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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, 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 =.
+
+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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