excellents
+peintres." 1666-1688.
+
+=Fromentin, Eug�ne.= "Les Maitres d'autrefois." Paris, 1877.
+
+=Galland, G.= "Geschichte der holl�ndischen Baukunst und Bildnerei."
+Leipzig, 1890.
+
+=Gersaint.= "Catalogue raisonn� de toutes les pi�ces qui forment
+l'[oe]uvre de Rembrandt." Paris, 1751.
+
+=Hamerton, P. G.= "Etching and Etchers." London, 1868.
+
+=Hamerton, P. G.= Rembrandt's Etchings. Portfolio. London, 1894.
+
+=Havard, Henri.= "L'art et les artistes hollandais." Paris, 1879.
+
+=Hoogstraten, Samuel van.= "Inleyding tot de hooge School der
+Schilderkonst." Rotterdam, 1678.
+
+=Houbraken, Arnold.= "De groote Schoubourgh der nederlandsche
+Kontschilders." Amsterdam, 1718-1719.
+
+=Humphreys, Noel.= Rembrandt's Etchings. London, 1871.
+
+=Huygens, Constantin.= "Autobiographie in�dite." Library of the Academy
+of Sciences, Amsterdam.
+
+=Kolloff, �douard.= "Rembrandt's Leben und Werke," included in
+_Historisches Taschenbuch_ of von Raumer. Leipzig, 1854.
+
+=Langbehn, Dr.= "Rembrandt als Erzieher." Published anonymously,
+Leipzig, 1890.
+
+=Lemcke, C.= Rembrandt van Rijn, in the _Kunst and K�nstler_, Leipzig,
+1877.
+
+=Lippmann, F.= Original drawings by Rembrandt reproduced in Phototype.
+London, Berlin, and Paris, 1889-1892.
+
+=Madsen, Karl.= "Studier fra Sverig." Copenhagen, 1892.
+
+=Michel, Emile.= "Rembrandt sa vie, son [oe]uvre et son temps." Paris,
+1893.
+
+=Middleton, C. H.= "Notes on the Etched Work of Rembrandt." London,
+1877.
+
+=Middleton, C. H.= "A descriptive Catalogue of the Etched Work of
+Rembrandt." London, 1878.
+
+=Orlers, J. J.= "Beschryving der Stad Leiden." Leyden, 1641.
+
+=Oud-Holland.= See _Bredius_.
+
+=Piles, R. de.= "Abr�g� de la vie des Peintres." 1699.
+
+=Riegel, Herman.= "Beitrage zur niederl�ndischen Kunstgeschichte."
+Berlin, 1882.
+
+=Rovinski, Dmitri.= "L'[oe]uvre grav� de Rembrandt." Reproductions of
+all the states of all the etchings. St. Petersburg, 1890.
+
+=Sandrart, Joachim de.= "Academia nobilissimae artis pictori�."
+Nuremberg, 1675-1683.
+
+=Scheltema, Dr.= "Rembrandt, Discours sur sa vie et son g�nie." Paris,
+1866.
+
+=Schmidt, W.= "Handzeichnungen alter Meister in K�niglichen Kupferstich
+Kabinet zu Munchen. Munich.
+
+=Schneider, L.= "Geschichte der niederl�ndischen Litteratur." Leipzig,
+1888.
+
+=Seidlitz, von.= "Rembrandt's Radirungen." Published in Zeitschrift f�r
+bildende Kunst. 1892.
+
+=Seymour Haden, Sir Francis.= "Introductory Remarks to the Catalogue of
+the Etched Work of Rembrandt, selected for exhibition at the Burlington
+Fine Arts Club, London, 1877."
+
+=Seymour Haden, Sir Francis.= "L'[oe]uvre grav� de Rembrandt." Paris,
+1880.
+
+=Seymour Haden, Sir Francis.= "The Etched Work of Rembrandt, True and
+False." London, 1895.
+
+=Smith, John.= "Catalogue raisonn� of the Works of the most eminent
+Dutch, Flemish, and French Painters." London, 1829-1842.
+
+=Springer, Anton.= "Bilder aus der neueren Kunstgeschichte. Vol. II.
+Rembrandt und seine Genossen." Bonn, 1886.
+
+=Vosmaer, Charles.= "Rembrandt Hermannsz. Sa vie et ses [oe]uvres."
+Paris and the Hague, 1877.
+
+=Weyerman, J. Campo.= "De Levens Beschryvingen der nederlandsche
+Konstschilders." The Hague, 1749.
+
+=Willigen, van der.= "Les artistes de Harlem." 1870.
+
+=Willshire, W. H.= "An Introduction to the Study and Collection of
+Ancient Prints." London, 1877.
+
+=Wilson, T.= A Descriptive Catalogue of the Prints of Rembrandt.
+Published as by "An amateur." London, 1836.
+
+=Woltmann, A.=, and =Woermann, K.= "Geschichte de Malerei." Leipzig.
+
+=Yver, Pierre.= "Suppl�ment au Catalogue raisonn� de MM. Gersaint,
+Helle, et Glomy." Amsterdam, 1756.
+
+
+
+
+CHRONOLOGICAL TABLE
+
+
+------+---------------------+---------------------+---------------------+
+      |    =Events in=      |  =Principal Work=   |     =Important=
+=Year=| =Rembrandt's Life=  |       =Dated=       | =Historical Event=
+------+---------------------+---------------------+---------------------+
+ 1606 |Born July 15th.      |                     |
+      |                     |                     |
+ 1608 |                     |                     |Milton born.
+      |                     |                     |
+ 1609 |                     |                     |Truce between Spain
+      |                     |                     |and Holland.
+      |                     |                     |
+ 1610 |                     |                     |The Colony of Virginia
+      |                     |                     |established.
+      |                     |                     |
+ 1612 |                     |                     |Henry, Prince of
+      |                     |                     |Wales, died.
+      |                     |                     |
+ 1616 |                     |                     |Shakespeare died.
+      |                     |                     |
+ 1618 |                     |                     |Thirty Years' War
+      |                     |                     |began.
+      |                     |                     |
+ 1620 |Entered at Leyden    |                     |The Pilgrim Fathers
+      |University, and later|                     |landed in New England.
+      |Swanenburch's Studio.|                     |
+      |                     |                     |
+ 1622 |                     |                     |Renewal of War with
+      |                     |                     |Spain.
+      |                     |                     |
+ 1623 |Went to Lastman's    |                     |Charles went to Spain.
+      |Studio.              |                     |
+      |                     |                     |
+ 1624 |Returned to Leyden.  |                     |Manhattan founded.
+      |                     |                     |
+ 1625 |                     |                     |Charles I. came to the
+      |                     |                     |throne. Prince
+      |                     |                     |Frederick-Henry became
+      |                     |                     |Stathouder.
+      |                     |                     |
+ 1627 |First known pictures.|St Paul in Prison.   |Expedition to
+      |                     |                     |Rochelle.
+      |                     |                     |
+ 1628 |Gerard Dou became his|Capture of Samson.   |Assassination of
+      |pupil.               |                     |Buckingham.
+      |                     |                     |
+ 1629 |                     |Portrait of Himself  |Charter granted to
+      |                     |(Gotha).             |Massachusetts.
+      |                     |                     |
+ 1630 |His father died.     |Joseph interpreting  |Puritan emigration to
+      |                     |his Dreams.          |New England.
+      |                     |                     |
+ 1631 |Left Leyden for      |Presentation in the  |Dryden born.
+      |Amsterdam.           |Temple.              |
+      |                     |                     |
+ 1632 |Living on the        |The Anatomy Lesson.  |Gustavus Adolphus
+      |Bloemgracht.         |                     |killed at Lutzen.
+      |                     |                     |
+ 1633 |Moved to Saint       |The Shipbuilder and  |Milton's _L'Allegro_
+      |Anthonie's Breestraat|his Wife.            |and _Il Penseroso_.
+      |(about).             |                     |
+      |                     |                     |
+ 1634 |Married on June 22nd.|Descent from the     |The Exchange at
+      |                     |Cross (Hermitage).   |Amsterdam built.
+      |                     |                     |
+ 1635 |Rombertus born.      |Abraham's Sacrifice. |Ben Jonson died.
+      |                     |                     |
+ 1636 |Living in Nieuwe     |Danae.               |
+      |Doelstraat.          |                     |
+      |                     |                     |
+ 1637 |                     |Susannah at the Bath.|Trial of Hampden.
+      |                     |                     |
+ 1638 |Cornelia born.       |Christ and Mary      |Milton's _Lycidas_.
+      |                     |Magdalen.            |
+      |                     |                     |
+ 1639 |Moved to             |Resurrection.        |Massinger died.
+      |Jode-Breestraat.     |                     |
+      |                     |                     |
+ 1640 |His mother died.     |Portrait of Elizabeth|The Long Parliament
+      |                     |Bas.                 |met.
+      |                     |                     |
+ 1641 |Titus born.          |Portrait of Anslo.   |Execution of
+      |                     |                     |Strafford.
+      |                     |                     |
+ 1642 |Saskia died.         |The Night Watch.     |The Civil War began.
+      |                     |                     |
+ 1643 |                     |Bathsheba.           |Death of Hampden.
+      |                     |                     |
+ 1644 |                     |Woman taken in       |The Battle of Marston
+      |                     |Adultery.            |Moor.
+      |                     |                     |
+ 1645 |                     |Holy Family          |Battle of Naseby.
+      |                     |(Hermitage).         |
+      |                     |                     |
+ 1646 |Finished two pictures|Adoration of the     |Charles I. surrendered
+      |for the Stathouder.  |Shepherds.           |to the Scots.
+      |                     |                     |
+ 1647 |An estimate made of  |Susannah and the     |William II. became
+      |Saskia's property.   |Elders.              |Stathouder.
+      |                     |                     |
+ 1648 |                     |Christ at Emmaus.    |Peace of Westphalia.
+      |                     |                     |
+ 1649 |Hendrickje Stoffels  |No dated picture.    |Execution of
+      |first heard of.      |                     |Charles I.
+      |                     |                     |
+ 1650 |                     |Deposition.          |John de Witt became
+      |                     |                     |Grand Pensioner.
+      |                     |                     |
+ 1651 |                     |Noli me tangere.     |Battle of Worcester.
+      |                     |                     |
+ 1652 |Hendrickje's first   |Portrait of          |War between England
+      |daughter born.       |Bruyningh.           |and Holland.
+      |                     |                     |
+ 1653 |Borrowed money in    |Portrait called Van  |Peace restored.
+      |large sums.          |der Hooft.           |
+      |                     |                     |
+ 1654 |Birth of second      |Bathsheba (Louvre).  |Oliver Cromwell,
+      |daughter, Cornelia.  |                     |Lord Protector.
+      |                     |                     |
+ 1655 |                     |Joseph accused by    |Cromwell pensioned
+      |                     |Potiphar's Wife.     |Manasseh ben Israel.
+      |                     |                     |
+ 1656 |Declared bankrupt.   |Parable of Labourers |War between Spain and
+      |                     |in the Vineyard.     |England.
+      |                     |                     |
+ 1657 |Sale of his property |Portrait of Catrina  |Cromwell refused title
+      |ordered.             |Hoogh.               |of King.
+      |                     |                     |
+ 1658 |Pictures, etc., sold.|An Old Woman cutting |Cromwell died.
+      |                     |her Nails.           |
+      |                     |                     |
+ 1659 |                     |Jacob wrestling with |Treaty of the Hague.
+      |                     |the Angel.           |
+      |                     |                     |
+ 1660 |Association formed by|Portrait of Himself  |Charles II. landed at
+      |Hendrickje and Titus.|(Louvre).            |Dover.
+      |                     |                     |
+ 1661 |The last known       |The Syndics.         |Mazarin died.
+      |etching.             |                     |
+      |                     |                     |
+ 1662 |Hendrickje (probably)|No dated picture.    |Charter given to Royal
+      |died.                |                     |Society.
+      |                     |                     |
+ 1663 |                     |Homer.               |
+      |                     |                     |
+ 1664 |Moved to the         |Lucretia.            |War between Holland
+      |Lauriergracht.       |                     |and England.
+      |                     |                     |
+ 1665 |Titus awarded his    |Portrait of a Man    |Plague in London.
+      |property.            |(Metrop. Mus.,       |
+      |                     |New York).           |
+      |                     |                     |
+ 1666 |                     |Portrait of J. de    |Fire of London.
+      |                     |Decker.              |
+      |                     |                     |
+ 1667 |                     |Portrait of an Old   |Peace between England
+      |                     |Man.                 |and Holland.
+      |                     |                     |
+ 1668 |Titus' marriage and  |The Flagellation.    |Alliance between
+      |death.               |                     |Holland, England, and
+      |                     |                     |Sweden.
+      |                     |                     |
+ 1669 |Rembrandt died.      |No dated picture.    |
+------+---------------------+---------------------+---------------------+
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+CHAPTER I
+
+BIRTH AND EARLY YEARS
+
+
+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?"
+
+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 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."
+
+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.
+
+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 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, _Rembrandt Hermanni Leidensis 14 jare oud_, 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, "_aet._ 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.
+
+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, 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.
+
+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.
+
+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 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.
+
+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.
+
+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 Cornelis, the son of Cl�s, with his son Cl�s, shared the
+other half between them.
+
+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.
+
+[Illustration: [_Bredius Collection, the Hague_
+
+PORTRAIT OF REMBRANDT'S MOTHER
+
+(ABOUT 1628)]
+
+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 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.
+
+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.
+
+
+
+
+CHAPTER II
+
+ART EDUCATION AND EARLY WORKS
+
+
+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.
+
+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 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.
+
+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 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.
+
+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.
+
+That so indefatigable and untiring a worker as 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.
+
+From this time his reputation and that of Lievensz ripened rapidly.
+Arent van Buchel, in his "Res Pictori�," 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.
+
+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 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.
+
+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.
+
+[Illustration: [_Cassel Gallery_
+
+PORTRAIT OF REMBRANDT'S FATHER
+
+(ABOUT 1631)]
+
+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 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, Cl�s 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.
+
+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 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.
+
+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.
+
+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 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."
+
+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.
+
+
+
+
+CHAPTER III
+
+DAYS OF PROSPERITY
+
+
+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.
+
+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
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF SASKIA
+
+(1632)]
+
+Among the less close relations was a cousin Aaltje, who was married to
+Jan Cornelis Sylvius, a minister of 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).
+
+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.
+
+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.
+
+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, 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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+REMBRANDT AND SASKIA
+
+(ABOUT 1635)]
+
+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 artist must then have been at the height of his prosperity and
+fame.
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+The strongest reason for supposing that he was in some financial
+embarrassment is found in his correspondence 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.
+
+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.
+
+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,
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(1640)]
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+PORTRAIT OF SASKIA
+
+(1641)]
+
+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 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.
+
+
+
+
+CHAPTER IV
+
+DAYS OF DECLINE
+
+
+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 p�ans
+in the past.
+
+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.
+
+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, 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 Cl�sz, 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.
+
+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, 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.
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+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 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 Fran�ois 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.
+
+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.
+
+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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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, for we find them again settled down, this time in
+the Rozengracht, in a house opposite a pleasure garden called the
+Doolhof.
+
+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.
+
+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, 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.
+
+[Illustration: [_Louvre, Paris_
+
+PORTRAIT OF HENDRICKJE STOFFELS
+
+(ABOUT 1652)]
+
+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 again commanded to
+refund the 4200 florins, and again appealed.
+
+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.
+
+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 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.
+
+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.
+
+"Tuesday, 8 October, 1669, Rembrandt van Rijn, painter, on the
+Rozengracht, opposite the Doolhof. Leaves two children."
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(ABOUT 1664)]
+
+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 Fran�ois van Bylert,
+acting on behalf of the baby Titia, their respective portions of the
+small inheritance. Fran�ois 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 Fran�ois, 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.
+
+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.
+
+
+
+
+REMBRANDT THE PAINTER
+
+
+
+
+CHAPTER V
+
+EARLY YEARS (1627-1633)
+
+
+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.
+
+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.
+
+The other picture known to belong to this first year, "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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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" (_see_ illustration,
+p. 6). 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.
+
+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
+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.
+
+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
+Andr�-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.
+
+Six out of the seventeen pictures attributed to 1630 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, but known, for some
+mysterious reason as, "The Countess of Desmond," may be mentioned.
+
+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.
+
+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.
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED COPPENOL
+
+(1631)]
+
+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
+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.
+
+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].
+
+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=C.=], 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.
+
+Once satisfactorily established in Amsterdam, Rembrandt 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.
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A MAN
+
+(1630-1632)]
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A WOMAN
+
+(1630-1632)]
+
+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
+[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."
+
+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."
+
+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.
+
+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.
+
+[Illustration: [_The Hague_
+
+THE ANATOMY LESSON
+
+(1632)]
+
+[Illustration: [_Cassel_
+
+PORTRAIT OF JAN HERMAN KRUL
+
+(1633)]
+
+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 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.
+
+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. L�on 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 D�sseldorf, were
+transferred to Munich.
+
+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 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.
+
+[Illustration: [_Munich Gallery_
+
+THE ELEVATION OF THE CROSS
+
+(1633)]
+
+
+
+
+CHAPTER VI
+
+TIME OF PROSPERITY (1634-1642)
+
+
+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 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.
+
+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 (_see_
+illustration, p. 24). The other, at Buckingham Palace, long known as
+"The Burgomaster Pancras and his Wife," is less certain.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF AN OLD WOMAN
+
+(1634)]
+
+[Illustration: [_Buckingham Palace_
+
+THE BURGOMASTER PANCRAS AND HIS WIFE
+
+(ABOUT 1635)]
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF A MAN
+
+(1635)]
+
+Apart from these, there are nine dated portraits, 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 "Act�on, 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 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.
+
+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].
+
+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 Sch�nborn 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.
+
+[Illustration: [_The Hermitage_
+
+DANAE
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A MAN
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A LADY
+
+(1636)]
+
+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 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].
+
+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 angel is concerned, led him to the border-line between the
+ungraceful and the ridiculous.
+
+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].
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED SOBIESKI
+
+(1637)]
+
+[Illustration: [_Dresden Gallery_
+
+THE MAN WITH THE BITTERN
+
+(1639)]
+
+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 Porg�s, for "The
+Slaughter-house," belonging to Herr Georg Rath, is a study rather than a
+picture; 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].
+
+There are six pictures dated 1640--four subjects and two portraits--one
+of himself in the National Gallery [No. 672], (_see_ ill., p. 28), 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.
+
+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 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].
+
+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].
+
+[Illustration: [_Amsterdam Gallery_
+
+PORTRAIT OF ELIZABETH BAS
+
+(ABOUT 1640)]
+
+[Illustration: [_Berlin_
+
+ANSLO CONSOLING A WIDOW
+
+(1641)]
+
+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 to M. Jules
+Porg�s 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].
+
+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.
+
+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.
+
+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
+his positions with an impartial hand, and a comically stiff and formal
+collection of effigies was often the result.
+
+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.
+
+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.
+
+[Illustration: [_Buckingham Palace_
+
+THE LADY WITH THE FAN
+
+(1641)]
+
+[Illustration: [_Brussels Gallery_
+
+PORTRAIT OF A MAN
+
+(1641)]
+
+
+
+
+CHAPTER VII
+
+YEARS OF DECLINE (1643-1658)
+
+
+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.
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+THE WOMAN TAKEN IN ADULTERY
+
+(1644)]
+
+[Illustration: [_Dulwich Gallery_
+
+A GIRL AT A WINDOW
+
+(1645)]
+
+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=A=], 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 of Himself,"
+at Buckingham Palace, which, though the last figure of the date is
+wanting, was, in all likelihood, a work of that year.
+
+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.
+
+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].
+
+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 Berlin Gallery [No. 828=E=]. Two undated studies also belong to
+about that time, a small head and shoulders of "Susannah," belonging to
+M. L�on 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+PORTRAIT OF A RABBI
+
+(1645)]
+
+[Illustration: [_Cassel Gallery_
+
+A WINTER SCENE
+
+(1646)]
+
+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 Porg�s' "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 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 Porg�s, 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.
+
+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].
+
+The next two years are very deficient in dated 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.
+
+[Illustration: [_Louvre, Paris_
+
+CHRIST AT EMMAUS
+
+(1648)]
+
+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=A=], "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" 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=E=], and one in
+the Hermitage [No. 794], for "The Flight into Egypt," at Buda-Pesth,
+though belonging to the period, is undated.
+
+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 Andr�-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 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=K=]. 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+JOHN THE BAPTIST PREACHING
+
+(1656)]
+
+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 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."
+
+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.
+
+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 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].
+
+[Illustration: [_Amsterdam Gallery_
+
+THE SYNDICS OF THE DRAPERS
+
+(1661)]
+
+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 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.
+
+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 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 �pinal; 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].
+
+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=B=] (_see_ ill., p. 44).
+
+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. L�on Gauchez of Paris, but "The Unmerciful Servant," in
+the Wallace collection, and the "Portrait of Himself," in the National
+Gallery [No. 221] (_see_ ill., p. 46), belong to about that time. One, a
+"Portrait of an Old Man," in the 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.
+
+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.
+
+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.
+
+There is still a considerable number of pictures to which no very
+approximate date can be assigned, but 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.
+
+
+
+
+REMBRANDT THE ETCHER
+
+
+
+
+CHAPTER VIII
+
+HISTORY OF THE ETCHINGS
+
+
+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.
+
+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 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.
+
+[Illustration: CHRIST HEALING THE SICK. (B. 74)
+
+(1649-50)]
+
+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 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.
+
+The numerous other portraits, the four illustrations to Manasseh ben
+Israel's work, _Piedra Gloriosa_, and that to _Der Zeev�rts-Lof_, 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.
+
+When we have recalled the partnership formally 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.
+
+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.
+
+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.
+
+Others, again, would be given to fellow-artists, such 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 _Groote Schilderboek_, 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.
+
+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, 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.
+
+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 "Suppl�ment," 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.
+
+[Illustration: CLEMENT DE JONGHE. (B. 272)
+
+(1651)]
+
+There is no doubt that Bartsch was too generous in 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.
+
+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, 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.
+
+[Illustration: THE THREE TREES. (B. 212)
+
+(1643)]
+
+
+
+
+CHAPTER IX
+
+THE AUTHENTIC ETCHINGS
+
+
+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.
+
+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 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.
+
+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.
+
+He was again his own model twice in 1631--one, 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.
+
+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 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).
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: REMBRANDT'S MILL (B. 233)
+
+(1641)]
+
+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 with figures,
+called "The Shepherd and his Family" (B. 220).
+
+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.
+
+The next few years are singularly devoid of dated etchings. There are
+three from 1646--a small sketch 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.
+
+[Illustration: BEGGARS AT THE DOOR OF A HOUSE. (B. 176)
+
+(1648)]
+
+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 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.
+
+[Illustration: THE SHELL (B. 159)
+
+(1650)]
+
+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" (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.
+
+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.
+
+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 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.
+
+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.
+
+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 the figures are clumsily and unpleasantly thrown into
+relief by a band of shadow closely following their outlines in very
+na�ve 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
+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.
+
+1655 saw Rembrandt employed once more as an illustrator, the book being
+one entitled "Piedra gloriosa � 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 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."
+
+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.
+
+[Illustration: JAN LUTMA. (B. 276)
+
+(1656)]
+
+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).
+
+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.
+
+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 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.
+
+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."
+
+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,
+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).
+
+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.
+
+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 _Life_;
+and one of Jacob Haring (B. 274), known as "The Old Haring."
+
+There are nine scripture subjects of the period, two 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
+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.
+
+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" (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 Ph[oe]nix" (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.
+
+
+DISPUTED ETCHINGS AND DRAWINGS
+
+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 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.
+
+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 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.
+
+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. 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.
+
+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.
+
+
+
+
+CATALOGUE OF WORKS
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY HANG
+
+    _The following abbreviations are used in this list.--S. = signed, C.
+    = canvas, P. = panel._
+
+    _Where a number is given, thus_ [No. 6], _it is the number of the
+    Catalogue of the Gallery. The dates given must in some cases be
+    accepted as approximate only._
+
+
+  AUSTRIA-HUNGARY
+
+  BUDA-PESTH, ACADEMY.
+    =Portrait of an Old Man with a white beard=. S. 1640. P. 28-2/5 �
+      21-4/5. [No. 235.]
+    =Repose of the Holy Family=. 1655.
+
+  COLLECTION OF COUNT J. ANDRASSY.
+    =Portrait of Himself=. S. 1630. P. 19-3/5 � 15-1/5.
+
+  COLLECTION OF MR GEORGE VON RATH.
+    =Mountain Landscape=. S. 1638. P. 22 � 28-3/5.
+    =Slaughtered Ox=. S. 1639. P. 21-1/5 � 17-1/5.
+    =Portrait of a Woman=. S. 1660. P. 29-2/5 � 20-2/5.
+
+  CRACOW, CZARTORYSKI MUSEUM.
+    =Landscape=. S. 1638. P. 17-3/4 � 25-1/4.
+
+  INNSBRUCK, FERDINANDEUM.
+    =Head of an Old Man=. S. 1630. P. 8-4/5 � 6-4/5.
+
+  PRAGUE. COUNT NOSTITZ.
+    =An Old Man=. S. 1634. C. 58 � 54. [No. 269.]
+
+  TARNOWITZ, GALICIA. COUNT TARNOWSKI.
+    =Polish Horseman=. 1655. C. 46 � 53-2/5.
+
+  VIENNA, ACADEMY.
+    =Portrait of a Young Woman=. S. 1632. C. 39-1/5 � 28-4/5.
+
+  COUNT K�NIGSWARTER.
+    =Portrait of Rembrandt=. S. 1640. C. 23 � 17-1/2.
+
+  PRINCE LIECHTENSTEIN.
+    =Portrait of Saskia=. S. 1632. P. 23-3/5 � 17-3/5.
+    =Young Girl at her Toilet=, called the Jewish fianc�e. S. 1632.
+      C. 43-1/5 � 37-1/5.
+    =Portrait of Rembrandt=. S. 1635. C. 36-4/5 � 28-4/5.
+    =Portrait of a Man=. S. 1636.
+    =Portrait of a Woman=. Companion to above. S. 1636.
+
+  PRINCE LUBOMIRSKI.
+    =Study of Rembrandt with his Mouth open=. 1629.
+      P. 17-3/5 � 13-1/5.
+
+  FRANZ XAVIER MEYER.
+    =A Philosopher reading by Candlelight=. 1627. Copper,
+      5-3/5 � 5-3/5. A very doubtful picture.
+
+  IMPERIAL MUSEUM.
+    =Portrait of a Man=. 1630. P. 36-2/5 � 28. [No. 1139.]
+    =Portrait of a Woman=. P. 36-2/5 � 28. [No. 1140.]
+    =St Paul=. 1636. C. 50-2/5 � 44.
+    =Portrait of Rembrandt's Mother=. S. 1639. P. 32 � 24-4/5.
+      [No. 1141.]
+    =Portrait of Himself=. 1658. C. 45-1/5 � 32-2/5. [No. 1142.]
+    =Young Man Singing=. 1658. C. 28-2/5 � 28-4/5. [No. 1144.]
+    =Portrait of Himself=. S. 1668. P. 20 � 16-2/5. [No. 1143.]
+
+  COUNT SCH�NBORN-BUCHHEIM.
+    =Samson captured by the Philistines=. S. 1636. C. 95-1/5 � 114-4/5.
+
+  A. STRASSER.
+    =Study of an Angel=. 1655. P. 10-2/5 � 9-2/5.
+
+
+  BELGIUM
+
+  ANTWERP, MUSEUM.
+    =Portrait of Henry Swalm=, known as "Portrait of a Burgomaster."
+      S. 1637. C. 55-3/5 � 43-3/5. [No. 705.]
+    =The Young Fisher=. S. 1659. P. 9-1/3 � 7-1/5 [No. 294.]
+    =Saskia=. C. 44-4/5 � 33-3/5. [No. 293.]
+    =Portrait of an Old Jew=. P. 9-1/3 � 7-3/5. [No. 295.]
+
+  BRUSSELS, DUC D'ARENBERG.
+    =Tobias curing his Father's Blindness=.  S. 163--.  P. 19-1/5 �
+      15-3/5.
+
+  COUNT MERODE-WESTERLOO.
+    =St Peter repenting in Prison=.  S. 1631.  P. 23-2/5 � 19-1/5.
+
+  MUSEUM.
+    =Portrait of a Man=. S. 1641. C. 42 � 33-1/5. [No. 397.]
+    =Portrait of an Old Woman=. S. 1654. P. 27-3/5 � 28. [No. 397a.]
+
+
+  BRITISH ISLES
+
+  LONDON. NATIONAL GALLERY.
+    =Portrait of an Old Woman=. S. 1634. P. 27 � 21. [No. 775.]
+    =Portrait of a Man=. S. 1635. C. 30-1/8 � 22-1/2. [No. 850.]
+    =Ecce Homo=. Grisaille. 1636. C. 21-3/8 � 17-3/4. [No. 1400.]
+    =Portrait of Rembrandt=. S. 1640. C. 39 � 31-1/2. [No. 672.]
+    =The Woman taken in Adultery=. S. 1644. P. 32-1/2 � 25-1/2. [No. 45.]
+    =Adoration of the Shepherds=. S. 1646. C. 25 � 22. [No. 47.]
+    =A Woman Bathing=. S. 1654. P. 24 � 18-1/4. [No. 54.]
+    =Portrait of a Rabbi=. S. 1657(?). C. 30 � 26. [No. 190.]
+    =Portrait of an Old Man=. S. 1659. C. 39 � 32-3/4. [No. 243.]
+    =Portrait of a Monk=. 1660. C. 34-1/2 � 25-1/2. [No. 166.]
+    =Portrait of Rembrandt=. 1664. C. 33 � 27-1/2. [No. 221.]
+    =Portrait of a Woman=. S. 1666. C. 26-1/4 � 23-1/4. [No. 237.]
+    =Portrait of a Jew Merchant=. C. 53 � 41. [No. 51.]
+    =Landscape=. P. 22 � 34. [No. 72.]
+    =Christ taken down from the Cross=. P. 13 � 11. [No. 43.]
+    =Portrait of a Burgomaster=. C. 50-1/2 � 38. [No. 1674.]
+    =Portrait of an Old Lady=. C. 50-1/2 � 38. [No. 1675.]
+
+  HERTFORD HOUSE COLLECTION.
+    =Portrait of Burgomaster Pellicorne and his Son Caspar=. S. 1632.
+      C. 61 � 48.
+    =Suzanna van Collen, Wife of Pellicorne, and her Daughter=. S. 1632.
+      C. 61 � 48-1/4.
+    =The Good Samaritan=. 1632. P. 9-3/4 � 8.
+    =Portrait of a Boy=. S. 1633. Copper, 8 � 6-3/4.
+    =Portrait of Himself=. S. 1633-1635. P. 26 � 20.
+    =Portrait of a Young Negro=, known as the Black Archer. Oval. 1640.
+      P. 26 � 20.
+    =Landscape=. 1640. P. 18 � 25.
+    =Portrait of Himself=. S. 1640. P. 25 � 19-1/4.
+    =Portrait of Himself=. 1660. 8-1/2 � 6.
+    =Portrait of Titus=. 1658. C. 26-1/2 � 22.
+    =The Unmerciful Servant=. 1664. C. 70-1/2 � 86-1/4.
+
+  BUCKINGHAM PALACE.
+    =The Shipbuilder and his Wife=. S. 1633. C. 44 � 65. [No. 16.]
+    =The Burgomaster Pancras and his Wife=. Called Rembrandt and Saskia.
+      S. 1635. C. 60 � 77. [No. 30.]
+    =Christ and Mary Magdalene at the Tomb=. S. 1638. P. 23-1/2 � 19-1/2.
+      [No. 41.]
+    =Portrait of a Lady=. S. 1641. C. 41 � 33. [No. 162.]
+    =Portrait of Rembrandt=. S. 164--. P. 27 � 23. [No. 174.]
+    =The Adoration of the Magi=. S. 1657. P. 48 � 40-1/2. [No. 154.]
+    =A Jewish Rabbi=. C. 30 � 38-7/8. [No. 131.]
+
+  HAMPTON COURT.
+    =Portrait of a Rabbi=. S. 1635. P. 28 � 24. [No. 381.]
+
+  EDINBURGH. NATIONAL GALLERY.
+    =A Young Woman in Bed=. S. 1650. P. 32 � 26-1/2.
+
+  DUBLIN. NATIONAL GALLERY.
+    =Portrait of a Young Man=. Said to be Louis van der Linden. 1631.
+      P. 27 � 21-1/2.
+    =Shepherds reposing at Night=. S. 1647. P. 13-1/2 � 19. [No. 115.]
+    =Descent From the Cross=. S. 1650. C. 70 � 77-1/2. Lent by the Duke of
+      Abercorn.
+    =Portrait of an Old Man=. S. P. 24 � 18. [No. 48.]
+
+  GLASGOW. CORPORATION GALLERIES.
+    =The Slaughter-house=. S. 16--. P. 28 � 20. [No. 707.]
+    =Tobias and the Angel=. 1654. P. 29-1/2 � 26. [No. 705.]
+    =A Man in Armour=. S. 1655. C. 53-1/2 � 40-1/2. [No. 706.]
+    =The Painter's Study=. P. 20 � 24. [No. 709.]
+    =Jeremiah mourning over the Destruction of Jerusalem=. C. 15-1/2 � 12.
+      [No. 714.]
+    =Study of an Old Man=. P. 9 � 8. [No. 711.]
+    =Portrait of Rembrandt=. P. 26 � 20. [No. 710.]
+
+  HUNTERIAN MUSEUM.
+    =Entombment=. 1634. P. 12-4/5 � 16.
+
+  CAMBRIDGE. FITZWILLIAM MUSEUM.
+    =Portrait of Rembrandt=. S. 1650. C. 54 � 46-2/5. [No. 152.]
+
+  DULWICH COLLEGE.
+    =A Young Man=. S. 1632. P. 11-1/4 � 9. [No. 189.]
+    =A Young Girl at a Window=. S. 1645. C. 31 � 25. [No. 206.]
+
+  WINDSOR CASTLE.
+    =A Young Man=. S. 1631. P. 25 � 19.
+    =An Old Woman=, known as the Countess of Desmond.
+      1631. P. 23-1/2 � 18.
+
+  ALTHORP PARK. THE EARL SPENCER, K.G.
+    =A Boy=, formerly called a portrait of William III. P. 1660.
+      C. 24-1/2 � 21.
+    =Woman with Flowers=. 1660. C. 38 � 35-1/2.
+    =The Circumcision=. P. 1661. C. 21-1/2 � 28-1/2.
+    =Rembrandt's Mother=. C. 56 � 39.
+
+  ASHRIDGE PARK. THE EARL BROWNLOW.
+    =Portrait of a Jew=. S. 1632. P. 27 � 23.
+    =Portrait of a Man=, said to be Peter Cornelius van
+      Hooft, the poet. S. 1653. C. 55 � 52-1/2.
+    =Isaac and Esau=. P. 22-1/2 � 27.
+    =Landscape=. A very doubtful picture. P. 8 � 9-1/2.
+    =Portrait of an Old Woman=. C. 29-1/2 � 24-1/2.
+
+  BASILDON PARK. CHARLES MORRISON.
+    =Portrait of a Young Woman=, called Rembrandt's daughter. S. 1665.
+      C. 39-1/2 � 33.
+
+  BELVOIR CASTLE. DUKE OF RUTLAND.
+    =A Young Man=. S. 1660. C. 31 � 26-1/2.
+
+  BOWOOD. MARQUESS OF LANSDOWNE.
+    =The Mill=. 1654. C. 34 � 40-1/2.
+
+  BRIGHTON. WILLIAM CHAMBERLIN.
+    =Portrait of a Man-at-Arms=. S. P. 26 � 20.
+
+  BROOM HALL, DUNFERMLINE. LORD ELGIN.
+    =Portrait of Saskia=. S. 1633. P. 26 � 19-1/5.
+
+  CANFORD MANOR, WIMBORNE. LORD WIMBORNE.
+    =St Paul=. S. 1658.
+    =Portrait of a Man=. 1660.
+
+  CASTLE HOWARD. THE EARL OF CARLISLE.
+    =Portrait of a Young Artist drawing=. S. 164--. Life-size. 1648.
+
+  CHATSWORTH. DUKE OF DEVONSHIRE, K.G.
+    =Portrait of a Rabbi=. S. 1635. P. 40 � 31-1/2.
+
+  DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.
+    =The Cradle=. 1643-1645. P. 24 � 30-1/2.
+    =Portrait of a Man=, known as "Rembrandt's Cook." S. 1661. C. 34
+      � 29-1/2.
+    =The Holy Family=. P. 30 � 25.
+
+  DRAYTON MANOR. SIR ROBERT PEEL.
+    =The Finding of Moses=. 1635. C. oval, 18-4/5 � 23-3/5.
+
+  DUNCOMBE PARK. THE EARL OF FEVERSHAM.
+    =A Merchant=. S. 1659. C. 45 � 38.
+
+  EDINBURGH. ARTHUR SANDERSON.
+    =His Mother in a Hood=. 1630. P. 14-2/5 � 12-1/5.
+    =Portrait of an Old Woman=. S. 1635. C. 51-3/5 � 39-3/5.
+
+  RICHARD SAUNDERSON (in 1836).
+    =Abraham receiving the Angels=.
+
+  GLASGOW. WILLIAM BEATTIE.
+    =Study of Himself=. 1629. P. 10-1/5 � 8-3/5.
+
+  GOSFORD HOUSE. EARL OF WEMYSS AND MARCH.
+    =A Monk reading=. S. 1660. C. 29 � 24.
+
+  THE GRANGE, ALRESFORD. LORD ASHBURTON.
+    =Portrait of a Man=. 1635. P. 30 � 25.
+    =Portrait of an Old Man=. 1637. C. 48 � 37-1/2.
+    =Portrait of Lieven Willemsz van Coppenol=. About 1650. P. 14 � 11.
+    =Portrait of Rembrandt=. About 1658. C. 30 � 25-1/2.
+    =Portrait of a Man=, said to be Cornelius Jansenius. P. 32 � 26.
+
+  GRITTLETON. SIR A. D. NEELD, =Bart.=
+    =Portrait of Rembrandt=. S. 1660. C. 23-1/2 � 20.
+    =Portrait of a Burgomaster=. S. P. 15 � 12.
+
+  HINTON ST GEORGE. THE EARL POULETT.
+    =Portrait of a Boy=. S. 1628.
+
+  KEDDLESTON HALL. REV. LORD SCARSDALE.
+    =Portrait of an Old Man=. S. 1645. C. 34 � 27.
+
+  KNOWSLEY HALL. THE EARL OF DERBY, K.G.
+    =The Feast of Belshazzar=. 1636. Doubtful Rembrandt.
+      C. 65 � 81-1/2.
+
+  LONDON. W. C. ALEXANDER.
+    =Rembrandt's Mother=. 1628. P. 8-3/4 � 6-3/4.
+    =The Painter's Sister=. Doubtful. C. 27 � 20-1/2.
+
+  WENTWORTH B. BEAUMONT.
+    =The Tribute Money=. S. 1645. C. 25 � 33-1/2.
+
+  ALFRED BEIT.
+    =St Francis Praying=. S. 1637. P. 23-1/5 � 18-4/5.
+    =Portrait of a Young Man=. 1660. C. 40 � 32-1/2.
+
+  R. B. BERENS.
+    =Portrait of the Painter=. An early work. P. 24 � 18
+
+  BRIDGEWATER HOUSE. EARL OF ELLESMERE.
+    =A Young Woman=, aged 18. S. 1634. P. 27-1/2 � 21.
+    =A Young Woman=. Oval. 1635.
+    =Portrait of a Burgomaster=, or, a Minister. S. 1637.
+      C. 52 � 38.
+    =Hannah hearing the Young Samuel repeat his Prayers=.
+      S. 1648. P. 16 � 18.
+    =Study of an Old Man=. 1655.
+    =Portrait of Rembrandt=. S. 165--. C. 26-1/2 � 20-3/4.
+
+  MONTAGUE HOUSE. DUKE OF BUCCLEUCH, K.G.
+    =Portrait of Saskia=. S. 1633. C. 48-1/2 � 38-1/2.
+    =Portrait of an Old Woman=. S. 1655. C. 31-1/2 � 26.
+    =Portrait of Rembrandt=. S. 1659. C. 31 � 25-1/2.
+
+  BARONESS BURDETT-COUTTS.
+    =A Forest Scene=. P. 16 � 14.
+
+  W. C. CARTWRIGHT.
+    =Dead Peacocks=. S. 1640. C. 54 � 50-1/2.
+
+  THE EARL OF CRAWFORD, K.G.
+    =Portrait of Titus=. S. 1655. C. 29-1/2 � 24-1/2.
+
+  THE EARL OF DERBY, K.G.
+    =A Rabbi=. S. 1635. P. 28 � 21.
+    =Joseph's Coat=. 1647. C. 48 � 38.
+
+  DEVONSHIRE HOUSE. THE DUKE OF DEVONSHIRE, K.G.
+    =An Old Man=. S. 1651. C. 28-1/2 � 25.
+    =An Old Man=. S. 1652. C. 43 � 34.
+
+  GEORGE C. W. FITZWILLIAM.
+    =Portrait of a Man=. 1632. P. 22-1/2 � 18-1/2.
+
+  F. FLEISCHMANN.
+    =Rembrandt's Father=. S. 1631. P. 23 � 19-1/2.
+
+  ALEXANDER HENDERSON.
+    =Burgomaster Six=. 1655. C. 36-1/2 � 29.
+    =Portrait of his Wife, Margaretha, Daughter of Dr. Tulp=. S. 1655. P.
+      36-1/2 � 29.
+
+  CAPTAIN HEYWOOD-LONSDALE.
+    =Portrait of Rembrandt=. S. 1635 or 8. P. 25 � 20.
+
+  DORCHESTER HOUSE. CAPTAIN G. L. HOLFORD.
+    =Martin Looten=. S. 1632. P. 36 � 29-1/2.
+    =A Man with a Sword=. S. 1644. C. 39 � 34.
+    =Portrait of a Lady=, incorrectly called the wife of Jan Sylvius.
+      1645. C. 49 � 40.
+    =Portrait of Titus=. S. 1660. C. 29 � 24-1/2.
+
+  LORD FRANCIS PELHAM HOPE. (Collection sold in 1898.)
+    =A Lady and Gentleman=. S. 1633. C. 51 � 42.
+    =The Ship of St Peter=. S. 1635. C. 63 � 50.
+
+  THE EARL OF HOPETOUN.
+    =Rembrandt's Mother=. Oval. P. 27 � 21.
+
+  R. W. HUDSON.
+    =An Old Man=. S. 1635. P. 26-4/5 � 21-3/5.
+
+  THE EARL OF ILCHESTER.
+    =Portrait of Rembrandt=. S. 1658. C. 51-1/2 � 40.
+
+  VICTORIA AND ALBERT MUSEUM.
+    =Abraham dismissing Hagar and Ishmael=. S. 1640. P. 15 � 20-1/2.
+
+  LORD IVEAGH.
+    =Portrait of a Woman=. S. 1642. C. 42 � 36.
+    =Portrait of Rembrandt=. 1663. C. 45 � 37-1/2.
+
+  MRS JOSEPH.
+    =Portrait of Saskia=. S. 1636. P. 26 � 20-1/2.
+
+  LESSER (1893).
+    =Portrait of an Old Woman=. S. 1635. C.
+
+  COLONEL LINDSAY (1893).
+    =Portrait of a Very Old Woman=. S. 1660. C. 30 � 25-2/5.
+
+  MRS ALFRED MORRISON.
+    =Portrait of Dr Bonus=. S. 1642. C. 41 � 30.
+
+  DUKE OF NEWCASTLE.
+    =Portrait of an Orator=. C. 37-1/2 � 29-1/2.
+
+  THE EARL OF NORTHBROOK.
+    =Landscape=. 1640. P. 8-1/2 � 11.
+    =Portrait of an Old Man=. S. 1667. C. 27 � 22-1/2.
+
+  LORD PENRHYN.
+    =Portrait of Catrina Hoogh=. S. 1657. C. 49-1/2 � 38-1/2.
+
+  JAMES REISS
+    =Landscape=. P. 11-1/2 � 16.
+
+  MRS OWEN ROE.
+    =Portrait of a Man=. C. 40 � 33.
+
+  LADY DE ROTHSCHILD.
+    =Portrait of Rembrandt=. S. 1656. C. 35 � 28.
+
+  EDWARD H. SCOTT.
+    =Rembrandt's Father's Mill=. C. 32-1/2 � 42.
+
+  COLONEL STERLING.
+    =Portrait of a Man=. C. 23 � 17.
+
+  STEPHEN TUCKER.
+    =The Angel departing from Tobit=. P. 25-1/2 � 19-1/2.
+
+  SIR CHARLES TURNER.
+    =Portrait of a Girl=. 1650. P. 8-2/5 � 7-1/5.
+
+  LORD WANTAGE.
+    =Portrait of an Old Woman=. S. 1661. C. 29-1/2 � 25.
+
+  T. HUMPHRY WARD.
+    =An Old Man=. 1630 or 1658. C. 20 � 14-3/4.
+    =A Young Man=. S. 1646. C. 28 � 23.
+    =The Dismissal of Hagar=. P. 26 � 22-1/2.
+
+  GROSVENOR HOUSE. DUKE OF WESTMINSTER, K.G.
+    =The Salutation=. [No. 33.] S. 1640. P. 22 � 18-1/2.
+    =Portrait of a Gentleman with a Hawk=. [No. 14.] S. 1643. C. 44
+      � 37-1/2.
+    =A Lady with a Fan=. [No. 15.] S. 1643. C. 44 � 37-1/2.
+    =Portrait of Nicholas Berchem=. [NO. 19.] S. 1647. Cedar panel,
+      28-1/2 � 25-1/2.
+    =Portrait of his Wife=. [No. 20], the daughter of Jan Wils. S. 1647.
+      Cedar panel, 28-1/2 � 25.
+    =Portrait of Rembrandt=. P. 15-1/2 � 11-1/2.
+    =Landscape=. [No. 83.] P. 39 � 61.
+
+  HENRY WILLETT.
+    =Portrait of a Man=. P. 20 � 17.
+
+  SIR MATTHEW WILSON.
+    =Portrait of a Lady=. Oval. P. 27 � 21.
+
+  THE EARL OF YARBOROUGH.
+    =Portrait of an Old Lady=. 1637. P. 40-1/2 � 35.
+
+  NEW HALL, BODENHAM. ALFRED BUCKLEY.
+    =Sketch of a Man's Head=. P. 9 � 7.
+
+  PANSHANGER. THE EARL COWPER, K.G.
+    =Portrait of a Man=. S. 1644. C. 44-1/2 � 42.
+    =Portrait of Marshal Turenne=. 1649. C. 113 � 94.
+    =Head of a Man=. P. 12-1/2 � 9-1/2.
+
+  PETWORTH. LORD LECONFIELD.
+    =Portrait of the Painter's Sister=. S. 1631. P. 25 � 18-1/2.
+    =Portrait of Rembrandt=. S. 1632. Oval. P. 25 � 18-1/2.
+    =Portrait of a Lady=. S. 1635. C. 49 � 39-1/2.
+    =Portrait of a Youth=. S. 1666. C. 29 � 24.
+    =Girl with a Rosebud=. S. P. 32 � 25.
+
+  RICHMOND. THE EXECUTORS OF THE LATE SIR FRANCIS COOK.
+    =The Painter's Sister=. S. 1632. Oval. P. 27 � 21.
+    =Portrait of Alotte Adriaans, Wife of Elias Van Trip=. S. 1639.
+      P. 25-1/2 � 22.
+    =Tobit and His Wife=.  S. 1650.  P. 16-1/4 � 21-1/4.
+    =Study of an Old Man=. P. 13-1/2 � 10-1/2.
+    =The Prodigal Son=. S. 1634. A very doubtful picture. C. 51 � 66.
+
+  ROSSIE PRIORY, INCHTURE, PERTHSHIRE. LORD KINNAIRD.
+    =Portrait of a Young Woman=. S. 1636.
+    =Portrait of Rembrandt=. S. 1661. C. 36 � 30.
+
+  WELBECK ABBEY, NOTTS. DUKE OF PORTLAND.
+    =Head of a Boy=. S. 1634. P. 17 � 14.
+
+  WILTON HOUSE. THE EARL OF PEMBROKE.
+    =An Old Woman Reading=. S. 1631. C. 29 � 24.
+
+  WOBURN ABBEY. DUKE OF BEDFORD.
+    =Portrait of an Old Man=. 1632.
+    =Portrait of Rembrandt=. 1635. C. 34-1/2 � 30-1/2.
+
+  PRESENT OWNERS UNKNOWN.
+    =Portrait of a Saint=. S. 1635. C. 43 � 38.
+    =Portrait of a Lady=. P. 29-1/2 � 23.
+    =Landscape=. C. 14 � 18-1/2.
+
+
+  DENMARK.
+
+  COPENHAGEN. NEW CARLSBERG GLYPTOTEK.
+    =Man Reading=. 1645. C. 24-1/2 � 28.
+
+  COUNT MOLTKE.
+    =Portrait of an Old Woman=. [NO. 32.] 1654. C.
+
+  COPENHAGEN. MUSEUM.
+    =Christ at Emmaus=. [No. 292.] S. 1648. C. 33-1/2 � 42-1/2.
+    =Portrait of a Young Man=. [No. 273.] S. 1656. C.
+      29 � 25.
+    =Portrait of a Young Woman=. [No. 274.] Companion to the last.
+      S. 1656. C. 29 � 25.
+
+
+  FRANCE.
+
+  PARIS. THE LOUVRE.
+    =A Philosopher in Meditation=. [No. 2540, Grand Gallery.] S. 1633.
+      P. 11-3/5 � 13-1/5.
+    =A Philosopher in Meditation=. [No. 2541, Grand Gallery.] 1633.
+      P. 11-1/5 � 9-1/5.
+    =Portrait of Rembrandt=. [No. 2552, Salle XV.] S. 1633. C. 23-1/5
+      � 18.
+    =Portrait of Rembrandt=. [No. 2553, Grand Gallery.] S. 1634. P.
+      27-1/5 � 21-1/5.
+    =The Angel Raphael leaving Tobit=. [No. 2536, Grand Gallery.] S. 1637.
+      P. 27-1/5 � 20-4/5.
+    =Portrait of Rembrandt=. [No. 2554, Grand Gallery.] S. 1637. P. 32
+      � 24-4/5.
+    =Portrait of an Old Man=. [No. 2544, Grand Gallery.] S. 1638. Oval.
+      P. 36 � 22-2/5.
+    =The Carpenter's Home=. [No. 2542, Salon Carr�.] S. 1640. P. 16-2/5
+      � 13-3/5.
+    =A Woman Bathing=. [No. 2550, Salle Lacaze.] 1647. P. 24-4/5 � 19-1/5.
+    =Christ at Emmaus=. [No. 2539, Salon Carr�.] S. 1648. P. 27-1/5 � 26.
+    =The Good Samaritan=. [No. 2537, Grand Gallery.] S. 1648. P. 45-3/5
+      � 54.
+    =Portrait of a Man=. [No. 2551, Salle Lacaze.] S. 1651. C. 33-1/5 �
+      26-2/5.
+    =Portrait of Hendrickje Stoffels=. [No. 2547, Salon Carr�.] P. about
+      1652. C. 28-4/5 � 24.
+    =Bathsheba, or a Woman bathing=. [No. 2549, Salle Lacaze.] S. 1654.
+      C. 56-4/5 � 56-4/5.
+    =Portrait of a Man=. [No. 2546, Grand Gallery.] 1655. P. 10-2/5 �
+      7-3/5.
+    =The Slaughter-house=. [No. 2548, Grand Gallery.] S. 1655. P. 37-3/5
+      � 27-3/5.
+    =Portrait of a Young Man=. [No. 2545, Salon Carr�.] S. 1658. C. 29-1/5
+      � 24-2/5.
+    =Portrait of Rembrandt=. [No. 2555, Salon Carr�.] S. 1660. C. 44-2/5
+      � 34.
+    =Saint Matthew=. [No. 2538, Grand Gallery.] S. 1661. C. 38-2/5 �
+      32-2/5.
+    =Venus and Cupid=. [No. 2543, Grand Gallery.] 1661. C. 44 � 35-1/5.
+
+  �PINAL. MUSEUM.
+    =Portrait of an Old Woman=. [No. 101.] S. 1661. C. 45-3/5 � 32.
+
+  NANTES. MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 522, attributed to van Vliet.]
+      1628. P. 7 � 5-2/5.
+
+  PARIS. MME. ANDR�-JACQUEMART.
+    =Christ at Emmaus=. S. R.H. 1629. Paper on panel 15-3/5 � 16-4/5.
+    =Portrait of Lysbeth van Rijn=. S. 1632. C. 26 � 20-2/5.
+    =Portrait of Arnold Tholinx=. S. 1656. C. 30-2/5 � 25-1/5.
+
+  L�ON BONNAT.
+    =Petitioners To a Biblical King=. 1633. P. 11-2/5 � 10-3/5.
+    =Jean Six at a Window=. Very doubtful. P. 10 � 8.
+    =Figure of Susannah=. Oval. 1647. P. 8-4/5 � 7.
+    =Tasters in a Cellar=. 1650. P. 19-4/5 � 25-1/5.
+    =Portrait of an Old Man=. 1650. P. 22 � 17-3/5.
+    =Portrait of a Rabbi=. 1655. P. 8-7/25 � 9-39/50.
+    =Head of an Old Man=. 1660. P. 10 � 8-4/5.
+
+  MARQUIS BONI DE CASTELLANE.
+    =Portrait of Nicholas Ruts=. S. 1631. P. 46 � 34-1/2.
+
+  PRINCE DE CHALAIS.
+    =Portrait of a Man=.
+
+  L�ON GAUCHEZ.
+    =Lucretia=. S. 1664. C. 46-2/5 � 39-1/5.
+
+  LEOPOLD GOLDSCHMIDT.
+    =Portrait of a Woman=. Called Rembrandt's cook. 1655. C. 29-4/5
+      � 24-3/5.
+
+  HARJES.
+    =Old Man With a White Beard=. C. 25-1/5 � 23-1/5.
+
+  BARONESS HIRSCH-GEREUTH (THE LATE).
+    =Portrait of his Sister, or Saskia=. Oval. S. 1633. P. 23 � 17-3/5.
+
+  MAURICE KANN.
+    =Head of Christ=. 1660. C. 18-3/5 � 14-4/5.
+    =A Man in a Red Cloak=. S. 1659. P. 15-2/5 � 12-2/5.
+    =Portrait of a Man=. P. between 1666 and 1668. C. 36-2/5 � 29-4/5.
+
+  RODOLPHE KANN.
+    =Head of Christ=. 1652. P. 10-2/5 � 8.
+    =Portrait of Titus=. S. 1655. C. 31-3/5 � 23-3/5.
+    =Portrait of a Rabbi=. 1655. P. 10 � 7-4/5.
+    =Portrait of an Old Woman=. S. 1657. P. 8-4/5 � 7-1/5.
+    =Old Woman cutting her Nails=. S. 1658. C. 50-2/5 � 40.
+    =Portrait of a Young Woman=. 1668. C. 37-1/5 � 29-1/5.
+
+  MME. LACROIX.
+    =Landscape, with Swans=. 1645. C. 25-3/5 � 17-1/5.
+
+  ALBERT LEHMANN.
+    =Zachariah receiving the Prophecy of the Birth of John the Baptist=.
+      S. 1632. P. 22-2/5 � 19-1/5.
+
+  PAUL MATHEY.
+    =Head of an Old Man=. P. 20 � 24.
+
+  HENRY PEREIRE.
+    =Portrait of a Man=. S. 1632. P. 24 � 18-4/5.
+    =Portrait of Cornelia Pronck=. Wife of the man. S. 1633. P. 24 �
+      18-4/5.
+
+  JULES PORG�S.
+    =The Good Samaritan=. S. 1639. C. 38-1/5 � 50.
+    =Portrait of a Rabbi=. S. 1642. P. 30 � 24-2/5.
+    =An Old Woman meditating over a Book=. 1649. C. 39-1/5 � 31-1/5.
+    =Portrait of Rembrandt's Brother=. 1650. P. 22-2/5 � 17-1/5.
+    =Portrait of a Woman holding a Book=. 1650. P. 22-2/5 � 17-1/5.
+
+  COUNTESS EDMOND DE POURTAL�S.
+    =Portrait of a Young Man rising from a Chair=. S. 1633. C. 50 � 40.
+
+  BARON ALPHONSE DE ROTHSCHILD.
+    =Portrait of an Old Woman=. S. 1632. P. 30-3/5 � 23.
+
+  BARON GUSTAVE DE ROTHSCHILD.
+    =Portrait of Martin Daey=. S. 1634. C. 82-4/5 � 52-4/5.
+    =Portrait of Machteld van Doorn, Wife of Martin Daey=. C. 82-4/5
+      � 52-4/5.
+    =The Standard-Bearer=. S. 1636. C. 50 � 42.
+
+  BARONESS NATHANIEL DE ROTHSCHILD.
+    =Portrait of a Boy=. S. 1633. P. 17-3/5 � 13-1/5.
+
+  BARON N. DE ROTHSCHILD.
+    =Portrait of Anthoni Copal=. S. 1635. P. 33-1/5 � 26-4/5.
+
+  DURAND RUEL.
+    =David playing before Saul=. 1663. C. 52-1/5 � 65-3/5.
+
+  BARON ARTHUR DE SCHICKLER.
+    =Judas with the Price of the Betrayal=. 1629. C. 31-3/5 � 41-1/5.
+
+  A. SCHLOSS.
+    =Portrait of Saskia=. Oval. 1634. P. 26-4/5 � 21.
+    =Old Man=. S. 1643. P. 10 � 7-3/5.
+
+  HENRI SCHNEIDER.
+    =Hans Alenson=. S. 1634. C. 71-1/5 � 52-4/5.
+    =The Wife of Alenson=. S. 1634. C. 71-1/5 � 52-4/5.
+
+  CHARLES SEDELMEYER.
+    =Pilate washing his Hands=. 1656. C. 51-1/5 � 72.
+
+  CHARLES WALTNER.
+    =An Old Rabbi=. 1654-56. C. 32-4/5 � 26.
+
+  E. WARNECK.
+    =Diana bathing=. 1631. P. 7-1/5 � 6-4/5.
+    =Rembrandt laughing=. S. 1633. P. 8-1/5 � 7.
+    =Study of a Rabbi=. 1650 To 1655. P. 8-4/5 � 7-2/5.
+    =Study of a Young Boy=. 1654. P. 9-1/5 � 7-4/5.
+
+  DR MELVIL WASSERMANN.
+    =Study of his Father=. 1630. P. 11-2/5 � 9-1/5.
+    =Portrait of an Old Man=. 1633. P. 10-2/5 � 8-2/5.
+
+  ROUEN. M. DUTUIT.
+    =Portrait of Rembrandt=. S. 1631. P. 32-2/5 � 21-3/5.
+
+  TOURS. MUSEUM.
+    =Portrait of His Father=. [No. 437.] A copy of the one in the Museum
+      at Nantes. 1628. P. 6 � 4.
+
+
+  GERMANY.
+
+  BERLIN GALLERY. ROYAL MUSEUM.
+    =The Money-Changer=. [No. 828 D.] S. 1627. P. 12-1/5 � 16-4/5.
+    =Judith=, or =Minerva=. [No. 828 C.] 1631. P. 23-3/5 � 19-1/5.
+    =The Rape of Proserpina=. [No. 823.] 1632. P. 33-1/5 � 31-1/5.
+    =Rembrandt=. [No. 810.] S. 1634. P. 22-4/5 � 18-4/5.
+    =Rembrandt=. [No. 808.] 1634. P. 22 � 18-2/5.
+    =Samson threatening his Father-in-law= [No. 802], formerly called The
+      Duke of Gueldres. S. 1635. C. 62-2/5 � 51-3/5.
+    =Portrait of the Minister Anslo consoling a Widow=. S. 1641.
+      C. 73-3/5 � 89-3/5.
+    =Portrait of Saskia=. [No. 812.] S. 1643. P. 28-4/5 � 23-1/5.
+    =Portrait of a Rabbi=. [No. 828 A.] S. 1645. C. 44 � 32-4/5.
+    =The Wife of Tobias with the Goat=. [No. 805.] S. 1645. P. 8 � 10-4/5.
+    =Joseph's Dream=. [No. 806.] S. 1645. P. 8 � 10-4/5.
+    =Susannah and the Elders=. [No. 828 E.] S. 1647. P. 30-2/5 � 36-2/5.
+    =Daniel's Vision=. [No. 828 F.] 1650. C. 38-2/5 � 46-2/5.
+    =Joseph accused by Potiphar's Wife=. [No. 828 H.] S. 1655. C. 41-1/2
+      � 34.
+    =Study of an Old Man=. [No. 828 J.] 1655. C. 20-2/5 � 14-4/5.
+    =John the Baptist preaching=. [No. 828 K.] S. 1656. C. 25 � 31.
+    =Jacob Wrestling with the Angel=. [No. 828.] S. 1659. C. 54-4/5 �
+      46-2/5.
+    =Moses breaking the Tables of the Law=. [No. 811.] S. 1659. C. 66-4/5
+      � 54.
+    =Portrait of Hendrickje Stoffels=. [No. 828 B.] 1662. C. 34-4/5 � 26.
+
+  ALTFRANKEN. COUNT LUCKNER.
+    =Portrait of Saskia=. S. 1635. P. 39-1/5 � 28.
+
+  ANHOLT. PRINCE OF SALM-SALM.
+    =Diana, Act�on, and Callisto=. S. 1635. C. 28-4/5 � 38.
+
+  ASCHAFFENBOURG. ROYAL MUSEUM.
+    =The Risen Christ=. S. 1661. C. 32 � 25-1/5.
+
+  BERLIN. VON CARSTANGEN.
+    =Portrait of J. C. Sylvius=. S. 1645. C. 52 � 44.
+    =Christ at the Column=. 1646. P. 13-3/5 � 11-1/5.
+    =Portrait of Rembrandt=. S. 1665. C. 32-4/5 � 25-1/5.
+
+  EMPEROR FREDERICK MUSEUM.
+    =Rembrandt's Brother=. 1650. C. 26-4/5 � 20-3/5.
+
+  CARL HOLLITSCHER.
+    =St Paul in Meditation=. 1635. C. 47-1/5 � 38.
+    =Christ on the Cross=. 1648. P. 14 � 9-3/5.
+
+  ROBERT VON MENDELSSOHN.
+    =Rembrandt=. S. 1651. P. 26-2/5 � 21-1/5.
+
+  SANS-SOUCI.
+    =The Capture of Samson=. S. 1628. P. 24 � 19-3/5.
+
+  JAMES SIMON.
+    =Portrait of a Young Girl=. S. 1634. P. 17-3/5 � 14-2/5.
+
+  BONN. PROFESSOR G. MARTIUS.
+    =An Old Woman=. 1640. P. 27-1/5 � 22-1/5.
+
+  BRUNSWICK. GRAND DUCAL MUSEUM.
+    =An Unknown Man=. [No. 232.] 1631. P. 25-2/5 � 19-1/5.
+    =Portrait of a Woman=. [No. 233.] S. 1633. P. 25-2/5 � 19-1/5.
+    =Portrait of a Man=. [No. 237.] S. 1638. P. 32-4/5 � 27.
+    =Stormy Landscape=. [No. 236.] S. 1640. P. 20-4/5 � 28-4/5.
+    =Noli Me Tangere=. [No. 235.] S. 1651. C. 26 � 31-3/5.
+    =Portrait of a Family=. [No. 238] S. 1668. C. 50-2/5 � 66-3/5.
+
+  CARLSRUHE. GRAND DUCAL MUSEUM.
+    =Portrait of Himself=. [No. 238.] S. 1645. P. 29-3/5 � 23-3/5.
+
+  CASSEL. MUSEUM.
+    =Rembrandt=. [No. 208.] 1627. P. 8 � 6-2/5.
+    =An Old Man=. [No. 209.] S. 1630. P. 26-2/5 � 22-2/5.
+    =An Old Man=. [No. 210.] S. 1632. P. 20 � 15-3/5.
+    =An Old Man=. [No. 211.] S. 1632. P. 23-3/5 � 19-3/5.
+    =Portrait=, said to be Coppenol. [No. 212.] S. 1632. C. 40 � 31-1/5.
+    =Jan Herman Krul=. [No. 213.] S. 1633. C. 49-1/5 � 37-3/5.
+    =Saskia=. [No. 214.] 1634. P. 39-1/5 � 30-4/5.
+    =Rembrandt=. [No. 215.] S. 1634. P. 31-3/5 � 25-3/5.
+    =A Young Woman=. [No. 216.] 1635. P. 28-4/5 � 23-3/5.
+    =A Man=. [No. 217.] S. 1639. C. 79-1/5 � 48-2/5.
+    =Holy Family=. [No. 218.] Called "The Woodchopper." S. 1646. P. 18
+      � 26-4/5.
+    =A Winter Landscape=. [No. 219.] S. 1646. P. 6-2/5 � 8-4/5.
+    =The Ruin=. [No. 220.] S. 1650. P. 26-2/5 � 34-2/5.
+    =Portrait of Bruyningh=. [No. 221.] S. 1652. C. 42 � 36.
+    =Man in Armour=, known as "The Watch." [No. 223.] S. 1655. C. 45-1/5
+      � 36.
+    =An Old Man=. [No. 226.] 1655. P. 8 � 6.
+    =An Old Man=. [No. 225.] 1657. P. 8 � 6-2/3.
+    =An Architect, or Geometrician=. [No. 224.] 1656. C. 48 � 36.
+    =Jacob Blessing Joseph's Sons=. [No. 227.] S. 1656. C. 69-3/5 � 80.
+    =Portrait of Rembrandt=. [No. 222.] S. 1659. C. 29-1/5 � 23-3/5.
+
+  COLOGNE. BARON A. VON OPPENHEIM.
+    =A Young Girl=. 1655. P. 8-2/5 � 7.
+
+  DARMSTADT. GRAND-DUCAL GALLERY.
+    =The Flagellation=. [No. 347.] S. 1668. C. 37-3/5 � 29-1/5.
+
+  DRESDEN. ROYAL GALLERY.
+    =Saskia=. [No. 1556.] S. 1633. P. 21 � 17-3/5.
+    =A Man=. [No. 1557.] Willem Burchgraeff. [No. 182.] S. 1633. P. 27
+      � 21.
+    =The Capture of Ganymede=. [No. 1558.] S. 1635. C. 68-3/5 � 52.
+    =Rembrandt and Saskia=. [No. 1559.] S. 1635. C. 64 � 52-4/5.
+    =The Marriage of Samson=. [No. 1560.] S. 1638. C. 50-2/5 � 70-2/5.
+    =The Man with the Bittern=. [No. 1661.] S. 1639. P. 48-2/5 � 35-3/5.
+    =Saskia holding a Pink=. [No. 1562.] S. 1641. P. 39-1/5 � 32-4/5.
+    =The Sacrifice of Manoah=. [No. 1563.] S. 1641. C. 96-2/5 � 114.
+    =Old Woman weighing Gold=. [No. 1564.] C. 44-4/5 � 39-3/5.
+    =A Young Man=. [No. 1565.] S. 1643. C. 30-4/5 � 26-4/5.
+    =An Old Man=. [No. 1571.] 1645. C. 37-3/5 � 30-4/5.
+    =The Entombment=. [No. 1566.] S. 1653. C. 38-4/5 � 27-3/5.
+    =An Old Man with a Beard=. [No. 1567.] S. 1654. P. 40 � 30-4/5.
+    =Portrait of a Man=. [No. 1568.] 1656. C. 35-4/5 � 27-2/5.
+    =Rembrandt=. [No. 1569.] S. 1657. C. 34-1/5 � 26.
+    =An Old Man=. [No. 1570.] 1666. C. 32-4/5 � 28-2/5.
+
+  ELBERFELD. KARL VON DER HEYDT.
+    =The Denial of St Peter=. S. 1628. Copper, 8-4/5 � 6-4/5.
+    =A Lady=. S. 1635. P. 30-4/5 � 25-3/5.
+
+  FRANKFORT. ST�DEL ART INSTITUTE.
+    =David playing before Saul=. [No. 183.] P. 24-4/5 � 20.
+    =Portrait of Margaretha van Bilderbeecq=. [No. 182.] Oval. S. 1633.
+      P. 26-4/5 � 22-2/5.
+    =Parable of the Labourers in the Vineyard=. [No. 181.] S. 1656. C.
+      61-1/5 � 54-4/5.
+
+  GOTHA. MUSEUM.
+    =Rembrandt=. [No. 181.] S. 1629. P. 7-1/5 � 5-3/5.
+
+  HAMBURG. KUNST-HALLE.
+    =Maurice Huygens=. S. 1632. C. 52 � 44.
+
+  CONSUL WEBER.
+    =Presentation in the Temple=. S. 1630. P. 22 � 17-3/5.
+    =The Woman taken in Adultery=. 1644. C. 45-3/5 � 54.
+    =A Pilgrim at Prayer=. S. 1661. C. 36 � 31-1/5.
+
+  LEIPZIG. JULIUS O. GOTTCHALD.
+    =Study of an Old Man=. 1630. P. 8-1/5 � 6-4/5.
+
+  MUSEUM.
+    =Rembrandt=. [No. 347.] 1654. P. 10-2/5 � 8-2/5.
+
+  ALFRED THIEME.
+    =The Good Samaritan=. 1640. C. 12-2/5 � 15.
+    =Portrait called the Constable of Bourbon=. S. 1644. C. 36-2/5 �
+      29-3/5.
+
+  METZ. MUSEUM.
+    =An Old Man=. S. 1633. P. 23-3/5 � 17-3/5.
+
+  MUNICH. ROYAL GALLERY.
+    =Holy Family=. [No. 324.] S. 1631. C. 77-1/5 � 52.
+    =Portrait of a Turk=. [No. 325.] S. 1633. P. 33-3/5 � 25-1/5.
+    =The Descent from the Cross=. [No. 326.] S. 1633. P. 35-3/5 � 26.
+    =The Elevation of the Cross=. [No. 327.] 1633. C. 38-2/5 � 28-4/5.
+    =The Ascension=. [No. 328.] S. 1636. C. 36-4/5 � 26-4/5.
+    =The Entombment=. [No. 330.] 1638. C. 37-1/5 � 27-3/5.
+    =The Resurrection=. [No. 329.] S. 1639. C. 37-3/5 � 28.
+    =The Adoration of the Shepherds=. [No. 331.] S. 1646. C. 38-4/5 �
+      28-4/5.
+    =Rembrandt=. [No. 333.] S. 1654. P. 32-4/5 � 26-4/5.
+
+  DR MARTIN SCHUBART.
+    =An Old Man=. 1632. P. 25 � 18-3/5.
+
+  NORDKIRCHEN. COUNT ESTERHAZY.
+    =A Young Man=. S. 1629.
+
+  NUREMBERG. MUSEUM.
+    =Rembrandt= [No. 298], in armour. S. 1629. P. 15-3/5 � 12-4/5.
+    =Saint Paul=. 1629.
+
+  OLDENBURG. AUGUSTEUM.
+    =The Prophetess Anna=, or the painter's mother. [No. 166.] S. 1631.
+      C. 24 � 19-1/5.
+    =An Old Man=. [No. 167.] S. 1632. C. 26-3/5 � 20-2/5.
+    =Landscape=. [No. 169.] 1645. P. 11-3/5 � 16.
+
+  POSEN. COUNT EDWARD RACZYNSKI.
+    =Christ=. S. 1661. C. 39 � 32-3/5.
+
+  SCHWERIN. GRAND DUCAL MUSEUM.
+    =An Old Man=. [No. 854.] S. 1630. P. 27-1/5 � 20-4/5.
+    =An Old Man=. [No. 855.] 1656. C. 22-4/5 � 18-4/5.
+
+  STRASBURG. MUSEUM.
+    =An Old Man=, holding a scroll. 1650. C. 24-2/5 � 18-2/5.
+
+  STUTTGART. MUSEUM.
+    =St Paul in Prison=. [No. 225.] S. 1627. P. 28 � 23-1/5.
+
+  WEIMAR. GRAND DUKE OF SAXE-WEIMAR.
+    =Portrait of Rembrandt=. S. 1643. C. 24-2/5 � 19-1/5.
+
+
+  HOLLAND.
+
+  THE HAGUE. MAURITSHUIS, ROYAL MUSEUM.
+    =Rembrandt's Mother=. [No. 556, Room XIV.] 1628. P. 7 � 5.
+    =Rembrandt's Father=. [No. 565, Room XIV.] 1628. P. 18-4/5 � 15-3/5.
+    =Rembrandt=. [No. 148, Room XIV.] 1629. P. 14-4/5 � 11-3/5.
+    =A Man Laughing=. [No. 598, Room XIV.] 1630. P. 6 � 4-4/5.
+    =A Young Girl=. [No. 577, Room XIV.] S. 1630. P. 22 � 18.
+    =The Presentation in the Temple=. [No. 145, Room XIV.] S. 1631. P.
+      24 � 19-1/5.
+    =The Anatomy Lesson of Professor Pieterszoon Tulp=. [No. 146, Room
+      XIII.] S. 1632. C. 64-4/5 � 86-2/5.
+    =Rembrandt As an Officer=. [No. 149, Room XIV.] S. 1634. P. 24-4/5
+      � 18-4/5.
+    =The Flight Into Egypt=. [No. 579, Room XIV.] S. 1636. P. 15-1/5 �
+      14.
+    =A Woman at Her Toilet=. [No. 552, Room XIV.] S. 1637. P. 29 � 25.
+    =Susannah at the Bath=. [No. 147, Room XIV.] S. 1637. P. 18-4/5 �
+      15-3/5.
+    =Portrait Believed To Be Rembrandt's Brother Adriaen=. [No. 560,
+      Room XIV.] S. 1650. C. 31-1/5 � 26-2/5.
+    =Homer Reciting His Poems=. [No. 584, Room XIV.] S. 1663. C. 43-1/5
+      � 32-4/5.
+
+  AMSTERDAM. RYKSMUSEUM.
+    =Rembrandt's Father=. [No. 1248.] 1629. C. 21-3/5 � 18-2/5.
+    =A Young Lady, Known As the Lady of Utrecht=. S. 1639. P. 42-2/5 �
+      32-2/5.
+    =Elizabeth Bas [No. 1249], Widow of Admiral Swartenhout=. 1640. C.
+      46-2/5 � 35-1/5.
+    =The Sortie of the Company of Captain Frans Banning Cocq= [No.
+      1246], Called "the Night Watch." S. 1642. C. 143-3/5 � 174.
+    =Mythological Subject=. [No. 1251.] 1650. C. 34 � 26-4/5.
+    =The Anatomy Lesson of Dr Johannes Deyman=. [No. 1250.] S. 1656. C.
+      40 � 52-4/5.
+    =The Syndics of the Drapers=. [No. 1247.] S. 1661. C. 74 � 109-3/5.
+    =The Jewish Bride=. [No. 1252.] S. 1665. C. 47-1/5 � 65-3/5.
+
+  DR C. HOFSTEDE DE GROOT.
+    =Rembrandt's Sister=. 1630. P. 5-1/4 � 3-3/4.
+
+  SIX COLLECTION.
+    =Joseph Interpreting His Dreams=. S. 1630. Cardboard, 20 � 15-1/5.
+    =Anna Vymer=. S. 1641. P. 40 � 32.
+    =Portrait of Ephraim Bonus=. 1647. P. 7-3/5 � 6.
+    =Burgomaster Six=. 1660. C. 44 � 40.
+
+  THE HAGUE. DR BREDIUS.
+    =A Woman Praying=. 1654. P. 7-3/4 � 6.
+
+  PRINCE HENRI DES PAYS-BAS.
+    =Rembrandt=. S. 1643. C. 24-2/3 � 19-1/5.
+
+  D. F. SCHEURLEER.
+    =Head of a Boy=. 1629. 10-2/5 � 8-1/5.
+
+  STEENGRACHT COLLECTION.
+    =The Toilet of Bathsheba=. S. 1643. P. 20-4/5 � 30-2/5.
+
+  LEEUWARDEN. BARON VAN HARINXMA THOE SLOOTEN.
+    =Portrait of an Old Man=. S. 1644. P. 9-2/5 � 8-1/5.
+
+  ROTTERDAM. BOYMANS MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 237, Room B.] S. 1630. Oval.
+      P. 29-1/5 � 22-2/5.
+    =The Peace of the Country=. [No. 238, Room D.] S. 1640. P. 29-3/5
+      � 40.
+
+
+  ITALY.
+
+  FLORENCE. PITTI PALACE.
+    =Rembrandt=. [No. 60, Room 5.] 1635. C. 24-4/5 � 20-4/5.
+    =An Old Man=. [No. 16, Room 6.] S. 1658. C. 40-4/5 � 33-1/5.
+
+  UFFIZI.
+    =Portrait of Rembrandt=. [No. 451, Room 13.] 1655. C. 28-4/5 � 23-1/5.
+    =Portrait of Rembrandt=. [No. 452, Room 13.] 1666. C. 28-4/5 � 23-1/5.
+
+  SIGNOR FABRI.
+    =Study of an Old Man=. P. 23-3/5 � 18-4/5.
+
+  MILAN. BRERA.
+    =A Woman=. [No. 449.] S. 1632. P. 22 � 19-1/5.
+
+
+  ROUMANIA.
+
+  SINAIA. THE KING OF ROUMANIA.
+    =Esther, Haman, and Ahasuerus=. 1668. C. 94 � 76.
+
+
+  RUSSIA.
+
+  ST PETERSBURG. THE HERMITAGE.
+    =Portrait of Rembrandt's Father=. [No. 814.] S. 1630. P. 14-2/5 �
+      10-2/5.
+    =Portrait of a Man=. [No. 808.] S. 1631. C. 45-1/5 � 36-4/5.
+    =The Descent From the Cross=. [No. 800.] S. 1634. C. 63-1/5 � 46-4/5.
+    =The Incredulity of St Thomas=. [No. 801.] S. 1634. P. 22 � 20-2/5.
+    =The Jewish Bride=. [No. 812.] S. 1634. C. 50 � 40-2/5.
+    =A Young Man= [No. 828]. S. 1634. P. 28 � 20-4/5.
+    =The Sacrifice of Isaac=. [No. 792.] S. 1635. C. 77-1/5 � 53-1/5.
+    =Portrait of an Oriental=. [No. 813.] S. 1636. C. 39-3/5 � 30-2/5.
+    =Danae=. [No. 892.] S. 1636. C. 74 � 82.
+    =Portrait of a Man, called Sobieski=. [No. 811.] S. 1637. P. 38-4/5
+      � 26-3/5.
+    =The Parable of the Master of the Vineyard=. [No. 798.] S. 1637. P.
+      12-2/5 � 16-4/5.
+    =An Old Woman=. [No. 829.] S. 1643. P. 30-2/5 � 22-2/5.
+    =The Reconciliation of David and Absalom=. [No.  1777.] S. 1642. P.
+      30 � 24-3/5.
+    =Rembrandt's Mother=. [No. 807.] S. 1643. P. 31-3/5 � 24-2/5.
+    =The Holy Family=. [No. 796.] S. 1645. C. 46-4/5 � 36-2/5.
+    =Portrait of a Man, erroneously called Manasseh Ben Israel=. [No.
+      820.] S. 1645. C. 51-3/5 � 44-4/5.
+    =Abraham Receiving the Angels=. [No. 791.] 1650. C. 48-3/5 � 65.
+    =The Sons of Jacob showing him Joseph's Coat=. [No. 793.] S. 1650.
+      C. 61-4/5 � 67-1/5.
+    =The Disgrace of Haman=. [No. 795.] S. 1650. C. 50-4/5 � 46-4/5.
+    =Pallas=. [No. 809.] 1650. C. 46-4/5 � 36-2/5.
+    =Hannah Teaching the Infant Samuel to Read=. [No. 822.] S. 1650. C.
+      46-4/5 � 37-3/5.
+    =Girl with a Broom=. [No. 826.] S. 1651. C. 43-3/5 � 36-4/5.
+    =An Old Woman=. [No. 804.] 1654. C. 53-1/5 � 42-4/5.
+    =An Old Woman=. [No. 805.] S. 1654. C. 43-3/5 � 33-3/5.
+    =An Old Woman=. [No. 806.] S. 1654. C. 29-3/5 � 25-1/5.
+    =An Old Jew=. [No. 810.] S. 1654. C. 43-3/5 � 33-3/5.
+    =An Old Man=. [No. 818.] 1654. C. 43-1/5 � 34-2/5.
+    =An Old Man=. [No. 823.] S. 1654. C. 35-1/5 � 28-4/5.
+    =An Old Man=. [No. 824.] S. 1654. C. 29-3/5 � 25-1/5.
+    =Joseph Accused by Potiphar's Wife=. [No. 794.] S. 1655. C. 42 �
+      38-4/5.
+    =St Peter's Denial=. [No. 799.] S. 1656. C. 61-1/5 � 67-1/5.
+    =A Young Woman=. [No. 819.] S. 1656. C. 40-4/5 � 34-4/5.
+    =Young Woman trying on an Earring=. [No. 817.] S. 1657. P. 16 �
+      14-1/5.
+    =A Young Man=. [No. 825.] 1660. C. 28-4/5 � 22-2/5.
+    =Portrait of a Man=. [No. 821.] S. 1661. C. 28-2/5 � 24-2/5.
+    =Portrait of Jeremias de Decker, the Poet=. [No. 827.] S. 1666. P.
+      28-2/5 � 22-2/5.
+    =The Prodigal Son=. [No. 797.] 1669. C. 104-4/5 � 100.
+    =An Old Jew=. [No. 815.] S. P. 20-2/5 � 16-4/5.
+
+  PRINCE JOUSOUPOFF.
+    =Head of a Young Boy=. S. 1633. P. 7-22/25 � 6-17/25.
+    =Susannah and the Elders=. S. 1637.
+    =A Young Man=. 1660. C. 32-4/5 � 39-1/5.
+    =A Lady With an Ostrich Feather=. 1660. C. 33 � 39-3/5.
+
+  PRINCE OF LEUCHTEMBERG.
+    =Rembrandt=. [No. 108]. 1643. P. 30 � 24-4/5.
+
+  COUNT A. W. ORLOFF-DAVIDOFF.
+    =Christ=. 1660. C. 43-19/25 � 38-4/5.
+
+  COUNT S. STROGANOFF.
+    =A Philosopher in Meditation=. S. 1630. P. 23-2/5 � 18-23/50
+    =A Young Monk=. S. 1660. C. 32-2/5 � 26-4/5.
+
+
+  SPAIN.
+
+  MADRID. PRADO.
+    =Queen Artemisia receiving the Ashes of Mausolus=. [No. 1544.]
+      Otherwise Known As Cleopatra at her toilet. S. 1634. C. 56-4/5 �
+      61-1/5.
+
+
+  SWEDEN.
+
+  STOCKHOLM. ROYAL MUSEUM.
+    =A Young Girl=. [No. 591.] 1630. P. 23-3/5 � 24-4/5.
+    =St Anastasius=. [No. 579.] S. 1631. P. 24 � 19-1/5.
+    =Saskia=. [No. 583.] S. 1632. C. 28-4/5 � 21-3/5.
+    =Study of an Old Man as St Peter=. [No. 1349.] S. 1632. C. 32-4/5
+      � 24-4/5.
+    =An Old Man=. [No. 585.] S. 1633.
+    =The Young Servant=. S. 1654. C. 31-1/5 � 25-1/5.
+    =An Old Man=. [No. 581.] S. 1655. C. 35-3/5 � 29-1/5.
+    =An Old Woman=. [No. 582.] S. 1655. C. 35-3/5 � 29-1/5.
+    =The Conspiracy of Claudius Civilis=. [No. 578.] 1661. C. 78-2/5
+      � 123-3/5.
+
+  VANAS. COUNT AXEL DE WACHTMEISTER.
+    =A Young Man=. S. 1632. P. 25-1/10 � 18-2/5.
+    =A Young Man=. 1643. C. 42 � 36.
+
+
+  UNITED STATES OF AMERICA.
+
+  CHICAGO. ARMOUR.
+    =Portrait of a Man=. S. 1643. C. 33-3/5 � 26-4/5.
+
+  P. C. HANFORD.
+    =An Accountant by a Table=. C. 40-4/5 � 32.
+
+  NEW YORK. W. H. BEERS.
+    =Rembrandt's Father=. 1632. C. 30 � 24-4/5.
+
+  ROBERT W. DE FOREST.
+    =Head of a Young Man=. 25-1/2 � 19-1/2.
+
+  H. O. HAVEMEYER.
+    =Portrait of Christian Paul van Beersteyn=, Burgomaster of Delft. S.
+      1632.
+    =Portrait of Volkera Nicolai Knobbert=, wife of Beersteyn. S. 1632.
+    =Portrait of Paulus Doomer=, called "The Gilder." S. 1640. P. 29-1/5
+      � 21-3/5.
+    =A Woman=, aged 87. S. 1640 or 1646. C. 27-3/5 � 24.
+
+  ROBERT HOE.
+    =Young Gipsy holding a Medallion=. 1650. C.
+
+  MORRIS K. JESSUP.
+    =Portrait of a Young Man=, erroneously called Six.
+    =Portrait of his Wife=.
+
+  METROPOLITAN MUSEUM.
+    =A Man=. [no. 277.] 1640. C. 30-3/4 � 24-3/4.
+    =An Old Man=. [no. 274.] S. 1665. C. 27-5/8 � 24-3/8.
+    =The Mills=. [no. 276.] C. 21-1/2 � 26-1/4.
+    =The Adoration of the Shepherds=. [No. 278.] P. 24-3/8 � 20-7/16.
+
+  J. PIERPONT MORGAN.
+    =Portrait of Rembrandt=. C. 43-1/2 � 33-1/2.
+
+  R. MORTIMER.
+    =Portrait of a Young Man putting on His Armour=. 1634. C. 40-2/5
+      � 33-3/5.
+
+  W. SCHAUS.
+    =Portrait of an Admiral=, erroneously called "Van Tromp." 1658. P.
+      36 � 29-3/4.
+
+  CHARLES STEWART SMITH.
+    =St John=. Oval. S. 1632. P. 25 � 19.
+
+  C. T. YERKES.
+    =The Raising of Lazarus=. 1628. P. 16-4/5 � 14.
+    =Joris de Caulery=. S. 1632.
+    =Portrait of a Rabbi=. 1635. P. 25 � 20-4/5.
+    =Philemon and Baucis=. S. 1658. P. 21-3/5 � 27-3/5.
+
+  PHILADELPHIA. P. A. B. WIDENER.
+    =Portrait of Saskia=. 1633. P. 23-3/5 � 18-1/5.
+
+  PITTSBURGH. A. M. BYERS.
+    =Portrait of Saskia=. S. 1636. P. 31-2/5 � 26-2/5.
+
+  SAN FRANCISCO. WILLIAM H. CROCKER.
+    =Portrait of a Young Boy=. P. 16-2/5 � 14.
+
+  UNKNOWN OWNERS.
+    =A Young Man, Called Tulp=. S. 1634. P. 28-4/5 � 20-2/5.
+    =Portrait of a Young Woman=. S. 1634. P. 28-4/5 � 20-2/5.
+    =A Man=, called Matthys Kalkoen. S. 1632. C. 44-4/5 � 36.
+    =Portrait of Saskia=. S. 1634.
+    =Portrait called "The Dutch Admiral."= S. 1643.
+    =Portrait of a Lady=. S. 1643.
+    =An Orphan Girl of Amsterdam=. S. 1645. C. 64 � 33-3/5.
+    "=The Standard-Bearer=." 1662. C. 56 � 58.
+    =Portrait Called Six=. S. C. 48 � 36-4/5.
+
+
+
+
+INDEX
+
+
+  _Abraham caressing Isaac_ (etching), 108
+
+  _Abraham conversing with Isaac_ (etching), 99
+
+  _Abraham dismissing Hagar_ (etching), 96
+
+  _Abraham entertaining the Angels_, 75;
+    (etching), 106
+
+  _Abraham's Sacrifice_, 64;
+    (etching), 105
+
+  _Act�on, Diana, and Callisto_, 63
+
+  _Adam and Eve_ (etching), 96
+
+  _Admiral, Portrait of an_, 79
+
+  _Adoration of the Magi, The_, 78
+
+  _Adoration of the Shepherds, The_, 32, 73;
+    (etching), 112
+
+  Adriaen, Rembrandt's Brother, 12, 14, 28, 38;
+    _Portrait of_, 51
+
+  _Adriaans, Alotte, Portrait of_, 67
+
+  Alenson, the  Minister, 25;
+    _Portraits of, and his wife_, 61
+
+  Amsterdam, prosperity of, 14, 15
+
+  _Amsterdam, View of_ (etching), 109
+
+  _Anatomy Lesson, The_, 13, 16, 58;
+    _ill._, 58
+
+  _Anatomy Lesson of Dr Deyman, The_, (1656), 77
+
+  _Angel, An_, 78
+
+  _Angel quitting Tobit, The_, 65;
+    (etching), 98
+
+  _Anna_, 55
+
+  Anslo, the Minister, 25;
+    _Portrait of_ 68;
+    _ill._, 68
+
+  _Architect, An_, 77
+
+  _Artemisia receiving the Ashes of Mausolus_, 62
+
+  _Ascension, The_, 20, 64
+
+  Asselyn, Jan, 25;
+    _Portrait of_ (etching), 109
+
+
+  _Baptism of the Eunuch, The_ (etching), 98
+
+  Bartsch, Adam, 90
+
+  _Bas, Elizabeth, Portrait of_, 68;
+    _ill._, 68
+
+  _Bathers, The_ (etching), 112
+
+  _Bathsheba_ (Louvre), 76
+
+  _Bathsheba at her Toilet_, 71
+
+  _Battle-Scene_ (etching), 109
+
+  _Baucis and Philemon receiving Jupiter and Mercury_, 79
+
+  _Beersteyn Christian Paul van, Portrait of_, 56
+
+  _Beggars at the Door of a House_ (etching), 101;
+    _ill._, 100
+
+  Beggars, etchings of, 101, 112
+
+  _Belshazzar's Feast_, 64
+
+  _Berchem, Nicholas; Portraits of, and his wife_, 73
+
+  _Bilderbeecq, Margaretha van, Portrait of_, 58
+
+  _Blind Fiddler, The_ (etching), 95
+
+  Bonus, Dr Ephraim, 25;
+    _Portraits of_ 69, 73;
+    (etching), 100
+
+  _Boy, Portrait of a_ (Hinton St George), 51;
+    (Belvoir Castle), 78;
+    _head of a_, 52;
+    (etching), 109
+
+  _Bruyningh, Portrait of_, 76
+
+  _Bull, The_ (etching), 109
+
+  _Burchgraeff, Willem, Portrait of_, 58
+
+
+  _Canal, The_ (etching), 112
+
+  _Canal with a Large Boat_ (etching), 102
+
+  _Canal with Swans_ (etching), 102
+
+  Cappelle, Van de, 25
+
+  _Capuchin, The_, 81
+
+  Cattenburch, Dirck van, 37, 87
+
+  _Caulery, Joris de, Portrait of_, 57
+
+  _Christ, Head of_ (M. Rudolphe Kann), 76;
+    (M. Maurice Kann), 80
+
+  _Christ, Half-length portraits of_
+    (St. Petersburg), 79;
+    (Aschaffenbourg), 81
+
+  _Christ appearing to the Disciples_ (etching), 103
+
+  _Christ and Mary Magdalene at the Tomb_, 66
+
+  _Christ and Mary Magdalene in the Garden_, 75
+
+  _Christ and the Disciples at Emmaus_ (etchings), 96, 104
+
+  _Christ and the Samaritan Woman_ (etching), 111
+
+  _Christ at Emmaus_ (Mme. Andr�-Jacquemart), 51;
+    (Louvre), 74;
+    _ill._, 74;
+    (Copenhagen), 74
+
+  _Christ before Pilate_ (etching), 106
+
+  _Christ bound to the Column_, 73
+
+  _Christ disputing with the Doctors_ (etching), 103
+
+  _Christ driving the Money-Lenders from the Temple_ (etching), 96
+
+  _Christ Entombed_ (etching), 111
+
+  _Christ healing the Sick_ (etching), 85, 87, 110;
+    _ill._, 86
+
+  _Christ in the Garden of Olives_ (etching), 111
+
+  _Christ on the Cross_, 74
+
+  _Christ preaching_ (etching), 87, 111
+
+  _Christ taken from the Cross_, 68
+
+  _Christ's Body carried to the Tomb_ (etching), 112
+
+  _Circumcision, The_, 32, 81;
+    (etching), 103
+
+  _Cleopatra at her Toilet_, 62
+
+  _Collen, Suzanna van, Portrait of_, 56
+
+  _Concord of the Country, The_, 67
+
+  _Conspiracy of Claudius Civilis, The_, 41, 81
+
+  _Constable of Bourbon_, 72
+
+  Coppenol, 6, 25;
+    _Portraits of_, 55, 57;
+    _ill._, 54;
+    (etchings), 110, 112
+
+  Cornelia, daughter of Rembrandt and Hendrickje, 35, 39, 46, 47
+
+  _Cottage and Barn_ (etching), 98
+
+  _Cottage with white Pales_ (etching), 112
+
+  _Cradle, The_, 76
+
+  Crayers, Louis, 35, 40, 45
+
+  _Crucifixion, The_ (etchings), 108, 110
+
+
+  _Daey, Martin, Portrait of_, 61
+
+  _Danae_, 64;
+    _ill._, 64
+
+  _Daniel's Vision_, 72
+
+  _David and Absalom, Reconciliation of_, 68
+
+  _David and Goliath, Combat of_ (etching), 105
+
+  _David at Prayer_ (etching), 111
+
+  _David playing before Saul_ (Frankfort), 57;
+    (1665), 83
+
+  _Dead Peacocks_, 68
+
+  _Death of the Virgin, The_ (etching), 97
+
+  Decker, Jeremias de, 45;
+    _Portrait of_, 83
+
+  _Deposition, The_ (Duke of Abercorn), 75
+
+  _Descent from the Cross, The_, 20, 60, 62;
+    (etchings), 87, 95, 98, 105
+
+  _Desmond, The Countess of_, 54
+
+  Deyman, Dr, 25, 38
+
+  _Diana bathing_, 55;
+    (etching), 107
+
+  Dircx, Geertje, 33
+
+  _Doomer Paul, Portrait of_, 67
+
+  _Doorn, Machteld van, Portrait of_, 61
+
+  Dou, Gerard, Rembrandt's first pupil, 11;
+    _Portrait of_, 54, 55
+
+  _Draughtsman, The_ (etching), 109
+
+  Drawings, Rembrandt's, 115
+
+  _Dutch Admiral and his Wife, The_, 71
+
+
+  _Ecce Homo_, 65; (etching), 87
+
+  Elevation of the Cross, The, 59;
+    _ill._, 60
+
+  _Entombment, The_ (Glasgow), 59;
+    (Munich), 66; (Dresden), 76
+
+  _Esther, Haman, and Ahasuerus_, 83
+
+  Etchings, The, early appreciation of, 85;
+    the various states, 88;
+    catalogues of, 90, 91;
+    authentic etchings, 93;
+    disputed etchings, 113;
+    qualities of the etchings, 114, 115
+
+
+  _Family Group_ (Brunswick), 83
+
+  _Faustus, Dr_ (etching), 110
+
+  _Flagellation, The_, 83
+
+  _Flight into Egypt, The_ (The Hague), 64;
+    (Buda-Pesth), 77;
+    (etchings), 103, 108
+
+  _Flute Player, The_ (etching), 109
+
+  Francen, Abraham, 25, 47;
+    _Portrait of_ (etching), 110
+
+  Frederick-Henry, Prince (Stathouder),
+    commissions to Rembrandt, 20, 27, 32, 59
+
+
+  _Game of Golf, The_ (etching), 105
+
+  Gelder, Aert de, 44
+
+  _Gentleman with the Hawk, The_, 71
+
+  Gerritsz, Harmen, Rembrandt's father, 6, 11;
+    _Portraits of_, 11, 52, 53, 54, 55, 57;
+    _ill._, 12;
+    (etchings), 94, 95
+
+  _Gilder, The_, 67
+
+  _Girl, Head of a_, 59
+
+  _Girl with a Broom_, 75
+
+  _Goldsmith at his Work, A_ (etching), 111
+
+  _Goldweigher, The_ (etching), 103
+
+  _Goldweigher's Field, The_ (etching), 103
+
+  _Good Samaritan_, The (Wallace Collection), 57;
+    (Cracow), 66;
+    (M. Porg�s), 66;
+    (circa 1640), 67;
+    (Louvre), 74;
+    (etchings), 87, 95
+
+  _Grotius_, 57
+
+  _Grotto, The_ (etching), 99
+
+
+  _Hagar and Ishmael, Expulsion of_, 67
+
+  _Haman, The Disgrace of_, 75
+
+  _Hannah  teaching Samuel to read_ (Bridgewater House), 74;
+    (St Petersburg), 75
+
+  Haring, Jacob, 38;
+    _Portrait of_ (etching), 110
+
+  Haring, Thomas Jacobsz, 38, 39;
+    _Portrait of_ (etching) 106
+
+  Harmen Gerritsz, _see_ Gerritsz
+
+  Heertsbeeck, Isaac van, 36, 40, 41, 44, 45
+
+  Hendrickje, her relations with Rembrandt, 34, 35;
+    her children, 35;
+    partnership with Titus, 42, 88;
+    her will, 44;
+    her death, 44;
+    _Portraits of_ (Louvre), 34, 76, 81;
+    (Berlin), 82;
+    _ill._, 44
+
+  _Hog, The_ (etching), 98
+
+  _Holy Family, The_ (Munich), 55;
+    (Louvre), 67;
+    (Downton), 71;
+    (St Petersburg), 72;
+    (Cassel), 73;
+    (etching), 108
+
+  _Holy Family crossing a Rill during the Flight into Egypt_, 103
+
+  _Holy Family with the Serpent, The_ (etching), 104
+
+  _Homer reciting his Poems_, 82
+
+  _Hoogh, Catrina, Portrait of_, 78
+
+  _House of the Carpenter, The_, 67
+
+  _Hundred Guilder Print, The_, 85, 86, 110
+
+  Huygens, Constantin, 11, 20, 27
+
+  _Huygens, Maurice, Portrait of_, 53
+
+
+  _Jacob and Esau, Reconciliation of_, 68
+
+  _Jacob and Laban_ (etching), 98
+
+  _Jacob blessing Joseph's Sons_, 78
+
+  _Jacob wrestling with the Angel_, 80
+
+  _Jacob's Dream_ (etching), 105
+
+  _Jacob's Sons bringing him Joseph's Coat_, 75
+
+  _Jansenius_, 82
+
+  _Jesus and His Parents returning from Jerusalem_ (etching), 104
+
+  _Jew in a High Cap, A_ (etching), 97
+
+  _Jews' Synagogue, The_ (etching), 101
+
+  _Jewish Bride, The_ (Prince Liechtenstein), 19;
+    (St Petersburg), 61;
+    (Amsterdam), 83
+
+  _Jewish Bride, The Little_ (etching), 97
+
+  _John the Baptist preaching_, 78;
+    _ill._, 78
+
+  _John the Baptist, Beheading of_, (etching), 97
+
+  Jonghe,  Clement de, 25, 85, 87;
+    _Portrait of_ (etching), 103; _ill._, 90
+
+  _Joseph accused by Potiphar's Wife_, 77
+
+  _Joseph and Potiphar's Wife_ (etching), 96
+
+  _Joseph interpreting his Dreams_, 53
+
+  _Joseph relating his Dreams_ (etchings), 97
+
+  _Joseph's Coat_, 74
+
+  _Judas with the Price of the Betrayal_, 51
+
+  _Judith_, 55
+
+  _Jupiter and Antiope_ (etching), 107
+
+
+  _Kalkoen, Matthys, Portrait of_, 57
+
+  _Knobbert, Volkera Nicolai, Portrait of_, 56
+
+  _Krul, Jan Herman, Portrait of_, 58;
+    _ill._, 58
+
+
+  _Lady, Portrait of a_ (Capt. Holford), 73
+
+  _Lady of Utrecht, The_, 67
+
+  _Lady with the Fan, The_ (Buckingham Palace), 68;
+    _ill._, 70;
+    (Grosvenor House), 71
+
+  _Lady with the Parrot, The_, 78
+
+  Landscapes by Rembrandt, 66, 67, 73, 76, 98, 102, 109
+
+  _Landscape with Cottage and Mill Sail_ (etching), 98
+
+  _Landscape with a Cow drinking_ (etching), 112
+
+  _Landscape with a Flock of Sheep_ (etching), 112
+
+  _Landscape with a Man sketching_ (etching), 109
+
+  _Landscape with an Obelisque_ (etching), 112
+
+  _Landscape with a ruined Tower_ (etching), 109
+
+  _Large Tree by a House_ (etching), 109
+
+  Lastman, Pieter, 9, 10
+
+  La Tombe, Pieter de, 25, 85, 111
+
+  _Ledikant_ (etching), 100
+
+  Lievensz, Jan, 9, 11, 12, 30, 89
+
+  _Lion Hunt, A_ (etchings), 109
+
+  _Looten, Martin, Portrait of_, 57
+
+  _Lucretia, Death of, The_, 82
+
+  Lutma, Jan, 25;
+    _Portrait of_ (etching), 106;
+    _ill._, 106
+
+  Lysbeth, Rembrandt's Sister, 13, 14, 28, 38;
+    _Portraits of_, 51, 57, 58
+
+
+  _Man, Portrait of a_ (National Gallery), 63;
+    (St Petersburg), 65, 82;
+    (Cassel), 67;
+    (Brussels), 68;
+    _ill._, 70;
+    (Mr Armour), 71;
+    (Mr M. K. Jessup), 71;
+    (Earl of Brownlow), 76;
+    (M. Kann), 82
+
+  _Man and his Wife, Portraits of a_ (Vienna), 56;
+    _ill._, 56;
+    (Prince Liechtenstein), 64;
+    _ill._, 64;
+    (Prince Jousoupoff), 81
+
+  _Man in Armour_ (Brunswick), 66;
+    (Glasgow), 77;
+    (Cassel), 77
+
+  _Man in a Red Cloak_ (M. Kann), 79
+
+  _Man reading by a Window_ (Copenhagen), 73
+
+  _Man sketching in a Book_ (Dresden), 78
+
+  _Man with a Sword_ (Capt. Holford), 72
+
+  _Man with a Baton_ (Louvre), 75
+
+  _Man with the Bittern_ (Dresden), 67;
+    _ill._, 66
+
+  _Man seated on the Ground_ (etching), 100
+
+  _Man in an Arbour_ (etching), 98
+
+  Manasseh ben Israel, his "Piedra Gloriosa," 87, 105;
+    _Portrait of_, 72;
+    (etching), 96
+
+  _Manoah and his Wife, The Offering of_, 68
+
+  _Marriage of Jason and Creusa, The_ (etching), 101
+
+  _Merchant, Portrait of a_ (St Petersburg), 55;
+    (Lord Feversham), 79
+
+  _Metamorphosis of Narcissus, The_, 75
+
+  _Mill, The_, 76
+
+  _Minerva_, 55
+
+  _Minister, Portrait of a_, 65
+
+  _Monks, figures of_, 81
+
+  _Mordecai, The Triumph of_ (etching), 110
+
+  _Moses breaking the Tables of the Law_, 80
+
+  _Moses, The Saving of_, 67
+
+  _Mountebank, A_ (etching), 96
+
+
+  _Nativity, The_ (etching), 111
+
+  _Nebuchadnezzar's Dream_ (etching), 105
+
+  _Negress, A_ (etching), 107
+
+  Neeltje, Rembrandt's Mother, 2, 7, 14, 28;
+    _Portraits of_, see _Rembrandt's Mother_
+
+  _Night-Watch, The_, 30, 69
+
+  _Noli me tangere_, 75
+
+
+  _Old Man caressing a Boy_ (etching), 108
+
+  _Old Beggar Man conversing with a Woman_ (etching), 94
+
+  _Old Beggar Woman_ (etching), 100
+
+  _Old Jew_ (St Petersburg), 76
+
+  _Old Lady, Portrait of an_ (National Gallery), 61;
+    _ill._, 62;
+    (Earl of Yarborough), 65;
+    _see_ also _Old Woman_
+
+  _Old Man, Portrait of an_ (Berlin), 48;
+    (Cassel), 53;
+    (Louvre), 66;
+    (Buda-Pesth), 69;
+    (M. Schloss, Paris), 71;
+    (Lady Cook), 73;
+    (Dresden), 73, 76, 78, 83;
+    (Leeuwarden), 73;
+    (Strasburg), 75;
+    (Duke of Devonshire), 75, 76;
+    (St Petersburg), 76;
+    (Stockholm), 77;
+    (Pitti), 79;
+    (Nat. Gallery), 79;
+    (Col. Lindsay), 81;
+    (New York), 82;
+    (Earl of Northbrook), 83
+
+  _Old Man with a divided Fur Cap_ (etching), 97
+
+  _Old Woman, Portraits of an_ (Wilton House), 53;
+    (St Petersburg), 71, 76;
+    (M. Porg�s), 74;
+    (Brussels), 76;
+    (Stockholm), 77;
+    (M. Kann), 78;
+    (�pinal), 82;
+    (Lord Wantage), 82;
+    (etchings), 95, 108
+
+  _Old Woman Sleeping_ (etching), 105
+
+  _Old Woman weighing Money_ (Dresden), 71
+
+  _Omval, View of_ (etching), 99
+
+  _Oriental, Portrait of an_, 65
+
+  _Oriental Heads_ (etching), 127
+
+  _Orphan Girl of Amsterdam, An_, 72
+
+
+  _Pallas_, 75
+
+  _Pancake Woman, The_ (etching), 96
+
+  _Pancras, Burgomaster, and his Wife_, 62;
+    _ill._, 62
+
+  _Parable of the Labourers in the Vineyard_, 78
+
+  _Parable of the Master of the Vineyard_, 65
+
+  _Peasant with Milk Pails_ (etching), 112
+
+  _Pellicorne, Burgomaster Jan, Portrait of_, 56
+
+  _Persian, The_ (etching), 95
+
+  _Petitioners to a Biblical Prince_, 59
+
+  _Philon the Jew_, 53
+
+  _Philosopher in Meditation, A_ (Stroganoff Collection), 53;
+    (Louvre), 59
+
+  _Philosopher reading by Candlelight_, 49
+
+  _Ph[oe]nix_, The (etching), 113
+
+  "Piedra Gloriosa," Rembrandt's illustrations to, 87, 105
+
+  _Pilate washing his Hands_, 78
+
+  _Pilgrim at Prayer, A_, 81
+
+  _Pluto carrying off Proserpine_, 57
+
+  _Presentation in the Temple, The_ (Hamburg), 52;
+    (The  Hague), 55, 60;
+    (etchings), 94, 111
+
+  _Presentation in the Vaulted Temple_, The (etching), 109
+
+  _Prodigal Son, The_, 62, 83;
+    (etching), 96
+
+
+  _Rabbi, A_ (Hampton Court), 63;
+    (M. Porg�s), 68;
+    (Berlin), 72;
+    _ill._, 74;
+    (Nat. Gallery), 78;
+    (Duke of Devonshire), 128
+
+  _Raising of the Cross, The_, 20
+
+  _Raising of Lazarus, The_, 51;
+    (etchings), 87, 98
+
+  _Rape of Ganymede, The_, 63
+
+  _Rat-Killer, The_ (etching), 95
+
+  Rembrandt, date of birth discussed, 2, 3;
+    birthplace, 5;
+    his father, 6;
+    entered as a student at Leyden University, 7;
+    apprenticed to Swanenburch, 8, 9;
+    under Lastman at Amsterdam, 10;
+    return to Leyden, 10;
+    removal to Amsterdam, 11;
+    _the Anatomy Lesson_, 13, 16;
+    early portraits, 13, 16, 17;
+    meeting with Saskia, 19;
+    marriage, 22;
+    early extravagance, 23;
+    his first child, 24;
+    family quarrels, 23, 26;
+    his friends, 25;
+    birth and death of two daughters, 27;
+    financial difficulties, 26, 28, 29;
+    birth of Titus, 30;
+    death of Saskia, 30;
+    decline of prosperity, 32, 36;
+    relations with Hendrickje Stoffels, 34, 35;
+    bankruptcy, 38;
+    sale of his property, 39, 40;
+    fresh commissions, 41, 43;
+    failing sight, 43;
+    death of Hendrickje, 44;
+    his last pupil, 44;
+    death of Rembrandt, 46
+
+  _Rembrandt, Portraits of himself_--
+    (Count Andrassy), 53;
+    (Lord Ashburton), 65, 79;
+    (Berlin), 61;
+    (Bridgewater House), 79;
+    (Duke of Buccleuch), 79, 80;
+    (Buckingham Palace), 72;
+    (Cambridge), 75;
+    (Carlsruhe), 71;
+    (Herr von Carstangen), 83;
+    (Cassel), 49, 61, 79; (Gotha), 51;
+    (The Hague), 51, 61;
+    (Heywood-Lonsdale), 65;
+    (Lord Ilchester), 78;
+    (Lord Iveagh), 78;
+    (Lord Kinnaird), 82;
+    (Leipzig), 75;
+    (Louvre), 61, 65, 80;
+    (Herr Mendelssohn), 75;
+    (Munich), 78;
+    (Nat. Gallery), 67, 82;
+    _ill._, 28, 46;
+    (Sir A. D. Neeld), 80;
+    (Prince Henri of the Pays Bas), 71;
+    (Pitti), 63;
+    (Lady de Rothschild), 78;
+    (Uffizi), 83;
+    (Vienna), 79, 83;
+    (Wallace Collection), 61;
+    (Warneck Collection), 58;
+    (Weimar), 71
+    Etchings, 3, 94, 95, 97, 100, 108
+
+  _Rembrandt's Brother_, Portrait of (Berlin), 75;
+    (The Hague), 75
+
+  "_Rembrandt's Cook_" (Downton), 82
+
+  _Rembrandt's Father_, see Gerritsz
+
+  _Rembrandt and his Wife_ (etching), 96
+
+  _Rembrandt's Mother, Portraits of_, 49, 51, 55, 57, 67, 71;
+    _ill._, 6;
+    (etchings), 93, 95, 108
+
+  _Rembrandt's Mill_ (etching), 98;
+    _ill._, 98
+
+  _Repose in Egypt_ (etchings), 99, 112
+
+  _Resurrection, The_, 66
+
+  Robinson, Sir J. C., 48
+
+  _Ruin, The_, 75
+
+
+  _Saint, A_, 65
+
+  _St Anastasius_, 54
+
+  _St Catherine_ (etching), 97
+
+  _St Francis praying_ (etching), 107
+
+  _St Jerome_ (etchings), 95, 96, 98, 113
+
+  _St Matthew_, 81
+
+  _St Paul_ (Vienna), 65;
+    (Lord Wimborne), 79
+
+  _St Paul in Prison_ (Stuttgart), 49
+
+  _St Peter_, 52;
+    (etching), 112
+
+  _St Peter, The Denial of_ (Elberfeld), 51;
+    (St Petersburg), 78
+
+  _St Peter and St John at the Gate of the Temple_ (etchings), 107
+
+  _St Stephen, The Martyrdom of_ (etching), 96
+
+  _St Thomas, Incredulity of_, 62
+
+  _Salutation, The_, 67
+
+  _Samson captured by the Philistines_ (Berlin), 50
+
+  _Samson overpowered by the Philistines_ (Count Schonborn), 64
+
+  _Samson propounding his Riddle to the Philistines_, 66
+
+  _Samson threatening his Father-in-Law_, 64
+
+  Saskia, Early Portraits of, 14, 17, 18, 57;
+    _ill._, 18;
+    her birth and family, 18;
+    first meeting with Rembrandt, 19;
+    marriage, 22;
+    her character, 22;
+    children, 24, 27, 30;
+    death, 30;
+    her will, 31;
+    _Portraits of_ (Dresden), 58;
+    (St Petersburg), 61;
+    (M. Schloss), 61;
+    (Cassel), 61;
+    1635, 62;
+    Rembrandt and Saskia (Dresden), 62;
+    _ill._, 24;
+    (Buckingham Palace), 62;
+    (Berlin), 71;
+    (etchings), 95, 108;
+    pencil drawing of (at Berlin), 4
+
+  _Schoolmaster, The_ (etching), 98
+
+  Six, Burgomaster, 25, 34, 38;
+    _Portrait of_, (Six Collection), 79;
+    (etching), 100, 114
+
+  _Six's Bridge_ (etching), 99
+
+  _Shell, The_ (etching), 102; _ill._, 102
+
+  _Shepherds reposing at Night_, 74
+
+  _Shipbuilder and his Wife, The_, 58;
+    _ill._, Frontispiece
+
+  Sketches, sheets of (etchings), 112, 113
+
+  _Slaughter-house, The_ (Herr Rath), 66;
+    (Glasgow), 75;
+    (Louvre), 77
+
+  _Sobieski_, 65;
+    _ill._, 66
+
+  _Sortie of the Banning Cocq Company_, 30, 69
+
+  _Sportsman, The_ (etching), 110
+
+  _Standard Bearer, The_ (Baron G. de Rothschild), 65;
+    (in America), 81
+
+  _Star of the Kings, The_ (etching), 113
+
+  Stoffels, Hendrickje, _see_ Hendrickje
+
+  _Storm, an Effect of_,  67
+
+  _Susannah and the Elders_ (Prince Jousoupoff), 65;
+    (Berlin), 73
+
+  _Susannah_, Study of, 74
+
+  Swalm, Henry, 25;
+    _Portrait of_, 65
+
+  Swanenburch, Jacob van, 8
+
+  Sylvius, Jan Cornelis, 18, 21, 25;
+    Portrait of, 72;
+    (etchings), 87, 88, 108, 109
+
+  _Syndics of the Drapers' Guild, The_, 43, 82;
+    _ill._, 80
+
+
+  Tholinx, Arnold, 38;
+    _Portrait of_, 77;
+    (etching), 110
+
+  _Three Crosses, The_ (etching), 87, 111
+
+  _Three Trees, The_ (etching), 87, 98,
+    _ill._, 92
+
+  Titia, Rembrandt's Granddaughter, 46, 47
+
+  Titus, Rembrandt's Son, 30, 33, 35;
+    his will, 38, 39;
+    partnership with Hendrickje, 42;
+    marriage, 46;
+    death, 46;
+    _Portraits of_ (M. Kann), 77;
+    (Earl of Crawford), 77;
+    (Vienna), 79;
+    (Capt. Holford), 81;
+    (etching), 110
+
+  _Tobias and the Angel_, 76
+
+  _Tobias restoring his Father's Sight_, 62
+
+  _Tobias' Wife with the Goat_, 72
+
+  _Tobit and his Wife_, 75
+
+  _Tobit Blind_ (etching), 111, 115
+
+  _Tree, Sketch of a_ (etching), 109
+
+  _Tribute Money, The_, 72
+
+  Tulp, Dr, 13, 25, 41;
+    _Portraits of_, 57
+
+  _Turenne, Marshal, Portrait of_, 74
+
+
+  Uijtenbogaerd, Jan, _Portraits of_ (etchings), 87, 96, 103
+
+  _Unmerciful Servant, The_, 82
+
+  Uylenborch, Hendrick van, 16, 25, 29, 31, 40
+
+  Uylenborch, Magdalena van, wife of Titus, 46, 47
+
+  Uylenborch, Saskia van--_see_ Saskia.
+
+
+  Van Loo, Albert, 26, 46
+
+  Van Loo, Gerrit and Hiskia, 21, 22, 23, 25
+
+  _Venus and Cupid_, 81
+
+  _Virgin mourning the Death of Jesus, The_ (etching), 109
+
+  _Virgin and Child in the Clouds, The_ (etching), 98
+
+  _Vision of Ezekiel, The_ (etching), 105
+
+  _Village by the High Road_ (etching), 102
+
+  _Village with a River and Sailing Vessel_ (etching), 109
+
+  _Village with a Square Tower_ (etching), 102
+
+  _Vista, The_ (etching), 103
+
+  _Vymer, Anna, Portrait of_, 68
+
+
+  _Winter Scene, A_, 73;
+    _ill._, 74
+
+  _Woman, Portrait of a_ (Mr Byers), 64;
+    (Lord Kinnaird), 64;
+    (Lord Iveagh), 69;
+    (M. Kann), 82;
+    and see _Old Woman_
+
+  _Woman bathing_ (Louvre), 74;
+    (Nat. Gallery), 76
+
+  _Woman taken in Adultery, The_, 72;
+    _ill._, 72
+
+  _Woman by a Dutch Stove_ (etching), 111
+
+  _Woman preparing to dress after Bathing_ (etching), 107
+
+  _Woman with her Feet in Water_ (etching), 107
+
+  _Woman with an Arrow_ (etching), 107
+
+  _Woodchopper, The_, 73
+
+
+  _Young Girl, Portrait of a_ (Stockholm), 51;
+    (The Hague), 53;
+    (Bridgewater House), 61;
+    (Dulwich), 72;
+    _ill._, 72
+
+  _Young Man, Portrait of a_ (Earl Cowper), 72;
+    (Mr Humphry Ward), 73;
+    (Copenhagen), 77;
+    (Louvre), 78
+
+  _Young Man and his Wife_ (Prince Liechtenstein), 64
+
+  _Young Man in a Cap and Breastplate_ (Dresden), 71
+
+  _Young Man laughing_, 52
+
+  _Young Man with the Turban_, 54
+
+  _Young Man seated in Meditation_ (etching), 96
+
+  _Young Painter with Paper and Crayon_, 74
+
+  _Young Servant_ (Stockholm), 76
+
+  _Young Woman, Portrait of a_ (Cassel), 63;
+    (Dr Bredius), 65;
+    (Dresden), 68;
+    (Copenhagen), 78
+
+  _Young Woman in Bed_ (Edinburgh), 75
+
+  _Young Woman reading_ (etching), 95
+
+  _Youth_ (Lord Leconfield), 83
+
+
+  _Zachariah receiving the Prophecy of the Birth of John the
+    Baptist_, 55
+
+  "Zeew�rts-Lof, Der," 87
+
+  Zoomer, Jan Pietersen, 85, 86, 87
+
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+<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">
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+
+<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
+Mus&eacute;e P&eacute;dagogique, Madrid.</p>
+
+<p>D&Uuml;RER. 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 &amp; 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 &amp; his wife."
+        title="The Ship builder &amp; his wife." />
+   </a>
+   <div class="caption">
+<div class="location">Buckingham Palace, London.</div>
+<div><em>The Ship builder &amp; 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 &amp; Sons"
+      title="Logo of George Bell &amp; Sons" />
+</div>
+
+<div id="title_london">LONDON</div>
+<div id="title_bell">GEORGE BELL &amp; 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.&mdash;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.&mdash;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.&mdash;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> "&#338;uvre de Rembrandt reproduit et publi&eacute;
+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 raisonn&eacute; de toutes les estampes
+qui forment l'&#339;uvre 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'&#339;uvre complet de Rembrandt, d&eacute;crit
+et comment&eacute; par." Paris, 1864 and 1880.</p>
+
+<p><span class="smcap">Bode, W.</span> "Studien zur Geschichte der holl&auml;ndischen
+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'&#339;uvre du Mus&eacute;e royal d'Amsterdam."
+Paris, 1890.</p>
+
+<p><span class="smcap">Bredius, A.</span> "Die Meisterwerke der K&ouml;niglichen Gem&auml;lde
+Galerie im Haag." Munich, 1890.</p>
+
+<p><span class="smcap">Burger, W.</span> "Les Mus&eacute;es 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 raisonn&eacute; de toutes
+les estampes qui forment l'&#339;uvre 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> "Suppl&eacute;ment au Catalogue de
+Rembrandt." Paris, 1828.</p>
+
+<p><span class="smcap">Dargenville.</span> "Abr&eacute;g&eacute; 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'&#339;uvre complet de Rembrandt d&eacute;crit et
+catalogu&eacute; par." Paris, 1880.</p>
+
+<p><span class="smcap">Eckhoff.</span> "La femme de Rembrandt." 1862.</p>
+
+<p><span class="smcap">F&eacute;libien.</span> "Entretien sur les Vies et les Ouvrages des plus
+excellents peintres." 1666-1688.</p>
+
+<p><span class="smcap">Fromentin, Eug&egrave;ne.</span> "Les Maitres d'autrefois." Paris,
+1877.</p>
+
+<p><span class="smcap">Galland, G.</span> "Geschichte der holl&auml;ndischen Baukunst und
+Bildnerei." Leipzig, 1890.</p>
+
+<p><span class="smcap">Gersaint.</span> "Catalogue raisonn&eacute; de toutes les pi&egrave;ces qui
+forment l'&#339;uvre 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 in&eacute;dite." Library
+of the Academy of Sciences, Amsterdam.</p>
+
+<p><span class="smcap">Kolloff, &Eacute;douard.</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 K&uuml;nstler</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 &#339;uvre 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> "Abr&eacute;g&eacute; de la vie des Peintres." 1699.</p>
+
+<p><span class="smcap">Riegel, Herman.</span> "Beitrage zur niederl&auml;ndischen Kunstgeschichte."
+Berlin, 1882.</p>
+
+<p><span class="smcap">Rovinski, Dmitri.</span> "L'&#339;uvre grav&eacute; 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
+pictori&aelig;." Nuremberg, 1675-1683.</p>
+
+<p><span class="smcap">Scheltema, Dr.</span> "Rembrandt, Discours sur sa vie et son
+g&eacute;nie." Paris, 1866.</p>
+
+<p><span class="smcap">Schmidt, W.</span> "Handzeichnungen alter Meister in K&ouml;niglichen
+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 niederl&auml;ndischen Litteratur."
+Leipzig, 1888.</p>
+
+<p><span class="smcap">Seidlitz, von.</span> "Rembrandt's Radirungen." Published in
+Zeitschrift f&uuml;r 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'&#339;uvre grav&eacute; 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 raisonn&eacute; 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 &#339;uvres." 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> "Suppl&eacute;ment au Catalogue raisonn&eacute; 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&mdash;"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&mdash;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"&mdash;"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 Cl&aelig;s, with his son Cl&aelig;s,
+shared the other half between them.</p>
+
+<p>He was a prosperous and respected man was
+Hermann, or Harmen&mdash;the name occurs in both forms&mdash;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&mdash;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
+Pictori&aelig;," 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"&mdash;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, Cl&aelig;s 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&mdash;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&mdash;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&mdash;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&mdash;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&mdash;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&mdash;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&mdash;a very
+imperfect test it need scarcely be said&mdash;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&mdash;an
+important exception as we shall find&mdash;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 p&aelig;ans 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 Cl&aelig;sz, 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 Fran&ccedil;ois 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&mdash;Six
+and Tholinx, Deyman the doctor, the two Harings,
+father and son&mdash;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 Fran&ccedil;ois van Bylert, acting
+on behalf of the baby Titia, their respective portions
+of the small inheritance. Fran&ccedil;ois 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 Fran&ccedil;ois, 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 Andr&eacute;-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&mdash;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"&mdash;one at Dresden [No. 1556]; one, called
+however, "Lysbeth van Rijn," which belonged to the late
+Baroness Hirsch-Gereuth&mdash;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. L&eacute;on
+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 D&uuml;sseldorf, were transferred
+to Munich.</p>
+
+<p>In both we see Rembrandt at his most characteristic&mdash;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 "Act&aelig;on, 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&mdash;no more dignified<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+phrase will express it&mdash;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,&mdash;"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
+Sch&ouml;nborn 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 Porg&egrave;s, 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&mdash;four subjects and
+two portraits&mdash;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"&mdash;a marvel of life-like
+expression and superb painting&mdash;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
+Porg&egrave;s 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. L&eacute;on 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&mdash;, is believed to belong to about that
+year. There are, however, four dated subject-pictures:
+two at the Louvre&mdash;"Christ at Emmaus" [No. 2539], and
+"The Good Samaritan" [No. 2537],&mdash;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&mdash;if indeed it be his, which has
+recently been doubted&mdash;we should have to regard it as
+utterly barren; for M. Jules Porg&egrave;s' "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 Porg&egrave;s, 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&mdash;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 Andr&eacute;-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&mdash;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&mdash;"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&mdash;"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&mdash;the careworn face and whitening
+hair of the later portraits reveal it all too clearly,&mdash;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&mdash;"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&mdash;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 &Eacute;pinal; 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&mdash;"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. L&eacute;on 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&mdash;"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&mdash;one at Vienna [No.
+1143], signed but undated, and one in the Uffizi
+[No. 452]&mdash;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&mdash;"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&mdash;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 Zeev&aelig;rts-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&mdash;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 "Suppl&eacute;ment," 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&mdash;"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&mdash;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&mdash;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&mdash;"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&mdash;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&mdash;"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&mdash;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&mdash;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&mdash;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)&mdash;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&mdash;in places, indeed, it degenerates to a
+mere scrawl&mdash;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 na&iuml;ve 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&mdash;and no one
+else that I know of disputes it&mdash;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
+&ograve; de la estatua de Nebucadnezar," by his friend
+Manasseh ben Israel, for which he etched four subjects
+on one plate, afterwards sub-divided&mdash;"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,&mdash;"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&mdash;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&mdash;"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 Ph&#339;nix" (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&mdash;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.&mdash;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> 28&#8534; &times; 21&#8536;. [<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> 19&#8535; &times; 15&#8533;.</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 &times; 28&#8535;.</dd>
+<dd><span class="smcap">Slaughtered Ox</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 21&#8533; &times; 17&#8533;.</dd>
+<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Panel">P.</abbr> 29&#8534; &times; 20&#8534;.</dd>
+
+<dt>CRACOW, CZARTORYSKI MUSEUM.</dt>
+<dd><span class="smcap">Landscape</span>. <abbr title="Signed">S.</abbr> 1638. <abbr title="Panel">P.</abbr> 17&frac34; &times; 25&frac14;.
+<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> 8&#8536; &times; 6&#8536;.</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 &times; 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 &times; 53&#8534;.</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> 39&#8533; &times; 28&#8536;.</dd>
+
+<dt>COUNT K&Ouml;NIGSWARTER.</dt>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Canvas">C.</abbr> 23 &times; 17&frac12;.</dd>
+
+<dt>PRINCE LIECHTENSTEIN.</dt>
+<dd><span class="smcap">Portrait of Saskia</span>. <abbr title="Signed">S.</abbr> 1632. <abbr title="Panel">P.</abbr> 23&#8535; &times; 17&#8535;.</dd>
+<dd><span class="smcap">Young Girl at her Toilet</span>, called the Jewish fianc&eacute;e. <abbr title="Signed">S.</abbr> 1632.
+<abbr title="Canvas">C.</abbr> 43&#8533; &times; 37&#8533;.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 36&#8536; &times; 28&#8536;.</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> 17&#8535; &times; 13&#8533;.</dd>
+
+<dt>FRANZ XAVIER MEYER.</dt>
+<dd><span class="smcap">A Philosopher reading by Candlelight</span>. 1627. Copper,
+5&#8535; &times; 5&#8535;. 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> 36&#8534; &times; 28. [<abbr title="Gallery Catalogue number">No.</abbr> 1139.]</dd>
+<dd><span class="smcap">Portrait of a Woman</span>. <abbr title="Panel">P.</abbr> 36&#8534; &times; 28. [<abbr title="Gallery Catalogue number">No.</abbr> 1140.]</dd>
+<dd><span class="smcap">St Paul</span>. 1636. <abbr title="Canvas">C.</abbr> 50&#8534; &times; 44.</dd>
+<dd><span class="smcap">Portrait of Rembrandt's Mother</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Panel">P.</abbr> 32 &times; 24&#8536;. [<abbr title="Gallery Catalogue number">No.</abbr> 1141.]</dd>
+<dd><span class="smcap">Portrait of Himself</span>. 1658. <abbr title="Canvas">C.</abbr> 45&#8533; &times; 32&#8534;. [<abbr title="Gallery Catalogue number">No.</abbr> 1142.]</dd>
+<dd><span class="smcap">Young Man Singing</span>. 1658. <abbr title="Canvas">C.</abbr> 28&#8534; &times; 28&#8536;. [<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 &times; 16&#8534;. [<abbr title="Gallery Catalogue number">No.</abbr> 1143.]</dd>
+
+<dt>COUNT SCH&Ouml;NBORN-BUCHHEIM.</dt>
+<dd><span class="smcap">Samson captured by the Philistines</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 95&#8533; &times; 114&#8536;.</dd>
+
+<dt>A. STRASSER.</dt>
+<dd><span class="smcap">Study of an Angel</span>. 1655. <abbr title="Panel">P.</abbr> 10&#8534; &times; 9&#8534;.</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> 55&#8535; &times; 43&#8535;. [<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> 9&#8531; &times; 7&#8533; [<abbr title="Gallery Catalogue number">No.</abbr> 294.]</dd>
+<dd><span class="smcap">Saskia</span>. <abbr title="Canvas">C.</abbr> 44&#8536; &times; 33&#8535;. [<abbr title="Gallery Catalogue number">No.</abbr> 293.]</dd>
+<dd><span class="smcap">Portrait of an Old Jew</span>. <abbr title="Panel">P.</abbr> 9&#8531; &times; 7&#8535;. [<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&mdash;. <abbr title="Panel">P.</abbr> 19&#8533; &times; 15&#8535;.</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> 23&#8534; &times; 19&#8533;.</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 &times; 33&#8533;. [<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> 27&#8535; &times; 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 &times; 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> 30&#8539; &times; 22&frac12;. [<abbr title="Gallery Catalogue number">No.</abbr> 850.]</dd>
+<dd><span class="smcap">Ecce Homo</span>. Grisaille. 1636. <abbr title="Canvas">C.</abbr> 21&#8540; &times; 17&frac34;. [<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 &times; 31&frac12;. [<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> 32&frac12; &times; 25&frac12;. [<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 &times; 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 &times; 18&frac14;. [<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 &times; 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 &times; 32&frac34;. [<abbr title="Gallery Catalogue number">No.</abbr> 243.]</dd>
+<dd><span class="smcap">Portrait of a Monk</span>. 1660. <abbr title="Canvas">C.</abbr> 34&frac12; &times; 25&frac12;. [<abbr title="Gallery Catalogue number">No.</abbr> 166.]</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. 1664. <abbr title="Canvas">C.</abbr> 33 &times; 27&frac12;. [<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> 26&frac14; &times; 23&frac14;. [<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 &times; 41. [<abbr title="Gallery Catalogue number">No.</abbr> 51.]</dd>
+<dd><span class="smcap">Landscape</span>. <abbr title="Panel">P.</abbr> 22 &times; 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 &times; 11. [<abbr title="Gallery Catalogue number">No.</abbr> 43.]</dd>
+<dd><span class="smcap">Portrait of a Burgomaster</span>. <abbr title="Canvas">C.</abbr> 50&frac12; &times; 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> 50&frac12; &times; 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 &times; 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 &times; 48&frac14;.</dd>
+<dd><span class="smcap">The Good Samaritan</span>. 1632. <abbr title="Panel">P.</abbr> 9&frac34; &times; 8.</dd>
+<dd><span class="smcap">Portrait of a Boy</span>. <abbr title="Signed">S.</abbr> 1633. Copper, 8 &times; 6&frac34;.</dd>
+<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1633-1635. <abbr title="Panel">P.</abbr> 26 &times; 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 &times; 20.</dd>
+<dd><span class="smcap">Landscape</span>. 1640. <abbr title="Panel">P.</abbr> 18 &times; 25.</dd>
+<dd><span class="smcap">Portrait of Himself</span>. <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 25 &times; 19&frac14;.</dd>
+<dd><span class="smcap">Portrait of Himself</span>. 1660. 8&frac12; &times; 6.</dd>
+<dd><span class="smcap">Portrait of Titus</span>. 1658. <abbr title="Canvas">C.</abbr> 26&frac12; &times; 22.</dd>
+<dd><span class="smcap">The Unmerciful Servant</span>. 1664. <abbr title="Canvas">C.</abbr> 70&frac12; &times; 86&frac14;.</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 &times; 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 &times; 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> 23&frac12; &times; 19&frac12;.
+[<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 &times; 33. [<abbr title="Gallery Catalogue number">No.</abbr> 162.]</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 164&mdash;. <abbr title="Panel">P.</abbr> 27 &times; 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 &times; 40&frac12;. [<abbr title="Gallery Catalogue number">No.</abbr> 154.]</dd>
+<dd><span class="smcap">A Jewish Rabbi</span>. <abbr title="Canvas">C.</abbr> 30 &times; 38&#8542;. [<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 &times; 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 &times; 26&frac12;.</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 &times; 21&frac12;.</dd>
+<dd><span class="smcap">Shepherds reposing at Night</span>. <abbr title="Signed">S.</abbr> 1647. <abbr title="Panel">P.</abbr> 13&frac12; &times; 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 &times; 77&frac12;. 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 &times; 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&mdash;. <abbr title="Panel">P.</abbr> 28 &times; 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> 29&frac12; &times; 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> 53&frac12; &times; 40&frac12;. [<abbr title="Gallery Catalogue number">No.</abbr> 706.]</dd>
+<dd><span class="smcap">The Painter's Study</span>. <abbr title="Panel">P.</abbr> 20 &times; 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> 15&frac12; &times; 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 &times; 8. [<abbr title="Gallery Catalogue number">No.</abbr> 711.]</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Panel">P.</abbr> 26 &times; 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> 12&#8536; &times; 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 &times; 46&#8534;. [<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> 11&frac14; &times; 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 &times; 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 &times; 19.</dd>
+<dd><span class="smcap">An Old Woman</span>, known as the Countess of Desmond.
+1631. <abbr title="Panel">P.</abbr> 23&frac12; &times; 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> 24&frac12; &times; 21.</dd>
+<dd><span class="smcap">Woman with Flowers</span>. 1660. <abbr title="Canvas">C.</abbr> 38 &times; 35&frac12;.</dd>
+<dd><span class="smcap">The Circumcision</span>. <abbr title="Panel">P.</abbr> 1661. <abbr title="Canvas">C.</abbr> 21&frac12; &times; 28&frac12;.</dd>
+<dd><span class="smcap">Rembrandt's Mother</span>. <abbr title="Canvas">C.</abbr> 56 &times; 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 &times; 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 &times; 52&frac12;.</dd>
+<dd><span class="smcap">Isaac and Esau</span>. <abbr title="Panel">P.</abbr> 22&frac12; &times; 27.</dd>
+<dd><span class="smcap">Landscape</span>. A very doubtful picture. <abbr title="Panel">P.</abbr> 8 &times; 9&frac12;.</dd>
+<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Canvas">C.</abbr> 29&frac12; &times; 24&frac12;.</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> 39&frac12; &times; 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 &times; 26&frac12;.</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 &times; 40&frac12;.</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 &times; 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 &times; 19&#8533;.</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&mdash;. 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 &times; 31&frac12;.</dd>
+
+<dt>DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.</dt>
+<dd><span class="smcap">The Cradle</span>. 1643-1645. <abbr title="Panel">P.</abbr> 24 &times; 30&frac12;.</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
+&times; 29&frac12;.</dd>
+<dd><span class="smcap">The Holy Family</span>. <abbr title="Panel">P.</abbr> 30 &times; 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, 18&#8536; &times; 23&#8535;.</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 &times; 38.</dd>
+
+<dt>EDINBURGH. ARTHUR SANDERSON.</dt>
+<dd><span class="smcap">His Mother in a Hood</span>. 1630. <abbr title="Panel">P.</abbr> 14&#8534; &times; 12&#8533;.</dd>
+<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 51&#8535; &times; 39&#8535;.</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> 10&#8533; &times; 8&#8535;.</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 &times; 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 &times; 25.</dd>
+<dd><span class="smcap">Portrait of an Old Man</span>. 1637. <abbr title="Canvas">C.</abbr> 48 &times; 37&frac12;.</dd>
+<dd><span class="smcap">Portrait of Lieven Willemsz van Coppenol</span>. About 1650. <abbr title="Panel">P.</abbr> 14 &times; 11.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. About 1658. <abbr title="Canvas">C.</abbr> 30 &times; 25&frac12;.</dd>
+<dd><span class="smcap">Portrait of a Man</span>, said to be Cornelius Jansenius. <abbr title="Panel">P.</abbr> 32 &times; 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> 23&frac12; &times; 20.</dd>
+<dd><span class="smcap">Portrait of a Burgomaster</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 15 &times; 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 &times; 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 &times; 81&frac12;.</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> 8&frac34; &times; 6&frac34;.</dd>
+<dd><span class="smcap">The Painter's Sister</span>. Doubtful. <abbr title="Canvas">C.</abbr> 27 &times; 20&frac12;.</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 &times; 33&frac12;.</dd>
+
+<dt>ALFRED BEIT.</dt>
+<dd><span class="smcap">St Francis Praying</span>. <abbr title="Signed">S.</abbr> 1637. <abbr title="Panel">P.</abbr> 23&#8533; &times; 18&#8536;.</dd>
+<dd><span class="smcap">Portrait of a Young Man</span>. 1660. <abbr title="Canvas">C.</abbr> 40 &times; 32&frac12;.</dd>
+
+<dt>R. B. BERENS.</dt>
+<dd><span class="smcap">Portrait of the Painter</span>. An early work. <abbr title="Panel">P.</abbr> 24 &times; 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> 27&frac12; &times; 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 &times; 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 &times; 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&mdash;. <abbr title="Canvas">C.</abbr> 26&frac12; &times; 20&frac34;.</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> 48&frac12; &times; 38&frac12;.</dd>
+<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 31&frac12; &times; 26.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Canvas">C.</abbr> 31 &times; 25&frac12;.</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 &times; 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 &times; 50&frac12;.</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> 29&frac12; &times; 24&frac12;.</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 &times; 21.</dd>
+<dd><span class="smcap">Joseph's Coat</span>. 1647. <abbr title="Canvas">C.</abbr> 48 &times; 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> 28&frac12; &times; 25.</dd>
+<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1652. <abbr title="Canvas">C.</abbr> 43 &times; 34.</dd>
+
+<dt>GEORGE C. W. FITZWILLIAM.</dt>
+<dd><span class="smcap">Portrait of a Man</span>. 1632. <abbr title="Panel">P.</abbr> 22&frac12; &times; 18&frac12;.</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 &times; 19&frac12;.</dd>
+
+<dt>ALEXANDER HENDERSON.</dt>
+<dd><span class="smcap">Burgomaster Six</span>. 1655. <abbr title="Canvas">C.</abbr> 36&frac12; &times; 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>
+36&frac12; &times; 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 &times; 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 &times; 29&frac12;.</dd>
+<dd><span class="smcap">A Man with a Sword</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Canvas">C.</abbr> 39 &times; 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 &times; 40.</dd>
+<dd><span class="smcap">Portrait of Titus</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 29 &times; 24&frac12;.</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 &times; 42.</dd>
+<dd><span class="smcap">The Ship of St Peter</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 63 &times; 50.</dd>
+
+<dt>THE EARL OF HOPETOUN.</dt>
+<dd><span class="smcap">Rembrandt's Mother</span>. Oval. <abbr title="Panel">P.</abbr> 27 &times; 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> 26&#8536; &times; 21&#8535;.</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> 51&frac12; &times; 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 &times; 20&frac12;.</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 &times; 36.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. 1663. <abbr title="Canvas">C.</abbr> 45 &times; 37&frac12;.</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 &times; 20&frac12;.</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 &times; 25&#8534;.</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 &times; 30.</dd>
+
+<dt>DUKE OF NEWCASTLE.</dt>
+<dd><span class="smcap">Portrait of an Orator</span>. <abbr title="Canvas">C.</abbr> 37&frac12; &times; 29&frac12;.</dd>
+
+<dt>THE EARL OF NORTHBROOK.</dt>
+<dd><span class="smcap">Landscape</span>. 1640. <abbr title="Panel">P.</abbr> 8&frac12; &times; 11.</dd>
+<dd><span class="smcap">Portrait of an Old Man</span>. <abbr title="Signed">S.</abbr> 1667. <abbr title="Canvas">C.</abbr> 27 &times; 22&frac12;.</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> 49&frac12; &times; 38&frac12;.</dd>
+
+<dt>JAMES REISS</dt>
+<dd><span class="smcap">Landscape</span>. <abbr title="Panel">P.</abbr> 11&frac12; &times; 16.</dd>
+
+<dt>MRS OWEN ROE.</dt>
+<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Canvas">C.</abbr> 40 &times; 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 &times; 28.</dd>
+
+<dt>EDWARD H. SCOTT.</dt>
+<dd><span class="smcap">Rembrandt's Father's Mill</span>. <abbr title="Canvas">C.</abbr> 32&frac12; &times; 42.</dd>
+
+<dt>COLONEL STERLING.</dt>
+<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Canvas">C.</abbr> 23 &times; 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> 25&frac12; &times; 19&frac12;.</dd>
+
+<dt>SIR CHARLES TURNER.</dt>
+<dd><span class="smcap">Portrait of a Girl</span>. 1650. <abbr title="Panel">P.</abbr> 8&#8534; &times; 7&#8533;.</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> 29&frac12; &times; 25.</dd>
+
+<dt>T. HUMPHRY WARD.</dt>
+<dd><span class="smcap">An Old Man</span>. 1630 or 1658. <abbr title="Canvas">C.</abbr> 20 &times; 14&frac34;.</dd>
+<dd><span class="smcap">A Young Man</span>. <abbr title="Signed">S.</abbr> 1646. <abbr title="Canvas">C.</abbr> 28 &times; 23.</dd>
+<dd><span class="smcap">The Dismissal of Hagar</span>. <abbr title="Panel">P.</abbr> 26 &times; 22&frac12;.</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 &times; 18&frac12;.</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
+&times; 37&frac12;.</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 &times; 37&frac12;.</dd>
+<dd><span class="smcap">Portrait of Nicholas Berchem</span>. [NO. 19.] <abbr title="Signed">S.</abbr> 1647. Cedar panel,
+28&frac12; &times; 25&frac12;.</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, 28&frac12; &times; 25.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Panel">P.</abbr> 15&frac12; &times; 11&frac12;.</dd>
+<dd><span class="smcap">Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 83.] <abbr title="Panel">P.</abbr> 39 &times; 61.</dd>
+
+<dt>HENRY WILLETT.</dt>
+<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Panel">P.</abbr> 20 &times; 17.</dd>
+
+<dt>SIR MATTHEW WILSON.</dt>
+<dd><span class="smcap">Portrait of a Lady</span>. Oval. <abbr title="Panel">P.</abbr> 27 &times; 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> 40&frac12; &times; 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 &times; 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> 44&frac12; &times; 42.</dd>
+<dd><span class="smcap">Portrait of Marshal Turenne</span>. 1649. <abbr title="Canvas">C.</abbr> 113 &times; 94.</dd>
+<dd><span class="smcap">Head of a Man</span>. <abbr title="Panel">P.</abbr> 12&frac12; &times; 9&frac12;.</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 &times; 18&frac12;.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1632. Oval. <abbr title="Panel">P.</abbr> 25 &times; 18&frac12;.</dd>
+<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 49 &times; 39&frac12;.</dd>
+<dd><span class="smcap">Portrait of a Youth</span>. <abbr title="Signed">S.</abbr> 1666. <abbr title="Canvas">C.</abbr> 29 &times; 24.</dd>
+<dd><span class="smcap">Girl with a Rosebud</span>. <abbr title="Signed">S.</abbr> <abbr title="Panel">P.</abbr> 32 &times; 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 &times; 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> 25&frac12; &times; 22.</dd>
+<dd><span class="smcap">Tobit and His Wife</span>. <abbr title="Signed">S.</abbr> 1650. <abbr title="Panel">P.</abbr> 16&frac14; &times; 21&frac14;.</dd>
+<dd><span class="smcap">Study of an Old Man</span>. <abbr title="Panel">P.</abbr> 13&frac12; &times; 10&frac12;.</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 &times; 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 &times; 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 &times; 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 &times; 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> 34&frac12; &times; 30&frac12;.</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 &times; 38.</dd>
+<dd><span class="smcap">Portrait of a Lady</span>. <abbr title="Panel">P.</abbr> 29&frac12; &times; 23.</dd>
+<dd><span class="smcap">Landscape</span>. <abbr title="Canvas">C.</abbr> 14 &times; 18&frac12;.</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> 24&frac12; &times; 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> 33&frac12; &times; 42&frac12;.</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 &times; 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 &times; 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> 11&#8535; &times; 13&#8533;.</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> 11&#8533; &times; 9&#8533;.</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> 23&#8533;
+&times; 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>
+27&#8533; &times; 21&#8533;.</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> 27&#8533; &times; 20&#8536;.</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
+&times; 24&#8536;.</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 &times; 22&#8534;.</dd>
+<dd><span class="smcap">The Carpenter's Home</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2542, Salon Carr&eacute;.] <abbr title="Signed">S.</abbr> 1640. <abbr title="Panel">P.</abbr> 16&#8534;
+&times; 13&#8535;.</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> 24&#8536; &times; 19&#8533;.</dd>
+<dd><span class="smcap">Christ at Emmaus</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2539, Salon Carr&eacute;.] <abbr title="Signed">S.</abbr> 1648. <abbr title="Panel">P.</abbr> 27&#8533; &times; 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> 45&#8535; &times; 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> 33&#8533; &times;
+26&#8534;.</dd>
+<dd><span class="smcap">Portrait of Hendrickje Stoffels</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2547, Salon Carr&eacute;.] <abbr title="Panel">P.</abbr> about
+1652. <abbr title="Canvas">C.</abbr> 28&#8536; &times; 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> 56&#8536; &times; 56&#8536;.</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> 10&#8534; &times;
+7&#8535;.</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> 37&#8535;
+&times; 27&#8535;.</dd>
+<dd><span class="smcap">Portrait of a Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2545, Salon Carr&eacute;.] <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 29&#8533;
+&times; 24&#8534;.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 2555, Salon Carr&eacute;.] <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 44&#8534;
+&times; 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> 38&#8534; &times;
+32&#8534;.</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 &times; 35&#8533;.</dd>
+
+<dt>&Eacute;PINAL. 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> 45&#8535; &times; 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 &times; 5&#8534;.</dd>
+
+<dt>PARIS. MME. ANDR&Eacute;-JACQUEMART.</dt>
+<dd><span class="smcap">Christ at Emmaus</span>. <abbr title="Signed">S.</abbr> R.H. 1629. Paper on panel 15&#8535; &times; 16&#8536;.</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 &times; 20&#8534;.</dd>
+<dd><span class="smcap">Portrait of Arnold Tholinx</span>. <abbr title="Signed">S.</abbr> 1656. <abbr title="Canvas">C.</abbr> 30&#8534; &times; 25&#8533;.</dd>
+
+<dt>L&Eacute;ON BONNAT.</dt>
+<dd><span class="smcap">Petitioners To a Biblical King</span>. 1633. <abbr title="Panel">P.</abbr> 11&#8534; &times; 10&#8535;.</dd>
+<dd><span class="smcap">Jean Six at a Window</span>. Very doubtful. <abbr title="Panel">P.</abbr> 10 &times; 8.</dd>
+<dd><span class="smcap">Figure of Susannah</span>. Oval. 1647. <abbr title="Panel">P.</abbr> 8&#8536; &times; 7.</dd>
+<dd><span class="smcap">Tasters in a Cellar</span>. 1650. <abbr title="Panel">P.</abbr> 19&#8536; &times; 25&#8533;.</dd>
+<dd><span class="smcap">Portrait of an Old Man</span>. 1650. <abbr title="Panel">P.</abbr> 22 &times; 17&#8535;.</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> &times; <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 &times; 8&#8536;.</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 &times; 34&frac12;.</dd>
+
+<dt>PRINCE DE CHALAIS.</dt>
+<dd><span class="smcap">Portrait of a Man</span>.</dd>
+
+<dt>L&Eacute;ON GAUCHEZ.</dt>
+<dd><span class="smcap">Lucretia</span>. <abbr title="Signed">S.</abbr> 1664. <abbr title="Canvas">C.</abbr> 46&#8534; &times; 39&#8533;.</dd>
+
+<dt>LEOPOLD GOLDSCHMIDT.</dt>
+<dd><span class="smcap">Portrait of a Woman</span>. Called Rembrandt's cook. 1655. <abbr title="Canvas">C.</abbr> 29&#8536;
+&times; 24&#8535;.</dd>
+
+<dt>HARJES.</dt>
+<dd><span class="smcap">Old Man With a White Beard</span>. <abbr title="Canvas">C.</abbr> 25&#8533; &times; 23&#8533;.</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 &times; 17&#8535;.</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> 18&#8535; &times; 14&#8536;.</dd>
+<dd><span class="smcap">A Man in a Red Cloak</span>. <abbr title="Signed">S.</abbr> 1659. <abbr title="Panel">P.</abbr> 15&#8534; &times; 12&#8534;.</dd>
+<dd><span class="smcap">Portrait of a Man</span>. <abbr title="Panel">P.</abbr> between 1666 and 1668. <abbr title="Canvas">C.</abbr> 36&#8534; &times; 29&#8536;.</dd>
+
+<dt>RODOLPHE KANN.</dt>
+<dd><span class="smcap">Head of Christ</span>. 1652. <abbr title="Panel">P.</abbr> 10&#8534; &times; 8.</dd>
+<dd><span class="smcap">Portrait of Titus</span>. <abbr title="Signed">S.</abbr> 1655. <abbr title="Canvas">C.</abbr> 31&#8535; &times; 23&#8535;.</dd>
+<dd><span class="smcap">Portrait of a Rabbi</span>. 1655. <abbr title="Panel">P.</abbr> 10 &times; 7&#8536;.</dd>
+<dd><span class="smcap">Portrait of an Old Woman</span>. <abbr title="Signed">S.</abbr> 1657. <abbr title="Panel">P.</abbr> 8&#8536; &times; 7&#8533;.</dd>
+<dd><span class="smcap">Old Woman cutting her Nails</span>. <abbr title="Signed">S.</abbr> 1658. <abbr title="Canvas">C.</abbr> 50&#8534; &times; 40.</dd>
+<dd><span class="smcap">Portrait of a Young Woman</span>. 1668. <abbr title="Canvas">C.</abbr> 37&#8533; &times; 29&#8533;.</dd>
+
+<dt>MME. LACROIX.</dt>
+<dd><span class="smcap">Landscape, with Swans</span>. 1645. <abbr title="Canvas">C.</abbr> 25&#8535; &times; 17&#8533;.</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> 22&#8534; &times; 19&#8533;.</dd>
+
+<dt>PAUL MATHEY.</dt>
+<dd><span class="smcap">Head of an Old Man</span>. <abbr title="Panel">P.</abbr> 20 &times; 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 &times; 18&#8536;.</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 &times;
+18&#8536;.</dd>
+
+<dt>JULES PORG&Egrave;S.</dt>
+<dd><span class="smcap">The Good Samaritan</span>. <abbr title="Signed">S.</abbr> 1639. <abbr title="Canvas">C.</abbr> 38&#8533; &times; 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 &times; 24&#8534;.</dd>
+<dd><span class="smcap">An Old Woman meditating over a Book</span>. 1649. <abbr title="Canvas">C.</abbr> 39&#8533; &times; 31&#8533;.</dd>
+<dd><span class="smcap">Portrait of Rembrandt's Brother</span>. 1650. <abbr title="Panel">P.</abbr> 22&#8534; &times; 17&#8533;.</dd>
+<dd><span class="smcap">Portrait of a Woman holding a Book</span>. 1650. <abbr title="Panel">P.</abbr> 22&#8534; &times; 17&#8533;.</dd>
+
+<dt>COUNTESS EDMOND DE POURTAL&Egrave;S.</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 &times; 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> 30&#8535; &times; 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> 82&#8536; &times; 52&#8536;.</dd>
+<dd><span class="smcap">Portrait of Machteld van Doorn, Wife of Martin Daey</span>. <abbr title="Canvas">C.</abbr> 82&#8536;
+&times; 52&#8536;.</dd>
+<dd><span class="smcap">The Standard-Bearer</span>. <abbr title="Signed">S.</abbr> 1636. <abbr title="Canvas">C.</abbr> 50 &times; 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> 17&#8535; &times; 13&#8533;.</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> 33&#8533; &times; 26&#8536;.</dd>
+
+<dt>DURAND RUEL.</dt>
+<dd><span class="smcap">David playing before Saul</span>. 1663. <abbr title="Canvas">C.</abbr> 52&#8533; &times; 65&#8535;.</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> 31&#8535; &times; 41&#8533;.</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> 26&#8536; &times; 21.</dd>
+<dd><span class="smcap">Old Man</span>. <abbr title="Signed">S.</abbr> 1643. <abbr title="Panel">P.</abbr> 10 &times; 7&#8535;.</dd>
+
+<dt>HENRI SCHNEIDER.</dt>
+<dd><span class="smcap">Hans Alenson</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 71&#8533; &times; 52&#8536;.</dd>
+<dd><span class="smcap">The Wife of Alenson</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Canvas">C.</abbr> 71&#8533; &times; 52&#8536;.</dd>
+
+<dt>CHARLES SEDELMEYER.</dt>
+<dd><span class="smcap">Pilate washing his Hands</span>. 1656. <abbr title="Canvas">C.</abbr> 51&#8533; &times; 72.</dd>
+
+<dt>CHARLES WALTNER.</dt>
+<dd><span class="smcap">An Old Rabbi</span>. 1654-56. <abbr title="Canvas">C.</abbr> 32&#8536; &times; 26.</dd>
+
+<dt>E. WARNECK.</dt>
+<dd><span class="smcap">Diana bathing</span>. 1631. <abbr title="Panel">P.</abbr> 7&#8533; &times; 6&#8536;.</dd>
+<dd><span class="smcap">Rembrandt laughing</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 8&#8533; &times; 7.</dd>
+<dd><span class="smcap">Study of a Rabbi</span>. 1650 To 1655. <abbr title="Panel">P.</abbr> 8&#8536; &times; 7&#8534;.</dd>
+<dd><span class="smcap">Study of a Young Boy</span>. 1654. <abbr title="Panel">P.</abbr> 9&#8533; &times; 7&#8536;.</dd>
+
+<dt>DR MELVIL WASSERMANN.</dt>
+<dd><span class="smcap">Study of his Father</span>. 1630. <abbr title="Panel">P.</abbr> 11&#8534; &times; 9&#8533;.</dd>
+<dd><span class="smcap">Portrait of an Old Man</span>. 1633. <abbr title="Panel">P.</abbr> 10&#8534; &times; 8&#8534;.</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> 32&#8534; &times; 21&#8535;.</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 &times; 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> 12&#8533; &times; 16&#8536;.</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> 23&#8535; &times; 19&#8533;.</dd>
+<dd><span class="smcap">The Rape of Proserpina</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 823.] 1632. <abbr title="Panel">P.</abbr> 33&#8533; &times; 31&#8533;.</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> 22&#8536; &times; 18&#8536;.</dd>
+<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 808.] 1634. <abbr title="Panel">P.</abbr> 22 &times; 18&#8534;.</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> 62&#8534; &times; 51&#8535;.</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> 73&#8535; &times; 89&#8535;.</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> 28&#8536; &times; 23&#8533;.</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 &times; 32&#8536;.</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 &times; 10&#8536;.</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 &times; 10&#8536;.</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> 30&#8534; &times; 36&#8534;.</dd>
+<dd><span class="smcap">Daniel's Vision</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 828 F.] 1650. <abbr title="Canvas">C.</abbr> 38&#8534; &times; 46&#8534;.</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> 41&frac12;
+&times; 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> 20&#8534; &times; 14&#8536;.</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 &times; 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> 54&#8536; &times; 46&#8534;.</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> 66&#8536;
+&times; 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> 34&#8536; &times; 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> 39&#8533; &times; 28.</dd>
+
+<dt>ANHOLT. PRINCE OF SALM-SALM.</dt>
+<dd><span class="smcap">Diana, Act&aelig;on, and Callisto</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Canvas">C.</abbr> 28&#8536; &times; 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 &times; 25&#8533;.</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 &times; 44.</dd>
+<dd><span class="smcap">Christ at the Column</span>. 1646. <abbr title="Panel">P.</abbr> 13&#8535; &times; 11&#8533;.</dd>
+<dd><span class="smcap">Portrait of Rembrandt</span>. <abbr title="Signed">S.</abbr> 1665. <abbr title="Canvas">C.</abbr> 32&#8536; &times; 25&#8533;.</dd>
+
+<dt>EMPEROR FREDERICK MUSEUM.</dt>
+<dd><span class="smcap">Rembrandt's Brother</span>. 1650. <abbr title="Canvas">C.</abbr> 26&#8536; &times; 20&#8535;.</dd>
+
+<dt>CARL HOLLITSCHER.</dt>
+<dd><span class="smcap">St Paul in Meditation</span>. 1635. <abbr title="Canvas">C.</abbr> 47&#8533; &times; 38.</dd>
+<dd><span class="smcap">Christ on the Cross</span>. 1648. <abbr title="Panel">P.</abbr> 14 &times; 9&#8535;.</dd>
+
+<dt>ROBERT VON MENDELSSOHN.</dt>
+<dd><span class="smcap">Rembrandt</span>. <abbr title="Signed">S.</abbr> 1651. <abbr title="Panel">P.</abbr> 26&#8534; &times; 21&#8533;.</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 &times; 19&#8535;.</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> 17&#8535; &times; 14&#8534;.</dd>
+
+<dt>BONN. PROFESSOR G. MARTIUS.</dt>
+<dd><span class="smcap">An Old Woman</span>. 1640. <abbr title="Panel">P.</abbr> 27&#8533; &times; 22&#8533;.</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> 25&#8534; &times; 19&#8533;.</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> 25&#8534; &times; 19&#8533;.</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> 32&#8536; &times; 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> 20&#8536; &times; 28&#8536;.</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 &times; 31&#8535;.</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> 50&#8534; &times; 66&#8535;.</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> 29&#8535; &times; 23&#8535;.</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 &times; 6&#8534;.</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> 26&#8534; &times; 22&#8534;.</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 &times; 15&#8535;.</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> 23&#8535; &times; 19&#8535;.</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 &times; 31&#8533;.</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> 49&#8533; &times; 37&#8535;.</dd>
+<dd><span class="smcap">Saskia</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 214.] 1634. <abbr title="Panel">P.</abbr> 39&#8533; &times; 30&#8536;.</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> 31&#8535; &times; 25&#8535;.</dd>
+<dd><span class="smcap">A Young Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 216.] 1635. <abbr title="Panel">P.</abbr> 28&#8536; &times; 23&#8535;.</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> 79&#8533; &times; 48&#8534;.</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
+&times; 26&#8536;.</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> 6&#8534; &times; 8&#8536;.</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> 26&#8534; &times; 34&#8534;.</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 &times; 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> 45&#8533;
+&times; 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 &times; 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 &times; 6&#8532;.</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 &times; 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> 69&#8535; &times; 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> 29&#8533; &times; 23&#8535;.</dd>
+
+<dt>COLOGNE. BARON A. VON OPPENHEIM.</dt>
+<dd><span class="smcap">A Young Girl</span>. 1655. <abbr title="Panel">P.</abbr> 8&#8534; &times; 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> 37&#8535; &times; 29&#8533;.</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 &times; 17&#8535;.</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
+&times; 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> 68&#8535; &times; 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 &times; 52&#8536;.</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> 50&#8534; &times; 70&#8534;.</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> 48&#8534; &times; 35&#8535;.</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> 39&#8533; &times; 32&#8536;.</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> 96&#8534; &times; 114.</dd>
+<dd><span class="smcap">Old Woman weighing Gold</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1564.] <abbr title="Canvas">C.</abbr> 44&#8536; &times; 39&#8535;.</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> 30&#8536; &times; 26&#8536;.</dd>
+<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1571.] 1645. <abbr title="Canvas">C.</abbr> 37&#8535; &times; 30&#8536;.</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> 38&#8536; &times; 27&#8535;.</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 &times; 30&#8536;.</dd>
+<dd><span class="smcap">Portrait of a Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1568.] 1656. <abbr title="Canvas">C.</abbr> 35&#8536; &times; 27&#8534;.</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> 34&#8533; &times; 26.</dd>
+<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1570.] 1666. <abbr title="Canvas">C.</abbr> 32&#8536; &times; 28&#8534;.</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, 8&#8536; &times; 6&#8536;.</dd>
+<dd><span class="smcap">A Lady</span>. <abbr title="Signed">S.</abbr> 1635. <abbr title="Panel">P.</abbr> 30&#8536; &times; 25&#8535;.</dd>
+
+<dt>FRANKFORT. ST&AElig;DEL 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> 24&#8536; &times; 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> 26&#8536; &times; 22&#8534;.</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>
+61&#8533; &times; 54&#8536;.</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> 7&#8533; &times; 5&#8535;.</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 &times; 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 &times; 17&#8535;.</dd>
+<dd><span class="smcap">The Woman taken in Adultery</span>. 1644. <abbr title="Canvas">C.</abbr> 45&#8535; &times; 54.</dd>
+<dd><span class="smcap">A Pilgrim at Prayer</span>. <abbr title="Signed">S.</abbr> 1661. <abbr title="Canvas">C.</abbr> 36 &times; 31&#8533;.</dd>
+
+<dt>LEIPZIG. JULIUS O. GOTTCHALD.</dt>
+<dd><span class="smcap">Study of an Old Man</span>. 1630. <abbr title="Panel">P.</abbr> 8&#8533; &times; 6&#8536;.</dd>
+
+<dt>MUSEUM.</dt>
+<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 347.] 1654. <abbr title="Panel">P.</abbr> 10&#8534; &times; 8&#8534;.</dd>
+
+<dt>ALFRED THIEME.</dt>
+<dd><span class="smcap">The Good Samaritan</span>. 1640. <abbr title="Canvas">C.</abbr> 12&#8534; &times; 15.</dd>
+<dd><span class="smcap">Portrait called the Constable of Bourbon</span>. <abbr title="Signed">S.</abbr> 1644. <abbr title="Canvas">C.</abbr> 36&#8534; &times; 29&#8535;.</dd>
+
+<dt>METZ. MUSEUM.</dt>
+<dd><span class="smcap">An Old Man</span>. <abbr title="Signed">S.</abbr> 1633. <abbr title="Panel">P.</abbr> 23&#8535; &times; 17&#8535;.</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> 77&#8533; &times; 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> 33&#8535; &times; 25&#8533;.</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> 35&#8535; &times; 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> 38&#8534; &times; 28&#8536;.</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> 36&#8536; &times; 26&#8536;.</dd>
+<dd><span class="smcap">The Entombment</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 330.] 1638. <abbr title="Canvas">C.</abbr> 37&#8533; &times; 27&#8535;.</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> 37&#8535; &times; 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> 38&#8536; &times;
+28&#8536;.</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> 32&#8536; &times; 26&#8536;.</dd>
+
+<dt>DR MARTIN SCHUBART.</dt>
+<dd><span class="smcap">An Old Man</span>. 1632. <abbr title="Panel">P.</abbr> 25 &times; 18&#8535;.</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> 15&#8535; &times; 12&#8536;.</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 &times; 19&#8533;.</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> 26&#8535; &times; 20&#8534;.</dd>
+<dd><span class="smcap">Landscape</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 169.] 1645. <abbr title="Panel">P.</abbr> 11&#8535; &times; 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 &times; 32&#8535;.</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> 27&#8533; &times; 20&#8536;.</dd>
+<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 855.] 1656. <abbr title="Canvas">C.</abbr> 22&#8536; &times; 18&#8536;.</dd>
+
+<dt>STRASBURG. MUSEUM.</dt>
+<dd><span class="smcap">An Old Man</span>, holding a scroll. 1650. <abbr title="Canvas">C.</abbr> 24&#8534; &times; 18&#8534;.</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 &times; 23&#8533;.</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> 24&#8534; &times; 19&#8533;.</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 &times; 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> 18&#8536; &times; 15&#8535;.</dd>
+<dd><span class="smcap">Rembrandt</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 148, Room XIV.] 1629. <abbr title="Panel">P.</abbr> 14&#8536; &times; 11&#8535;.</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 &times; 4&#8536;.</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 &times; 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 &times; 19&#8533;.</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> 64&#8536; &times; 86&#8534;.</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> 24&#8536;
+&times; 18&#8536;.</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> 15&#8533; &times;
+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 &times; 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> 18&#8536; &times;
+15&#8535;.</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> 31&#8533; &times; 26&#8534;.</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> 43&#8533;
+&times; 32&#8536;.</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> 21&#8535; &times; 18&#8534;.</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> 42&#8534; &times; 32&#8534;.</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> 46&#8534; &times; 35&#8533;.</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> 143&#8535; &times; 174.</dd>
+<dd><span class="smcap">Mythological Subject</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 1251.] 1650. <abbr title="Canvas">C.</abbr> 34 &times; 26&#8536;.</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 &times; 52&#8536;.</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 &times; 109&#8535;.</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> 47&#8533; &times; 65&#8535;.</dd>
+
+<dt>DR C. HOFSTEDE DE GROOT.</dt>
+<dd><span class="smcap">Rembrandt's Sister</span>. 1630. <abbr title="Panel">P.</abbr> 5&frac14; &times; 3&frac34;.</dd>
+
+<dt>SIX COLLECTION.</dt>
+<dd><span class="smcap">Joseph Interpreting His Dreams</span>. <abbr title="Signed">S.</abbr> 1630. Cardboard, 20 &times; 15&#8533;.</dd>
+<dd><span class="smcap">Anna Vymer</span>. <abbr title="Signed">S.</abbr> 1641. <abbr title="Panel">P.</abbr> 40 &times; 32.</dd>
+<dd><span class="smcap">Portrait of Ephraim Bonus</span>. 1647. <abbr title="Panel">P.</abbr> 7&#8535; &times; 6.</dd>
+<dd><span class="smcap">Burgomaster Six</span>. 1660. <abbr title="Canvas">C.</abbr> 44 &times; 40.</dd>
+
+<dt>THE HAGUE. DR BREDIUS.</dt>
+<dd><span class="smcap">A Woman Praying</span>. 1654. <abbr title="Panel">P.</abbr> 7&frac34; &times; 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> 24&#8532; &times; 19&#8533;.</dd>
+
+<dt>D. F. SCHEURLEER.</dt>
+<dd><span class="smcap">Head of a Boy</span>. 1629. 10&#8534; &times; 8&#8533;.</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> 20&#8536; &times; 30&#8534;.</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> 9&#8534; &times; 8&#8533;.</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> 29&#8533; &times; 22&#8534;.</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> 29&#8535;
+&times; 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> 24&#8536; &times; 20&#8536;.</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> 40&#8536; &times; 33&#8533;.</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> 28&#8536; &times; 23&#8533;.</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> 28&#8536; &times; 23&#8533;.</dd>
+
+<dt>SIGNOR FABRI.</dt>
+<dd><span class="smcap">Study of an Old Man</span>. <abbr title="Panel">P.</abbr> 23&#8535; &times; 18&#8536;.</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 &times; 19&#8533;.</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 &times; 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> 14&#8534; &times;
+10&#8534;.</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> 45&#8533; &times; 36&#8536;.</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> 63&#8533; &times; 46&#8536;.</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 &times; 20&#8534;.</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 &times; 40&#8534;.</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 &times; 20&#8536;.</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> 77&#8533; &times; 53&#8533;.</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> 39&#8535; &times; 30&#8534;.</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 &times; 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> 38&#8536;
+&times; 26&#8535;.</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>
+12&#8534; &times; 16&#8536;.</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> 30&#8534; &times; 22&#8534;.</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 &times; 24&#8535;.</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> 31&#8535; &times; 24&#8534;.</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> 46&#8536; &times; 36&#8534;.</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> 51&#8535; &times; 44&#8536;.</dd>
+<dd><span class="smcap">Abraham Receiving the Angels</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 791.] 1650. <abbr title="Canvas">C.</abbr> 48&#8535; &times; 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> 61&#8536; &times; 67&#8533;.</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> 50&#8536; &times; 46&#8536;.</dd>
+<dd><span class="smcap">Pallas</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 809.] 1650. <abbr title="Canvas">C.</abbr> 46&#8536; &times; 36&#8534;.</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>
+46&#8536; &times; 37&#8535;.</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> 43&#8535; &times; 36&#8536;.</dd>
+<dd><span class="smcap">An Old Woman</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 804.] 1654. <abbr title="Canvas">C.</abbr> 53&#8533; &times; 42&#8536;.</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> 43&#8535; &times; 33&#8535;.</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> 29&#8535; &times; 25&#8533;.</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> 43&#8535; &times; 33&#8535;.</dd>
+<dd><span class="smcap">An Old Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 818.] 1654. <abbr title="Canvas">C.</abbr> 43&#8533; &times; 34&#8534;.</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> 35&#8533; &times; 28&#8536;.</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> 29&#8535; &times; 25&#8533;.</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 &times;
+38&#8536;.</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> 61&#8533; &times; 67&#8533;.</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> 40&#8536; &times; 34&#8536;.</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 &times;
+14&#8533;.</dd>
+<dd><span class="smcap">A Young Man</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 825.] 1660. <abbr title="Canvas">C.</abbr> 28&#8536; &times; 22&#8534;.</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> 28&#8534; &times; 24&#8534;.</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>
+28&#8534; &times; 22&#8534;.</dd>
+<dd><span class="smcap">The Prodigal Son</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 797.] 1669. <abbr title="Canvas">C.</abbr> 104&#8536; &times; 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> 20&#8534; &times; 16&#8536;.</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> &times; <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> 32&#8536; &times; 39&#8533;.</dd>
+<dd><span class="smcap">A Lady With an Ostrich Feather</span>. 1660. <abbr title="Canvas">C.</abbr> 33 &times; 39&#8535;.</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 &times; 24&#8536;.</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> &times; 38&#8536;.</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> 23&#8534; &times; 18-2&#8535;0</dd>
+<dd><span class="smcap">A Young Monk</span>. <abbr title="Signed">S.</abbr> 1660. <abbr title="Canvas">C.</abbr> 32&#8534; &times; 26&#8536;.</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> 56&#8536; &times; 61&#8533;.</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> 23&#8535; &times; 24&#8536;.</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 &times; 19&#8533;.</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> 28&#8536; &times; 21&#8535;.</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> 32&#8536;
+&times; 24&#8536;.</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> 31&#8533; &times; 25&#8533;.</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> 35&#8535; &times; 29&#8533;.</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> 35&#8535; &times; 29&#8533;.</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> 78&#8534;
+&times; 123&#8535;.</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> 25&#8530; &times; 18&#8534;.</dd>
+<dd><span class="smcap">A Young Man</span>. 1643. <abbr title="Canvas">C.</abbr> 42 &times; 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> 33&#8535; &times; 26&#8536;.</dd>
+
+<dt>P. C. HANFORD.</dt>
+<dd><span class="smcap">An Accountant by a Table</span>. <abbr title="Canvas">C.</abbr> 40&#8536; &times; 32.</dd>
+
+<dt>NEW YORK. W. H. BEERS.</dt>
+<dd><span class="smcap">Rembrandt's Father</span>. 1632. <abbr title="Canvas">C.</abbr> 30 &times; 24&#8536;.</dd>
+
+<dt>ROBERT W. DE FOREST.</dt>
+<dd><span class="smcap">Head of a Young Man</span>. 25&frac12; &times; 19&frac12;.</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> 29&#8533;
+&times; 21&#8535;.</dd>
+<dd><span class="smcap">A Woman</span>, aged 87. <abbr title="Signed">S.</abbr> 1640 or 1646. <abbr title="Canvas">C.</abbr> 27&#8535; &times; 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> 30&frac34; &times; 24&frac34;.</dd>
+<dd><span class="smcap">An Old Man</span>. [no. 274.] <abbr title="Signed">S.</abbr> 1665. <abbr title="Canvas">C.</abbr> 27&#8541; &times; 24&#8540;.</dd>
+<dd><span class="smcap">The Mills</span>. [no. 276.] <abbr title="Canvas">C.</abbr> 21&frac12; &times; 26&frac14;.</dd>
+<dd><span class="smcap">The Adoration of the Shepherds</span>. [<abbr title="Gallery Catalogue number">No.</abbr> 278.] <abbr title="Panel">P.</abbr> 24&#8540; &times; <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> 43&frac12; &times; 33&frac12;.</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> 40&#8534;
+&times; 33&#8535;.</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 &times; 29&frac34;.</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 &times; 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> 16&#8536; &times; 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 &times; 20&#8536;.</dd>
+<dd><span class="smcap">Philemon and Baucis</span>. <abbr title="Signed">S.</abbr> 1658. <abbr title="Panel">P.</abbr> 21&#8535; &times; 27&#8535;.</dd>
+
+<dt>PHILADELPHIA. P. A. B. WIDENER.</dt>
+<dd><span class="smcap">Portrait of Saskia</span>. 1633. <abbr title="Panel">P.</abbr> 23&#8535; &times; 18&#8533;.</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> 31&#8534; &times; 26&#8534;.</dd>
+
+<dt>SAN FRANCISCO. WILLIAM H. CROCKER.</dt>
+<dd><span class="smcap">Portrait of a Young Boy</span>. <abbr title="Panel">P.</abbr> 16&#8534; &times; 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> 28&#8536; &times; 20&#8534;.</dd>
+<dd><span class="smcap">Portrait of a Young Woman</span>. <abbr title="Signed">S.</abbr> 1634. <abbr title="Panel">P.</abbr> 28&#8536; &times; 20&#8534;.</dd>
+<dd><span class="smcap">A Man</span>, called Matthys Kalkoen. <abbr title="Signed">S.</abbr> 1632. <abbr title="Canvas">C.</abbr> 44&#8536; &times; 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 &times; 33&#8535;.</dd>
+<dd>"<span class="smcap">The Standard-Bearer</span>." 1662. <abbr title="Canvas">C.</abbr> 56 &times; 58.</dd>
+<dd><span class="smcap">Portrait Called Six</span>. <abbr title="Signed">S.</abbr> <abbr title="Canvas">C.</abbr> 48 &times; 36&#8536;.</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>Act&aelig;on, 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. Andr&eacute;-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. Porg&egrave;s), <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. Porg&egrave;s), <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>(&Eacute;pinal), <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>Ph&#339;nix</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. Porg&egrave;s), <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>&mdash;</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&mdash;<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>"Zeew&aelig;rts-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>
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+<p id="notice_mansell">W. A. MANSELL &amp; 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>
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+<p class="center smcap">Permanent Carbon Prints, Permanent Prints,
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+<p class="franz_title"><small>Private Collections</small></p>
+<p class="center smcap">of</p>
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+<dl class="galleries">
+<dt class="smcap">The Duke of Devonshire.</dt>
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+<dt class="smcap">The Earl of Northbrook.</dt>
+</dl>
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+
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+
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+<p class="center">National Telephone<br />
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+
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+
+End of the Project Gutenberg EBook of Great Masters in Painting: Rembrandt
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+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: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK REMBRANDT VAN RIJN ***
+
+
+
+
+Produced by Thierry Alberto, J�lio Reis, Robert Cicconetti
+and the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+Transcriber's notes:
+
+Text in italics has been marked with _. Text in bold has been marked
+with *. Text in small caps has been marked with =.
+
+This is an ASCII-encoded text. The non-ASCII characters in the original
+text have been represented like this:
+
+  * vowels with umlaut: [a"], [i"], [o"], [O"], [u"], [U"]
+  * vowels with acute: [e'], [E']
+  * vowels with grave: [`e], [`E], [`o]
+  * c with cedilla: [c,]
+  * ligatures: [ae], [AE], [oe], [OE]
+  * multiplication sign: x
+
+
+
+
+The Great Masters in Painting and Sculpture
+
+Edited by G. C. Williamson
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+THE GREAT MASTERS IN PAINTING AND SCULPTURE.
+
+_The following Volumes have been issued, price 5s. net each._
+
+    BERNARDINO LUINI. By =George C. Williamson=, Litt.D., Editor of the
+    Series.
+
+    VELASQUEZ. By =R. A. M. Stevenson=.
+
+    ANDREA DEL SARTO. By =H. Guinness=.
+
+    LUCA SIGNORELLI. By =Maud Cruttwell=.
+
+    RAPHAEL. By =H. Strachey=.
+
+    CARLO CRIVELLI. By =G. McNeil Rushforth=, M.A., Lecturer in
+    Classics, Oriel College, Oxford.
+
+    CORREGGIO. By =Selwyn Brinton=, M.A., Author of "The Renaissance in
+    Italian Art."
+
+    DONATELLO. By =Hope Rea=, Author of "Tuscan Artists."
+
+    PERUGINO. By =G. C. Williamson=, Litt.D.
+
+    SODOMA. By the =Contessa Lorenzo Priuli-Bon=.
+
+    LUCA DELLA ROBBIA. By the =Marchesa Burlamacchi=.
+
+    GIORGIONE. By =Herbert Cook=, M.A., F.S.A.
+
+    MEMLINO. By =W. H. James Weale=, late Keeper of the National Art
+    Library.
+
+    PIERO DELLA FRANCESCA. By =W. G. Waters=, M.A.
+
+    PINTORICCHIO. By =Evelyn March Phillipps=.
+
+    FRANCIA. By =George C. Williamson=, Litt.D.
+
+    BRUNELLESCHI. By =Leader Scott=.
+
+    MANTEGNA. By =Maud Cruttwell=.
+
+    REMBRANDT VAN RIJN. By =Malcolm Bell=.
+
+
+    _In preparation._
+
+    WILKIE. By =Lord Ronald Sutherland-Gower=, M.A., F.S.A., Trustee of
+    the National Portrait Gallery.
+
+    TINTORETTO. By =J. B. Stoughton Holborn=, M.A. of Merton College,
+    Oxford.
+
+    GIOTTO. By =F. Mason Perkins=.
+
+    EL GRECO. By =Manuel B. Cossio=, Litt.D., Ph.D., Director of the
+    Mus[e']e P[e']dagogique, Madrid.
+
+    D[U"]RER. By =Hans W. Singer=, M.A., Ph.D., Assistant Director of
+    the Royal Print Room, Dresden.
+
+    PAOLO VERONESE. By =Roger E. Fry=.
+
+    GAUDENZIO FERRARI. By =Ethel Halsey=.
+
+    _Others to follow._
+
+       *       *       *       *       *
+
+LONDON: GEORGE BELL & SONS
+
+
+
+
+[Illustration: Buckingham Palace, London.
+
+The Ship builder & his wife. (1633)]
+
+
+
+
+REMBRANDT VAN RIJN
+
+BY MALCOLM BELL
+
+AUTHOR OF "SIR EDWARD BURNE-JONES: A RECORD AND REVIEW," ETC.
+
+[Illustration: logo]
+
+LONDON
+
+GEORGE BELL & SONS
+
+1901
+
+
+
+
+PREFACE
+
+
+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.
+
+
+
+
+CONTENTS
+
+
+                                             PAGE
+
+=List of Illustrations=                       vii
+
+=Bibliography=                                 ix
+
+=Chronological Table=                        xiii
+
+
+PART I.--REMBRANDT THE MAN
+
+Chapter I. =Birth and Early Years=              1
+
+       II. =Art Education and Early Works=      8
+
+      III. =Days of Prosperity=                16
+
+       IV. =Days of Decline=                   32
+
+
+PART II.--REMBRANDT THE PAINTER
+
+        V. =Early Years= (1627-1633)           48
+
+       VI. =Time of Prosperity=                61
+
+      VII. =Years of Decline=                  71
+
+
+PART III.--REMBRANDT THE ETCHER
+
+     VIII. =The History of the Etchings=       85
+
+       IX. =The Authentic Etchings=            93
+
+
+=Catalogue of Works=                          117
+
+=Index=                                       157
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                     PAGE
+
+The Shipbuilder and his Wife, 1633, _Frontispiece_
+                                              _Buckingham Palace_
+
+Portrait of Rembrandt's Mother, about 1628            _The Hague_       6
+
+Portrait of Rembrandt's Father, about 1631               _Cassel_      12
+
+Portrait of Saskia, 1632           _Prince Liechtenstein, Vienna_      18
+
+Rembrandt and Saskia, about 1635                        _Dresden_      24
+
+Portrait of Rembrandt, 1640            _National Gallery, London_      28
+
+Portrait of Saskia, 1641                                _Dresden_      30
+
+Portrait of Hendrickje Stoffels, about 1662              _Louvre_      44
+
+Portrait of Rembrandt, about 1664      _National Gallery, London_      46
+
+Portrait called Coppenol, 1631                    _The Hermitage_      54
+
+Portrait of a Man, 1630-1632            _Imperial Museum, Vienna_      56
+
+Portrait of a Woman, 1630-1632          _Imperial Museum, Vienna_      56
+
+The Anatomy Lesson, 1632                              _The Hague_      58
+
+Portrait of Jan Herman Krul, 1633                        _Cassel_      58
+
+The Elevation of the Cross, 1633                         _Munich_      60
+
+Portrait of an Old Woman, 1634         _National Gallery, London_      62
+
+The Burgomaster Pancras and his Wife,
+  about 1635                                  _Buckingham Palace_      62
+
+Portrait of a Man, 1635                _National Gallery, London_      62
+
+Danae, 1636                                       _The Hermitage_      64
+
+Portrait of a Man, 1636            _Prince Liechtenstein, Vienna_      64
+
+Portrait of a Lady, 1636           _Prince Liechtenstein, Vienna_      64
+
+Portrait called Sobieski, 1637                    _The Hermitage_      66
+
+The Man with the Bittern, 1639                          _Dresden_      66
+
+Portrait of Elizabeth Bas, about 1640                 _Amsterdam_      68
+
+Anslo consoling a Widow, 1641                            _Berlin_      68
+
+The Lady with the Fan, 1641                   _Buckingham Palace_      70
+
+Portrait of a Man, 1641                                _Brussels_      70
+
+The Woman taken in Adultery, 1644      _National Gallery, London_      72
+
+A Girl at a Window, 1645                        _Dulwich Gallery_      72
+
+Portrait of a Rabbi, 1645                                _Berlin_      74
+
+A Winter Scene, 1646                                     _Cassel_      74
+
+Christ at Emmaus, 1648                                   _Louvre_      76
+
+John the Baptist preaching, 1656                         _Berlin_      78
+
+The Syndics of the Drapers, 1661                      _Amsterdam_      80
+
+
+_ETCHINGS_
+
+_The Numbers given are those of Bartsch's Catalogue_
+
+Christ healing the Sick (74)                                           86
+
+Clement de Jonghe (272)                                                90
+
+The Three Trees (212)                                                  92
+
+Rembrandt's Mill (233)                                                 98
+
+Beggars at the Door of a House (176)                                  100
+
+The Shell (159)                                                       102
+
+Jan Lutma (276)                                                       106
+
+
+
+
+BIBLIOGRAPHY
+
+
+=Amand-Durand.= "[OE]uvre de Rembrandt reproduit et publi[e'] par." 2
+parts. Paris, 1880.
+
+=Baldinucci, Filippo.= "Cominciamento e progresso dell' arte dell'
+intagliare in rame." Florence, 1686.
+
+=Bartsch, Adam.= "Catalogue raisonn[e'] de toutes les estampes qui
+forment l'[oe]uvre de Rembrandt et ceux de ses principaux imitateurs." 2
+vols. Vienna, 1797.
+
+=Bell, Malcolm.= "Rembrandt van Rijn and his Work." 4to. London, 1899.
+
+=Blanc, Charles.= "L'[oe]uvre complet de Rembrandt, d[e']crit et
+comment[e'] par." Paris, 1864 and 1880.
+
+=Bode, W.= "Studien zur Geschichte der holl[a"]ndischen Malerei."
+Brunswick, 1883.
+
+=Bredius, A.=, and =de Roever, N.= _Oud-Holland._ A magazine published
+at Amsterdam.
+
+=Bredius, A.= "Les chefs-d'[oe]uvre du Mus[e']e royal d'Amsterdam."
+Paris, 1890.
+
+=Bredius, A.= "Die Meisterwerke der K[o"]niglichen Gem[a"]lde Galerie
+im Haag." Munich, 1890.
+
+=Burger, W.= "Les Mus[e']es de Belgique et de Hollande." Paris, 1858,
+1860, and 1862.
+
+=Busken-Huet.= "Het Land van Rembrandt." Harlem, 1886.
+
+=Chalon, John.= Works of Rembrandt, etched by. London, 1822.
+
+=Claussin, Chevalier de.= "Catalogue raisonn[e'] de toutes les estampes
+qui forment l'[oe]uvre de Rembrandt." Paris, 1824.
+
+=Claussin, Chevalier de.= "Suppl[e']ment au Catalogue de Rembrandt."
+Paris, 1828.
+
+=Dargenville.= "Abr[e']g[e'] de la Vie des plus fameux peintres." Paris,
+1745.
+
+=Daulby, Daniel.= "A descriptive catalogue of the works of Rembrandt and
+of his scholars." London and Liverpool, 1796.
+
+=Descamps.= "Vies des peintres flamands et hollandais." Marseilles,
+1840.
+
+=Dyk, J. van.= "Beschryving van alle de Schilderyen op het Stadhuis van
+Amsterdam." Amsterdam, 1758.
+
+=Dutuit, E.= "L'[oe]uvre complet de Rembrandt d[e']crit et catalogu[e']
+par." Paris, 1880.
+
+=Eckhoff.= "La femme de Rembrandt." 1862.
+
+=F[e']libien.= "Entretien sur les Vies et les Ouvrages des plus
+excellents peintres." 1666-1688.
+
+=Fromentin, Eug[`e]ne.= "Les Maitres d'autrefois." Paris, 1877.
+
+=Galland, G.= "Geschichte der holl[a"]ndischen Baukunst und Bildnerei."
+Leipzig, 1890.
+
+=Gersaint.= "Catalogue raisonn[e'] de toutes les pi[`e]ces qui forment
+l'[oe]uvre de Rembrandt." Paris, 1751.
+
+=Hamerton, P. G.= "Etching and Etchers." London, 1868.
+
+=Hamerton, P. G.= Rembrandt's Etchings. Portfolio. London, 1894.
+
+=Havard, Henri.= "L'art et les artistes hollandais." Paris, 1879.
+
+=Hoogstraten, Samuel van.= "Inleyding tot de hooge School der
+Schilderkonst." Rotterdam, 1678.
+
+=Houbraken, Arnold.= "De groote Schoubourgh der nederlandsche
+Kontschilders." Amsterdam, 1718-1719.
+
+=Humphreys, Noel.= Rembrandt's Etchings. London, 1871.
+
+=Huygens, Constantin.= "Autobiographie in[e']dite." Library of the
+Academy of Sciences, Amsterdam.
+
+=Kolloff, [E']douard.= "Rembrandt's Leben und Werke," included in
+_Historisches Taschenbuch_ of von Raumer. Leipzig, 1854.
+
+=Langbehn, Dr.= "Rembrandt als Erzieher." Published anonymously,
+Leipzig, 1890.
+
+=Lemcke, C.= Rembrandt van Rijn, in the _Kunst and K[u"]nstler_,
+Leipzig, 1877.
+
+=Lippmann, F.= Original drawings by Rembrandt reproduced in Phototype.
+London, Berlin, and Paris, 1889-1892.
+
+=Madsen, Karl.= "Studier fra Sverig." Copenhagen, 1892.
+
+=Michel, Emile.= "Rembrandt sa vie, son [oe]uvre et son temps." Paris,
+1893.
+
+=Middleton, C. H.= "Notes on the Etched Work of Rembrandt." London,
+1877.
+
+=Middleton, C. H.= "A descriptive Catalogue of the Etched Work of
+Rembrandt." London, 1878.
+
+=Orlers, J. J.= "Beschryving der Stad Leiden." Leyden, 1641.
+
+=Oud-Holland.= See _Bredius_.
+
+=Piles, R. de.= "Abr[e']g[e'] de la vie des Peintres." 1699.
+
+=Riegel, Herman.= "Beitrage zur niederl[a"]ndischen Kunstgeschichte."
+Berlin, 1882.
+
+=Rovinski, Dmitri.= "L'[oe]uvre grav[e'] de Rembrandt." Reproductions of
+all the states of all the etchings. St. Petersburg, 1890.
+
+=Sandrart, Joachim de.= "Academia nobilissimae artis pictori[ae]."
+Nuremberg, 1675-1683.
+
+=Scheltema, Dr.= "Rembrandt, Discours sur sa vie et son g[e']nie."
+Paris, 1866.
+
+=Schmidt, W.= "Handzeichnungen alter Meister in K[o"]niglichen
+Kupferstich Kabinet zu Munchen. Munich.
+
+=Schneider, L.= "Geschichte der niederl[a"]ndischen Litteratur."
+Leipzig, 1888.
+
+=Seidlitz, von.= "Rembrandt's Radirungen." Published in Zeitschrift
+f[u"]r bildende Kunst. 1892.
+
+=Seymour Haden, Sir Francis.= "Introductory Remarks to the Catalogue of
+the Etched Work of Rembrandt, selected for exhibition at the Burlington
+Fine Arts Club, London, 1877."
+
+=Seymour Haden, Sir Francis.= "L'[oe]uvre grav[e'] de Rembrandt." Paris,
+1880.
+
+=Seymour Haden, Sir Francis.= "The Etched Work of Rembrandt, True and
+False." London, 1895.
+
+=Smith, John.= "Catalogue raisonn[e'] of the Works of the most eminent
+Dutch, Flemish, and French Painters." London, 1829-1842.
+
+=Springer, Anton.= "Bilder aus der neueren Kunstgeschichte. Vol. II.
+Rembrandt und seine Genossen." Bonn, 1886.
+
+=Vosmaer, Charles.= "Rembrandt Hermannsz. Sa vie et ses [oe]uvres."
+Paris and the Hague, 1877.
+
+=Weyerman, J. Campo.= "De Levens Beschryvingen der nederlandsche
+Konstschilders." The Hague, 1749.
+
+=Willigen, van der.= "Les artistes de Harlem." 1870.
+
+=Willshire, W. H.= "An Introduction to the Study and Collection of
+Ancient Prints." London, 1877.
+
+=Wilson, T.= A Descriptive Catalogue of the Prints of Rembrandt.
+Published as by "An amateur." London, 1836.
+
+=Woltmann, A.=, and =Woermann, K.= "Geschichte de Malerei." Leipzig.
+
+=Yver, Pierre.= "Suppl[e']ment au Catalogue raisonn[e'] de MM. Gersaint,
+Helle, et Glomy." Amsterdam, 1756.
+
+
+
+
+CHRONOLOGICAL TABLE
+
+
+------+---------------------+---------------------+---------------------+
+      |    =Events in=      |  =Principal Work=   |     =Important=
+=Year=| =Rembrandt's Life=  |       =Dated=       | =Historical Event=
+------+---------------------+---------------------+---------------------+
+ 1606 |Born July 15th.      |                     |
+      |                     |                     |
+ 1608 |                     |                     |Milton born.
+      |                     |                     |
+ 1609 |                     |                     |Truce between Spain
+      |                     |                     |and Holland.
+      |                     |                     |
+ 1610 |                     |                     |The Colony of Virginia
+      |                     |                     |established.
+      |                     |                     |
+ 1612 |                     |                     |Henry, Prince of
+      |                     |                     |Wales, died.
+      |                     |                     |
+ 1616 |                     |                     |Shakespeare died.
+      |                     |                     |
+ 1618 |                     |                     |Thirty Years' War
+      |                     |                     |began.
+      |                     |                     |
+ 1620 |Entered at Leyden    |                     |The Pilgrim Fathers
+      |University, and later|                     |landed in New England.
+      |Swanenburch's Studio.|                     |
+      |                     |                     |
+ 1622 |                     |                     |Renewal of War with
+      |                     |                     |Spain.
+      |                     |                     |
+ 1623 |Went to Lastman's    |                     |Charles went to Spain.
+      |Studio.              |                     |
+      |                     |                     |
+ 1624 |Returned to Leyden.  |                     |Manhattan founded.
+      |                     |                     |
+ 1625 |                     |                     |Charles I. came to the
+      |                     |                     |throne. Prince
+      |                     |                     |Frederick-Henry became
+      |                     |                     |Stathouder.
+      |                     |                     |
+ 1627 |First known pictures.|St Paul in Prison.   |Expedition to
+      |                     |                     |Rochelle.
+      |                     |                     |
+ 1628 |Gerard Dou became his|Capture of Samson.   |Assassination of
+      |pupil.               |                     |Buckingham.
+      |                     |                     |
+ 1629 |                     |Portrait of Himself  |Charter granted to
+      |                     |(Gotha).             |Massachusetts.
+      |                     |                     |
+ 1630 |His father died.     |Joseph interpreting  |Puritan emigration to
+      |                     |his Dreams.          |New England.
+      |                     |                     |
+ 1631 |Left Leyden for      |Presentation in the  |Dryden born.
+      |Amsterdam.           |Temple.              |
+      |                     |                     |
+ 1632 |Living on the        |The Anatomy Lesson.  |Gustavus Adolphus
+      |Bloemgracht.         |                     |killed at Lutzen.
+      |                     |                     |
+ 1633 |Moved to Saint       |The Shipbuilder and  |Milton's _L'Allegro_
+      |Anthonie's Breestraat|his Wife.            |and _Il Penseroso_.
+      |(about).             |                     |
+      |                     |                     |
+ 1634 |Married on June 22nd.|Descent from the     |The Exchange at
+      |                     |Cross (Hermitage).   |Amsterdam built.
+      |                     |                     |
+ 1635 |Rombertus born.      |Abraham's Sacrifice. |Ben Jonson died.
+      |                     |                     |
+ 1636 |Living in Nieuwe     |Danae.               |
+      |Doelstraat.          |                     |
+      |                     |                     |
+ 1637 |                     |Susannah at the Bath.|Trial of Hampden.
+      |                     |                     |
+ 1638 |Cornelia born.       |Christ and Mary      |Milton's _Lycidas_.
+      |                     |Magdalen.            |
+      |                     |                     |
+ 1639 |Moved to             |Resurrection.        |Massinger died.
+      |Jode-Breestraat.     |                     |
+      |                     |                     |
+ 1640 |His mother died.     |Portrait of Elizabeth|The Long Parliament
+      |                     |Bas.                 |met.
+      |                     |                     |
+ 1641 |Titus born.          |Portrait of Anslo.   |Execution of
+      |                     |                     |Strafford.
+      |                     |                     |
+ 1642 |Saskia died.         |The Night Watch.     |The Civil War began.
+      |                     |                     |
+ 1643 |                     |Bathsheba.           |Death of Hampden.
+      |                     |                     |
+ 1644 |                     |Woman taken in       |The Battle of Marston
+      |                     |Adultery.            |Moor.
+      |                     |                     |
+ 1645 |                     |Holy Family          |Battle of Naseby.
+      |                     |(Hermitage).         |
+      |                     |                     |
+ 1646 |Finished two pictures|Adoration of the     |Charles I. surrendered
+      |for the Stathouder.  |Shepherds.           |to the Scots.
+      |                     |                     |
+ 1647 |An estimate made of  |Susannah and the     |William II. became
+      |Saskia's property.   |Elders.              |Stathouder.
+      |                     |                     |
+ 1648 |                     |Christ at Emmaus.    |Peace of Westphalia.
+      |                     |                     |
+ 1649 |Hendrickje Stoffels  |No dated picture.    |Execution of
+      |first heard of.      |                     |Charles I.
+      |                     |                     |
+ 1650 |                     |Deposition.          |John de Witt became
+      |                     |                     |Grand Pensioner.
+      |                     |                     |
+ 1651 |                     |Noli me tangere.     |Battle of Worcester.
+      |                     |                     |
+ 1652 |Hendrickje's first   |Portrait of          |War between England
+      |daughter born.       |Bruyningh.           |and Holland.
+      |                     |                     |
+ 1653 |Borrowed money in    |Portrait called Van  |Peace restored.
+      |large sums.          |der Hooft.           |
+      |                     |                     |
+ 1654 |Birth of second      |Bathsheba (Louvre).  |Oliver Cromwell,
+      |daughter, Cornelia.  |                     |Lord Protector.
+      |                     |                     |
+ 1655 |                     |Joseph accused by    |Cromwell pensioned
+      |                     |Potiphar's Wife.     |Manasseh ben Israel.
+      |                     |                     |
+ 1656 |Declared bankrupt.   |Parable of Labourers |War between Spain and
+      |                     |in the Vineyard.     |England.
+      |                     |                     |
+ 1657 |Sale of his property |Portrait of Catrina  |Cromwell refused title
+      |ordered.             |Hoogh.               |of King.
+      |                     |                     |
+ 1658 |Pictures, etc., sold.|An Old Woman cutting |Cromwell died.
+      |                     |her Nails.           |
+      |                     |                     |
+ 1659 |                     |Jacob wrestling with |Treaty of the Hague.
+      |                     |the Angel.           |
+      |                     |                     |
+ 1660 |Association formed by|Portrait of Himself  |Charles II. landed at
+      |Hendrickje and Titus.|(Louvre).            |Dover.
+      |                     |                     |
+ 1661 |The last known       |The Syndics.         |Mazarin died.
+      |etching.             |                     |
+      |                     |                     |
+ 1662 |Hendrickje (probably)|No dated picture.    |Charter given to Royal
+      |died.                |                     |Society.
+      |                     |                     |
+ 1663 |                     |Homer.               |
+      |                     |                     |
+ 1664 |Moved to the         |Lucretia.            |War between Holland
+      |Lauriergracht.       |                     |and England.
+      |                     |                     |
+ 1665 |Titus awarded his    |Portrait of a Man    |Plague in London.
+      |property.            |(Metrop. Mus.,       |
+      |                     |New York).           |
+      |                     |                     |
+ 1666 |                     |Portrait of J. de    |Fire of London.
+      |                     |Decker.              |
+      |                     |                     |
+ 1667 |                     |Portrait of an Old   |Peace between England
+      |                     |Man.                 |and Holland.
+      |                     |                     |
+ 1668 |Titus' marriage and  |The Flagellation.    |Alliance between
+      |death.               |                     |Holland, England, and
+      |                     |                     |Sweden.
+      |                     |                     |
+ 1669 |Rembrandt died.      |No dated picture.    |
+------+---------------------+---------------------+---------------------+
+
+
+
+
+REMBRANDT VAN RIJN
+
+
+
+
+CHAPTER I
+
+BIRTH AND EARLY YEARS
+
+
+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?"
+
+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 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."
+
+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.
+
+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 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, _Rembrandt Hermanni Leidensis 14 jare oud_, 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, "_aet._ 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.
+
+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, 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.
+
+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.
+
+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 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.
+
+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.
+
+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 Cornelis, the son of Cl[ae]s, with his son Cl[ae]s, shared
+the other half between them.
+
+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.
+
+[Illustration: [_Bredius Collection, the Hague_
+
+PORTRAIT OF REMBRANDT'S MOTHER
+
+(ABOUT 1628)]
+
+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 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.
+
+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.
+
+
+
+
+CHAPTER II
+
+ART EDUCATION AND EARLY WORKS
+
+
+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.
+
+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 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.
+
+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 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.
+
+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.
+
+That so indefatigable and untiring a worker as 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.
+
+From this time his reputation and that of Lievensz ripened rapidly.
+Arent van Buchel, in his "Res Pictori[ae]," 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.
+
+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 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.
+
+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.
+
+[Illustration: [_Cassel Gallery_
+
+PORTRAIT OF REMBRANDT'S FATHER
+
+(ABOUT 1631)]
+
+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 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, Cl[ae]s 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.
+
+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 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.
+
+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.
+
+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 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."
+
+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.
+
+
+
+
+CHAPTER III
+
+DAYS OF PROSPERITY
+
+
+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.
+
+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
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF SASKIA
+
+(1632)]
+
+Among the less close relations was a cousin Aaltje, who was married to
+Jan Cornelis Sylvius, a minister of 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).
+
+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.
+
+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.
+
+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, 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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+REMBRANDT AND SASKIA
+
+(ABOUT 1635)]
+
+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 artist must then have been at the height of his prosperity and
+fame.
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+The strongest reason for supposing that he was in some financial
+embarrassment is found in his correspondence 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.
+
+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.
+
+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,
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(1640)]
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: [_Dresden Gallery_
+
+PORTRAIT OF SASKIA
+
+(1641)]
+
+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 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.
+
+
+
+
+CHAPTER IV
+
+DAYS OF DECLINE
+
+
+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
+p[ae]ans in the past.
+
+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.
+
+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, 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 Cl[ae]sz, 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.
+
+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, 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.
+
+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 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.
+
+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.
+
+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 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.
+
+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.
+
+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 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 Fran[c,]ois 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.
+
+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.
+
+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.
+
+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 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.
+
+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
+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.
+
+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.
+
+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.
+
+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
+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.
+
+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.
+
+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 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.
+
+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, for we find them again settled down, this time in
+the Rozengracht, in a house opposite a pleasure garden called the
+Doolhof.
+
+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.
+
+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, 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.
+
+[Illustration: [_Louvre, Paris_
+
+PORTRAIT OF HENDRICKJE STOFFELS
+
+(ABOUT 1652)]
+
+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 again commanded to
+refund the 4200 florins, and again appealed.
+
+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.
+
+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 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.
+
+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.
+
+"Tuesday, 8 October, 1669, Rembrandt van Rijn, painter, on the
+Rozengracht, opposite the Doolhof. Leaves two children."
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF REMBRANDT
+
+(ABOUT 1664)]
+
+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 Fran[c,]ois van
+Bylert, acting on behalf of the baby Titia, their respective portions of
+the small inheritance. Fran[c,]ois 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 Fran[c,]ois, 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.
+
+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.
+
+
+
+
+REMBRANDT THE PAINTER
+
+
+
+
+CHAPTER V
+
+EARLY YEARS (1627-1633)
+
+
+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.
+
+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.
+
+The other picture known to belong to this first year, "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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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" (_see_ illustration,
+p. 6). 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.
+
+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
+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.
+
+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
+Andr[e']-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.
+
+Six out of the seventeen pictures attributed to 1630 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, but known, for some
+mysterious reason as, "The Countess of Desmond," may be mentioned.
+
+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.
+
+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.
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED COPPENOL
+
+(1631)]
+
+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
+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.
+
+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].
+
+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=C.=], 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.
+
+Once satisfactorily established in Amsterdam, Rembrandt 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.
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A MAN
+
+(1630-1632)]
+
+[Illustration: [_Imperial Museum, Vienna_
+
+PORTRAIT OF A WOMAN
+
+(1630-1632)]
+
+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
+[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."
+
+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."
+
+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.
+
+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.
+
+[Illustration: [_The Hague_
+
+THE ANATOMY LESSON
+
+(1632)]
+
+[Illustration: [_Cassel_
+
+PORTRAIT OF JAN HERMAN KRUL
+
+(1633)]
+
+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 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.
+
+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. L[e']on 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 D[u"]sseldorf,
+were transferred to Munich.
+
+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 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.
+
+[Illustration: [_Munich Gallery_
+
+THE ELEVATION OF THE CROSS
+
+(1633)]
+
+
+
+
+CHAPTER VI
+
+TIME OF PROSPERITY (1634-1642)
+
+
+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 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.
+
+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 (_see_
+illustration, p. 24). The other, at Buckingham Palace, long known as
+"The Burgomaster Pancras and his Wife," is less certain.
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF AN OLD WOMAN
+
+(1634)]
+
+[Illustration: [_Buckingham Palace_
+
+THE BURGOMASTER PANCRAS AND HIS WIFE
+
+(ABOUT 1635)]
+
+[Illustration: [_National Gallery, London_
+
+PORTRAIT OF A MAN
+
+(1635)]
+
+Apart from these, there are nine dated portraits, 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 "Act[ae]on, 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 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.
+
+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].
+
+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 Sch[o"]nborn 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.
+
+[Illustration: [_The Hermitage_
+
+DANAE
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A MAN
+
+(1636)]
+
+[Illustration: [_Liechtenstein Gallery, Vienna_
+
+PORTRAIT OF A LADY
+
+(1636)]
+
+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 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].
+
+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 angel is concerned, led him to the border-line between the
+ungraceful and the ridiculous.
+
+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].
+
+[Illustration: [_Hermitage, St. Petersburg_
+
+PORTRAIT CALLED SOBIESKI
+
+(1637)]
+
+[Illustration: [_Dresden Gallery_
+
+THE MAN WITH THE BITTERN
+
+(1639)]
+
+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 Porg[`e]s, for "The
+Slaughter-house," belonging to Herr Georg Rath, is a study rather than a
+picture; 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].
+
+There are six pictures dated 1640--four subjects and two portraits--one
+of himself in the National Gallery [No. 672], (_see_ ill., p. 28), 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.
+
+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 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].
+
+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].
+
+[Illustration: [_Amsterdam Gallery_
+
+PORTRAIT OF ELIZABETH BAS
+
+(ABOUT 1640)]
+
+[Illustration: [_Berlin_
+
+ANSLO CONSOLING A WIDOW
+
+(1641)]
+
+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 to M. Jules
+Porg[`e]s 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].
+
+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.
+
+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.
+
+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
+his positions with an impartial hand, and a comically stiff and formal
+collection of effigies was often the result.
+
+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.
+
+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.
+
+[Illustration: [_Buckingham Palace_
+
+THE LADY WITH THE FAN
+
+(1641)]
+
+[Illustration: [_Brussels Gallery_
+
+PORTRAIT OF A MAN
+
+(1641)]
+
+
+
+
+CHAPTER VII
+
+YEARS OF DECLINE (1643-1658)
+
+
+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.
+
+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.
+
+[Illustration: [_National Gallery, London_
+
+THE WOMAN TAKEN IN ADULTERY
+
+(1644)]
+
+[Illustration: [_Dulwich Gallery_
+
+A GIRL AT A WINDOW
+
+(1645)]
+
+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=A=], 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 of Himself,"
+at Buckingham Palace, which, though the last figure of the date is
+wanting, was, in all likelihood, a work of that year.
+
+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.
+
+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].
+
+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 Berlin Gallery [No. 828=E=]. Two undated studies also belong to
+about that time, a small head and shoulders of "Susannah," belonging to
+M. L[e']on 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+PORTRAIT OF A RABBI
+
+(1645)]
+
+[Illustration: [_Cassel Gallery_
+
+A WINTER SCENE
+
+(1646)]
+
+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 Porg[`e]s' "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 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 Porg[`e]s, 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.
+
+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].
+
+The next two years are very deficient in dated 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.
+
+[Illustration: [_Louvre, Paris_
+
+CHRIST AT EMMAUS
+
+(1648)]
+
+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=A=], "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" 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=E=], and one in
+the Hermitage [No. 794], for "The Flight into Egypt," at Buda-Pesth,
+though belonging to the period, is undated.
+
+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 Andr[e']-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 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=K=]. 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.
+
+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.
+
+[Illustration: [_Royal Museum, Berlin_
+
+JOHN THE BAPTIST PREACHING
+
+(1656)]
+
+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 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."
+
+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.
+
+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 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].
+
+[Illustration: [_Amsterdam Gallery_
+
+THE SYNDICS OF THE DRAPERS
+
+(1661)]
+
+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 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.
+
+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 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 [E']pinal; 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].
+
+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=B=] (_see_ ill., p. 44).
+
+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. L[e']on Gauchez of Paris, but "The Unmerciful Servant,"
+in the Wallace collection, and the "Portrait of Himself," in the
+National Gallery [No. 221] (_see_ ill., p. 46), belong to about that
+time. One, a "Portrait of an Old Man," in the 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.
+
+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.
+
+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.
+
+There is still a considerable number of pictures to which no very
+approximate date can be assigned, but 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.
+
+
+
+
+REMBRANDT THE ETCHER
+
+
+
+
+CHAPTER VIII
+
+HISTORY OF THE ETCHINGS
+
+
+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.
+
+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 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.
+
+[Illustration: CHRIST HEALING THE SICK. (B. 74)
+
+(1649-50)]
+
+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 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.
+
+The numerous other portraits, the four illustrations to Manasseh ben
+Israel's work, _Piedra Gloriosa_, and that to _Der Zeev[ae]rts-Lof_,
+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.
+
+When we have recalled the partnership formally 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.
+
+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.
+
+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.
+
+Others, again, would be given to fellow-artists, such 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 _Groote Schilderboek_, 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.
+
+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, 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.
+
+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 "Suppl[e']ment," 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.
+
+[Illustration: CLEMENT DE JONGHE. (B. 272)
+
+(1651)]
+
+There is no doubt that Bartsch was too generous in 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.
+
+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, 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.
+
+[Illustration: THE THREE TREES. (B. 212)
+
+(1643)]
+
+
+
+
+CHAPTER IX
+
+THE AUTHENTIC ETCHINGS
+
+
+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.
+
+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 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.
+
+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.
+
+He was again his own model twice in 1631--one, 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.
+
+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 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).
+
+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.
+
+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 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.
+
+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.
+
+[Illustration: REMBRANDT'S MILL (B. 233)
+
+(1641)]
+
+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 with figures,
+called "The Shepherd and his Family" (B. 220).
+
+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.
+
+The next few years are singularly devoid of dated etchings. There are
+three from 1646--a small sketch 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.
+
+[Illustration: BEGGARS AT THE DOOR OF A HOUSE. (B. 176)
+
+(1648)]
+
+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 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.
+
+[Illustration: THE SHELL (B. 159)
+
+(1650)]
+
+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" (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.
+
+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.
+
+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 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.
+
+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.
+
+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 the figures are clumsily and unpleasantly thrown into
+relief by a band of shadow closely following their outlines in very
+na[i"]ve 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
+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.
+
+1655 saw Rembrandt employed once more as an illustrator, the book being
+one entitled "Piedra gloriosa [`o] 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 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."
+
+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.
+
+[Illustration: JAN LUTMA. (B. 276)
+
+(1656)]
+
+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).
+
+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.
+
+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 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.
+
+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."
+
+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,
+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).
+
+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.
+
+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 _Life_;
+and one of Jacob Haring (B. 274), known as "The Old Haring."
+
+There are nine scripture subjects of the period, two 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
+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.
+
+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" (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 Ph[oe]nix" (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.
+
+
+DISPUTED ETCHINGS AND DRAWINGS
+
+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 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.
+
+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 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.
+
+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. 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.
+
+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.
+
+
+
+
+CATALOGUE OF WORKS
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY HANG
+
+    _The following abbreviations are used in this list.--S. = signed, C.
+    = canvas, P. = panel._
+
+    _Where a number is given, thus_ [No. 6], _it is the number of the
+    Catalogue of the Gallery. The dates given must in some cases be
+    accepted as approximate only._
+
+
+  AUSTRIA-HUNGARY
+
+  BUDA-PESTH, ACADEMY.
+    =Portrait of an Old Man with a white beard=. S. 1640. P. 28-2/5 x
+      21-4/5. [No. 235.]
+    =Repose of the Holy Family=. 1655.
+
+  COLLECTION OF COUNT J. ANDRASSY.
+    =Portrait of Himself=. S. 1630. P. 19-3/5 x 15-1/5.
+
+  COLLECTION OF MR GEORGE VON RATH.
+    =Mountain Landscape=. S. 1638. P. 22 x 28-3/5.
+    =Slaughtered Ox=. S. 1639. P. 21-1/5 x 17-1/5.
+    =Portrait of a Woman=. S. 1660. P. 29-2/5 x 20-2/5.
+
+  CRACOW, CZARTORYSKI MUSEUM.
+    =Landscape=. S. 1638. P. 17-3/4 x 25-1/4.
+
+  INNSBRUCK, FERDINANDEUM.
+    =Head of an Old Man=. S. 1630. P. 8-4/5 x 6-4/5.
+
+  PRAGUE. COUNT NOSTITZ.
+    =An Old Man=. S. 1634. C. 58 x 54. [No. 269.]
+
+  TARNOWITZ, GALICIA. COUNT TARNOWSKI.
+    =Polish Horseman=. 1655. C. 46 x 53-2/5.
+
+  VIENNA, ACADEMY.
+    =Portrait of a Young Woman=. S. 1632. C. 39-1/5 x 28-4/5.
+
+  COUNT K[O"]NIGSWARTER.
+    =Portrait of Rembrandt=. S. 1640. C. 23 x 17-1/2.
+
+  PRINCE LIECHTENSTEIN.
+    =Portrait of Saskia=. S. 1632. P. 23-3/5 x 17-3/5.
+    =Young Girl at her Toilet=, called the Jewish fianc[e']e. S. 1632.
+      C. 43-1/5 x 37-1/5.
+    =Portrait of Rembrandt=. S. 1635. C. 36-4/5 x 28-4/5.
+    =Portrait of a Man=. S. 1636.
+    =Portrait of a Woman=. Companion to above. S. 1636.
+
+  PRINCE LUBOMIRSKI.
+    =Study of Rembrandt with his Mouth open=. 1629.
+      P. 17-3/5 x 13-1/5.
+
+  FRANZ XAVIER MEYER.
+    =A Philosopher reading by Candlelight=. 1627. Copper,
+      5-3/5 x 5-3/5. A very doubtful picture.
+
+  IMPERIAL MUSEUM.
+    =Portrait of a Man=. 1630. P. 36-2/5 x 28. [No. 1139.]
+    =Portrait of a Woman=. P. 36-2/5 x 28. [No. 1140.]
+    =St Paul=. 1636. C. 50-2/5 x 44.
+    =Portrait of Rembrandt's Mother=. S. 1639. P. 32 x 24-4/5.
+      [No. 1141.]
+    =Portrait of Himself=. 1658. C. 45-1/5 x 32-2/5. [No. 1142.]
+    =Young Man Singing=. 1658. C. 28-2/5 x 28-4/5. [No. 1144.]
+    =Portrait of Himself=. S. 1668. P. 20 x 16-2/5. [No. 1143.]
+
+  COUNT SCH[O"]NBORN-BUCHHEIM.
+    =Samson captured by the Philistines=. S. 1636. C. 95-1/5 x 114-4/5.
+
+  A. STRASSER.
+    =Study of an Angel=. 1655. P. 10-2/5 x 9-2/5.
+
+
+  BELGIUM
+
+  ANTWERP, MUSEUM.
+    =Portrait of Henry Swalm=, known as "Portrait of a Burgomaster."
+      S. 1637. C. 55-3/5 x 43-3/5. [No. 705.]
+    =The Young Fisher=. S. 1659. P. 9-1/3 x 7-1/5 [No. 294.]
+    =Saskia=. C. 44-4/5 x 33-3/5. [No. 293.]
+    =Portrait of an Old Jew=. P. 9-1/3 x 7-3/5. [No. 295.]
+
+  BRUSSELS, DUC D'ARENBERG.
+    =Tobias curing his Father's Blindness=.  S. 163--.  P. 19-1/5 x
+      15-3/5.
+
+  COUNT MERODE-WESTERLOO.
+    =St Peter repenting in Prison=.  S. 1631.  P. 23-2/5 x 19-1/5.
+
+  MUSEUM.
+    =Portrait of a Man=. S. 1641. C. 42 x 33-1/5. [No. 397.]
+    =Portrait of an Old Woman=. S. 1654. P. 27-3/5 x 28. [No. 397a.]
+
+
+  BRITISH ISLES
+
+  LONDON. NATIONAL GALLERY.
+    =Portrait of an Old Woman=. S. 1634. P. 27 x 21. [No. 775.]
+    =Portrait of a Man=. S. 1635. C. 30-1/8 x 22-1/2. [No. 850.]
+    =Ecce Homo=. Grisaille. 1636. C. 21-3/8 x 17-3/4. [No. 1400.]
+    =Portrait of Rembrandt=. S. 1640. C. 39 x 31-1/2. [No. 672.]
+    =The Woman taken in Adultery=. S. 1644. P. 32-1/2 x 25-1/2. [No. 45.]
+    =Adoration of the Shepherds=. S. 1646. C. 25 x 22. [No. 47.]
+    =A Woman Bathing=. S. 1654. P. 24 x 18-1/4. [No. 54.]
+    =Portrait of a Rabbi=. S. 1657(?). C. 30 x 26. [No. 190.]
+    =Portrait of an Old Man=. S. 1659. C. 39 x 32-3/4. [No. 243.]
+    =Portrait of a Monk=. 1660. C. 34-1/2 x 25-1/2. [No. 166.]
+    =Portrait of Rembrandt=. 1664. C. 33 x 27-1/2. [No. 221.]
+    =Portrait of a Woman=. S. 1666. C. 26-1/4 x 23-1/4. [No. 237.]
+    =Portrait of a Jew Merchant=. C. 53 x 41. [No. 51.]
+    =Landscape=. P. 22 x 34. [No. 72.]
+    =Christ taken down from the Cross=. P. 13 x 11. [No. 43.]
+    =Portrait of a Burgomaster=. C. 50-1/2 x 38. [No. 1674.]
+    =Portrait of an Old Lady=. C. 50-1/2 x 38. [No. 1675.]
+
+  HERTFORD HOUSE COLLECTION.
+    =Portrait of Burgomaster Pellicorne and his Son Caspar=. S. 1632.
+      C. 61 x 48.
+    =Suzanna van Collen, Wife of Pellicorne, and her Daughter=. S. 1632.
+      C. 61 x 48-1/4.
+    =The Good Samaritan=. 1632. P. 9-3/4 x 8.
+    =Portrait of a Boy=. S. 1633. Copper, 8 x 6-3/4.
+    =Portrait of Himself=. S. 1633-1635. P. 26 x 20.
+    =Portrait of a Young Negro=, known as the Black Archer. Oval. 1640.
+      P. 26 x 20.
+    =Landscape=. 1640. P. 18 x 25.
+    =Portrait of Himself=. S. 1640. P. 25 x 19-1/4.
+    =Portrait of Himself=. 1660. 8-1/2 x 6.
+    =Portrait of Titus=. 1658. C. 26-1/2 x 22.
+    =The Unmerciful Servant=. 1664. C. 70-1/2 x 86-1/4.
+
+  BUCKINGHAM PALACE.
+    =The Shipbuilder and his Wife=. S. 1633. C. 44 x 65. [No. 16.]
+    =The Burgomaster Pancras and his Wife=. Called Rembrandt and Saskia.
+      S. 1635. C. 60 x 77. [No. 30.]
+    =Christ and Mary Magdalene at the Tomb=. S. 1638. P. 23-1/2 x 19-1/2.
+      [No. 41.]
+    =Portrait of a Lady=. S. 1641. C. 41 x 33. [No. 162.]
+    =Portrait of Rembrandt=. S. 164--. P. 27 x 23. [No. 174.]
+    =The Adoration of the Magi=. S. 1657. P. 48 x 40-1/2. [No. 154.]
+    =A Jewish Rabbi=. C. 30 x 38-7/8. [No. 131.]
+
+  HAMPTON COURT.
+    =Portrait of a Rabbi=. S. 1635. P. 28 x 24. [No. 381.]
+
+  EDINBURGH. NATIONAL GALLERY.
+    =A Young Woman in Bed=. S. 1650. P. 32 x 26-1/2.
+
+  DUBLIN. NATIONAL GALLERY.
+    =Portrait of a Young Man=. Said to be Louis van der Linden. 1631.
+      P. 27 x 21-1/2.
+    =Shepherds reposing at Night=. S. 1647. P. 13-1/2 x 19. [No. 115.]
+    =Descent From the Cross=. S. 1650. C. 70 x 77-1/2. Lent by the Duke of
+      Abercorn.
+    =Portrait of an Old Man=. S. P. 24 x 18. [No. 48.]
+
+  GLASGOW. CORPORATION GALLERIES.
+    =The Slaughter-house=. S. 16--. P. 28 x 20. [No. 707.]
+    =Tobias and the Angel=. 1654. P. 29-1/2 x 26. [No. 705.]
+    =A Man in Armour=. S. 1655. C. 53-1/2 x 40-1/2. [No. 706.]
+    =The Painter's Study=. P. 20 x 24. [No. 709.]
+    =Jeremiah mourning over the Destruction of Jerusalem=. C. 15-1/2 x 12.
+      [No. 714.]
+    =Study of an Old Man=. P. 9 x 8. [No. 711.]
+    =Portrait of Rembrandt=. P. 26 x 20. [No. 710.]
+
+  HUNTERIAN MUSEUM.
+    =Entombment=. 1634. P. 12-4/5 x 16.
+
+  CAMBRIDGE. FITZWILLIAM MUSEUM.
+    =Portrait of Rembrandt=. S. 1650. C. 54 x 46-2/5. [No. 152.]
+
+  DULWICH COLLEGE.
+    =A Young Man=. S. 1632. P. 11-1/4 x 9. [No. 189.]
+    =A Young Girl at a Window=. S. 1645. C. 31 x 25. [No. 206.]
+
+  WINDSOR CASTLE.
+    =A Young Man=. S. 1631. P. 25 x 19.
+    =An Old Woman=, known as the Countess of Desmond.
+      1631. P. 23-1/2 x 18.
+
+  ALTHORP PARK. THE EARL SPENCER, K.G.
+    =A Boy=, formerly called a portrait of William III. P. 1660.
+      C. 24-1/2 x 21.
+    =Woman with Flowers=. 1660. C. 38 x 35-1/2.
+    =The Circumcision=. P. 1661. C. 21-1/2 x 28-1/2.
+    =Rembrandt's Mother=. C. 56 x 39.
+
+  ASHRIDGE PARK. THE EARL BROWNLOW.
+    =Portrait of a Jew=. S. 1632. P. 27 x 23.
+    =Portrait of a Man=, said to be Peter Cornelius van
+      Hooft, the poet. S. 1653. C. 55 x 52-1/2.
+    =Isaac and Esau=. P. 22-1/2 x 27.
+    =Landscape=. A very doubtful picture. P. 8 x 9-1/2.
+    =Portrait of an Old Woman=. C. 29-1/2 x 24-1/2.
+
+  BASILDON PARK. CHARLES MORRISON.
+    =Portrait of a Young Woman=, called Rembrandt's daughter. S. 1665.
+      C. 39-1/2 x 33.
+
+  BELVOIR CASTLE. DUKE OF RUTLAND.
+    =A Young Man=. S. 1660. C. 31 x 26-1/2.
+
+  BOWOOD. MARQUESS OF LANSDOWNE.
+    =The Mill=. 1654. C. 34 x 40-1/2.
+
+  BRIGHTON. WILLIAM CHAMBERLIN.
+    =Portrait of a Man-at-Arms=. S. P. 26 x 20.
+
+  BROOM HALL, DUNFERMLINE. LORD ELGIN.
+    =Portrait of Saskia=. S. 1633. P. 26 x 19-1/5.
+
+  CANFORD MANOR, WIMBORNE. LORD WIMBORNE.
+    =St Paul=. S. 1658.
+    =Portrait of a Man=. 1660.
+
+  CASTLE HOWARD. THE EARL OF CARLISLE.
+    =Portrait of a Young Artist drawing=. S. 164--. Life-size. 1648.
+
+  CHATSWORTH. DUKE OF DEVONSHIRE, K.G.
+    =Portrait of a Rabbi=. S. 1635. P. 40 x 31-1/2.
+
+  DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.
+    =The Cradle=. 1643-1645. P. 24 x 30-1/2.
+    =Portrait of a Man=, known as "Rembrandt's Cook." S. 1661. C. 34
+      x 29-1/2.
+    =The Holy Family=. P. 30 x 25.
+
+  DRAYTON MANOR. SIR ROBERT PEEL.
+    =The Finding of Moses=. 1635. C. oval, 18-4/5 x 23-3/5.
+
+  DUNCOMBE PARK. THE EARL OF FEVERSHAM.
+    =A Merchant=. S. 1659. C. 45 x 38.
+
+  EDINBURGH. ARTHUR SANDERSON.
+    =His Mother in a Hood=. 1630. P. 14-2/5 x 12-1/5.
+    =Portrait of an Old Woman=. S. 1635. C. 51-3/5 x 39-3/5.
+
+  RICHARD SAUNDERSON (in 1836).
+    =Abraham receiving the Angels=.
+
+  GLASGOW. WILLIAM BEATTIE.
+    =Study of Himself=. 1629. P. 10-1/5 x 8-3/5.
+
+  GOSFORD HOUSE. EARL OF WEMYSS AND MARCH.
+    =A Monk reading=. S. 1660. C. 29 x 24.
+
+  THE GRANGE, ALRESFORD. LORD ASHBURTON.
+    =Portrait of a Man=. 1635. P. 30 x 25.
+    =Portrait of an Old Man=. 1637. C. 48 x 37-1/2.
+    =Portrait of Lieven Willemsz van Coppenol=. About 1650. P. 14 x 11.
+    =Portrait of Rembrandt=. About 1658. C. 30 x 25-1/2.
+    =Portrait of a Man=, said to be Cornelius Jansenius. P. 32 x 26.
+
+  GRITTLETON. SIR A. D. NEELD, =Bart.=
+    =Portrait of Rembrandt=. S. 1660. C. 23-1/2 x 20.
+    =Portrait of a Burgomaster=. S. P. 15 x 12.
+
+  HINTON ST GEORGE. THE EARL POULETT.
+    =Portrait of a Boy=. S. 1628.
+
+  KEDDLESTON HALL. REV. LORD SCARSDALE.
+    =Portrait of an Old Man=. S. 1645. C. 34 x 27.
+
+  KNOWSLEY HALL. THE EARL OF DERBY, K.G.
+    =The Feast of Belshazzar=. 1636. Doubtful Rembrandt.
+      C. 65 x 81-1/2.
+
+  LONDON. W. C. ALEXANDER.
+    =Rembrandt's Mother=. 1628. P. 8-3/4 x 6-3/4.
+    =The Painter's Sister=. Doubtful. C. 27 x 20-1/2.
+
+  WENTWORTH B. BEAUMONT.
+    =The Tribute Money=. S. 1645. C. 25 x 33-1/2.
+
+  ALFRED BEIT.
+    =St Francis Praying=. S. 1637. P. 23-1/5 x 18-4/5.
+    =Portrait of a Young Man=. 1660. C. 40 x 32-1/2.
+
+  R. B. BERENS.
+    =Portrait of the Painter=. An early work. P. 24 x 18
+
+  BRIDGEWATER HOUSE. EARL OF ELLESMERE.
+    =A Young Woman=, aged 18. S. 1634. P. 27-1/2 x 21.
+    =A Young Woman=. Oval. 1635.
+    =Portrait of a Burgomaster=, or, a Minister. S. 1637.
+      C. 52 x 38.
+    =Hannah hearing the Young Samuel repeat his Prayers=.
+      S. 1648. P. 16 x 18.
+    =Study of an Old Man=. 1655.
+    =Portrait of Rembrandt=. S. 165--. C. 26-1/2 x 20-3/4.
+
+  MONTAGUE HOUSE. DUKE OF BUCCLEUCH, K.G.
+    =Portrait of Saskia=. S. 1633. C. 48-1/2 x 38-1/2.
+    =Portrait of an Old Woman=. S. 1655. C. 31-1/2 x 26.
+    =Portrait of Rembrandt=. S. 1659. C. 31 x 25-1/2.
+
+  BARONESS BURDETT-COUTTS.
+    =A Forest Scene=. P. 16 x 14.
+
+  W. C. CARTWRIGHT.
+    =Dead Peacocks=. S. 1640. C. 54 x 50-1/2.
+
+  THE EARL OF CRAWFORD, K.G.
+    =Portrait of Titus=. S. 1655. C. 29-1/2 x 24-1/2.
+
+  THE EARL OF DERBY, K.G.
+    =A Rabbi=. S. 1635. P. 28 x 21.
+    =Joseph's Coat=. 1647. C. 48 x 38.
+
+  DEVONSHIRE HOUSE. THE DUKE OF DEVONSHIRE, K.G.
+    =An Old Man=. S. 1651. C. 28-1/2 x 25.
+    =An Old Man=. S. 1652. C. 43 x 34.
+
+  GEORGE C. W. FITZWILLIAM.
+    =Portrait of a Man=. 1632. P. 22-1/2 x 18-1/2.
+
+  F. FLEISCHMANN.
+    =Rembrandt's Father=. S. 1631. P. 23 x 19-1/2.
+
+  ALEXANDER HENDERSON.
+    =Burgomaster Six=. 1655. C. 36-1/2 x 29.
+    =Portrait of his Wife, Margaretha, Daughter of Dr. Tulp=. S. 1655. P.
+      36-1/2 x 29.
+
+  CAPTAIN HEYWOOD-LONSDALE.
+    =Portrait of Rembrandt=. S. 1635 or 8. P. 25 x 20.
+
+  DORCHESTER HOUSE. CAPTAIN G. L. HOLFORD.
+    =Martin Looten=. S. 1632. P. 36 x 29-1/2.
+    =A Man with a Sword=. S. 1644. C. 39 x 34.
+    =Portrait of a Lady=, incorrectly called the wife of Jan Sylvius.
+      1645. C. 49 x 40.
+    =Portrait of Titus=. S. 1660. C. 29 x 24-1/2.
+
+  LORD FRANCIS PELHAM HOPE. (Collection sold in 1898.)
+    =A Lady and Gentleman=. S. 1633. C. 51 x 42.
+    =The Ship of St Peter=. S. 1635. C. 63 x 50.
+
+  THE EARL OF HOPETOUN.
+    =Rembrandt's Mother=. Oval. P. 27 x 21.
+
+  R. W. HUDSON.
+    =An Old Man=. S. 1635. P. 26-4/5 x 21-3/5.
+
+  THE EARL OF ILCHESTER.
+    =Portrait of Rembrandt=. S. 1658. C. 51-1/2 x 40.
+
+  VICTORIA AND ALBERT MUSEUM.
+    =Abraham dismissing Hagar and Ishmael=. S. 1640. P. 15 x 20-1/2.
+
+  LORD IVEAGH.
+    =Portrait of a Woman=. S. 1642. C. 42 x 36.
+    =Portrait of Rembrandt=. 1663. C. 45 x 37-1/2.
+
+  MRS JOSEPH.
+    =Portrait of Saskia=. S. 1636. P. 26 x 20-1/2.
+
+  LESSER (1893).
+    =Portrait of an Old Woman=. S. 1635. C.
+
+  COLONEL LINDSAY (1893).
+    =Portrait of a Very Old Woman=. S. 1660. C. 30 x 25-2/5.
+
+  MRS ALFRED MORRISON.
+    =Portrait of Dr Bonus=. S. 1642. C. 41 x 30.
+
+  DUKE OF NEWCASTLE.
+    =Portrait of an Orator=. C. 37-1/2 x 29-1/2.
+
+  THE EARL OF NORTHBROOK.
+    =Landscape=. 1640. P. 8-1/2 x 11.
+    =Portrait of an Old Man=. S. 1667. C. 27 x 22-1/2.
+
+  LORD PENRHYN.
+    =Portrait of Catrina Hoogh=. S. 1657. C. 49-1/2 x 38-1/2.
+
+  JAMES REISS
+    =Landscape=. P. 11-1/2 x 16.
+
+  MRS OWEN ROE.
+    =Portrait of a Man=. C. 40 x 33.
+
+  LADY DE ROTHSCHILD.
+    =Portrait of Rembrandt=. S. 1656. C. 35 x 28.
+
+  EDWARD H. SCOTT.
+    =Rembrandt's Father's Mill=. C. 32-1/2 x 42.
+
+  COLONEL STERLING.
+    =Portrait of a Man=. C. 23 x 17.
+
+  STEPHEN TUCKER.
+    =The Angel departing from Tobit=. P. 25-1/2 x 19-1/2.
+
+  SIR CHARLES TURNER.
+    =Portrait of a Girl=. 1650. P. 8-2/5 x 7-1/5.
+
+  LORD WANTAGE.
+    =Portrait of an Old Woman=. S. 1661. C. 29-1/2 x 25.
+
+  T. HUMPHRY WARD.
+    =An Old Man=. 1630 or 1658. C. 20 x 14-3/4.
+    =A Young Man=. S. 1646. C. 28 x 23.
+    =The Dismissal of Hagar=. P. 26 x 22-1/2.
+
+  GROSVENOR HOUSE. DUKE OF WESTMINSTER, K.G.
+    =The Salutation=. [No. 33.] S. 1640. P. 22 x 18-1/2.
+    =Portrait of a Gentleman with a Hawk=. [No. 14.] S. 1643. C. 44
+      x 37-1/2.
+    =A Lady with a Fan=. [No. 15.] S. 1643. C. 44 x 37-1/2.
+    =Portrait of Nicholas Berchem=. [NO. 19.] S. 1647. Cedar panel,
+      28-1/2 x 25-1/2.
+    =Portrait of his Wife=. [No. 20], the daughter of Jan Wils. S. 1647.
+      Cedar panel, 28-1/2 x 25.
+    =Portrait of Rembrandt=. P. 15-1/2 x 11-1/2.
+    =Landscape=. [No. 83.] P. 39 x 61.
+
+  HENRY WILLETT.
+    =Portrait of a Man=. P. 20 x 17.
+
+  SIR MATTHEW WILSON.
+    =Portrait of a Lady=. Oval. P. 27 x 21.
+
+  THE EARL OF YARBOROUGH.
+    =Portrait of an Old Lady=. 1637. P. 40-1/2 x 35.
+
+  NEW HALL, BODENHAM. ALFRED BUCKLEY.
+    =Sketch of a Man's Head=. P. 9 x 7.
+
+  PANSHANGER. THE EARL COWPER, K.G.
+    =Portrait of a Man=. S. 1644. C. 44-1/2 x 42.
+    =Portrait of Marshal Turenne=. 1649. C. 113 x 94.
+    =Head of a Man=. P. 12-1/2 x 9-1/2.
+
+  PETWORTH. LORD LECONFIELD.
+    =Portrait of the Painter's Sister=. S. 1631. P. 25 x 18-1/2.
+    =Portrait of Rembrandt=. S. 1632. Oval. P. 25 x 18-1/2.
+    =Portrait of a Lady=. S. 1635. C. 49 x 39-1/2.
+    =Portrait of a Youth=. S. 1666. C. 29 x 24.
+    =Girl with a Rosebud=. S. P. 32 x 25.
+
+  RICHMOND. THE EXECUTORS OF THE LATE SIR FRANCIS COOK.
+    =The Painter's Sister=. S. 1632. Oval. P. 27 x 21.
+    =Portrait of Alotte Adriaans, Wife of Elias Van Trip=. S. 1639.
+      P. 25-1/2 x 22.
+    =Tobit and His Wife=.  S. 1650.  P. 16-1/4 x 21-1/4.
+    =Study of an Old Man=. P. 13-1/2 x 10-1/2.
+    =The Prodigal Son=. S. 1634. A very doubtful picture. C. 51 x 66.
+
+  ROSSIE PRIORY, INCHTURE, PERTHSHIRE. LORD KINNAIRD.
+    =Portrait of a Young Woman=. S. 1636.
+    =Portrait of Rembrandt=. S. 1661. C. 36 x 30.
+
+  WELBECK ABBEY, NOTTS. DUKE OF PORTLAND.
+    =Head of a Boy=. S. 1634. P. 17 x 14.
+
+  WILTON HOUSE. THE EARL OF PEMBROKE.
+    =An Old Woman Reading=. S. 1631. C. 29 x 24.
+
+  WOBURN ABBEY. DUKE OF BEDFORD.
+    =Portrait of an Old Man=. 1632.
+    =Portrait of Rembrandt=. 1635. C. 34-1/2 x 30-1/2.
+
+  PRESENT OWNERS UNKNOWN.
+    =Portrait of a Saint=. S. 1635. C. 43 x 38.
+    =Portrait of a Lady=. P. 29-1/2 x 23.
+    =Landscape=. C. 14 x 18-1/2.
+
+
+  DENMARK.
+
+  COPENHAGEN. NEW CARLSBERG GLYPTOTEK.
+    =Man Reading=. 1645. C. 24-1/2 x 28.
+
+  COUNT MOLTKE.
+    =Portrait of an Old Woman=. [NO. 32.] 1654. C.
+
+  COPENHAGEN. MUSEUM.
+    =Christ at Emmaus=. [No. 292.] S. 1648. C. 33-1/2 x 42-1/2.
+    =Portrait of a Young Man=. [No. 273.] S. 1656. C.
+      29 x 25.
+    =Portrait of a Young Woman=. [No. 274.] Companion to the last.
+      S. 1656. C. 29 x 25.
+
+
+  FRANCE.
+
+  PARIS. THE LOUVRE.
+    =A Philosopher in Meditation=. [No. 2540, Grand Gallery.] S. 1633.
+      P. 11-3/5 x 13-1/5.
+    =A Philosopher in Meditation=. [No. 2541, Grand Gallery.] 1633.
+      P. 11-1/5 x 9-1/5.
+    =Portrait of Rembrandt=. [No. 2552, Salle XV.] S. 1633. C. 23-1/5
+      x 18.
+    =Portrait of Rembrandt=. [No. 2553, Grand Gallery.] S. 1634. P.
+      27-1/5 x 21-1/5.
+    =The Angel Raphael leaving Tobit=. [No. 2536, Grand Gallery.] S. 1637.
+      P. 27-1/5 x 20-4/5.
+    =Portrait of Rembrandt=. [No. 2554, Grand Gallery.] S. 1637. P. 32
+      x 24-4/5.
+    =Portrait of an Old Man=. [No. 2544, Grand Gallery.] S. 1638. Oval.
+      P. 36 x 22-2/5.
+    =The Carpenter's Home=. [No. 2542, Salon Carr[e'].] S. 1640. P. 16-2/5
+      x 13-3/5.
+    =A Woman Bathing=. [No. 2550, Salle Lacaze.] 1647. P. 24-4/5 x 19-1/5.
+    =Christ at Emmaus=. [No. 2539, Salon Carr[e'].] S. 1648. P. 27-1/5 x
+      26.
+    =The Good Samaritan=. [No. 2537, Grand Gallery.] S. 1648. P. 45-3/5
+      x 54.
+    =Portrait of a Man=. [No. 2551, Salle Lacaze.] S. 1651. C. 33-1/5 x
+      26-2/5.
+    =Portrait of Hendrickje Stoffels=. [No. 2547, Salon Carr[e'].] P. about
+      1652. C. 28-4/5 x 24.
+    =Bathsheba, or a Woman bathing=. [No. 2549, Salle Lacaze.] S. 1654.
+      C. 56-4/5 x 56-4/5.
+    =Portrait of a Man=. [No. 2546, Grand Gallery.] 1655. P. 10-2/5 x
+      7-3/5.
+    =The Slaughter-house=. [No. 2548, Grand Gallery.] S. 1655. P. 37-3/5
+      x 27-3/5.
+    =Portrait of a Young Man=. [No. 2545, Salon Carr[e'].] S. 1658. C.
+      29-1/5 x 24-2/5.
+    =Portrait of Rembrandt=. [No. 2555, Salon Carr[e'].] S. 1660. C. 44-2/5
+      x 34.
+    =Saint Matthew=. [No. 2538, Grand Gallery.] S. 1661. C. 38-2/5 x
+      32-2/5.
+    =Venus and Cupid=. [No. 2543, Grand Gallery.] 1661. C. 44 x 35-1/5.
+
+  [E']PINAL. MUSEUM.
+    =Portrait of an Old Woman=. [No. 101.] S. 1661. C. 45-3/5 x 32.
+
+  NANTES. MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 522, attributed to van Vliet.]
+      1628. P. 7 x 5-2/5.
+
+  PARIS. MME. ANDR[E']-JACQUEMART.
+    =Christ at Emmaus=. S. R.H. 1629. Paper on panel 15-3/5 x 16-4/5.
+    =Portrait of Lysbeth van Rijn=. S. 1632. C. 26 x 20-2/5.
+    =Portrait of Arnold Tholinx=. S. 1656. C. 30-2/5 x 25-1/5.
+
+  L[E']ON BONNAT.
+    =Petitioners To a Biblical King=. 1633. P. 11-2/5 x 10-3/5.
+    =Jean Six at a Window=. Very doubtful. P. 10 x 8.
+    =Figure of Susannah=. Oval. 1647. P. 8-4/5 x 7.
+    =Tasters in a Cellar=. 1650. P. 19-4/5 x 25-1/5.
+    =Portrait of an Old Man=. 1650. P. 22 x 17-3/5.
+    =Portrait of a Rabbi=. 1655. P. 8-7/25 x 9-39/50.
+    =Head of an Old Man=. 1660. P. 10 x 8-4/5.
+
+  MARQUIS BONI DE CASTELLANE.
+    =Portrait of Nicholas Ruts=. S. 1631. P. 46 x 34-1/2.
+
+  PRINCE DE CHALAIS.
+    =Portrait of a Man=.
+
+  L[E']ON GAUCHEZ.
+    =Lucretia=. S. 1664. C. 46-2/5 x 39-1/5.
+
+  LEOPOLD GOLDSCHMIDT.
+    =Portrait of a Woman=. Called Rembrandt's cook. 1655. C. 29-4/5
+      x 24-3/5.
+
+  HARJES.
+    =Old Man With a White Beard=. C. 25-1/5 x 23-1/5.
+
+  BARONESS HIRSCH-GEREUTH (THE LATE).
+    =Portrait of his Sister, or Saskia=. Oval. S. 1633. P. 23 x 17-3/5.
+
+  MAURICE KANN.
+    =Head of Christ=. 1660. C. 18-3/5 x 14-4/5.
+    =A Man in a Red Cloak=. S. 1659. P. 15-2/5 x 12-2/5.
+    =Portrait of a Man=. P. between 1666 and 1668. C. 36-2/5 x 29-4/5.
+
+  RODOLPHE KANN.
+    =Head of Christ=. 1652. P. 10-2/5 x 8.
+    =Portrait of Titus=. S. 1655. C. 31-3/5 x 23-3/5.
+    =Portrait of a Rabbi=. 1655. P. 10 x 7-4/5.
+    =Portrait of an Old Woman=. S. 1657. P. 8-4/5 x 7-1/5.
+    =Old Woman cutting her Nails=. S. 1658. C. 50-2/5 x 40.
+    =Portrait of a Young Woman=. 1668. C. 37-1/5 x 29-1/5.
+
+  MME. LACROIX.
+    =Landscape, with Swans=. 1645. C. 25-3/5 x 17-1/5.
+
+  ALBERT LEHMANN.
+    =Zachariah receiving the Prophecy of the Birth of John the Baptist=.
+      S. 1632. P. 22-2/5 x 19-1/5.
+
+  PAUL MATHEY.
+    =Head of an Old Man=. P. 20 x 24.
+
+  HENRY PEREIRE.
+    =Portrait of a Man=. S. 1632. P. 24 x 18-4/5.
+    =Portrait of Cornelia Pronck=. Wife of the man. S. 1633. P. 24 x
+      18-4/5.
+
+  JULES PORG[`E]S.
+    =The Good Samaritan=. S. 1639. C. 38-1/5 x 50.
+    =Portrait of a Rabbi=. S. 1642. P. 30 x 24-2/5.
+    =An Old Woman meditating over a Book=. 1649. C. 39-1/5 x 31-1/5.
+    =Portrait of Rembrandt's Brother=. 1650. P. 22-2/5 x 17-1/5.
+    =Portrait of a Woman holding a Book=. 1650. P. 22-2/5 x 17-1/5.
+
+  COUNTESS EDMOND DE POURTAL[`E]S.
+    =Portrait of a Young Man rising from a Chair=. S. 1633. C. 50 x 40.
+
+  BARON ALPHONSE DE ROTHSCHILD.
+    =Portrait of an Old Woman=. S. 1632. P. 30-3/5 x 23.
+
+  BARON GUSTAVE DE ROTHSCHILD.
+    =Portrait of Martin Daey=. S. 1634. C. 82-4/5 x 52-4/5.
+    =Portrait of Machteld van Doorn, Wife of Martin Daey=. C. 82-4/5
+      x 52-4/5.
+    =The Standard-Bearer=. S. 1636. C. 50 x 42.
+
+  BARONESS NATHANIEL DE ROTHSCHILD.
+    =Portrait of a Boy=. S. 1633. P. 17-3/5 x 13-1/5.
+
+  BARON N. DE ROTHSCHILD.
+    =Portrait of Anthoni Copal=. S. 1635. P. 33-1/5 x 26-4/5.
+
+  DURAND RUEL.
+    =David playing before Saul=. 1663. C. 52-1/5 x 65-3/5.
+
+  BARON ARTHUR DE SCHICKLER.
+    =Judas with the Price of the Betrayal=. 1629. C. 31-3/5 x 41-1/5.
+
+  A. SCHLOSS.
+    =Portrait of Saskia=. Oval. 1634. P. 26-4/5 x 21.
+    =Old Man=. S. 1643. P. 10 x 7-3/5.
+
+  HENRI SCHNEIDER.
+    =Hans Alenson=. S. 1634. C. 71-1/5 x 52-4/5.
+    =The Wife of Alenson=. S. 1634. C. 71-1/5 x 52-4/5.
+
+  CHARLES SEDELMEYER.
+    =Pilate washing his Hands=. 1656. C. 51-1/5 x 72.
+
+  CHARLES WALTNER.
+    =An Old Rabbi=. 1654-56. C. 32-4/5 x 26.
+
+  E. WARNECK.
+    =Diana bathing=. 1631. P. 7-1/5 x 6-4/5.
+    =Rembrandt laughing=. S. 1633. P. 8-1/5 x 7.
+    =Study of a Rabbi=. 1650 To 1655. P. 8-4/5 x 7-2/5.
+    =Study of a Young Boy=. 1654. P. 9-1/5 x 7-4/5.
+
+  DR MELVIL WASSERMANN.
+    =Study of his Father=. 1630. P. 11-2/5 x 9-1/5.
+    =Portrait of an Old Man=. 1633. P. 10-2/5 x 8-2/5.
+
+  ROUEN. M. DUTUIT.
+    =Portrait of Rembrandt=. S. 1631. P. 32-2/5 x 21-3/5.
+
+  TOURS. MUSEUM.
+    =Portrait of His Father=. [No. 437.] A copy of the one in the Museum
+      at Nantes. 1628. P. 6 x 4.
+
+
+  GERMANY.
+
+  BERLIN GALLERY. ROYAL MUSEUM.
+    =The Money-Changer=. [No. 828 D.] S. 1627. P. 12-1/5 x 16-4/5.
+    =Judith=, or =Minerva=. [No. 828 C.] 1631. P. 23-3/5 x 19-1/5.
+    =The Rape of Proserpina=. [No. 823.] 1632. P. 33-1/5 x 31-1/5.
+    =Rembrandt=. [No. 810.] S. 1634. P. 22-4/5 x 18-4/5.
+    =Rembrandt=. [No. 808.] 1634. P. 22 x 18-2/5.
+    =Samson threatening his Father-in-law= [No. 802], formerly called The
+      Duke of Gueldres. S. 1635. C. 62-2/5 x 51-3/5.
+    =Portrait of the Minister Anslo consoling a Widow=. S. 1641.
+      C. 73-3/5 x 89-3/5.
+    =Portrait of Saskia=. [No. 812.] S. 1643. P. 28-4/5 x 23-1/5.
+    =Portrait of a Rabbi=. [No. 828 A.] S. 1645. C. 44 x 32-4/5.
+    =The Wife of Tobias with the Goat=. [No. 805.] S. 1645. P. 8 x 10-4/5.
+    =Joseph's Dream=. [No. 806.] S. 1645. P. 8 x 10-4/5.
+    =Susannah and the Elders=. [No. 828 E.] S. 1647. P. 30-2/5 x 36-2/5.
+    =Daniel's Vision=. [No. 828 F.] 1650. C. 38-2/5 x 46-2/5.
+    =Joseph accused by Potiphar's Wife=. [No. 828 H.] S. 1655. C. 41-1/2
+      x 34.
+    =Study of an Old Man=. [No. 828 J.] 1655. C. 20-2/5 x 14-4/5.
+    =John the Baptist preaching=. [No. 828 K.] S. 1656. C. 25 x 31.
+    =Jacob Wrestling with the Angel=. [No. 828.] S. 1659. C. 54-4/5 x
+      46-2/5.
+    =Moses breaking the Tables of the Law=. [No. 811.] S. 1659. C. 66-4/5
+      x 54.
+    =Portrait of Hendrickje Stoffels=. [No. 828 B.] 1662. C. 34-4/5 x 26.
+
+  ALTFRANKEN. COUNT LUCKNER.
+    =Portrait of Saskia=. S. 1635. P. 39-1/5 x 28.
+
+  ANHOLT. PRINCE OF SALM-SALM.
+    =Diana, Act[ae]on, and Callisto=. S. 1635. C. 28-4/5 x 38.
+
+  ASCHAFFENBOURG. ROYAL MUSEUM.
+    =The Risen Christ=. S. 1661. C. 32 x 25-1/5.
+
+  BERLIN. VON CARSTANGEN.
+    =Portrait of J. C. Sylvius=. S. 1645. C. 52 x 44.
+    =Christ at the Column=. 1646. P. 13-3/5 x 11-1/5.
+    =Portrait of Rembrandt=. S. 1665. C. 32-4/5 x 25-1/5.
+
+  EMPEROR FREDERICK MUSEUM.
+    =Rembrandt's Brother=. 1650. C. 26-4/5 x 20-3/5.
+
+  CARL HOLLITSCHER.
+    =St Paul in Meditation=. 1635. C. 47-1/5 x 38.
+    =Christ on the Cross=. 1648. P. 14 x 9-3/5.
+
+  ROBERT VON MENDELSSOHN.
+    =Rembrandt=. S. 1651. P. 26-2/5 x 21-1/5.
+
+  SANS-SOUCI.
+    =The Capture of Samson=. S. 1628. P. 24 x 19-3/5.
+
+  JAMES SIMON.
+    =Portrait of a Young Girl=. S. 1634. P. 17-3/5 x 14-2/5.
+
+  BONN. PROFESSOR G. MARTIUS.
+    =An Old Woman=. 1640. P. 27-1/5 x 22-1/5.
+
+  BRUNSWICK. GRAND DUCAL MUSEUM.
+    =An Unknown Man=. [No. 232.] 1631. P. 25-2/5 x 19-1/5.
+    =Portrait of a Woman=. [No. 233.] S. 1633. P. 25-2/5 x 19-1/5.
+    =Portrait of a Man=. [No. 237.] S. 1638. P. 32-4/5 x 27.
+    =Stormy Landscape=. [No. 236.] S. 1640. P. 20-4/5 x 28-4/5.
+    =Noli Me Tangere=. [No. 235.] S. 1651. C. 26 x 31-3/5.
+    =Portrait of a Family=. [No. 238] S. 1668. C. 50-2/5 x 66-3/5.
+
+  CARLSRUHE. GRAND DUCAL MUSEUM.
+    =Portrait of Himself=. [No. 238.] S. 1645. P. 29-3/5 x 23-3/5.
+
+  CASSEL. MUSEUM.
+    =Rembrandt=. [No. 208.] 1627. P. 8 x 6-2/5.
+    =An Old Man=. [No. 209.] S. 1630. P. 26-2/5 x 22-2/5.
+    =An Old Man=. [No. 210.] S. 1632. P. 20 x 15-3/5.
+    =An Old Man=. [No. 211.] S. 1632. P. 23-3/5 x 19-3/5.
+    =Portrait=, said to be Coppenol. [No. 212.] S. 1632. C. 40 x 31-1/5.
+    =Jan Herman Krul=. [No. 213.] S. 1633. C. 49-1/5 x 37-3/5.
+    =Saskia=. [No. 214.] 1634. P. 39-1/5 x 30-4/5.
+    =Rembrandt=. [No. 215.] S. 1634. P. 31-3/5 x 25-3/5.
+    =A Young Woman=. [No. 216.] 1635. P. 28-4/5 x 23-3/5.
+    =A Man=. [No. 217.] S. 1639. C. 79-1/5 x 48-2/5.
+    =Holy Family=. [No. 218.] Called "The Woodchopper." S. 1646. P. 18
+      x 26-4/5.
+    =A Winter Landscape=. [No. 219.] S. 1646. P. 6-2/5 x 8-4/5.
+    =The Ruin=. [No. 220.] S. 1650. P. 26-2/5 x 34-2/5.
+    =Portrait of Bruyningh=. [No. 221.] S. 1652. C. 42 x 36.
+    =Man in Armour=, known as "The Watch." [No. 223.] S. 1655. C. 45-1/5
+      x 36.
+    =An Old Man=. [No. 226.] 1655. P. 8 x 6.
+    =An Old Man=. [No. 225.] 1657. P. 8 x 6-2/3.
+    =An Architect, or Geometrician=. [No. 224.] 1656. C. 48 x 36.
+    =Jacob Blessing Joseph's Sons=. [No. 227.] S. 1656. C. 69-3/5 x 80.
+    =Portrait of Rembrandt=. [No. 222.] S. 1659. C. 29-1/5 x 23-3/5.
+
+  COLOGNE. BARON A. VON OPPENHEIM.
+    =A Young Girl=. 1655. P. 8-2/5 x 7.
+
+  DARMSTADT. GRAND-DUCAL GALLERY.
+    =The Flagellation=. [No. 347.] S. 1668. C. 37-3/5 x 29-1/5.
+
+  DRESDEN. ROYAL GALLERY.
+    =Saskia=. [No. 1556.] S. 1633. P. 21 x 17-3/5.
+    =A Man=. [No. 1557.] Willem Burchgraeff. [No. 182.] S. 1633. P. 27
+      x 21.
+    =The Capture of Ganymede=. [No. 1558.] S. 1635. C. 68-3/5 x 52.
+    =Rembrandt and Saskia=. [No. 1559.] S. 1635. C. 64 x 52-4/5.
+    =The Marriage of Samson=. [No. 1560.] S. 1638. C. 50-2/5 x 70-2/5.
+    =The Man with the Bittern=. [No. 1661.] S. 1639. P. 48-2/5 x 35-3/5.
+    =Saskia holding a Pink=. [No. 1562.] S. 1641. P. 39-1/5 x 32-4/5.
+    =The Sacrifice of Manoah=. [No. 1563.] S. 1641. C. 96-2/5 x 114.
+    =Old Woman weighing Gold=. [No. 1564.] C. 44-4/5 x 39-3/5.
+    =A Young Man=. [No. 1565.] S. 1643. C. 30-4/5 x 26-4/5.
+    =An Old Man=. [No. 1571.] 1645. C. 37-3/5 x 30-4/5.
+    =The Entombment=. [No. 1566.] S. 1653. C. 38-4/5 x 27-3/5.
+    =An Old Man with a Beard=. [No. 1567.] S. 1654. P. 40 x 30-4/5.
+    =Portrait of a Man=. [No. 1568.] 1656. C. 35-4/5 x 27-2/5.
+    =Rembrandt=. [No. 1569.] S. 1657. C. 34-1/5 x 26.
+    =An Old Man=. [No. 1570.] 1666. C. 32-4/5 x 28-2/5.
+
+  ELBERFELD. KARL VON DER HEYDT.
+    =The Denial of St Peter=. S. 1628. Copper, 8-4/5 x 6-4/5.
+    =A Lady=. S. 1635. P. 30-4/5 x 25-3/5.
+
+  FRANKFORT. ST[AE]DEL ART INSTITUTE.
+    =David playing before Saul=. [No. 183.] P. 24-4/5 x 20.
+    =Portrait of Margaretha van Bilderbeecq=. [No. 182.] Oval. S. 1633.
+      P. 26-4/5 x 22-2/5.
+    =Parable of the Labourers in the Vineyard=. [No. 181.] S. 1656. C.
+      61-1/5 x 54-4/5.
+
+  GOTHA. MUSEUM.
+    =Rembrandt=. [No. 181.] S. 1629. P. 7-1/5 x 5-3/5.
+
+  HAMBURG. KUNST-HALLE.
+    =Maurice Huygens=. S. 1632. C. 52 x 44.
+
+  CONSUL WEBER.
+    =Presentation in the Temple=. S. 1630. P. 22 x 17-3/5.
+    =The Woman taken in Adultery=. 1644. C. 45-3/5 x 54.
+    =A Pilgrim at Prayer=. S. 1661. C. 36 x 31-1/5.
+
+  LEIPZIG. JULIUS O. GOTTCHALD.
+    =Study of an Old Man=. 1630. P. 8-1/5 x 6-4/5.
+
+  MUSEUM.
+    =Rembrandt=. [No. 347.] 1654. P. 10-2/5 x 8-2/5.
+
+  ALFRED THIEME.
+    =The Good Samaritan=. 1640. C. 12-2/5 x 15.
+    =Portrait called the Constable of Bourbon=. S. 1644. C. 36-2/5 x
+      29-3/5.
+
+  METZ. MUSEUM.
+    =An Old Man=. S. 1633. P. 23-3/5 x 17-3/5.
+
+  MUNICH. ROYAL GALLERY.
+    =Holy Family=. [No. 324.] S. 1631. C. 77-1/5 x 52.
+    =Portrait of a Turk=. [No. 325.] S. 1633. P. 33-3/5 x 25-1/5.
+    =The Descent from the Cross=. [No. 326.] S. 1633. P. 35-3/5 x 26.
+    =The Elevation of the Cross=. [No. 327.] 1633. C. 38-2/5 x 28-4/5.
+    =The Ascension=. [No. 328.] S. 1636. C. 36-4/5 x 26-4/5.
+    =The Entombment=. [No. 330.] 1638. C. 37-1/5 x 27-3/5.
+    =The Resurrection=. [No. 329.] S. 1639. C. 37-3/5 x 28.
+    =The Adoration of the Shepherds=. [No. 331.] S. 1646. C. 38-4/5 x
+      28-4/5.
+    =Rembrandt=. [No. 333.] S. 1654. P. 32-4/5 x 26-4/5.
+
+  DR MARTIN SCHUBART.
+    =An Old Man=. 1632. P. 25 x 18-3/5.
+
+  NORDKIRCHEN. COUNT ESTERHAZY.
+    =A Young Man=. S. 1629.
+
+  NUREMBERG. MUSEUM.
+    =Rembrandt= [No. 298], in armour. S. 1629. P. 15-3/5 x 12-4/5.
+    =Saint Paul=. 1629.
+
+  OLDENBURG. AUGUSTEUM.
+    =The Prophetess Anna=, or the painter's mother. [No. 166.] S. 1631.
+      C. 24 x 19-1/5.
+    =An Old Man=. [No. 167.] S. 1632. C. 26-3/5 x 20-2/5.
+    =Landscape=. [No. 169.] 1645. P. 11-3/5 x 16.
+
+  POSEN. COUNT EDWARD RACZYNSKI.
+    =Christ=. S. 1661. C. 39 x 32-3/5.
+
+  SCHWERIN. GRAND DUCAL MUSEUM.
+    =An Old Man=. [No. 854.] S. 1630. P. 27-1/5 x 20-4/5.
+    =An Old Man=. [No. 855.] 1656. C. 22-4/5 x 18-4/5.
+
+  STRASBURG. MUSEUM.
+    =An Old Man=, holding a scroll. 1650. C. 24-2/5 x 18-2/5.
+
+  STUTTGART. MUSEUM.
+    =St Paul in Prison=. [No. 225.] S. 1627. P. 28 x 23-1/5.
+
+  WEIMAR. GRAND DUKE OF SAXE-WEIMAR.
+    =Portrait of Rembrandt=. S. 1643. C. 24-2/5 x 19-1/5.
+
+
+  HOLLAND.
+
+  THE HAGUE. MAURITSHUIS, ROYAL MUSEUM.
+    =Rembrandt's Mother=. [No. 556, Room XIV.] 1628. P. 7 x 5.
+    =Rembrandt's Father=. [No. 565, Room XIV.] 1628. P. 18-4/5 x 15-3/5.
+    =Rembrandt=. [No. 148, Room XIV.] 1629. P. 14-4/5 x 11-3/5.
+    =A Man Laughing=. [No. 598, Room XIV.] 1630. P. 6 x 4-4/5.
+    =A Young Girl=. [No. 577, Room XIV.] S. 1630. P. 22 x 18.
+    =The Presentation in the Temple=. [No. 145, Room XIV.] S. 1631. P.
+      24 x 19-1/5.
+    =The Anatomy Lesson of Professor Pieterszoon Tulp=. [No. 146, Room
+      XIII.] S. 1632. C. 64-4/5 x 86-2/5.
+    =Rembrandt As an Officer=. [No. 149, Room XIV.] S. 1634. P. 24-4/5
+      x 18-4/5.
+    =The Flight Into Egypt=. [No. 579, Room XIV.] S. 1636. P. 15-1/5 x
+      14.
+    =A Woman at Her Toilet=. [No. 552, Room XIV.] S. 1637. P. 29 x 25.
+    =Susannah at the Bath=. [No. 147, Room XIV.] S. 1637. P. 18-4/5 x
+      15-3/5.
+    =Portrait Believed To Be Rembrandt's Brother Adriaen=. [No. 560,
+      Room XIV.] S. 1650. C. 31-1/5 x 26-2/5.
+    =Homer Reciting His Poems=. [No. 584, Room XIV.] S. 1663. C. 43-1/5
+      x 32-4/5.
+
+  AMSTERDAM. RYKSMUSEUM.
+    =Rembrandt's Father=. [No. 1248.] 1629. C. 21-3/5 x 18-2/5.
+    =A Young Lady, Known As the Lady of Utrecht=. S. 1639. P. 42-2/5 x
+      32-2/5.
+    =Elizabeth Bas [No. 1249], Widow of Admiral Swartenhout=. 1640. C.
+      46-2/5 x 35-1/5.
+    =The Sortie of the Company of Captain Frans Banning Cocq= [No.
+      1246], Called "the Night Watch." S. 1642. C. 143-3/5 x 174.
+    =Mythological Subject=. [No. 1251.] 1650. C. 34 x 26-4/5.
+    =The Anatomy Lesson of Dr Johannes Deyman=. [No. 1250.] S. 1656. C.
+      40 x 52-4/5.
+    =The Syndics of the Drapers=. [No. 1247.] S. 1661. C. 74 x 109-3/5.
+    =The Jewish Bride=. [No. 1252.] S. 1665. C. 47-1/5 x 65-3/5.
+
+  DR C. HOFSTEDE DE GROOT.
+    =Rembrandt's Sister=. 1630. P. 5-1/4 x 3-3/4.
+
+  SIX COLLECTION.
+    =Joseph Interpreting His Dreams=. S. 1630. Cardboard, 20 x 15-1/5.
+    =Anna Vymer=. S. 1641. P. 40 x 32.
+    =Portrait of Ephraim Bonus=. 1647. P. 7-3/5 x 6.
+    =Burgomaster Six=. 1660. C. 44 x 40.
+
+  THE HAGUE. DR BREDIUS.
+    =A Woman Praying=. 1654. P. 7-3/4 x 6.
+
+  PRINCE HENRI DES PAYS-BAS.
+    =Rembrandt=. S. 1643. C. 24-2/3 x 19-1/5.
+
+  D. F. SCHEURLEER.
+    =Head of a Boy=. 1629. 10-2/5 x 8-1/5.
+
+  STEENGRACHT COLLECTION.
+    =The Toilet of Bathsheba=. S. 1643. P. 20-4/5 x 30-2/5.
+
+  LEEUWARDEN. BARON VAN HARINXMA THOE SLOOTEN.
+    =Portrait of an Old Man=. S. 1644. P. 9-2/5 x 8-1/5.
+
+  ROTTERDAM. BOYMANS MUSEUM.
+    =Portrait of Rembrandt's Father=. [No. 237, Room B.] S. 1630. Oval.
+      P. 29-1/5 x 22-2/5.
+    =The Peace of the Country=. [No. 238, Room D.] S. 1640. P. 29-3/5
+      x 40.
+
+
+  ITALY.
+
+  FLORENCE. PITTI PALACE.
+    =Rembrandt=. [No. 60, Room 5.] 1635. C. 24-4/5 x 20-4/5.
+    =An Old Man=. [No. 16, Room 6.] S. 1658. C. 40-4/5 x 33-1/5.
+
+  UFFIZI.
+    =Portrait of Rembrandt=. [No. 451, Room 13.] 1655. C. 28-4/5 x 23-1/5.
+    =Portrait of Rembrandt=. [No. 452, Room 13.] 1666. C. 28-4/5 x 23-1/5.
+
+  SIGNOR FABRI.
+    =Study of an Old Man=. P. 23-3/5 x 18-4/5.
+
+  MILAN. BRERA.
+    =A Woman=. [No. 449.] S. 1632. P. 22 x 19-1/5.
+
+
+  ROUMANIA.
+
+  SINAIA. THE KING OF ROUMANIA.
+    =Esther, Haman, and Ahasuerus=. 1668. C. 94 x 76.
+
+
+  RUSSIA.
+
+  ST PETERSBURG. THE HERMITAGE.
+    =Portrait of Rembrandt's Father=. [No. 814.] S. 1630. P. 14-2/5 x
+      10-2/5.
+    =Portrait of a Man=. [No. 808.] S. 1631. C. 45-1/5 x 36-4/5.
+    =The Descent From the Cross=. [No. 800.] S. 1634. C. 63-1/5 x 46-4/5.
+    =The Incredulity of St Thomas=. [No. 801.] S. 1634. P. 22 x 20-2/5.
+    =The Jewish Bride=. [No. 812.] S. 1634. C. 50 x 40-2/5.
+    =A Young Man= [No. 828]. S. 1634. P. 28 x 20-4/5.
+    =The Sacrifice of Isaac=. [No. 792.] S. 1635. C. 77-1/5 x 53-1/5.
+    =Portrait of an Oriental=. [No. 813.] S. 1636. C. 39-3/5 x 30-2/5.
+    =Danae=. [No. 892.] S. 1636. C. 74 x 82.
+    =Portrait of a Man, called Sobieski=. [No. 811.] S. 1637. P. 38-4/5
+      x 26-3/5.
+    =The Parable of the Master of the Vineyard=. [No. 798.] S. 1637. P.
+      12-2/5 x 16-4/5.
+    =An Old Woman=. [No. 829.] S. 1643. P. 30-2/5 x 22-2/5.
+    =The Reconciliation of David and Absalom=. [No.  1777.] S. 1642. P.
+      30 x 24-3/5.
+    =Rembrandt's Mother=. [No. 807.] S. 1643. P. 31-3/5 x 24-2/5.
+    =The Holy Family=. [No. 796.] S. 1645. C. 46-4/5 x 36-2/5.
+    =Portrait of a Man, erroneously called Manasseh Ben Israel=. [No.
+      820.] S. 1645. C. 51-3/5 x 44-4/5.
+    =Abraham Receiving the Angels=. [No. 791.] 1650. C. 48-3/5 x 65.
+    =The Sons of Jacob showing him Joseph's Coat=. [No. 793.] S. 1650.
+      C. 61-4/5 x 67-1/5.
+    =The Disgrace of Haman=. [No. 795.] S. 1650. C. 50-4/5 x 46-4/5.
+    =Pallas=. [No. 809.] 1650. C. 46-4/5 x 36-2/5.
+    =Hannah Teaching the Infant Samuel to Read=. [No. 822.] S. 1650. C.
+      46-4/5 x 37-3/5.
+    =Girl with a Broom=. [No. 826.] S. 1651. C. 43-3/5 x 36-4/5.
+    =An Old Woman=. [No. 804.] 1654. C. 53-1/5 x 42-4/5.
+    =An Old Woman=. [No. 805.] S. 1654. C. 43-3/5 x 33-3/5.
+    =An Old Woman=. [No. 806.] S. 1654. C. 29-3/5 x 25-1/5.
+    =An Old Jew=. [No. 810.] S. 1654. C. 43-3/5 x 33-3/5.
+    =An Old Man=. [No. 818.] 1654. C. 43-1/5 x 34-2/5.
+    =An Old Man=. [No. 823.] S. 1654. C. 35-1/5 x 28-4/5.
+    =An Old Man=. [No. 824.] S. 1654. C. 29-3/5 x 25-1/5.
+    =Joseph Accused by Potiphar's Wife=. [No. 794.] S. 1655. C. 42 x
+      38-4/5.
+    =St Peter's Denial=. [No. 799.] S. 1656. C. 61-1/5 x 67-1/5.
+    =A Young Woman=. [No. 819.] S. 1656. C. 40-4/5 x 34-4/5.
+    =Young Woman trying on an Earring=. [No. 817.] S. 1657. P. 16 x
+      14-1/5.
+    =A Young Man=. [No. 825.] 1660. C. 28-4/5 x 22-2/5.
+    =Portrait of a Man=. [No. 821.] S. 1661. C. 28-2/5 x 24-2/5.
+    =Portrait of Jeremias de Decker, the Poet=. [No. 827.] S. 1666. P.
+      28-2/5 x 22-2/5.
+    =The Prodigal Son=. [No. 797.] 1669. C. 104-4/5 x 100.
+    =An Old Jew=. [No. 815.] S. P. 20-2/5 x 16-4/5.
+
+  PRINCE JOUSOUPOFF.
+    =Head of a Young Boy=. S. 1633. P. 7-22/25 x 6-17/25.
+    =Susannah and the Elders=. S. 1637.
+    =A Young Man=. 1660. C. 32-4/5 x 39-1/5.
+    =A Lady With an Ostrich Feather=. 1660. C. 33 x 39-3/5.
+
+  PRINCE OF LEUCHTEMBERG.
+    =Rembrandt=. [No. 108]. 1643. P. 30 x 24-4/5.
+
+  COUNT A. W. ORLOFF-DAVIDOFF.
+    =Christ=. 1660. C. 43-19/25 x 38-4/5.
+
+  COUNT S. STROGANOFF.
+    =A Philosopher in Meditation=. S. 1630. P. 23-2/5 x 18-23/50
+    =A Young Monk=. S. 1660. C. 32-2/5 x 26-4/5.
+
+
+  SPAIN.
+
+  MADRID. PRADO.
+    =Queen Artemisia receiving the Ashes of Mausolus=. [No. 1544.]
+      Otherwise Known As Cleopatra at her toilet. S. 1634. C. 56-4/5 x
+      61-1/5.
+
+
+  SWEDEN.
+
+  STOCKHOLM. ROYAL MUSEUM.
+    =A Young Girl=. [No. 591.] 1630. P. 23-3/5 x 24-4/5.
+    =St Anastasius=. [No. 579.] S. 1631. P. 24 x 19-1/5.
+    =Saskia=. [No. 583.] S. 1632. C. 28-4/5 x 21-3/5.
+    =Study of an Old Man as St Peter=. [No. 1349.] S. 1632. C. 32-4/5
+      x 24-4/5.
+    =An Old Man=. [No. 585.] S. 1633.
+    =The Young Servant=. S. 1654. C. 31-1/5 x 25-1/5.
+    =An Old Man=. [No. 581.] S. 1655. C. 35-3/5 x 29-1/5.
+    =An Old Woman=. [No. 582.] S. 1655. C. 35-3/5 x 29-1/5.
+    =The Conspiracy of Claudius Civilis=. [No. 578.] 1661. C. 78-2/5
+      x 123-3/5.
+
+  VANAS. COUNT AXEL DE WACHTMEISTER.
+    =A Young Man=. S. 1632. P. 25-1/10 x 18-2/5.
+    =A Young Man=. 1643. C. 42 x 36.
+
+
+  UNITED STATES OF AMERICA.
+
+  CHICAGO. ARMOUR.
+    =Portrait of a Man=. S. 1643. C. 33-3/5 x 26-4/5.
+
+  P. C. HANFORD.
+    =An Accountant by a Table=. C. 40-4/5 x 32.
+
+  NEW YORK. W. H. BEERS.
+    =Rembrandt's Father=. 1632. C. 30 x 24-4/5.
+
+  ROBERT W. DE FOREST.
+    =Head of a Young Man=. 25-1/2 x 19-1/2.
+
+  H. O. HAVEMEYER.
+    =Portrait of Christian Paul van Beersteyn=, Burgomaster of Delft. S.
+      1632.
+    =Portrait of Volkera Nicolai Knobbert=, wife of Beersteyn. S. 1632.
+    =Portrait of Paulus Doomer=, called "The Gilder." S. 1640. P. 29-1/5
+      x 21-3/5.
+    =A Woman=, aged 87. S. 1640 or 1646. C. 27-3/5 x 24.
+
+  ROBERT HOE.
+    =Young Gipsy holding a Medallion=. 1650. C.
+
+  MORRIS K. JESSUP.
+    =Portrait of a Young Man=, erroneously called Six.
+    =Portrait of his Wife=.
+
+  METROPOLITAN MUSEUM.
+    =A Man=. [no. 277.] 1640. C. 30-3/4 x 24-3/4.
+    =An Old Man=. [no. 274.] S. 1665. C. 27-5/8 x 24-3/8.
+    =The Mills=. [no. 276.] C. 21-1/2 x 26-1/4.
+    =The Adoration of the Shepherds=. [No. 278.] P. 24-3/8 x 20-7/16.
+
+  J. PIERPONT MORGAN.
+    =Portrait of Rembrandt=. C. 43-1/2 x 33-1/2.
+
+  R. MORTIMER.
+    =Portrait of a Young Man putting on His Armour=. 1634. C. 40-2/5
+      x 33-3/5.
+
+  W. SCHAUS.
+    =Portrait of an Admiral=, erroneously called "Van Tromp." 1658. P.
+      36 x 29-3/4.
+
+  CHARLES STEWART SMITH.
+    =St John=. Oval. S. 1632. P. 25 x 19.
+
+  C. T. YERKES.
+    =The Raising of Lazarus=. 1628. P. 16-4/5 x 14.
+    =Joris de Caulery=. S. 1632.
+    =Portrait of a Rabbi=. 1635. P. 25 x 20-4/5.
+    =Philemon and Baucis=. S. 1658. P. 21-3/5 x 27-3/5.
+
+  PHILADELPHIA. P. A. B. WIDENER.
+    =Portrait of Saskia=. 1633. P. 23-3/5 x 18-1/5.
+
+  PITTSBURGH. A. M. BYERS.
+    =Portrait of Saskia=. S. 1636. P. 31-2/5 x 26-2/5.
+
+  SAN FRANCISCO. WILLIAM H. CROCKER.
+    =Portrait of a Young Boy=. P. 16-2/5 x 14.
+
+  UNKNOWN OWNERS.
+    =A Young Man, Called Tulp=. S. 1634. P. 28-4/5 x 20-2/5.
+    =Portrait of a Young Woman=. S. 1634. P. 28-4/5 x 20-2/5.
+    =A Man=, called Matthys Kalkoen. S. 1632. C. 44-4/5 x 36.
+    =Portrait of Saskia=. S. 1634.
+    =Portrait called "The Dutch Admiral."= S. 1643.
+    =Portrait of a Lady=. S. 1643.
+    =An Orphan Girl of Amsterdam=. S. 1645. C. 64 x 33-3/5.
+    "=The Standard-Bearer=." 1662. C. 56 x 58.
+    =Portrait Called Six=. S. C. 48 x 36-4/5.
+
+
+
+
+INDEX
+
+
+  _Abraham caressing Isaac_ (etching), 108
+
+  _Abraham conversing with Isaac_ (etching), 99
+
+  _Abraham dismissing Hagar_ (etching), 96
+
+  _Abraham entertaining the Angels_, 75;
+    (etching), 106
+
+  _Abraham's Sacrifice_, 64;
+    (etching), 105
+
+  _Act[ae]on, Diana, and Callisto_, 63
+
+  _Adam and Eve_ (etching), 96
+
+  _Admiral, Portrait of an_, 79
+
+  _Adoration of the Magi, The_, 78
+
+  _Adoration of the Shepherds, The_, 32, 73;
+    (etching), 112
+
+  Adriaen, Rembrandt's Brother, 12, 14, 28, 38;
+    _Portrait of_, 51
+
+  _Adriaans, Alotte, Portrait of_, 67
+
+  Alenson, the  Minister, 25;
+    _Portraits of, and his wife_, 61
+
+  Amsterdam, prosperity of, 14, 15
+
+  _Amsterdam, View of_ (etching), 109
+
+  _Anatomy Lesson, The_, 13, 16, 58;
+    _ill._, 58
+
+  _Anatomy Lesson of Dr Deyman, The_, (1656), 77
+
+  _Angel, An_, 78
+
+  _Angel quitting Tobit, The_, 65;
+    (etching), 98
+
+  _Anna_, 55
+
+  Anslo, the Minister, 25;
+    _Portrait of_ 68;
+    _ill._, 68
+
+  _Architect, An_, 77
+
+  _Artemisia receiving the Ashes of Mausolus_, 62
+
+  _Ascension, The_, 20, 64
+
+  Asselyn, Jan, 25;
+    _Portrait of_ (etching), 109
+
+
+  _Baptism of the Eunuch, The_ (etching), 98
+
+  Bartsch, Adam, 90
+
+  _Bas, Elizabeth, Portrait of_, 68;
+    _ill._, 68
+
+  _Bathers, The_ (etching), 112
+
+  _Bathsheba_ (Louvre), 76
+
+  _Bathsheba at her Toilet_, 71
+
+  _Battle-Scene_ (etching), 109
+
+  _Baucis and Philemon receiving Jupiter and Mercury_, 79
+
+  _Beersteyn Christian Paul van, Portrait of_, 56
+
+  _Beggars at the Door of a House_ (etching), 101;
+    _ill._, 100
+
+  Beggars, etchings of, 101, 112
+
+  _Belshazzar's Feast_, 64
+
+  _Berchem, Nicholas; Portraits of, and his wife_, 73
+
+  _Bilderbeecq, Margaretha van, Portrait of_, 58
+
+  _Blind Fiddler, The_ (etching), 95
+
+  Bonus, Dr Ephraim, 25;
+    _Portraits of_ 69, 73;
+    (etching), 100
+
+  _Boy, Portrait of a_ (Hinton St George), 51;
+    (Belvoir Castle), 78;
+    _head of a_, 52;
+    (etching), 109
+
+  _Bruyningh, Portrait of_, 76
+
+  _Bull, The_ (etching), 109
+
+  _Burchgraeff, Willem, Portrait of_, 58
+
+
+  _Canal, The_ (etching), 112
+
+  _Canal with a Large Boat_ (etching), 102
+
+  _Canal with Swans_ (etching), 102
+
+  Cappelle, Van de, 25
+
+  _Capuchin, The_, 81
+
+  Cattenburch, Dirck van, 37, 87
+
+  _Caulery, Joris de, Portrait of_, 57
+
+  _Christ, Head of_ (M. Rudolphe Kann), 76;
+    (M. Maurice Kann), 80
+
+  _Christ, Half-length portraits of_
+    (St. Petersburg), 79;
+    (Aschaffenbourg), 81
+
+  _Christ appearing to the Disciples_ (etching), 103
+
+  _Christ and Mary Magdalene at the Tomb_, 66
+
+  _Christ and Mary Magdalene in the Garden_, 75
+
+  _Christ and the Disciples at Emmaus_ (etchings), 96, 104
+
+  _Christ and the Samaritan Woman_ (etching), 111
+
+  _Christ at Emmaus_ (Mme. Andr[e']-Jacquemart), 51;
+    (Louvre), 74;
+    _ill._, 74;
+    (Copenhagen), 74
+
+  _Christ before Pilate_ (etching), 106
+
+  _Christ bound to the Column_, 73
+
+  _Christ disputing with the Doctors_ (etching), 103
+
+  _Christ driving the Money-Lenders from the Temple_ (etching), 96
+
+  _Christ Entombed_ (etching), 111
+
+  _Christ healing the Sick_ (etching), 85, 87, 110;
+    _ill._, 86
+
+  _Christ in the Garden of Olives_ (etching), 111
+
+  _Christ on the Cross_, 74
+
+  _Christ preaching_ (etching), 87, 111
+
+  _Christ taken from the Cross_, 68
+
+  _Christ's Body carried to the Tomb_ (etching), 112
+
+  _Circumcision, The_, 32, 81;
+    (etching), 103
+
+  _Cleopatra at her Toilet_, 62
+
+  _Collen, Suzanna van, Portrait of_, 56
+
+  _Concord of the Country, The_, 67
+
+  _Conspiracy of Claudius Civilis, The_, 41, 81
+
+  _Constable of Bourbon_, 72
+
+  Coppenol, 6, 25;
+    _Portraits of_, 55, 57;
+    _ill._, 54;
+    (etchings), 110, 112
+
+  Cornelia, daughter of Rembrandt and Hendrickje, 35, 39, 46, 47
+
+  _Cottage and Barn_ (etching), 98
+
+  _Cottage with white Pales_ (etching), 112
+
+  _Cradle, The_, 76
+
+  Crayers, Louis, 35, 40, 45
+
+  _Crucifixion, The_ (etchings), 108, 110
+
+
+  _Daey, Martin, Portrait of_, 61
+
+  _Danae_, 64;
+    _ill._, 64
+
+  _Daniel's Vision_, 72
+
+  _David and Absalom, Reconciliation of_, 68
+
+  _David and Goliath, Combat of_ (etching), 105
+
+  _David at Prayer_ (etching), 111
+
+  _David playing before Saul_ (Frankfort), 57;
+    (1665), 83
+
+  _Dead Peacocks_, 68
+
+  _Death of the Virgin, The_ (etching), 97
+
+  Decker, Jeremias de, 45;
+    _Portrait of_, 83
+
+  _Deposition, The_ (Duke of Abercorn), 75
+
+  _Descent from the Cross, The_, 20, 60, 62;
+    (etchings), 87, 95, 98, 105
+
+  _Desmond, The Countess of_, 54
+
+  Deyman, Dr, 25, 38
+
+  _Diana bathing_, 55;
+    (etching), 107
+
+  Dircx, Geertje, 33
+
+  _Doomer Paul, Portrait of_, 67
+
+  _Doorn, Machteld van, Portrait of_, 61
+
+  Dou, Gerard, Rembrandt's first pupil, 11;
+    _Portrait of_, 54, 55
+
+  _Draughtsman, The_ (etching), 109
+
+  Drawings, Rembrandt's, 115
+
+  _Dutch Admiral and his Wife, The_, 71
+
+
+  _Ecce Homo_, 65; (etching), 87
+
+  Elevation of the Cross, The, 59;
+    _ill._, 60
+
+  _Entombment, The_ (Glasgow), 59;
+    (Munich), 66; (Dresden), 76
+
+  _Esther, Haman, and Ahasuerus_, 83
+
+  Etchings, The, early appreciation of, 85;
+    the various states, 88;
+    catalogues of, 90, 91;
+    authentic etchings, 93;
+    disputed etchings, 113;
+    qualities of the etchings, 114, 115
+
+
+  _Family Group_ (Brunswick), 83
+
+  _Faustus, Dr_ (etching), 110
+
+  _Flagellation, The_, 83
+
+  _Flight into Egypt, The_ (The Hague), 64;
+    (Buda-Pesth), 77;
+    (etchings), 103, 108
+
+  _Flute Player, The_ (etching), 109
+
+  Francen, Abraham, 25, 47;
+    _Portrait of_ (etching), 110
+
+  Frederick-Henry, Prince (Stathouder),
+    commissions to Rembrandt, 20, 27, 32, 59
+
+
+  _Game of Golf, The_ (etching), 105
+
+  Gelder, Aert de, 44
+
+  _Gentleman with the Hawk, The_, 71
+
+  Gerritsz, Harmen, Rembrandt's father, 6, 11;
+    _Portraits of_, 11, 52, 53, 54, 55, 57;
+    _ill._, 12;
+    (etchings), 94, 95
+
+  _Gilder, The_, 67
+
+  _Girl, Head of a_, 59
+
+  _Girl with a Broom_, 75
+
+  _Goldsmith at his Work, A_ (etching), 111
+
+  _Goldweigher, The_ (etching), 103
+
+  _Goldweigher's Field, The_ (etching), 103
+
+  _Good Samaritan_, The (Wallace Collection), 57;
+    (Cracow), 66;
+    (M. Porg[`e]s), 66;
+    (circa 1640), 67;
+    (Louvre), 74;
+    (etchings), 87, 95
+
+  _Grotius_, 57
+
+  _Grotto, The_ (etching), 99
+
+
+  _Hagar and Ishmael, Expulsion of_, 67
+
+  _Haman, The Disgrace of_, 75
+
+  _Hannah  teaching Samuel to read_ (Bridgewater House), 74;
+    (St Petersburg), 75
+
+  Haring, Jacob, 38;
+    _Portrait of_ (etching), 110
+
+  Haring, Thomas Jacobsz, 38, 39;
+    _Portrait of_ (etching) 106
+
+  Harmen Gerritsz, _see_ Gerritsz
+
+  Heertsbeeck, Isaac van, 36, 40, 41, 44, 45
+
+  Hendrickje, her relations with Rembrandt, 34, 35;
+    her children, 35;
+    partnership with Titus, 42, 88;
+    her will, 44;
+    her death, 44;
+    _Portraits of_ (Louvre), 34, 76, 81;
+    (Berlin), 82;
+    _ill._, 44
+
+  _Hog, The_ (etching), 98
+
+  _Holy Family, The_ (Munich), 55;
+    (Louvre), 67;
+    (Downton), 71;
+    (St Petersburg), 72;
+    (Cassel), 73;
+    (etching), 108
+
+  _Holy Family crossing a Rill during the Flight into Egypt_, 103
+
+  _Holy Family with the Serpent, The_ (etching), 104
+
+  _Homer reciting his Poems_, 82
+
+  _Hoogh, Catrina, Portrait of_, 78
+
+  _House of the Carpenter, The_, 67
+
+  _Hundred Guilder Print, The_, 85, 86, 110
+
+  Huygens, Constantin, 11, 20, 27
+
+  _Huygens, Maurice, Portrait of_, 53
+
+
+  _Jacob and Esau, Reconciliation of_, 68
+
+  _Jacob and Laban_ (etching), 98
+
+  _Jacob blessing Joseph's Sons_, 78
+
+  _Jacob wrestling with the Angel_, 80
+
+  _Jacob's Dream_ (etching), 105
+
+  _Jacob's Sons bringing him Joseph's Coat_, 75
+
+  _Jansenius_, 82
+
+  _Jesus and His Parents returning from Jerusalem_ (etching), 104
+
+  _Jew in a High Cap, A_ (etching), 97
+
+  _Jews' Synagogue, The_ (etching), 101
+
+  _Jewish Bride, The_ (Prince Liechtenstein), 19;
+    (St Petersburg), 61;
+    (Amsterdam), 83
+
+  _Jewish Bride, The Little_ (etching), 97
+
+  _John the Baptist preaching_, 78;
+    _ill._, 78
+
+  _John the Baptist, Beheading of_, (etching), 97
+
+  Jonghe,  Clement de, 25, 85, 87;
+    _Portrait of_ (etching), 103; _ill._, 90
+
+  _Joseph accused by Potiphar's Wife_, 77
+
+  _Joseph and Potiphar's Wife_ (etching), 96
+
+  _Joseph interpreting his Dreams_, 53
+
+  _Joseph relating his Dreams_ (etchings), 97
+
+  _Joseph's Coat_, 74
+
+  _Judas with the Price of the Betrayal_, 51
+
+  _Judith_, 55
+
+  _Jupiter and Antiope_ (etching), 107
+
+
+  _Kalkoen, Matthys, Portrait of_, 57
+
+  _Knobbert, Volkera Nicolai, Portrait of_, 56
+
+  _Krul, Jan Herman, Portrait of_, 58;
+    _ill._, 58
+
+
+  _Lady, Portrait of a_ (Capt. Holford), 73
+
+  _Lady of Utrecht, The_, 67
+
+  _Lady with the Fan, The_ (Buckingham Palace), 68;
+    _ill._, 70;
+    (Grosvenor House), 71
+
+  _Lady with the Parrot, The_, 78
+
+  Landscapes by Rembrandt, 66, 67, 73, 76, 98, 102, 109
+
+  _Landscape with Cottage and Mill Sail_ (etching), 98
+
+  _Landscape with a Cow drinking_ (etching), 112
+
+  _Landscape with a Flock of Sheep_ (etching), 112
+
+  _Landscape with a Man sketching_ (etching), 109
+
+  _Landscape with an Obelisque_ (etching), 112
+
+  _Landscape with a ruined Tower_ (etching), 109
+
+  _Large Tree by a House_ (etching), 109
+
+  Lastman, Pieter, 9, 10
+
+  La Tombe, Pieter de, 25, 85, 111
+
+  _Ledikant_ (etching), 100
+
+  Lievensz, Jan, 9, 11, 12, 30, 89
+
+  _Lion Hunt, A_ (etchings), 109
+
+  _Looten, Martin, Portrait of_, 57
+
+  _Lucretia, Death of, The_, 82
+
+  Lutma, Jan, 25;
+    _Portrait of_ (etching), 106;
+    _ill._, 106
+
+  Lysbeth, Rembrandt's Sister, 13, 14, 28, 38;
+    _Portraits of_, 51, 57, 58
+
+
+  _Man, Portrait of a_ (National Gallery), 63;
+    (St Petersburg), 65, 82;
+    (Cassel), 67;
+    (Brussels), 68;
+    _ill._, 70;
+    (Mr Armour), 71;
+    (Mr M. K. Jessup), 71;
+    (Earl of Brownlow), 76;
+    (M. Kann), 82
+
+  _Man and his Wife, Portraits of a_ (Vienna), 56;
+    _ill._, 56;
+    (Prince Liechtenstein), 64;
+    _ill._, 64;
+    (Prince Jousoupoff), 81
+
+  _Man in Armour_ (Brunswick), 66;
+    (Glasgow), 77;
+    (Cassel), 77
+
+  _Man in a Red Cloak_ (M. Kann), 79
+
+  _Man reading by a Window_ (Copenhagen), 73
+
+  _Man sketching in a Book_ (Dresden), 78
+
+  _Man with a Sword_ (Capt. Holford), 72
+
+  _Man with a Baton_ (Louvre), 75
+
+  _Man with the Bittern_ (Dresden), 67;
+    _ill._, 66
+
+  _Man seated on the Ground_ (etching), 100
+
+  _Man in an Arbour_ (etching), 98
+
+  Manasseh ben Israel, his "Piedra Gloriosa," 87, 105;
+    _Portrait of_, 72;
+    (etching), 96
+
+  _Manoah and his Wife, The Offering of_, 68
+
+  _Marriage of Jason and Creusa, The_ (etching), 101
+
+  _Merchant, Portrait of a_ (St Petersburg), 55;
+    (Lord Feversham), 79
+
+  _Metamorphosis of Narcissus, The_, 75
+
+  _Mill, The_, 76
+
+  _Minerva_, 55
+
+  _Minister, Portrait of a_, 65
+
+  _Monks, figures of_, 81
+
+  _Mordecai, The Triumph of_ (etching), 110
+
+  _Moses breaking the Tables of the Law_, 80
+
+  _Moses, The Saving of_, 67
+
+  _Mountebank, A_ (etching), 96
+
+
+  _Nativity, The_ (etching), 111
+
+  _Nebuchadnezzar's Dream_ (etching), 105
+
+  _Negress, A_ (etching), 107
+
+  Neeltje, Rembrandt's Mother, 2, 7, 14, 28;
+    _Portraits of_, see _Rembrandt's Mother_
+
+  _Night-Watch, The_, 30, 69
+
+  _Noli me tangere_, 75
+
+
+  _Old Man caressing a Boy_ (etching), 108
+
+  _Old Beggar Man conversing with a Woman_ (etching), 94
+
+  _Old Beggar Woman_ (etching), 100
+
+  _Old Jew_ (St Petersburg), 76
+
+  _Old Lady, Portrait of an_ (National Gallery), 61;
+    _ill._, 62;
+    (Earl of Yarborough), 65;
+    _see_ also _Old Woman_
+
+  _Old Man, Portrait of an_ (Berlin), 48;
+    (Cassel), 53;
+    (Louvre), 66;
+    (Buda-Pesth), 69;
+    (M. Schloss, Paris), 71;
+    (Lady Cook), 73;
+    (Dresden), 73, 76, 78, 83;
+    (Leeuwarden), 73;
+    (Strasburg), 75;
+    (Duke of Devonshire), 75, 76;
+    (St Petersburg), 76;
+    (Stockholm), 77;
+    (Pitti), 79;
+    (Nat. Gallery), 79;
+    (Col. Lindsay), 81;
+    (New York), 82;
+    (Earl of Northbrook), 83
+
+  _Old Man with a divided Fur Cap_ (etching), 97
+
+  _Old Woman, Portraits of an_ (Wilton House), 53;
+    (St Petersburg), 71, 76;
+    (M. Porg[`e]s), 74;
+    (Brussels), 76;
+    (Stockholm), 77;
+    (M. Kann), 78;
+    ([E']pinal), 82;
+    (Lord Wantage), 82;
+    (etchings), 95, 108
+
+  _Old Woman Sleeping_ (etching), 105
+
+  _Old Woman weighing Money_ (Dresden), 71
+
+  _Omval, View of_ (etching), 99
+
+  _Oriental, Portrait of an_, 65
+
+  _Oriental Heads_ (etching), 127
+
+  _Orphan Girl of Amsterdam, An_, 72
+
+
+  _Pallas_, 75
+
+  _Pancake Woman, The_ (etching), 96
+
+  _Pancras, Burgomaster, and his Wife_, 62;
+    _ill._, 62
+
+  _Parable of the Labourers in the Vineyard_, 78
+
+  _Parable of the Master of the Vineyard_, 65
+
+  _Peasant with Milk Pails_ (etching), 112
+
+  _Pellicorne, Burgomaster Jan, Portrait of_, 56
+
+  _Persian, The_ (etching), 95
+
+  _Petitioners to a Biblical Prince_, 59
+
+  _Philon the Jew_, 53
+
+  _Philosopher in Meditation, A_ (Stroganoff Collection), 53;
+    (Louvre), 59
+
+  _Philosopher reading by Candlelight_, 49
+
+  _Ph[oe]nix_, The (etching), 113
+
+  "Piedra Gloriosa," Rembrandt's illustrations to, 87, 105
+
+  _Pilate washing his Hands_, 78
+
+  _Pilgrim at Prayer, A_, 81
+
+  _Pluto carrying off Proserpine_, 57
+
+  _Presentation in the Temple, The_ (Hamburg), 52;
+    (The  Hague), 55, 60;
+    (etchings), 94, 111
+
+  _Presentation in the Vaulted Temple_, The (etching), 109
+
+  _Prodigal Son, The_, 62, 83;
+    (etching), 96
+
+
+  _Rabbi, A_ (Hampton Court), 63;
+    (M. Porg[`e]s), 68;
+    (Berlin), 72;
+    _ill._, 74;
+    (Nat. Gallery), 78;
+    (Duke of Devonshire), 128
+
+  _Raising of the Cross, The_, 20
+
+  _Raising of Lazarus, The_, 51;
+    (etchings), 87, 98
+
+  _Rape of Ganymede, The_, 63
+
+  _Rat-Killer, The_ (etching), 95
+
+  Rembrandt, date of birth discussed, 2, 3;
+    birthplace, 5;
+    his father, 6;
+    entered as a student at Leyden University, 7;
+    apprenticed to Swanenburch, 8, 9;
+    under Lastman at Amsterdam, 10;
+    return to Leyden, 10;
+    removal to Amsterdam, 11;
+    _the Anatomy Lesson_, 13, 16;
+    early portraits, 13, 16, 17;
+    meeting with Saskia, 19;
+    marriage, 22;
+    early extravagance, 23;
+    his first child, 24;
+    family quarrels, 23, 26;
+    his friends, 25;
+    birth and death of two daughters, 27;
+    financial difficulties, 26, 28, 29;
+    birth of Titus, 30;
+    death of Saskia, 30;
+    decline of prosperity, 32, 36;
+    relations with Hendrickje Stoffels, 34, 35;
+    bankruptcy, 38;
+    sale of his property, 39, 40;
+    fresh commissions, 41, 43;
+    failing sight, 43;
+    death of Hendrickje, 44;
+    his last pupil, 44;
+    death of Rembrandt, 46
+
+  _Rembrandt, Portraits of himself_--
+    (Count Andrassy), 53;
+    (Lord Ashburton), 65, 79;
+    (Berlin), 61;
+    (Bridgewater House), 79;
+    (Duke of Buccleuch), 79, 80;
+    (Buckingham Palace), 72;
+    (Cambridge), 75;
+    (Carlsruhe), 71;
+    (Herr von Carstangen), 83;
+    (Cassel), 49, 61, 79; (Gotha), 51;
+    (The Hague), 51, 61;
+    (Heywood-Lonsdale), 65;
+    (Lord Ilchester), 78;
+    (Lord Iveagh), 78;
+    (Lord Kinnaird), 82;
+    (Leipzig), 75;
+    (Louvre), 61, 65, 80;
+    (Herr Mendelssohn), 75;
+    (Munich), 78;
+    (Nat. Gallery), 67, 82;
+    _ill._, 28, 46;
+    (Sir A. D. Neeld), 80;
+    (Prince Henri of the Pays Bas), 71;
+    (Pitti), 63;
+    (Lady de Rothschild), 78;
+    (Uffizi), 83;
+    (Vienna), 79, 83;
+    (Wallace Collection), 61;
+    (Warneck Collection), 58;
+    (Weimar), 71
+    Etchings, 3, 94, 95, 97, 100, 108
+
+  _Rembrandt's Brother_, Portrait of (Berlin), 75;
+    (The Hague), 75
+
+  "_Rembrandt's Cook_" (Downton), 82
+
+  _Rembrandt's Father_, see Gerritsz
+
+  _Rembrandt and his Wife_ (etching), 96
+
+  _Rembrandt's Mother, Portraits of_, 49, 51, 55, 57, 67, 71;
+    _ill._, 6;
+    (etchings), 93, 95, 108
+
+  _Rembrandt's Mill_ (etching), 98;
+    _ill._, 98
+
+  _Repose in Egypt_ (etchings), 99, 112
+
+  _Resurrection, The_, 66
+
+  Robinson, Sir J. C., 48
+
+  _Ruin, The_, 75
+
+
+  _Saint, A_, 65
+
+  _St Anastasius_, 54
+
+  _St Catherine_ (etching), 97
+
+  _St Francis praying_ (etching), 107
+
+  _St Jerome_ (etchings), 95, 96, 98, 113
+
+  _St Matthew_, 81
+
+  _St Paul_ (Vienna), 65;
+    (Lord Wimborne), 79
+
+  _St Paul in Prison_ (Stuttgart), 49
+
+  _St Peter_, 52;
+    (etching), 112
+
+  _St Peter, The Denial of_ (Elberfeld), 51;
+    (St Petersburg), 78
+
+  _St Peter and St John at the Gate of the Temple_ (etchings), 107
+
+  _St Stephen, The Martyrdom of_ (etching), 96
+
+  _St Thomas, Incredulity of_, 62
+
+  _Salutation, The_, 67
+
+  _Samson captured by the Philistines_ (Berlin), 50
+
+  _Samson overpowered by the Philistines_ (Count Schonborn), 64
+
+  _Samson propounding his Riddle to the Philistines_, 66
+
+  _Samson threatening his Father-in-Law_, 64
+
+  Saskia, Early Portraits of, 14, 17, 18, 57;
+    _ill._, 18;
+    her birth and family, 18;
+    first meeting with Rembrandt, 19;
+    marriage, 22;
+    her character, 22;
+    children, 24, 27, 30;
+    death, 30;
+    her will, 31;
+    _Portraits of_ (Dresden), 58;
+    (St Petersburg), 61;
+    (M. Schloss), 61;
+    (Cassel), 61;
+    1635, 62;
+    Rembrandt and Saskia (Dresden), 62;
+    _ill._, 24;
+    (Buckingham Palace), 62;
+    (Berlin), 71;
+    (etchings), 95, 108;
+    pencil drawing of (at Berlin), 4
+
+  _Schoolmaster, The_ (etching), 98
+
+  Six, Burgomaster, 25, 34, 38;
+    _Portrait of_, (Six Collection), 79;
+    (etching), 100, 114
+
+  _Six's Bridge_ (etching), 99
+
+  _Shell, The_ (etching), 102; _ill._, 102
+
+  _Shepherds reposing at Night_, 74
+
+  _Shipbuilder and his Wife, The_, 58;
+    _ill._, Frontispiece
+
+  Sketches, sheets of (etchings), 112, 113
+
+  _Slaughter-house, The_ (Herr Rath), 66;
+    (Glasgow), 75;
+    (Louvre), 77
+
+  _Sobieski_, 65;
+    _ill._, 66
+
+  _Sortie of the Banning Cocq Company_, 30, 69
+
+  _Sportsman, The_ (etching), 110
+
+  _Standard Bearer, The_ (Baron G. de Rothschild), 65;
+    (in America), 81
+
+  _Star of the Kings, The_ (etching), 113
+
+  Stoffels, Hendrickje, _see_ Hendrickje
+
+  _Storm, an Effect of_,  67
+
+  _Susannah and the Elders_ (Prince Jousoupoff), 65;
+    (Berlin), 73
+
+  _Susannah_, Study of, 74
+
+  Swalm, Henry, 25;
+    _Portrait of_, 65
+
+  Swanenburch, Jacob van, 8
+
+  Sylvius, Jan Cornelis, 18, 21, 25;
+    Portrait of, 72;
+    (etchings), 87, 88, 108, 109
+
+  _Syndics of the Drapers' Guild, The_, 43, 82;
+    _ill._, 80
+
+
+  Tholinx, Arnold, 38;
+    _Portrait of_, 77;
+    (etching), 110
+
+  _Three Crosses, The_ (etching), 87, 111
+
+  _Three Trees, The_ (etching), 87, 98,
+    _ill._, 92
+
+  Titia, Rembrandt's Granddaughter, 46, 47
+
+  Titus, Rembrandt's Son, 30, 33, 35;
+    his will, 38, 39;
+    partnership with Hendrickje, 42;
+    marriage, 46;
+    death, 46;
+    _Portraits of_ (M. Kann), 77;
+    (Earl of Crawford), 77;
+    (Vienna), 79;
+    (Capt. Holford), 81;
+    (etching), 110
+
+  _Tobias and the Angel_, 76
+
+  _Tobias restoring his Father's Sight_, 62
+
+  _Tobias' Wife with the Goat_, 72
+
+  _Tobit and his Wife_, 75
+
+  _Tobit Blind_ (etching), 111, 115
+
+  _Tree, Sketch of a_ (etching), 109
+
+  _Tribute Money, The_, 72
+
+  Tulp, Dr, 13, 25, 41;
+    _Portraits of_, 57
+
+  _Turenne, Marshal, Portrait of_, 74
+
+
+  Uijtenbogaerd, Jan, _Portraits of_ (etchings), 87, 96, 103
+
+  _Unmerciful Servant, The_, 82
+
+  Uylenborch, Hendrick van, 16, 25, 29, 31, 40
+
+  Uylenborch, Magdalena van, wife of Titus, 46, 47
+
+  Uylenborch, Saskia van--_see_ Saskia.
+
+
+  Van Loo, Albert, 26, 46
+
+  Van Loo, Gerrit and Hiskia, 21, 22, 23, 25
+
+  _Venus and Cupid_, 81
+
+  _Virgin mourning the Death of Jesus, The_ (etching), 109
+
+  _Virgin and Child in the Clouds, The_ (etching), 98
+
+  _Vision of Ezekiel, The_ (etching), 105
+
+  _Village by the High Road_ (etching), 102
+
+  _Village with a River and Sailing Vessel_ (etching), 109
+
+  _Village with a Square Tower_ (etching), 102
+
+  _Vista, The_ (etching), 103
+
+  _Vymer, Anna, Portrait of_, 68
+
+
+  _Winter Scene, A_, 73;
+    _ill._, 74
+
+  _Woman, Portrait of a_ (Mr Byers), 64;
+    (Lord Kinnaird), 64;
+    (Lord Iveagh), 69;
+    (M. Kann), 82;
+    and see _Old Woman_
+
+  _Woman bathing_ (Louvre), 74;
+    (Nat. Gallery), 76
+
+  _Woman taken in Adultery, The_, 72;
+    _ill._, 72
+
+  _Woman by a Dutch Stove_ (etching), 111
+
+  _Woman preparing to dress after Bathing_ (etching), 107
+
+  _Woman with her Feet in Water_ (etching), 107
+
+  _Woman with an Arrow_ (etching), 107
+
+  _Woodchopper, The_, 73
+
+
+  _Young Girl, Portrait of a_ (Stockholm), 51;
+    (The Hague), 53;
+    (Bridgewater House), 61;
+    (Dulwich), 72;
+    _ill._, 72
+
+  _Young Man, Portrait of a_ (Earl Cowper), 72;
+    (Mr Humphry Ward), 73;
+    (Copenhagen), 77;
+    (Louvre), 78
+
+  _Young Man and his Wife_ (Prince Liechtenstein), 64
+
+  _Young Man in a Cap and Breastplate_ (Dresden), 71
+
+  _Young Man laughing_, 52
+
+  _Young Man with the Turban_, 54
+
+  _Young Man seated in Meditation_ (etching), 96
+
+  _Young Painter with Paper and Crayon_, 74
+
+  _Young Servant_ (Stockholm), 76
+
+  _Young Woman, Portrait of a_ (Cassel), 63;
+    (Dr Bredius), 65;
+    (Dresden), 68;
+    (Copenhagen), 78
+
+  _Young Woman in Bed_ (Edinburgh), 75
+
+  _Young Woman reading_ (etching), 95
+
+  _Youth_ (Lord Leconfield), 83
+
+
+  _Zachariah receiving the Prophecy of the Birth of John the
+    Baptist_, 55
+
+  "Zeew[ae]rts-Lof, Der," 87
+
+  Zoomer, Jan Pietersen, 85, 86, 87
+
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