,transcriber's notes3 ,text in italics has been marked with 4 ,text in bold has been marked with 994 ,text in small caps has been marked with 4 ,the ,great ,masters in ,painting and ,sculpture ,edited by ,g4 ,c4 ,williamson ,,rembrandt ,,van ,,rijn ,,the ,,great ,,masters ,,in ,,painting ,,and ,,sculpture4 ,the following ,volumes have been issued1 price #es4 net each4 ,,bernardino ,,luini4 ,by ,george ,c4 ,williamson1 ,litt4,d41 ,editor of the ,series4 ,,velasquez4 ,by ,r4 ,a4 ,m4 ,stevenson4 ,,andrea ,,del ,,sarto4 ,by ,h4 ,guinness4 ,,luca ,,signorelli4 ,by ,maud ,cruttwell4 ,,raphael4 ,by ,h4 ,strachey4 ,,carlo ,,crivelli4 ,by ,g4 ,mc,neil ,rushforth1 ,m4,a41 ,lecturer in ,classics1 ,oriel ,college1 ,oxford4 ,,correggio4 ,by ,selwyn ,brinton1 ,m4,a41 ,author of ,the ,renaissance in ,italian ,art4 ,,donatello4 ,by ,hope ,rea1 ,author of ,tuscan ,artists4 ,,perugino4 ,by ,g4 ,c4 ,williamson1 ,litt4,d4 ,,sodoma4 ,by the ,contessa ,lorenzo ,priuli-,bon4 ,,luca ,,della ,,robbia4 ,by the ,marchesa ,burlamacchi4 ,,giorgione4 ,by ,herbert ,cook1 ,m4,a41 ,f4,s4,a4 ,,memlino4 ,by ,w4 ,h4 ,james ,weale1 late ,keeper of the ,national ,art ,library4 ,,piero ,,della ,,francesca4 ,by ,w4 ,g4 ,waters1 ,m4,a4 ,,pintoricchio4 ,by ,evelyn ,march ,phillipps4 ,,francia4 ,by ,george ,c4 ,williamson1 ,litt4,d4 ,,brunelleschi4 ,by ,leader ,scott4 ,,mantegna4 ,by ,maud ,cruttwell4 ,,rembrandt ,,van ,,rijn4 ,by ,malcolm ,bell4 ,in preparation4 ,,wilkie4 ,by ,lord ,ronald ,sutherland-,gower1 ,m4,a41 ,f4,s4,a41 ,trustee of the ,national ,portrait ,gallery4 ,,tintoretto4 ,by ,j4 ,b4 ,stoughton ,holborn1 ,m4,a4 of ,merton ,college1 ,oxford4 ,,giotto4 ,by ,f4 ,mason ,perkins4 ,,el ,,greco4 ,by ,manuel ,b4 ,cossio1 ,litt4,d41 ,ph4,d41 ,director of the ,muse ,pdagogique1 ,madrid4 ,d,,rer4 ,by ,hans ,w4 ,singer1 ,m4,a41 ,ph4,d41 ,assistant ,director of the ,royal ,print ,room1 ,dresden4 ,,paolo ,,veronese4 ,by ,roger ,e4 ,fry4 ,,gaudenzio ,,ferrari4 ,by ,ethel ,halsey4 ,others to follow4 99 99 99 99 99 ,,london3 ,,george ,,bell ,,sons ,illustration3 ,buckingham ,palace1 ,london4 ,the ,ship builder his wife4 7#afcc7 ,,rembrandt ,,van ,,rijn ,,by ,,malcolm ,,bell ,,author ,,of ,,sir ,,edward ,,burne-,,jones3 ,a ,,record ,,and ,,review1 ,,etc4 ,illustration3 logo ,,london ,,george ,,bell ,,sons #aija ,,preface ,in order to reduce the volume on ,rembrandt1 published in #ahii1 to the smaller dimensions demanded by the ,great ,masters series1 it became necessary to dispense with some of the material included in it4 ,this1 it is hoped1 has been done without seriously affecting the usefulness of the book4 ,the story of the painter's life and work has been to some extent compressed1 but everything essential has1 it is believed1 been retained4 ,the chief omissions are the short descriptions of the pictures and the lists of the etchings1 which1 while occupying much space1 were thought to be more suitable to a work of reference than to a handbook4 ,the student who desires fuller information on these points will find it in the earlier volume4 ,,contents ,,page ,list of ,illustrations vii ,bibliography ix ,chronological ,table xiii ,,part ,i4--,,rembrandt ,,the ,,man ,chapter ,i4 ,birth and ,early ,years #a ,,ii4 ,art ,education and ,early ,works #h ,,iii4 ,days of ,prosperity #af ,,iv4 ,days of ,decline #cb ,,part ,,ii4--,,rembrandt ,,the ,,painter ,v4 ,early ,years 7#afbg-afcc7 #dh ,,vi4 ,time of ,prosperity #fa ,,vii4 ,years of ,decline #ga ,,part ,,iii4--,,rembrandt ,,the ,,etcher ,,viii4 ,the ,history of the ,etchings #he ,,ix4 ,the ,authentic ,etchings #ic ,catalogue of ,works #aag ,index #aeg ,,list ,,of ,,illustrations ,,page ,the ,shipbuilder and his ,wife1 #afcc1 ,frontispiece ,buckingham ,palace ,portrait of ,rembrandt's ,mother1 about #afbh ,the ,hague #f ,portrait of ,rembrandt's ,father1 about #afca ,cassel #ab ,portrait of ,saskia1 #afcb ,prince ,liechtenstein1 ,vienna #ah ,rembrandt and ,saskia1 about #afce ,dresden #bd ,portrait of ,rembrandt1 #afdj ,national ,gallery1 ,london #bh ,portrait of ,saskia1 #afda ,dresden #cj ,portrait of ,hendrickje ,stoffels1 about #affb ,louvre #dd ,portrait of ,rembrandt1 about #affd ,national ,gallery1 ,london #df ,portrait called ,coppenol1 #afca ,the ,hermitage #ed ,portrait of a ,man1 #afcj-afcb ,imperial ,museum1 ,vienna #ef ,portrait of a ,woman1 #afcj-afcb ,imperial ,museum1 ,vienna #ef ,the ,anatomy ,lesson1 #afcb ,the ,hague #eh ,portrait of ,jan ,herman ,krul1 #afcc ,cassel #eh ,the ,elevation of the ,cross1 #afcc ,munich #fj ,portrait of an ,old ,woman1 #afcd ,national ,gallery1 ,london #fb ,the ,burgomaster ,pancras and his ,wife1 about #afce ,buckingham ,palace #fb ,portrait of a ,man1 #afce ,national ,gallery1 ,london #fb ,danae1 #afcf ,the ,hermitage #fd ,portrait of a ,man1 #afcf ,prince ,liechtenstein1 ,vienna #fd ,portrait of a ,lady1 #afcf ,prince ,liechtenstein1 ,vienna #fd ,portrait called ,sobieski1 #afcg ,the ,hermitage #ff ,the ,man with the ,bittern1 #afci ,dresden #ff ,portrait of ,elizabeth ,bas1 about #afdj ,amsterdam #fh ,anslo consoling a ,widow1 #afda ,berlin #fh ,the ,lady with the ,fan1 #afda ,buckingham ,palace #gj ,portrait of a ,man1 #afda ,brussels #gj ,the ,woman taken in ,adultery1 #afdd ,national ,gallery1 ,london #gb ,a ,girl at a ,window1 #afde ,dulwich ,gallery #gb ,portrait of a ,rabbi1 #afde ,berlin #gd ,a ,winter ,scene1 #afdf ,cassel #gd ,christ at ,emmaus1 #afdh ,louvre #gf ,john the ,baptist preaching1 #afef ,berlin #gh ,the ,syndics of the ,drapers1 #affa ,amsterdam #hj ,,etchings ,the ,numbers given are those of ,bartsch's ,catalogue ,christ healing the ,sick 7#gd7 #hf ,clement de ,jonghe 7#bgb7 #ij ,the ,three ,trees 7#bab7 #ib ,rembrandt's ,mill 7#bcc7 #ih ,beggars at the ,door of a ,house 7#agf7 #ajj ,the ,shell 7#aei7 #ajb ,jan ,lutma 7#bgf7 #ajf ,,bibliography ,amand-,durand4 uvre de ,rembrandt reproduit et publi par4 #b parts4 ,paris1 #ahhj4 ,baldinucci1 ,filippo4 ,cominciamento e progresso dell' arte dell' intagliare in rame4 ,florence1 #afhf4 ,bartsch1 ,adam4 ,catalogue raisonn de toutes les estampes qui forment l'uvre de ,rembrandt et ceux de ses principaux imitateurs4 #b vols4 ,vienna1 #agig4 ,bell1 ,malcolm4 ,rembrandt van ,rijn and his ,work4 #dto4 ,london1 #ahii4 ,blanc1 ,charles4 ,l'uvre complet de ,rembrandt1 dcrit et comment par4 ,paris1 #ahfd and #ahhj4 ,bode1 ,w4 ,studien zur ,geschichte der hollndischen ,malerei4 ,brunswick1 #ahhc4 ,bredius1 ,a41 and de ,roever1 ,n4 ,oud-,holland4 ,a magazine published at ,amsterdam4 ,bredius1 ,a4 ,les chefs-d'uvre du ,muse royal d',amsterdam4 ,paris1 #ahij4 ,bredius1 ,a4 ,die ,meisterwerke der ,kniglichen ,gemlde ,galerie im ,haag4 ,munich1 #ahij4 ,burger1 ,w4 ,les ,muses de ,belgique et de ,hollande4 ,paris1 #aheh1 #ahfj1 and #ahfb4 ,busken-,huet4 ,het ,land van ,rembrandt4 ,harlem1 #ahhf4 ,chalon1 ,john4 ,works of ,rembrandt1 etched by4 ,london1 #ahbb4 ,claussin1 ,chevalier de4 ,catalogue raisonn de toutes les estampes qui forment l'uvre de ,rembrandt4 ,paris1 #ahbd4 ,claussin1 ,chevalier de4 ,supplment au ,catalogue de ,rembrandt4 ,paris1 #ahbh4 ,dargenville4 ,abrg de la ,vie des plus fameux peintres4 ,paris1 #agde4 ,daulby1 ,daniel4 ,a descriptive catalogue of the works of ,rembrandt and of his scholars4 ,london and ,liverpool1 #agif4 ,descamps4 ,vies des peintres flamands et hollandais4 ,marseilles1 #ahdj4 ,dyk1 ,j4 van4 ,beschryving van alle de ,schilderyen op het ,stadhuis van ,amsterdam4 ,amsterdam1 #ageh4 ,dutuit1 ,e4 ,l'uvre complet de ,rembrandt dcrit et catalogu par4 ,paris1 #ahhj4 ,eckhoff4 ,la femme de ,rembrandt4 #ahfb4 ,flibien4 ,entretien sur les ,vies et les ,ouvrages des plus excellents peintres4 #afff-afhh4 ,fromentin1 ,eugne4 ,les ,maitres d'autrefois4 ,paris1 #ahgg4 ,galland1 ,g4 ,geschichte der hollndischen ,baukunst und ,bildnerei4 ,leipzig1 #ahij4 ,gersaint4 ,catalogue raisonn de toutes les pices qui forment l'uvre de ,rembrandt4 ,paris1 #agea4 ,hamerton1 ,p4 ,g4 ,etching and ,etchers4 ,london1 #ahfh4 ,hamerton1 ,p4 ,g4 ,rembrandt's ,etchings4 ,portfolio4 ,london1 #ahid4 ,havard1 ,henri4 ,l'art et les artistes hollandais4 ,paris1 #ahgi4 ,hoogstraten1 ,samuel van4 ,inleyding tot de hooge ,school der ,schilderkonst4 ,rotterdam1 #afgh4 ,houbraken1 ,arnold4 ,de groote ,schoubourgh der nederlandsche ,kontschilders4 ,amsterdam1 #agah-agai4 ,humphreys1 ,noel4 ,rembrandt's ,etchings4 ,london1 #ahga4 ,huygens1 ,constantin4 ,autobiographie indite4 ,library of the ,academy of ,sciences1 ,amsterdam4 ,kolloff1 douard4 ,rembrandt's ,leben und ,werke1 included in ,historisches ,taschenbuch of von ,raumer4 ,leipzig1 #ahed4 ,langbehn1 ,dr4 ,rembrandt als ,erzieher4 ,published anonymously1 ,leipzig1 #ahij4 ,lemcke1 ,c4 ,rembrandt van ,rijn1 in the ,kunst and ,knstler1 ,leipzig1 #ahgg4 ,lippmann1 ,f4 ,original drawings by ,rembrandt reproduced in ,phototype4 ,london1 ,berlin1 and ,paris1 #ahhi-ahib4 ,madsen1 ,karl4 ,studier fra ,sverig4 ,copenhagen1 #ahib4 ,michel1 ,emile4 ,rembrandt sa vie1 son uvre et son temps4 ,paris1 #ahic4 ,middleton1 ,c4 ,h4 ,notes on the ,etched ,work of ,rembrandt4 ,london1 #ahgg4 ,middleton1 ,c4 ,h4 ,a descriptive ,catalogue of the ,etched ,work of ,rembrandt4 ,london1 #ahgh4 ,orlers1 ,j4 ,j4 ,beschryving der ,stad ,leiden4 ,leyden1 #afda4 ,oud-,holland4 ,see ,bredius4 ,piles1 ,r4 de4 ,abrg de la vie des ,peintres4 #afii4 ,riegel1 ,herman4 ,beitrage zur niederlndischen ,kunstgeschichte4 ,berlin1 #ahhb4 ,rovinski1 ,dmitri4 ,l'uvre grav de ,rembrandt4 ,reproductions of all the states of all the etchings4 ,st4 ,petersburg1 #ahij4 ,sandrart1 ,joachim de4 ,academia nobilissimae artis pictori4 ,nuremberg1 #afge-afhc4 ,scheltema1 ,dr4 ,rembrandt1 ,discours sur sa vie et son gnie4 ,paris1 #ahff4 ,schmidt1 ,w4 ,handzeichnungen alter ,meister in ,kniglichen ,kupferstich ,kabinet zu ,munchen4 ,munich4 ,schneider1 ,l4 ,geschichte der niederlndischen ,litteratur4 ,leipzig1 #ahhh4 ,seidlitz1 von4 ,rembrandt's ,radirungen4 ,published in ,zeitschrift fr bildende ,kunst4 #ahib4 ,seymour ,haden1 ,sir ,francis4 ,introductory ,remarks to the ,catalogue of the ,etched ,work of ,rembrandt1 selected for exhibition at the ,burlington ,fine ,arts ,club1 ,london1 #ahgg4 ,seymour ,haden1 ,sir ,francis4 ,l'uvre grav de ,rembrandt4 ,paris1 #ahhj4 ,seymour ,haden1 ,sir ,francis4 ,the ,etched ,work of ,rembrandt1 ,true and ,false4 ,london1 #ahie4 ,smith1 ,john4 ,catalogue raisonn of the ,works of the most eminent ,dutch1 ,flemish1 and ,french ,painters4 ,london1 #ahbi-ahdb4 ,springer1 ,anton4 ,bilder aus der neueren ,kunstgeschichte4 ,vol4 ,,ii4 ,rembrandt und seine ,genossen4 ,bonn1 #ahhf4 ,vosmaer1 ,charles4 ,rembrandt ,hermannsz4 ,sa vie et ses uvres4 ,paris and the ,hague1 #ahgg4 ,weyerman1 ,j4 ,campo4 ,de ,levens ,beschryvingen der nederlandsche ,konstschilders4 ,the ,hague1 #agdi4 ,willigen1 van der4 ,les artistes de ,harlem4 #ahgj4 ,willshire1 ,w4 ,h4 ,an ,introduction to the ,study and ,collection of ,ancient ,prints4 ,london1 #ahgg4 ,wilson1 ,t4 ,a ,descriptive ,catalogue of the ,prints of ,rembrandt4 ,published as by ,an amateur4 ,london1 #ahcf4 ,woltmann1 ,a41 and ,woermann1 ,k4 ,geschichte de ,malerei4 ,leipzig4 ,yver1 ,pierre4 ,supplment au ,catalogue raisonn de ,,mm4 ,gersaint1 ,helle1 et ,glomy4 ,amsterdam1 #agef4 ,,chronological ,,table ---------------------------------------- ----------------------------- ,events in ,principal ,work ,important ,year ,rembrandt's ,life ,dated ,historical ,event ---------------------------------------- ----------------------------- #afjf ,born ,july #aeth4 #afjh ,milton born4 #afji ,truce between ,spain and ,holland4 #afaj ,the ,colony of ,virginia established4 #afab ,henry1 ,prince of ,wales1 died4 #afaf ,shakespeare died4 #afah ,thirty ,years' ,war began4 #afbj ,entered at ,leyden ,the ,pilgrim ,fathers ,university1 and later landed in ,new ,england4 ,swanenburch's ,studio4 #afbb ,renewal of ,war with ,spain4 #afbc ,went to ,lastman's ,charles went to ,spain4 ,studio4 #afbd ,returned to ,leyden4 ,manhattan founded4 #afbe ,charles ,i4 came to the throne4 ,prince ,frederick-,henry became ,stathouder4 #afbg ,first known pictures4,st ,paul in ,prison4 ,expedition to ,rochelle4 #afbh ,gerard ,dou became his,capture of ,samson4 ,assassination of pupil4 ,buckingham4 #afbi ,portrait of ,himself ,charter granted to 7,gotha74 ,massachusetts4 #afcj ,his father died4 ,joseph interpreting ,puritan emigration to his ,dreams4 ,new ,england4 #afca ,left ,leyden for ,presentation in the ,dryden born4 ,amsterdam4 ,temple4 #afcb ,living on the ,the ,anatomy ,lesson4 ,gustavus ,adolphus ,bloemgracht4 killed at ,lutzen4 #afcc ,moved to ,saint ,the ,shipbuilder and ,milton's ,l',allegro ,anthonie's ,breestraathis ,wife4 and ,il ,penseroso4 7about74 #afcd ,married on ,june #bbnd4,descent from the ,the ,exchange at ,cross 7,hermitage74 ,amsterdam built4 #afce ,rombertus born4 ,abraham's ,sacrifice4 ,ben ,jonson died4 #afcf ,living in ,nieuwe ,danae4 ,doelstraat4 #afcg ,susannah at the ,bath4,trial of ,hampden4 #afch ,cornelia born4 ,christ and ,mary ,milton's ,lycidas4 ,magdalen4 #afci ,moved to ,resurrection4 ,massinger died4 ,jode-,breestraat4 #afdj ,his mother died4 ,portrait of ,elizabeth,the ,long ,parliament ,bas4 met4 #afda ,titus born4 ,portrait of ,anslo4 ,execution of ,strafford4 #afdb ,saskia died4 ,the ,night ,watch4 ,the ,civil ,war began4 #afdc ,bathsheba4 ,death of ,hampden4 #afdd ,woman taken in ,the ,battle of ,marston ,adultery4 ,moor4 #afde ,holy ,family ,battle of ,naseby4 7,hermitage74 #afdf ,finished two pictures,adoration of the ,charles ,i4 surrendered for the ,stathouder4 ,shepherds4 to the ,scots4 #afdg ,an estimate made of ,susannah and the ,william ,,ii4 became ,saskia's property4 ,elders4 ,stathouder4 #afdh ,christ at ,emmaus4 ,peace of ,westphalia4 #afdi ,hendrickje ,stoffels ,no dated picture4 ,execution of first heard of4 ,charles ,i4 #afej ,deposition4 ,john de ,witt became ,grand ,pensioner4 #afea ,noli me tangere4 ,battle of ,worcester4 #afeb ,hendrickje's first ,portrait of ,war between ,england daughter born4 ,bruyningh4 and ,holland4 #afec ,borrowed money in ,portrait called ,van ,peace restored4 large sums4 der ,hooft4 #afed ,birth of second ,bathsheba 7,louvre74 ,oliver ,cromwell1 daughter1 ,cornelia4 ,lord ,protector4 #afee ,joseph accused by ,cromwell pensioned ,potiphar's ,wife4 ,manasseh ben ,israel4 #afef ,declared bankrupt4 ,parable of ,labourers ,war between ,spain and in the ,vineyard4 ,england4 #afeg ,sale of his property ,portrait of ,catrina ,cromwell refused title ordered4 ,hoogh4 of ,king4 #afeh ,pictures1 etc41 sold4,an ,old ,woman cutting ,cromwell died4 her ,nails4 #afei ,jacob wrestling with ,treaty of the ,hague4 the ,angel4 #affj ,association formed by,portrait of ,himself ,charles ,,ii4 landed at ,hendrickje and ,titus47,louvre74 ,dover4 #affa ,the last known ,the ,syndics4 ,mazarin died4 etching4 #affb ,hendrickje 7probably7,no dated picture4 ,charter given to ,royal died4 ,society4 #affc ,homer4 #affd ,moved to the ,lucretia4 ,war between ,holland ,lauriergracht4 and ,england4 #affe ,titus awarded his ,portrait of a ,man ,plague in ,london4 property4 7,metrop4 ,mus41 ,new ,york74 #afff ,portrait of ,j4 de ,fire of ,london4 ,decker4 #affg ,portrait of an ,old ,peace between ,england ,man4 and ,holland4 #affh ,titus' marriage and ,the ,flagellation4 ,alliance between death4 ,holland1 ,england1 and ,sweden4 #affi ,rembrandt died4 ,no dated picture4 ---------------------------------------- ----------------------------- ,,rembrandt ,,van ,,rijn ,,chapter ,i ,,birth ,,and ,,early ,,years ,down to the middle of the present century the story of ,rembrandt1 as generally accepted1 was nothing but a mass of more or less ill-natured fiction4 ,his drunkenness1 his luxury1 his immorality1 his avarice1 were heaped together into a somewhat inconsistent midden-heap of infamy4 ,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 revision2 nay1 more1 to inquire upon what evidence it had been first delivered1 and the investigation had not long been set on foot before the question took the form--,is there any evidence1 good or bad1 at all8 ,there were soon many workers in this untried field1 and to all the thanks of the artist's admirers are due1 but it is chiefly to ,m4 ,charles ,vosmaer that his complete rehabilitation is to be credited1 and it is bare justice to say that without availing himself freely of his researches and of ,m4 ,michel's equally careful and critical marshalling of the facts1 then and since obtained by others1 no future historian of ,rembrandt can hope to advance beyond the threshold of his subject4 ,one by one the cobwebs of myth with which1 partly through malice1 partly through ignorance1 the master's image had been overwhelmed have been torn away1 and we begin at last to see him as he really was1 not impeccable1 but intensely human1 a kindly1 patient1 laborious1 much-tried soul--one whom fortune1 not altogether without his own provoking be it frankly owned1 sorely buffeted1 but one who1 though well-nigh crushed1 was never subdued2 one whose courage sustained him to the last1 whose one refuge against her flouts was in his art2 who met1 uncomplaining1 neglect and contempt in his later years as he had in the heyday of his career received1 unspoiled1 unstinted praise and well-earned fame1 and who said of himself in the height of his prosperity1 ,when ,i want rest for my mind1 it is not honours ,i crave1 but liberty4 ,much concerning ,rembrandt has been revealed by ,m4 ,vosmaer and his fellow-workers1 by ,,mm4 ,bredius and ,scheltema1 de ,vries and ,immerzeel1 ,elzevier and ,eckhoff1 van der ,willigen1 and other patient seekers1 but much1 nevertheless1 still remains in doubt or darkness4 ,even as to the date of his birth1 there is considerable uncertainty4 ,orlers1 a burgomaster of ,leyden1 in a description of that town published in #afda1 and therefore while not only ,rembrandt himself but many people who must have remembered his birth were still alive1 states that ,rembrandt1 the son of ,hermann1 the son of ,gerrit1 and ,neeltje1 the daughter of ,willems of ,suydtbroeck1 was born on the #aeth of ,july #afjf1 and later writers for more than two hundred years accepted his assertion without question4 ,dr ,bredius has1 however1 shown that on ,may #beth1 #afbj1 ,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 fourteen1 ,rembrandt ,hermanni ,leidensis #ad jare oud1 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 birthday4 ,for1 the day of his birth not being in dispute1 if we take the latter and more obvious interpretation it would necessarily follow that the fourteenth anniversary was in #afai and that he completed his first year on #beth ,may #afjf1 so that the actual day itself must have been in #afje4 ,there is further and still conflicting evidence to be reckoned with4 ,in the ,british ,museum there is a proof of an etched portrait of himself dated #afca ,b4 #g1 on which is written1 in what is believed to be his own hand1 aet4 #bd1 #afca4 ,if this was written before the #aeth of ,july it would point to #afjf as his birth year1 thus agreeing with ,orlers' statement1 while if it was written after that day it would imply #afjg4 ,it should1 however1 be observed that ,m4 ,blanc reads the figures on the etching as #be1 and if he be correct in this the choice must lie between #afjg and #afjh2 while1 to add further to the mystification1 ,mr ,sidney ,colvin reads the age as #bg1 which makes the birth year #afjc or #afjd4 ,nor is #afjg without further support4 ,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 marriage1 signed by himself1 and in this he gives his age on ,july #ajth1 #afcd1 as twenty-six1 in which case his birthday would have fallen in #afjg1 but we know that he was at all times very vague as to dates and figures4 ,on a delightful pencil drawing on vellum1 in the ,berlin ,museum1 of his wife ,saskia1 there is an inscription in his handwriting ,dit is naer myn huysfrow geconterfeit do sy #ba jaer oud was den derden dach als wy getroudt waeren due #h junyus #afcc--,this is a portrait of my wife when she was #ba years old1 on the third day after our marriage1 the #hth of ,june #afcc1 a simple statement1 which nevertheless contains a remarkable number of errors for so brief a document4 ,saskia1 it is true1 was twenty-one in #afcc1 but the marriage took place on the #bbnd of ,june and in the year #afcd4 ,if1 then1 ,rembrandt could misdate an event so intimately connected with his life's chief joy1 how should we expect him to be more accurate about one1 which indeed concerned him nearly1 but of which he naturally had no personal recollection4 ,that he was uncertain we have happily positive proof1 thanks once more to ,doctor ,bredius1 for on the #afth of ,september #afec1 in giving his opinion as an expert in a trial concerning the authenticity of a certain picture by ,paul ,bril1 he can only declare that he is about forty-six4 ,such is the evidence upon this fortunately not very important point1 and it is small wonder that of the two great authorities1 ,m4 ,michel and ,m4 ,vosmaer1 the first accepts #afjf and the second #afjg as the true date4 ,the question must still remain an open one1 but when we consider that ,rembrandt's mother did not die until #afdj1 only one year before ,orlers published his book1 and at a time when he had probably collected most of his material1 and that nothing is more likely than that he should have applied to her for details1 we may with safety conclude that the balance of probability is in favour of his date #afjf4 ,concerning the place of his birth there are no such doubts4 ,if the visitor to ,leyden1 on his way from the station to the town1 turns sharp to the right after crossing the second bridge1 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 hand1 he will before long find himself on the west side of the town1 in a triangular open space1 washed on two sides by the moat surrounding it1 where once stood the ,white ,gate guarding the entrance of the high-road from the ,hague4 ,on the left side of this1 as one comes in from the country1 and at right angles to it1 close to where the buildings of the ,zeemans-,kweekschool1 or ,naval ,school1 now are1 ran a short street called the ,weddesteeg1 in ,no4 #c of which ,rembrandt was born4 ,it must have been a pleasant situation1 facing the setting sun1 with nothing but the town ramparts and the gleaming moat between it and the wide champaign4 ,on the right hand the slow barges crept up and down the river1 on the left the slow carts creaked to and from the town1 while in front the broad sails of windmills swung round1 and the whirr of the stones grinding malt for making beer hummed through the open doors4 ,up against the sky rose two1 one almost opposite the windows of the house1 the other a little to the left on the border of the ,noordeinde1 just inside the gate1 of which ,rembrandt's father owned half1 while his stepfather ,cornelis1 the son of ,cls1 with his son ,cls1 shared the other half between them4 ,he was a prosperous and respected man was ,hermann1 or ,harmen--the name occurs in both forms--the son of ,gerrit1 called after the fashion of the time ,harmen ,gerritsz1 to which he himself added van ,rijn1 as his son did after him4 ,besides his own residence1 and his share of the mill1 he owned houses within the town and gardens without1 with plate and jewellery and house-plenishings and all things proper about him1 and had been appointed by his fellow-citizens to a municipal office of importance1 representing the ward of the ,pelican1 in which he lived1 where he did so well what was asked of him that he was selected again for it some years later4 ,he was at the former date thirty-five or thirty-six1 and at the time when this1 his fifth and youngest child but one1 was born1 he had been married fifteen years1 his wedding-day having been the #hth of ,october #aehi4 ,illustration3 ,bredius ,collection1 the ,hague ,,portrait ,,of ,,rembrandt',s ,,mother 7,,about #afbh7 ,rembrandt's childhood1 considering the condition of his father1 was1 we may be sure1 at least a comfortable one1 though of details we have none4 ,we cannot even say where he learned to read and write1 for neither of which exercises did he subsequently exhibit much affection4 ,probably at home1 where maybe ,coppenol1 the great master of writing1 at that time included among the fine-arts under the style of ,caligraphy1 taught him1 and possibly gave him his first lessons in drawing also2 for the art he professed1 with its elaboration of curves and flourishes1 and its1 to our eyes1 somewhat childish pictorial perversions1 was a singular commingling of the two4 ,one thing at least we may feel certain of1 that it was at his mother's knee he began the study of the ,bible1 which she herself read so constantly1 if we may judge by its frequent appearance in his portraits of her1 and which he1 following in her footsteps1 knew so thoroughly and drew upon so often for inspiration4 ,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 tongue1 in preparation for the ,university of ,leyden1 that when he came of age he might by his knowledge serve the ,city and ,republic2 and in fulfilment of this laudable ambition we find that entry on ,may #beth1 #afbj1 as a student in the ,faculty of ,letters1 which has already been noted in another connection4 ,but by this time1 by what means we know not1 the art craving was fully aroused1 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 colour4 ,he proved1 we are told1 but an unwilling scholar1 the lines of ,virgil and ,ovid were lifeless to him1 in comparison with those of ,lucas van ,leyden2 and his elders1 yielding with a fortunate wisdom to the inevitable1 gave up the effort to make a statesman of him1 and consented to apprentice him1 according to his wish1 to a painter to learn first principles from him4 ,,chapter ,,ii ,,art ,,education ,,and ,,early ,,works ,the exact date of this first step on the road to fame is also still somewhat uncertain4 ,vosmaer believes it was in #afai1 but the assertion of ,orlers that when his parents allowed him to abandon the unloved ,latin1 they apprenticed him to a painter1 is so precise1 that it is unreasonable to suppose that his father should have returned to the attack4 ,we may consequently assume that the final desertion of the ,muses and enlistment in the cause of the ,arts came after1 not before1 that enrolment at the ,university--that is to say1 late in #afbj or perhaps early in #afba4 ,further facts go to prove this point4 ,his first apprenticeship1 in accordance with the rules of the ,guilds of ,saint ,luke1 lasted three years1 and came to an end therefore in #afbc or early in #afbd4 ,he then went to a second master in ,amsterdam1 but remained with him only six months2 so that in either case the date of his leaving ,amsterdam and returning to ,leyden would have been some time in #afbd4 ,now there is no doubt that it was in #afbd that this took place1 and the only obvious conclusion is that his first apprenticeship did not commence before #afbj4 ,the painter who was then chosen for the honour of first guiding the hand of the young ,rembrandt1 by which honour he is nowadays almost alone distinguished1 was ,jacob van ,swanenburch4 ,a man of good position1 the son of one painter1 the brother of another1 and of an engraver1 he was not1 judging by his only known picture1 ,a ,papal ,procession in the ,piazza of ,st ,peter1 artistically speaking1 of much account1 and it was probably more for personal reasons1 and because of his propinquity1 than for his conspicuous talents that he was selected4 ,he was able only to impart the first elements and the principles of his art to his young pupil1 as ,orlers tells us2 but indeed these were all that were needed by one with such an overmastering personality1 with so powerful an artistic inspiration and energy4 ,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 it1 and could already foresee the brilliant career to which he was destined4 ,we must1 however1 remember in weighing this statement that it was written when that career was at its most brilliant stage1 and is to some extent the proverbial safe prophecy of one who knows4 ,that ,rembrandt did make considerable progress during the following three years is1 of course1 certain2 and when his apprenticeship drew to an end the question arose as to what was to come next4 ,the experience of a young fellow-artist probably suggested the answer4 ,about the time ,rembrandt entered ,swanenburch's studio ,jan ,lievensz1 a fellow-citizen1 a year younger than ,rembrandt1 who had1 however1 entered upon his artistic studies while ,rembrandt was still struggling with1 or against1 the detested ,latin1 returned from completing his studies in the studio of ,pieter ,lastman at ,amsterdam4 ,the father of ,jan was a farmer1 a man in the same rank of life as ,hermann the miller1 and probably had business connections with him1 so that the acquaintanceship between the two sons1 destined to ripen into warm friendship1 doubtless began in early boyhood4 ,certain it is1 at any rate1 that when ,jan returned from ,lastman's studio to astound his townsmen with his precocity1 the intimacy between him and ,rembrandt became close2 in a few years their names seem to have become as inseparable as those of ,damon and ,pythias1 and it was no doubt from the enthusiasm of ,lievensz that the impulse arose which1 in #afbd1 sent ,rembrandt also to study under ,lastman4 ,the experiment1 however1 was not a success4 ,lievensz had remained with him two years2 ,rembrandt wearied of it in six months4 ,and1 truly1 though he enjoyed at that time an incomprehensibly large measure of popularity and success1 ,lastman1 though a far better artist than ,swanenburch1 was not one of those whose names we nowadays inscribe on the roll of great painters4 ,he had been1 moreover1 one of the large group who had trudged to far-away ,rome1 and come under the influence of ,elsheimer there1 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 ,rembrandt4 ,he wanted to find nature1 and was not to be put off by a diluted semi-,italian imitation of it2 and so1 after a few months' trial1 he packed up his paints and canvases1 and returned to his family in ,leyden to study and practise painting alone and in his own way1 to quote again the garrulous ,orlers4 ,that so indefatigable and untiring a worker as ,rembrandt did not waste time1 when once he was safely established in his father's house1 is certain1 for ,orlers says that he worked incessantly as long as the light lasted2 but we know of nothing that he produced until three years later1 when he painted two still existing pictures1 signing and dating both4 ,from this time his reputation and that of ,lievensz ripened rapidly4 ,arent van ,buchel1 in his ,res ,pictori1 mentions him in #afbh2 and ,constantin ,huygens1 in a manuscript autobiography1 discovered in #ahia by ,dr ,worp of ,groningen1 and written probably between #afbi and #afca1 was enthusiastic concerning both1 still beardless yet already famous--an appreciation that was not to be without its favourable influence on ,rembrandt's future4 ,nor was this growing fame productive of mere empty praise4 ,in ,february #afbh1 when he was only one-and-twenty1 ,gerard ,dou1 his first pupil1 came to him and remained until he left ,leyden for ,amsterdam three years later4 ,many causes probably combined to promote this change of residence4 ,on the twenty-seventh of ,april #afcj the first break in the united family circle was brought about by the death of his father4 ,the blow must have been a heavy one1 for he must have been a kindly and sympathetic companion to his children1 if we may judge by the refined and sensitive face which looks out at us from the portraits believed to be his1 and a merry one to boot1 with a pretty humour of his own1 if ,m4 ,michel be justified in his conclusion that the etching of the bald man with a chain 7,b4 #bib7 is also a portrait of him4 ,the loss further brought changes into the family arrangements4 ,the eldest brother1 as far back as #afba1 had been crippled by an accident1 and on ,march #afth of that year a life-interest in the estate to the amount of #abe florins per annum had been formally established for his maintenance1 so that the superintendence of the affairs of the mill fell to the second son ,adriaen1 who abandoned his trade of shoe-making to undertake it1 and made nothing1 or worse1 of it4 ,the young artist's reputation as a portrait painter had1 moreover1 spread to ,amsterdam some time before1 and many commissions came to him thence4 ,for a while he merely went over1 stayed long enough to do the work1 and returned again to ,leyden1 but as the demands upon his time increased this must have proved a wasteful1 inconvenient1 and finally impossible proceeding4 ,leyden1 again1 was a ,university town1 where religion and philosophy were more thought of and more sought after than such a trifle as art1 as indeed is still the case in some ,university towns that could be mentioned2 while ,amsterdam was a city of prosperous traders making more money than they knew how to spend or employ1 and ready enough to devote some of their superfluity to portraits of themselves and wives1 or pictures of incidents and places1 and it was clearly desirable that one able and willing to satisfy their wishes in this respect should be upon the spot4 ,illustration3 ,cassel ,gallery ,,portrait ,,of ,,rembrandt',s ,,father 7,,about #afca7 ,the little coterie of artists1 too1 was on the verge of dispersal in any case1 by the loss of ,rembrandt's closest tie with it1 ,jan ,lievensz4 ,he had sold a picture of a man reading by a turf fire to the ,prince of ,orange1 who had presented it to the ,english ,ambassador1 and he in turn had passed it on to that king of picture lovers1 ,charles the ,first1 who had been so well pleased with it that a pressing invitation to visit ,england had been sent to the painter1 and accepted4 ,nor1 probably1 was it only the chance of obtaining more employment that attracted ,rembrandt4 ,the famous ,anatomy ,lesson bears the date #afcb1 and1 even if the commission for it had not actually been offered during the preceding year1 it may very well have been suggested in the course of conversation by the doctor who had added to his name1 ,cls ,pietersz1 that of ,tulp1 taking it from a tulip which was carved on the front of his house1 who figures so conspicuously in it4 ,if this were so1 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 work1 or settling down for a prolonged period in lodgings in ,amsterdam1 and this may well have confirmed his decision to at once establish himself there permanently4 ,finally1 ,i like to fancy1 though it certainly cannot be proved1 that ,rembrandt had already1 in one of his flying visits to that city1 met the girl upon whom1 while she lived1 the larger part of his life's happiness was to depend4 ,the evidence is1 it must be owned1 slight1 but is not altogether wanting4 ,among the pictures of the year #afcj1 and1 according to ,m4 ,michel1 even of #afbh and onwards1 we find a series of portraits of a fair-haired girl with a round1 full forehead1 and rather small eyes and mouth1 which ,dr ,bode believes to be portraits of the painter's sister ,lysbeth1 while ,m4 ,michel considers that some of the later ones are really portraits of ,saskia1 urging the objection that many of them were undoubtedly painted after his removal to ,amsterdam1 whither there is not the slightest reason to suppose that ,lysbeth accompanied him1 what evidence there is pointing directly to the contrary4 ,on the other hand1 ,m4 ,michel admits that the type which is known to be ,saskia blends almost indistinguishably with that supposed to be ,lysbeth1 and offers the distinctly dubious explanation that ,rembrandt was1 so to speak1 so imbued with the features of his sister that he unconsciously transferred them to a large extent to the girl he loved4 ,if1 however1 as we may quite reasonably suppose1 ,rembrandt had met and admired ,saskia during his first stay in ,amsterdam1 and continued to do so during his after-visits1 the occurrence of her features in his work would be what we ought to expect4 ,there was1 on the other hand1 but a single objection to the scheme--the parting with his mother2 and to such an affectionate and home-loving nature as ,rembrandt's the difficulty can have been no small one4 ,still1 a man has to do a man's work in this life4 ,adriaen1 his brother1 and ,lysbeth1 his sister1 were there to minister to her comfort1 while ,amsterdam was no great distance away2 and though1 doubtless1 it was not altogether without tears that the widowed ,neeltje consented to the departure of her youngest son1 the decision was taken1 and the consent yielded at last4 ,indeed1 it was inevitable that so great and1 at one time1 so popular an artist should1 sooner or later1 gravitate to the capital of his country2 for1 since the decay of ,antwerp1 ,amsterdam was without a rival in the world for prosperity--the head-centre of commerce1 the hub of the trade-universe4 ,sir ,thomas ,overbury1 in #afji1 describes it as surpassing ,seville1 ,lisbon1 or any other mart town in ,christendom4 ,evelyn1 writing in #afda1 says in his diary1 that it is certainly the most busie concourse of mortalls now upon the whole earth and the most addicted to com'erce4 ,neither tempest nor battle could check her energy2 and throughout the long desultory war from #afba to #afdh between ,spain and ,holland1 her traders hurried to and from the enemy's ports1 supplying her even with the very munitions of war to carry on the contest2 while for all this accumulated wealth there was but a limited outlet4 ,necessities being superabundant1 it must be either hoarded or expended on luxuries1 and among these pictures held high place4 ,quoting once more from ,evelyn1 we find him writing on ,august #acth1 #afda3 ,we arrived late at ,roterdam1 where was their annual marte or faire1 so furnished with pictures 7especially ,landskips and ,drolleries1 as they call those clounish representations71 that ,i was amaz'd4 ,some ,i bought and sent into ,england4 ,the reson of this store of pictures and their cheapness proceedes from their want of land to employ their stock1 so that it is an ordinary thing to find a common ,farmer lay out two or three thousand pounds in this comodity4 ,their houses are full of them1 and they vend them at their faires to very great gaines4 ,so1 for a time1 the ,dutch painters drove a thriving trade2 and as ,amsterdam was by far the richest city1 to ,amsterdam the successful painter must needs repair4 ,,chapter ,,iii ,,days ,,of ,,prosperity ,some time then in #afca the die was cast1 and the removal accomplished4 ,there is reason to believe that he went at first to stay or lodge with ,hendrick van ,uylenborch1 a dealer in pictures and other objects of art4 ,among his first proceedings on his arrival1 was one sufficiently characteristic of him and destined to be repeated only too often in the future4 ,he lent ,hendrick money1 one thousand florins1 to be repayable in a year with three months' notice4 ,soon after1 if not before1 this indiscreet financial operation1 as it proved later1 he found the suitable residence he had meanwhile been seeking1 on the ,bloemgracht1 a canal on the west side of the town1 running north-east and south-west between the ,prinsen ,gracht and the ,lynbaan ,gracht1 in a district1 at that time on the extreme outskirts of the town1 known as the ,garden1 from the floral names bestowed upon its streets and canals4 ,here he settled to his work1 and here in a short time fortune came to him4 ,the enthusiasm aroused by ,the ,anatomy ,lesson1 when it was finished and hung in its predestined place in the little dissecting-room or ,snijkamer of the ,guild of ,surgeons in the ,nes1 near the ,dam1 was immediate and immense4 ,the artist leapt at once into the front rank1 and became the fashionable portrait painter of the day4 ,from three portraits1 other than those of his own circle1 painted in #afca1 and ten in #afcb1 the number rose to forty between that year and #afcd2 or1 taking all the surviving portraits between #afbg and #afca1 we have forty-one1 while from the five following years1 from #afcb to #afcf1 there are one hundred and two4 ,commissions1 indeed1 flowed in faster than he could execute them1 so ,houbraken assures us1 and the not infrequent occurrence of a pair of portraits1 husband and wife1 one painted a year or more after the other1 tends to confirm this2 so that those who wished to be immortalised by him had often to wait their turn for months together1 while all the wealth and fashion of the city flocked to the far-off studio in the outskirts1 the more fortunate to give their sittings1 the later comers to put down their names in anticipation of the future leisure4 ,from the beginning1 too1 pupils came clamouring to his doors1 ,govert ,flinck and ,ferdinand ,bol1 ,philips ,koninck1 ,geerbrandt van den ,eeckhout1 ,jan ,victors1 ,leendeert ,cornelisz1 and others1 eager to pay down their hundred florins a year1 as ,sandrart says they did1 and work with and for the lion of the day4 ,not ,fortune alone1 however1 with her retinue of patrons1 and ,fame1 with her train of pupils1 sought him out2 ,love1 too1 came knocking at his portal1 and won a prompt admission4 ,to the many admirable works produced at this time ,i shall return later1 but three of those painted in #afcb call for further notice now4 ,one is an oval picture1 belonging to ,herr ,haro of ,stockholm1 representing the half-length figure of a girl in profile1 facing to the left1 fair-haired1 and pleasant-looking rather than pretty2 the second1 in the ,museum at ,stockholm1 shows us the same girl in much the same position1 but differently dressed2 while the third1 in the collection of ,prince ,liechtenstein at ,vienna1 is a less pleasing representation of her in full face1 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 age1 which we know to have been twenty at the time that these were painted4 ,we have heard her name casually already1 in connection with the arrangements for ,rembrandt's marriage1 when discussing the date of his birth--for this is ,saskia van ,uylenborch1 a cousin of his friend ,hendrick1 which fact may haply have had something to do with that ready loan of a thousand florins4 ,though poor ,rembrandt1 be it said1 was1 unhappily for him1 never backward with loan or gift when he had money to give or lend4 ,saskia was born in #afab at ,leeuwarden1 the chief town of ,friesland in the north1 across the ,zuider ,zee1 and at the time when ,rembrandt met her was an orphan1 her mother1 ,sjukie ,osinga1 having died in #afai1 and her father1 ,rombertus1 a distinguished lawyer in his native place1 in #afbd4 ,the family left behind was a large one1 consisting1 besides ,saskia1 of three brothers1 two being lawyers and one a soldier1 and five sisters1 all married1 who1 as soon as the worthy ,rombertus was laid to rest1 seem to have begun wrangling among themselves concerning the estate2 the quarrel1 chiefly1 as it appears1 being sustained by the several brothers-in-law1 and leading shortly to an appeal to law4 ,illustration3 ,liechtenstein ,gallery1 ,vienna ,,portrait ,,of ,,saskia 7#afcb7 ,among the less close relations was a cousin ,aaltje1 who was married to ,jan ,cornelis ,sylvius1 a minister of the ,reformed ,church1 who1 coming from ,friesland1 had settled in ,amsterdam in #afaj1 and with them ,saskia was in the habit of coming to stay4 ,where and when ,rembrandt first met her we do not know4 ,probably at the house of ,hendrick2 it may have been1 as has been said1 in #afbh or earlier1 for1 if the acquaintance began in #afca1 it ripened rapidly4 ,without accepting unhesitatingly all ,m4 ,michel's identifications of her1 not only in portraits and studies but in subjects1 such as that one which is known as ,the ,jewish ,bride1 now in the collection of ,prince ,liechtenstein1 there is no question that she sat to him several times during the two years #afcb and #afcc4 ,the attraction was mutual2 ,rembrandt soon became a welcome visitor to the ,sylvius household1 and1 in token doubtless of the kindness and hospitality which he there met with1 he etched1 in #afcd1 a portrait of the good old minister 7,b4 #bff74 ,the course of true love in this case ran smoothly enough2 the young people soon came to an understanding2 no difficulties were raised by ,sylvius1 who acted as ,saskia's guardian2 and the marriage was only deferred till ,saskia came of age4 ,the union1 indeed1 from a worldly point of view1 was unexceptionable4 ,saskia1 it is true1 was of a good family1 while ,rembrandt sprang from the lower middle class1 but he had already carved out for himself a rank above all pedigrees4 ,saskia was twenty1 and he1 with all his fame1 was only twenty-six4 ,the wedding1 then1 was decided on1 and ,rembrandt1 painting ,saskia yet again1 put into her hands a sprig of rosemary1 at that time in ,holland an emblem of betrothal4 ,it was possibly even fixed for some date late in #afcc1 when ,saskia would have passed her twenty-first birthday4 ,just at this time1 to confirm1 if that had been needed1 ,rembrandt's increasing reputation and prospects of future prosperity1 he was brought into business relations with the chief personage in the land1 ,prince ,frederick-,henry1 who in #afbe1 on the death of his brother ,maurice1 had succeeded to the office of ,stathouder1 as the head of the ,republic was officially entitled4 ,constantin ,huygens1 whose earlier enthusiasm for ,rembrandt's work we have already noted1 was the ,prince's ,secretary1 acting in that quality as intermediary in his many dealings with artists1 and clearly found time in the intervals of his duties to continue his acquaintance with ,rembrandt4 ,it was probably on his recommendation that the artist had painted in #afcb the portrait of his brother ,maurice1 and it was certainly at his suggestion that the ,stathouder bought ,the ,raising of the ,cross1 now at ,munich4 ,rembrandt1 indeed1 says as much in a letter to ,huygens1 still existing in the ,british ,museum1 in which he invites him to come and inspect the companion picture1 ,the ,descent from the ,cross1 for which1 though offering to leave it to the ,prince's generosity1 he considers two hundred livres would be a reasonable price4 ,the picture was bought1 and so content was the ,prince with his purchase that soon afterwards he commissioned three other pictures to complete the set4 ,the exact date of this event is unknown1 but it cannot have been long delayed1 for1 in a letter written early in #afcf the painter informs ,huygens that one of the three1 ,the ,ascension1 is finished and the other two half done4 ,with such guarantees of continued good fortune1 there was nothing1 when ,saskia was once of age1 to necessitate longer delay1 in the completion of his happiness1 but in the autumn she was peremptorily called away to ,franeker1 a town in ,friesland1 between ,leeuwarden and the sea1 where her sister ,antje1 the wife of ,johannes ,maccovius1 professor of ,theology1 was lying ill1 and where1 on ,november the ninth1 she died4 ,this untoward occurrence put an end to the possibility of an immediate marriage1 and ,saskia went to spend the winter with another sister1 ,hiskia1 who was married to ,gerrit van ,loo1 a secretary of the government1 and lived at ,sainte ,anne ,parrochie1 in the extreme north-west of ,friesland2 while ,rembrandt1 discontentedly enough1 no doubt1 toiled through the long winter months in his studio at ,amsterdam4 ,in the spring of #afcd1 however1 the sunshine returned again into his life1 and he commemorated the advent1 appropriately enough1 by painting the bringer of it in the guise of ,flora4 ,the period of mourning was now at an end1 and some time in ,may1 probably1 ,saskia once more returned to ,hiskia's to make preparation for the approaching day2 while ,sylvius1 as her representative1 and ,rembrandt began to arrange the more formal business matters4 ,on ,june #ajth1 as recorded by ,dr ,scheltema1 ,sylvius1 as the bride's cousin1 engaged to give full consent before the third asking of the banns2 while ,rembrandt1 on his part1 promised to obtain his mother's permission4 ,whether he merely wrote to ,leyden for this1 or whether1 as is more probable1 he went in person1 we do not know2 but in either case he wasted no time1 for on the fourteenth he produced the necessary documents1 and prayed at the same time that the formal preliminaries might be cut as short as possible4 ,his appeal was evidently received with favour1 for eight days later1 on ,june #bbnd1 at ,bildt1 in the presence of ,gerrit and ,hiskia van ,loo1 he was duly married1 first by the civil authorities1 and afterwards by the minister ,rodolphe ,hermansz ,luinga in the ,anna-kerk4 ,as far as domestic happiness depending upon their relations with one another went1 there is every reason to suppose that this union was a thoroughly successful one2 but we cannot help1 nevertheless1 feeling some doubts as to whether it was altogether the best that might have been for ,rembrandt4 ,frank and joyous1 but strong-willed1 not to say obstinate1 recklessly generous and prodigal1 and without a thought for what the future might bring forth1 he needed some firm yet tender hand to check1 without seeming too much to control1 his lavish impulses4 ,impossible to drive1 yet easy enough to lead1 a giant in his studio1 a child in his business relations with the world outside its doors1 he should have found some steady practical head to regulate his household affairs and introduce some order and economy into his haphazard ways4 ,such1 unfortunately for him in the end1 ,saskia was not4 ,devoted to him1 she yielded in everything1 and his will was her law4 ,as her love for him led her to let him do always as he would1 so his passion for her led him to shower costly gifts upon her--pearls and diamonds1 gold-work and silver-work1 brocades and embroideries2 nothing that could serve to adorn her was too good or too expensive4 ,she would have been as happy in plain homespun1 as long as he was there2 but to give largely was in the nature of the man1 and the very fortune that she brought with her was an evil1 even at the time1 in that it led him to further extravagances1 while in the future it proved a still more serious one4 ,furthermore1 ,rembrandt1 hot-headed and impetuous as he was1 must needs fling himself into the family quarrels and suits-at-law1 taking therein the part of the one who had stood by him and ,saskia at the altar1 ,gerrit van ,loo1 in whom1 though he had possibly never set eyes on him till he went north to his wedding1 he had already developed so complete a confidence that1 exactly one month later1 on ,july #bbnd1 as ,dr ,scheltema discovered1 he gave him a full power of attorney to act for him in all affairs connected with the property in ,friesland4 ,from this sudden and violent partisanship still more trouble arose in due course1 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 dispute4 ,for the time1 however1 there is no doubt their happiness was supreme1 and if for her sake he was energetically brewing the storm that was to burst upon him later1 there were as yet no threatening clouds upon the horizon4 ,nor1 be it said1 was it on her account alone that he scattered money broadcast4 ,the impulse to collect works of art1 pictures1 engravings1 casts and statues1 armour and curious objects1 had begun to influence him even in early days at ,leyden1 and had become by that time a perfect mania4 ,on ,february #bbnd1 #afce1 we find his name as a purchaser at the ,van ,sommeren sale1 and thereafter he reappears again and again as buyer at various auctions4 ,but not even in this could he attempt to be business-like4 ,baldinucci1 a ,florentine1 in a volume published in #afhf1 gives many interesting details anent ,rembrandt1 which he obtained at first hand from one of his later pupils1 ,bernard ,keilh1 a ,dane1 and among them relates that1 when at a sale he saw anything he coveted1 he ran it up in one bid to a wholly impossible price1 thus making sure of it1 and at the same time1 as he explained1 paying honour to his art4 ,the ,van ,uylenborch family quarrels happily did not extend to the sisters1 amongst whom the most amicable relations appear to have prevailed4 ,at any rate1 in the summer of #afce1 we find ,saskia revisiting ,sainte ,anne ,parrochie1 to be with ,hiskia during her confinement1 and subsequently at the baptism of the child1 a mark of kindly feeling the more notable in that she herself was about to become a mother4 ,in the early winter1 having returned meanwhile to her home1 she gave birth to a son1 who1 on ,december #aeth1 in the ,oudekerk1 was christened ,rombertus1 after her father4 ,rembrandt's delight in this small person is indicated by numerous sketches of him and his mother2 but the happiness1 like all that he experienced1 was short-lived1 for the child did not long survive its birth4 ,illustration3 ,dresden ,gallery ,,rembrandt ,,and ,,saskia 7,,about #afce7 ,rembrandt1 at some time before his marriage1 had removed from the ,bloemgracht to ,saint ,antonies ,breestraat1 in the heart of the city1 close to the ,nieuwe ,markt1 and by #afcf had moved once more to the ,nieuwe ,doelstraat1 whence the letter to ,huygens1 already referred to1 was addressed4 ,there can be no doubt that the change was an improvement1 for the artist must then have been at the height of his prosperity and fame4 ,throughout ,holland1 imitators of his style were springing up1 for the public would have no other4 ,his studio was freely sought by pupils2 his home-life was passed in a circle of trusted friends1 and the broadly sympathetic nature of the man1 which aided so largely in raising him to the first place among portrait painters1 is seen in the various pursuits of these4 ,fellow-painters1 apart from his pupils1 were not conspicuous among them1 and those we find are chiefly landscape painters--,roghman and van der ,helst1 ,ruysdael and ,berchem1 van de ,cappelle and ,jan ,asselyn4 ,with ministers he was largely acquainted1 probably through ,jan ,sylvius1 who1 however1 died on ,november #aith1 #afch1 among them being ,alenson1 ,henry ,swalm1 and ,anslo2 while ,tulp probably first introduced the medical element1 ,bonus1 van der ,linden1 and ,deyman4 ,several dealers in objects of art1 brought in by ,hendrick van ,uylenborch1 or picked up in the course of business transactions1 were among his friends--,pieter de la ,tombe1 ,clement de ,jonghe1 ,abraham ,francen1 and others2 while the worthy though conceited ,coppenol1 and the jeweller1 ,jan ,lutma1 together with the burgomaster ,six1 were among those who remained faithful to the last4 ,rembrandt's championship of ,gerrit van ,loo in the family differences began about this time to bear troublesome fruit4 ,the losers in the action already mentioned1 in the course of the year #afcd seem to have nursed an especial grudge against ,saskia1 and1 to relieve their ruffled feelings1 had been spreading abroad reports reflecting on her1 asserting that she had dissipated her paternal inheritance in dress and ostentation4 ,there was1 as far as ,rembrandt himself1 at least1 was concerned1 too much truth in the story to render the scandal altogether stingless4 ,the thrust at ,saskia1 moreover1 angered him more1 probably1 than one at himself alone would have done1 and we find him accordingly rushing headlong into the law-courts with an action for damages against one ,albert van ,loo1 declaring that he and his wife were amply1 even superabundantly1 provided for4 ,whether he was ever called upon to prove this statement does not appear2 probably not1 since the court found1 in ,july #afch1 that he had not sufficient grounds for action4 ,it is doubtful how far he could have established its truth had he been required to do so4 ,there can be small question that he believed it to be true1 though his paying #fcg florins the previous year for a book of drawings and engravings by ,lucas van ,leyden1 and again1 in ,october of the same year1 #ecj florins for a picture of ,hero and ,leander by ,rubens1 might only indicate his habitual indifference to ways and means4 ,we know also that at the time he was getting from five to six hundred florins for his portraits1 but1 judging by the number known to exist--a very imperfect test it need scarcely be said--the demand for these was beginning to fall off1 there being seven for #afcf1 four for #afcg1 two for #afch1 and four for #afci1 while even these small numbers include three of himself1 and one believed to be his mother4 ,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 ,huygens4 ,writing in ,january from the ,suijkerbackerij1 a house on the borders of the ,binnen-,amstel1 whither he had removed at an unknown date1 he announces the completion of the last two of the ,stathouder's commissions1 and only fifteen days later he presses for immediate payment of the #abdd florins due to him1 on the grounds that the money would be then extremely useful to him4 ,since there was some delay1 he renewed the appeal1 though ,huygens1 on ,february #agth1 had already given orders for the discharge of the debt4 ,this unceremonious dunning1 though by proxy1 of a powerful ,prince1 does not seem altogether to indicate that superabundance of which ,rembrandt boasted2 but there was1 as we know1 a special reason1 apart from any financial difficulties1 which may have accounted for this urgent need of ready money4 ,he had decided to settle himself finally1 not long after the birth on ,july #ast1 #afch1 of his second child1 a daughter1 christened at the ,oudekerk on ,july #bbnd1 ,cornelia1 after his mother1 and on ,january #eth1 #afci1 had purchased from one ,christoffel ,thysz a house in the ,joden-,breestraat1 now ,number #fh1 for #ac1jjj florins4 ,though only one quarter of this sum had to be paid within one year1 the rest being distributed over the following five or six1 he seems for once to have been actually eager to pay the money1 and by ,may had discharged half the cost and taken possession4 ,one birth and three deaths mark the year #afdj4 ,the first1 of another daughter1 on ,july #bith1 who was also christened ,cornelia1 the elder child bearing that name having died in the meantime4 ,the name1 however1 seems to have been an ill-omened one1 for its second bearer did not survive a month1 its burial being recorded in the ,zuiderkerk on ,august #beth4 ,of the other deaths the first was that of an aunt of ,saskia1 who was possibly also her godmother1 as she bore the same name1 and certainly left her some property1 since ,ferdinand ,bol was sent1 on ,august #cjth1 to ,leeuwarden with formal authority to take possession on her behalf4 ,the other death must have been1 to ,rembrandt at any rate1 a far heavier blow1 for by it he lost1 in ,september or ,october1 his mother1 to whom he was cordially attached1 and from whom his residence in ,amsterdam had only partially separated him1 since we know by various portraits1 painted subsequent to #afca1 that either he visited her or she him with considerable frequency4 ,illustration3 ,national ,gallery1 ,london ,,portrait ,,of ,,rembrandt 7#afdj7 ,an event arising out of the consequent settlement of the estate has given rise to the suspicion that1 then at all events1 ,rembrandt was in difficulties1 but it is again possible to take another point of view4 ,the inheritance of each child amounted to #bdij florins1 and a further #afjj remained to be divided later4 ,the business was entrusted to ,adriaen and ,lysbeth1 and ,rembrandt1 unhesitatingly accepting every suggestion made by them1 contented himself with a mortgage on half the mill1 the redemption of which was to be postponed indefinitely4 ,no sooner1 however1 was the arrangement completed than he authorised his brother ,willem to sell his rights for what they would fetch4 ,this may mean1 as ,m4 ,michel supposes1 that he wanted the money promptly1 yet wished to deal tenderly with a brother who was himself by no means beforehand with the world2 but the two reasons seem somewhat inconsistent with the facts4 ,that ,rembrandt1 even though pressed for money himself1 should have practically forgone his due1 and consented to take a small annual interest which he could1 in case necessity arose1 easily forgo1 is quite reconcilable with what we know of him2 but that1 having acted so1 he should have at once undone the good he proposed1 by selling his claim to some stranger1 who would certainly demand the full letter of his bond1 is hard to believe4 ,any other evidence concerning these presumed embarrassments is certainly against them4 ,at this very time he was cheerfully accepting security for considerable sums of money lent1 in addition to the original one thousand florins1 to ,hendrick van ,uylenborch2 and in later years1 when his affairs came to be inquired into1 ,lodewyck van ,ludick and ,adriaen de ,wees1 dealers both1 swore that between #afdj and #afej ,rembrandt's collections1 without counting the pictures1 were worth #aa1jjj florins1 while a jeweller1 ,jan van ,loo1 stated that ,saskia had two large pear-shaped pearls1 two rows of valuable pearls forming a necklace and bracelets1 a large diamond in a ring1 two diamond earrings1 two enamelled bracelets1 and various articles of plate4 ,finally1 ,rembrandt also1 at a later date1 estimated that his estate at the time of ,saskia's death amounted to #dj1gej florins2 and though the estimate was made under circumstances calculated to incline him to exaggerate rather than diminish the amount1 it must be considered as approximately correct4 ,poor ,saskia was not destined to enjoy much longer her plate and jewellery4 ,death1 having entered the family1 was thenceforth busy4 ,titia died at ,flushing on ,june #afth1 #afda2 and ,saskia herself1 after the birth of ,titus in ,september of that year1 possibly never enjoyed really good health again4 ,by the following spring she was unmistakably failing1 and at nine in the morning of ,june #eth1 #afdb1 she made her will4 ,she was not even then without hope of recovery1 for there are express stipulations as to any further children she might bear1 but the pitiful irregularity of her signature at the end of the document shows how forlorn this hope was2 and1 in fact1 she died within the following fortnight1 and was buried on the #aith of ,june in the ,oudekerk1 where ,rembrandt subsequently purchased the place of her sepulture4 ,upon what this loss must have meant to ,rembrandt1 with his affectionate nature and almost morbid devotion to a home-life ,i need not dwell1 nor did ,fate rest content with dealing him this single blow4 ,the great picture1 which forms the chief ornament of the ,ryksmuseum at ,amsterdam1 ,the ,sortie of the ,company of ,banning ,cocq1 better known under the inaccurate title of ,the ,night-,watch1 was no sooner completed1 in the course of the same year1 than it aroused a storm of vituperative criticism4 ,the reasons for this ,i must defer till ,i come to the consideration of the paintings1 and must only note the fact here1 and the dwindling of ,rembrandt's popularity1 which appears to have been1 to some extent at least1 the consequence4 ,illustration3 ,dresden ,gallery ,,portrait ,,of ,,saskia 7#afda7 ,one dim ray of consolation alone seems to beam through the darkness that overshadowed him1 ,lievensz1 who had long been absent1 first in ,england and subsequently in ,antwerp1 came to settle in ,amsterdam1 and doubtless did all that in him lay to comfort his doubly-stricken friend4 ,in the meantime the business matters so loathed by him1 and now aggravated by their intimate connection with his bereavement1 had to be attended to1 though1 through the consideration of ,saskia's relatives1 they were made as easy for him as well might be4 ,saskia1 by her will1 left everything practically to ,rembrandt1 confident that he would properly educate ,titus and start him in life4 ,ostensibly1 indeed1 her share of the estate was left to ,titus and any other children she might bear1 but she expressly stipulated that he was not to be asked to provide any inventory or guarantees to anyone whatsoever4 ,she particularly forbade the interference of any ,chamber of ,orphans1 in especial that at ,amsterdam4 ,rembrandt alone was to have control1 and the property1 principal and interest1 was to all intents his own1 unless--an important exception as we shall find--he married again4 ,in that case half of the joint estate at the time of her death was to be put in trust for the child or children1 though ,rembrandt was still to enjoy the interest for life4 ,it was obvious that the making at once of an inventory of all the property in his possession was the only right course to pursue1 in order that the share which might eventually revert to ,titus should be accurately known1 for ,rembrandt was but six-and-thirty1 and his re-marriage by no means impossible4 ,he1 however1 wished to avoid this course1 doubtless through that over-mastering distaste for business to which ,i have had and shall have occasion to refer so often1 and having the consent of ,hendrick van ,uylenborch1 obtained permission from the ,chamber of ,orphans1 on ,december #aith1 to enter into possession of the estate without any estimate of its value being recorded4 ,,chapter ,,iv ,,days ,,of ,,decline ,he was then starting upon the downward course which was leading him to utter ruin4 ,in the course of the following years1 ,fashion1 who had decreed that he was the one painter to patronise1 shook her fickle wings and flew off to others1 and thenceforth decried her former favourite with the more ignorant dispraise because of her equally ignorant pans in the past4 ,it was in vain that the ,stathouder continued his patronage1 giving him a commission for two pictures1 ,the ,circumcision and ,the ,adoration of the ,shepherds1 for which1 on the twenty-ninth of ,september #afdf1 he paid the sum of #bdjj florins1 just double what he had paid before4 ,it was in vain that the rising artists could not fail to perceive his transcendent merits1 and that pupils from all ,europe sought him out1 ,michiel ,willemans1 ,ulric ,mayr1 and ,franz ,wulfhagen1 ,christoph ,paudiss1 ,juriaen ,avens1 ,bernard ,keilh1 ,cornelis ,drost1 ,nicholas ,maes1 ,carel ,fabritius1 ,samuel van ,hoogstraten1 and many more4 ,he had ceased1 apparently1 to attract the public4 ,at any rate1 though his productive energy was unabated1 his affairs grew ever more and more involved4 ,in #afdg1 ,saskia's relations began to be alarmed1 demanding that the valuation of the property at the date of her death should be ascertained without delay1 and ,rembrandt replied that to the best of his belief it had been #dj1gej florins4 ,it is a little difficult to understand what right they had to formulate this demand1 since1 according to the will1 the property was virtually ,rembrandt's own1 unless he married again1 and this1 to all appearance1 he had1 at that time1 no idea of doing1 though rumours to the contrary may well have reached their ears4 ,a certain ,geertje ,dircx1 the widow of one ,abraham ,clsz1 who had been engaged1 probably not long after ,saskia's death1 as nurse to the infant ,titus1 who was always delicate1 came in time to hope that she might aspire to rank as his step-mother2 on ,january #bdth1 #afdh1 she made her will1 neglecting the relations we know her to have had and bequeathing everything she legally could to ,titus4 ,within two years1 however1 on ,october #ast1 #afdi1 she repudiated her will1 gave ,rembrandt warning1 and brought against him the equivalent of an action for breach of promise of marriage1 to which he replied by an affidavit denying that their relations had ever been other than those of master and servant4 ,in fact1 her pretensions seem to have been only the delusions of her disordered brain1 for in the course of the next year1 #afej1 she had to be removed and placed in confinement in a madhouse at ,gouda1 for which ,rembrandt advanced the expenses1 and1 needless to say1 never got them back4 ,we have not1 moreover1 far to seek for a reason for her explosion of temper in #afdi if she really believed her master meant to marry her1 for on that very same ,october #ast1 in reference to some otherwise unimportant disturbances of the neighbourhood by a drunken man1 we find a certain ,hendrickje ,stoffels1 of ,ransdorp1 in ,westphalia1 giving evidence on ,rembrandt's behalf4 ,of the subsequent relations between her and ,rembrandt there can be1 unfortunately1 no doubt whatever4 ,she was at that time three-and-twenty1 and a pleasant-looking girl enough1 as her portrait1 now in the ,louvre1 makes clear1 and that her devotion to ,rembrandt was not at all events self-seeking1 the future made abundantly evident4 ,as long as she lived1 she remained attached to him1 through evil fortune and ill-report1 and1 though there was too good reason for the step1 she is generally believed to have never asked or expected him to make an honest woman of her1 as the phrase goes4 ,to this belief1 however1 ,i hesitate to subscribe2 indeed1 ,i incline to the conviction that the description of her given in a lawsuit on ,october #bgth1 #affa1 as his lawful wife1 huysfrouw1 the very title he himself gave to ,saskia1 was strictly accurate4 ,there is not1 it must be admitted1 another particle of direct evidence that it was so1 though this in itself is not to be despised1 but there are circumstances not a few that point in the same direction4 ,while the connection was irregular1 and to begin with1 at least1 it undoubtedly was so1 there was never any concealment or shamefacedness about the matter1 nor do ,rembrandt's friends1 not even the respectable ,burgomaster ,six1 seem to have looked askance upon it4 ,it is true that in #afed she was summoned1 somewhat tardily1 before the ,consistory of her church1 severely admonished1 and forbidden to communicate4 ,that1 of course1 was inevitable from their point of view1 and only shows how absolutely open the arrangement was4 ,how improbable it is then that in later years she should have deliberately perjured herself on the question when1 if it were perjury1 the evidence to convict her must have been overwhelming4 ,there can1 indeed1 have been no doubt1 long before this church summons1 as to the relations between them1 for in #afeb she gave birth to a child which did not1 however1 survive long1 as we know that it was buried in the ,zuiderkerk on ,august #aeth4 ,in ,october #afed1 a second daughter was born1 and was christened on ,october #cjth1 ,cornelia1 in itself a somewhat significant circumstance4 ,we cannot1 ,i fear1 claim any very subtle delicacy of taste for ,rembrandt1 it appertained not to his race or time2 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 ,saskia4 ,taking all these facts together1 ,i venture to conjecture that we may still hope to hear some day of the discovery of proof that some time1 probably between ,july when she was rebuked1 and ,october when the child was baptised1 ,rembrandt1 moved perhaps by the public disgrace of the girl once more about to become the mother of his child1 was duly married to her4 ,indeed1 if he had not married someone1 how came it that in #affe ,louis ,crayers1 the guardian of ,titus1 was able to establish1 before the ,grand ,council1 his claim on behalf of his ward against ,rembrandt's estate1 then in bankruptcy1 for #bj1cge florins1 the half of the property at the time of ,saskia's death three-and-twenty years before8 ,unless ,rembrandt had married again ,titus would appear to have had no shadow of a claim to principal or interest1 yet the case was fought out to the bitter end1 and it seems quite incredible that the creditors should have been ignorant of1 or should have failed to produce1 so important a piece of evidence in their favour4 ,since ,titus' claim was allowed1 it is obvious that ,rembrandt must have remarried1 and1 if so1 there can be no doubt that it was to the true and faithful ,hendrickje4 ,i have1 however1 been led to anticipate too far in the attempt to make this reasoning clear1 and must return to #afdi1 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 house1 or even the interest upon it4 ,indications of the approaching disaster now follow thick and fast4 ,at some time between #afej and #afeb the pearl necklace which appears in so many of the pictures was sold to ,philips ,koninck4 ,in #afea1 so wholly out of favour was ,rembrandt's art deemed to be1 that ,jan de ,baer1 a young artist1 on leaving the studio of ,backer1 under whom he had been studying1 after hesitating for awhile as to whether he should turn to ,rembrandt or ,van ,dyck for further instruction1 chose the latter1 because his style was most durable4 ,by #afec ,rembrandt seems to have finally abandoned himself to the current which was drifting him so rapidly to wreck4 ,on ,january #bith he borrowed #dahj florins from ,cornelis ,witsen on the hopeless undertaking to repay it in a year1 and three days later1 on ,february #ast1 his long-suffering landlord ,thysz entered a claim for #hdgj florins still owing to him4 ,rembrandt1 with a sharpness due probably rather to his lawyer than to himself1 demanded that the title-deeds should be delivered to him first4 ,then1 on ,march #adth1 he borrowed a further #dbjj florins from ,isaac van ,heertsbeeck1 also repayable in a year1 and after trying1 apparently in vain1 through ,franois de ,koster1 to recover some of the large sums of money that must have been owing to him1 he obtained from ,six yet another loan on the guarantee of ,ludowyck van ,ludick4 ,with this temporary relief he in part paid off ,thysz1 but #aagj florins still remained to be paid1 and for this amount the creditor obtained a mortgage on the house4 ,the end was now drawing near4 ,one more effort1 however1 was made to avert the crash4 ,a certain ,dirck van ,cattenburch1 a collector of works of art1 presuming that1 in the state of ,rembrandt's affairs1 the large house in the ,breestraat could only be an encumbrance to him1 proposed to relieve him of it by a sufficiently curious arrangement4 ,he was professedly to sell him another1 doubtless a smaller one1 for #djjj florins2 but1 in fact1 he was to give ,rembrandt the house and #ajjj florins in cash4 ,for the remaining #cjjj florins ,rembrandt was to deliver pictures and etchings of that value1 and furthermore8 to etch a portrait1 in a style not less finished than that of ,six1 of ,dirck's brother ,otto1 the secretary of ,count ,brederode of ,vianen1 which was to be considered the equivalent of #djj florins4 ,how far this elaborate transaction was carried out is uncertain4 ,rembrandt obtained the #ajjj florins1 and handed over pictures and etchings of his own1 or from his collection1 valued by ,abraham ,francen and van ,ludick at over #cjjj florins1 but we hear no more of the house or the portrait4 ,it was in vain that his friends seem to have developed a perfect mania for being etched or painted by him--,six and ,tholinx1 ,deyman the doctor1 the two ,harings1 father and son--neither loans nor earnings could for long stave off the evil day4 ,as if ill-luck dogged the family1 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 ruin1 and ,rembrandt1 in the midst of his own troubles1 had to come to their assistance4 ,small wonder1 then1 that the end was hastened4 ,on ,may #agth1 #afef1 one ,jan ,verbout was appointed guardian to ,titus in the place of ,rembrandt1 and on the same day1 before the ,chamber of ,orphans1 the unfortunate artist transferred his rights in the house to his son4 ,soon afterwards he was formally declared bankrupt1 and on ,july #beth and the following day an inventory was made of paintings1 furniture1 and domestic utensils connected with the failure of ,rembrandt van ,rijn1 formerly living in the ,breestraat near the lock of ,st ,anthony4 ,the inventory still exists1 and is full of interest1 giving1 as it does1 a complete description of every room in the house1 from the pictures in the studio to the saucepans in the kitchen1 but want of space forbids any extended extracts from it here4 ,the law seems to have moved slower in those days even than in these4 ,rembrandt continued for some time to dwell in the house1 and1 apart from the business worries1 the little family appears to have been a united and contented one4 ,how united we discover from the will that ,titus made on ,october #bjth1 #afeg1 and rectified on ,november #bbnd4 ,by that time ,rembrandt's utter incapacity for business was probably recognised even by himself1 and all that ,titus possessed was left to ,hendrickje and her daughter ,cornelia in trust for him4 ,nevertheless1 as if to smooth over the slur upon his father's improvidence1 he provided that ,rembrandt might draw a certain share1 on condition that he did not employ it to pay his debts1 a most unlikely use1 it is to be feared1 for him to put it to1 except1 like ,falstaff1 upon compulsion4 ,the remainder was to go to ,cornelia on her marriage or coming of age4 ,the whole of the interest1 in the event of ,rembrandt's death1 was to go to ,hendrickje and ,cornelia1 and there are certain other arrangements of less importance concerning the disposal of the property on ,cornelia's decease4 ,a month later the law at last gave forth its pronouncement1 and the commissioners authorised ,thomas ,jacobsz ,haring1 an officer of the ,court1 to sell the effects of the bankrupt by auction4 ,the worst had befallen2 the home in which he had passed eighteen years1 many of them happy1 and all full of industry1 was his no more4 ,the little family was temporarily broken up4 ,rembrandt moved to the ,crown ,imperial ,inn1 kept by one ,schumann in the ,kalverstraat1 which ran southwards from the ,dam1 a handsome and commodious house1 which had at one time been the ,municipal ,orphanage1 and was then the customary place for holding auctions4 ,whether ,hendrickje1 ,titus1 and ,cornelia went with him we do not know4 ,m4 ,michel concludes1 from the fact that ,rembrandt's daily expenses1 included in the records of the case1 were three or four florins1 that they certainly did not2 but if the already-mentioned provision of #abe florins a year was considered sufficient support for the crippled brother1 more than eight times that amount might surely have sufficed for four people1 two of whom were children4 ,on ,december #beth1 the sale of ,rembrandt's property began in the very house where he was lodging1 but only a small portion of the goods was then sold4 ,the wheels of the law1 once started1 ground evenly and small4 ,on ,january #cjth1 #afeh1 the commissioners ordered the repayment to ,witsen and van ,heertsbeeck of the money they had lent4 ,the heirs of ,christoffel ,thysz were also paid1 in spite of the protests of ,louis ,crayers1 who had by then replaced ,verbout as guardian of ,titus1 and1 as such1 asserted his prior claim on the estate to the extent1 according to ,rembrandt's own estimate in #afdg1 #bj1cge florins4 ,the other creditors1 taking advantage of ,rembrandt's afore-mentioned failure to make an inventory at the time1 protested loudly that the demand was much exaggerated1 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 died4 ,several of these statements have already been referred to in this narrative2 but1 in addition1 ,jan ,pietersz1 a draper1 ,abraham ,wilmerdonx1 director of the ,east ,india ,company1 ,hendrick van ,uylenborch1 ,nicholas van ,cunysbergen1 and others1 gave testimony as to property owned by1 or prices paid to1 the bankrupt in former years4 ,in the meantime1 on ,february #ast1 #afeh1 at the request of ,henricus ,torquinius1 the official who had charge of the business1 the house in the ,breestraat was sold to one ,pieter ,wiebrantsz1 a mason1 for #ac1fjj florins1 but for some reason the bargain was not completed1 and a second purchaser came forward with an offer of #ab1jjj4 ,there appear1 however1 to have been doubts as to his ability to pay1 and it was finally transferred to a shoemaker1 ,lieven ,simonsz1 for #aa1bah florins4 ,finally1 in ,september1 the pictures1 engravings1 and other objects of art were sold by auction1 bringing in the ridiculous sum of #ejjj florins1 and all the possessions that ,rembrandt had collected with such loving care and at so great a cost were scattered to the four winds4 ,it is pleasant to find that1 in all this tribulation1 many of his old friends still stood by him and endeavoured to help him to commissions4 ,in #affj1 for example1 ,govert ,flinck1 who was engaged on the decoration of the ,grand ,gallery in the ,town ,hall1 having died1 it became necessary to find someone to take his place4 ,rembrandt had never been much in favour with the town authorities1 but on this occasion1 possibly through the efforts of his old friend ,tulp1 who had been treasurer in #afeh and #afei1 he was invited to carry on the work1 and1 as ,m4 ,michel has conclusively shown1 painted for them a large picture of the conspiracy of ,claudius ,civilis4 ,the opposition1 however1 apparently proved too strong1 for it seems doubtful if the picture was ever seen in the place it was intended for4 ,it did not1 at any rate1 remain there long4 ,on ,may #eth1 #affj1 we get another glimpse of the law proceedings when ,heertsbeeck was ordered to pay back the #dbjj florins which the ,court had formerly awarded him1 though ,witsen was allowed to retain his #dahj4 ,on ,december #aeth of the same year ,hendrickje made a final effort to restore to some extent the prosperity of the household4 ,with all proper circumstance1 she entered on that day into partnership with ,titus1 legalising an association between them1 informally established two years before1 for the purpose of dealing in pictures1 engravings1 and curiosities4 ,both he and she contributed everything that they possessed to a common fund1 and each was to be entitled to a half share of the stock4 ,rembrandt1 partly1 no doubt1 from his proved incompetency for business1 partly1 perhaps1 to keep out of the clutches of the creditors1 was allowed no share whatever in the profits4 ,as1 however1 it was necessary that ,hendrickje1 who knew nothing of such matters1 and ,titus1 who was not yet of age1 should have aid and assistance in the venture1 and as no one was more capable of giving this than ,rembrandt1 it was provided that he should make himself as useful as possible in furthering the interests of the firm1 and in return should have board1 lodging1 and certain allowances4 ,it was1 perhaps1 as judicious an arrangement as could be made for ,rembrandt's sake1 but it is not wonderful that the creditors1 who saw all chances of their getting anything further vanishing into thin air1 should have been fierce in their protests4 ,how far the association prospered we do not know4 ,probably not too well1 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 ends4 ,it served1 at any rate1 to keep a roof over their heads1 and the wolf from the door1 for we find them again settled down1 this time in the ,rozengracht1 in a house opposite a pleasure garden called the ,doolhof4 ,in #affa1 an old friend again came to his support2 for it was probably van de ,cappelle1 who was a dyer as well as a painter1 who procured for him the commission to paint ,the ,syndics of the ,drapers' ,guild1 which he so splendidly achieved4 ,by this time there is some reason for supposing that yet another trouble was coming upon ,rembrandt4 ,as far as we know1 he never executed any etchings after #affa1 and ,m4 ,michel suspected that this might have been due to failing sight4 ,a study1 moreover1 of the portraits painted from that time onwards1 reveals the fact that a large majority of them1 if not actually all1 were conspicuously1 some even enormously1 larger than life1 and that would in all probability be a symptom of the same misfortune4 ,these two facts cannot1 of course1 be considered as furnishing absolute proof1 but they certainly go to create a probability2 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 eyesight1 and how minutely finished had been much of his work1 especially among the etchings1 many of which were undoubtedly executed by artificial light1 after his day's painting was ended4 ,it would be but one more burden of distress laid upon those heavily-laden shoulders4 ,in truth1 the story of the few remaining years is but a record of stroke after stroke4 ,on ,august #gth1 #affa1 the faithful ,hendrickje was so seriously ill1 that1 in spite of its being a ,sunday1 she made her will1 leaving1 as was but right1 all her property to ,cornelia1 but with the stipulation that1 in case of her death1 ,titus was to inherit1 though his father was to enjoy the income as long as he lived4 ,that she recovered at that time we know from her appearance on ,october #bgth1 as a witness in the case of the drunken man already referred to2 but the recovery must have been only temporary1 for1 after this last appearance1 we hear of her no more1 though we do not know the exact date of her death4 ,there is1 however1 ,m4 ,michel believes1 a reason for supposing it to have occurred in the autumn of #affb4 ,on ,october #bgth in that year ,rembrandt sold the vault he had purchased in the ,oudekerk1 which was no longer his parish church4 ,it was1 nevertheless1 an odd thing to do1 since poor little ,saskia lay there2 and ,m4 ,michel1 in seeking an explanation1 conjectures that he was at that time under the necessity of providing for the burial of ,hendrickje in the ,westerkerk1 and that the sale was a sheer necessity4 ,there is1 at any rate1 no portrait of her known to have been painted after #affb1 and the conjecture that she died that year is at least a plausible one4 ,illustration3 ,louvre1 ,paris ,,portrait ,,of ,,hendrickje ,,stoffels 7,,about #afeb7 ,in the course of the same year1 we hear of the last pupil coming to ,rembrandt1 ,aert de ,gelder1 whose youthful enthusiasm may have brought some brightness1 we may hope1 into the life of the poor broken old man4 ,meanwhile1 the echoes of the law courts still rumbled in his ears1 for1 on ,december #bbnd1 ,isaac ,van ,heertsbeeck1 who had evidently not complied with the previous order of the ,court in #affj1 was again commanded to refund the #dbjj florins1 and again appealed4 ,rembrandt had by then so completely dropped out of public ken1 that we only get dim and fleeting glimpses of him4 ,in #affd1 we hear of him moving to the ,lauriergracht1 still farther to the south-east1 and it is not until affairs draw him from seclusion that we learn more of him1 and then only indirectly4 ,we may1 perhaps1 conclude1 however1 from the scarcity of his works during these last years1 that his eyes1 and possibly general health1 were getting ever worse4 ,on ,january #bgth1 #affe1 van ,heertsbeeck's protracted struggle came to an end1 and the ,grand ,council decided that by ,june #bjth the money must be repaid4 ,on ,june #aith1 ,rembrandt and ,titus appealed to the law to anticipate the coming of age of the latter1 so that he might be legally considered of years of discretion before the actual arrival of his twenty-fifth birthday1 a request which must have been connected with a foreknowledge of the decision delivered the next day1 ,june #bjth1 in favour of ,louis ,crayers4 ,this meant that the rights of ,titus to the full amount of his mother's fortune of #bj1cge florins were allowed2 but only #fieb florins remained1 and of this1 on ,november #eth1 ,titus was authorised to take possession in his own name4 ,it was but a scanty fraction of what he should have had1 but it was something1 and the little windfall may have had some part in the return of the family to the ,rozengracht4 ,of the next two years we know nothing1 except that we learn from a portrait of ,jeremias de ,decker1 a poet who wrote eulogistic verses on the painter1 that neither the man nor the artist was entirely neglected4 ,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 ,magdalena1 the daughter of ,cornelia van ,uylenborch and of ,albert van ,loo1 whose quarrel with ,rembrandt years before had clearly been forgotten4 ,the note of merriment was1 however1 too quickly changed for one of dolour1 for ere the year was out ,titus was dead1 as we learn from the record of his burial in the ,westerkerk1 on ,september #dth1 #affh4 ,in ,march #affi1 the widowed ,magdalena gave birth to a daughter1 and1 on the twenty-second of that month1 ,rembrandt stood by while the only grandchild he was to see was christened ,titia4 ,we catch thereafter some murmurs of that business which he so hated1 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 parents2 and then again comes silence1 until1 from an entry in the ,doelboek1 the registry of deaths in the ,westerkerk1 we learn that the long1 slow1 downward path has ended1 where all paths end1 in the grave4 ,tuesday1 #h ,october1 #affi1 ,rembrandt van ,rijn1 painter1 on the ,rozengracht1 opposite the ,doolhof4 ,leaves two children4 ,he was buried1 at the cost of thirteen florins1 at the foot of a staircase leading up to a pulpit on a pillar on the left-hand side as you go up the church2 but when1 some years back1 a coffin1 supposed to have been his1 was opened1 not a trace of his ashes was to be found4 ,illustration3 ,national ,gallery1 ,london ,,portrait ,,of ,,rembrandt 7,,about #affd7 ,the subsequent history of the family may be briefly sketched4 ,within a fortnight of ,rembrandt's death1 on ,october #acth1 his daughter-in-law ,magdalena was also dead4 ,on the #afth and #ahth of ,march1 and again on ,april #aeth1 ,abraham ,francen1 the old and faithful friend1 and ,christian ,dusart1 acting on behalf of ,cornelia1 settled with ,franois van ,bylert1 acting on behalf of the baby ,titia1 their respective portions of the small inheritance4 ,franois would seem to have been a kindly guardian1 and ,titia to have had a happy home1 for1 on ,june #afth1 #afhf1 at the church of ,slooten1 she married his son1 also named ,franois1 a jeweller1 living in the ,kloveniers-,burgwal1 in the heart of her native town4 ,here she bore1 and buried also in the ,westerkirk1 three children1 one in #afhh1 one in #afie1 and one in #afih1 and herself died ,november #bbnd1 #agbe1 leaving a fourth child1 who only survived her three years4 ,cornelia married a man named ,suythoff1 and with him travelled to ,java1 where1 in the town of ,batavia1 she gave birth to two sons1 one on ,december #eth1 #afgc1 called ,rembrandt1 the other1 on ,july #adth1 #afgh1 named ,hendrick4 ,,rembrandt ,,the ,,painter ,,chapter ,v ,,early ,,years 7#afbg-afcc7 ,of the blank spaces in the record of ,rembrandt's career1 none is so long or so inexplicable as that which begins with his return from ,amsterdam to ,leyden in #afbd4 ,here the track breaks off abruptly1 and we can be sure of nothing until we come to the first known pictures signed by him1 and dated #afbg4 ,we will take first the picture discovered by ,sir ,j4 ,c4 ,robinson about twenty years ago1 and presented by him to the ,berlin ,gallery4 ,it represents a wrinkled old man1 seated at a table4 ,papers and account books lie around him1 and are heaped up in the background1 and on his left1 resting on a thick volume1 stands a fat purse4 ,a pair of scales are in front of him1 and beside them a dozen or so of coins4 ,lifting a candle in his left hand1 he throws the light of it upon a piece of money4 ,the work1 though promising1 is in no way startling1 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 soar4 ,it is signed1 with one of the ever-varying forms of his signature1 ,r4,h41 combined in a monogram1 followed by the date #afbg4 ,the other picture known to belong to this first year1 ,st ,paul in ,prison1 is in the ,museum at ,stuttgart ,no4 #bbe1 and presents much the same merits of close observation1 much the same defects of timid execution as the last4 ,it represents the saint seated in a straw-strewn dungeon1 lighted by a single beam of sunlight1 surrounded by books1 with the sword that symbolises him1 meditating before writing4 ,the signature in this case is a double one3 the first1 consisting of his full name1 with one of his curious mis-spellings1 ,rembrand1 and underneath fecit2 the second an elaborate ,r followed by f4 #afbg1 and below the down stroke1 crossing the tail of the ,r1 a smaller ,l1 which ,dr ,bode suggests stands for ,leydensis4 ,three other pictures1 all undated1 are attributed to this year or the next1 a ,philosopher reading by ,candle-light1 painted on copper1 ,a ,study of ,himself1 at ,cassel ,no4 #bjh1 and a ,portrait of his ,mother1 which was lent for a time to the ,ryksmuseum at ,amsterdam1 but is there no longer4 ,in the ,cassel picture1 small as it is1 the breadth and vigour of treatment1 the courage of the work are so remarkable that it is difficult to believe that it is of the same period as the previous pictures4 ,it is a study of little more than the head1 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 effects4 ,the shadows are a little dark1 the contrasts are a little forced1 wanting the true gradations1 but the power displayed is so great1 the frankness of the handling so certain that1 especially in a photograph1 the little study has all the appearance of a life-sized picture4 ,there are again two pictures dated in the following year1 #afbh4 ,samson captured by the ,philistines1 at ,berlin1 is a not too successful first attempt at a composition of several figures1 but it is of interest to the student as showing the sternly practical bent of ,rembrandt's imagination1 the intense craving for a strictly probable conception of the scene which1 though at times it led him over the border of the simple into the absolutely ludicrous1 more often gives that wonderfully impressive vitality and depth of feeling to his pictures4 ,here1 as elsewhere1 he aims not at all at heroic attitudes and over-dramatic effect2 he makes no attempt to invent the scene as it ought to have looked1 but endeavours to realise how it did look4 ,the ,philistines1 he knew1 were afraid of ,samson1 and he will not bate a jot of their terrors4 ,one of them advances in fear and trembling1 carefully keeping ,delilah between himself and the object of his dread2 while the other hides unequivocally behind the bed-curtains4 ,here1 also1 we find an instance of his habit of painting in accessories because they were picturesque and available1 quite regardless of their appropriateness1 in the ,malay kriss thrust into ,samson's belt2 and here we find for the first time that blending of the features of the two earlier monograms1 the ,r4,h4 of the one1 with the ,l4 of the other1 into the thenceforth frequent combination ,r4,h4,l4 with the date #afbh4 ,the second picture1 bearing the same monogram and date1 is in the possession of ,herr ,karl von der ,heydt of ,elberfeld1 showing a man in full armour1 standing by a fire in a courtyard1 and closely observed by soldiers and servants1 which ,dr ,bode not unreasonably believes to represent ,the ,denial of ,st ,peter4 ,seven other pictures are attributed to about that date1 one of which is believed by its possessor1 ,dr ,bredius1 to be a ,portrait of ,rembrandt's ,mother 7see illustration1 p4 #f74 ,there are also a copy of this1 showing a little more of the figure1 attributed to ,rembrandt1 but probably by another hand2 two portraits supposed to be ,the ,painter's ,father1 one lent by ,dr ,bredius to the ,museum at the ,hague ,no4 #efe1 the other in the ,museum at ,nantes2 a ,portrait of a ,boy1 at ,hinton ,st ,george1 and a doubtful one of ,a ,young ,girl1 called ,rembrandt's sister ,lysbeth1 at ,stockholm ,no4 #eia4 ,a ,judas with the ,price of the ,betrayal1 in the collection of ,baron ,arthur de ,schickler of ,paris1 is considered by ,m4 ,michel to be the identical picture to which ,constantin ,huygens referred in that eulogy which has been mentioned in the painter's life4 ,a ,raising of ,lazurus1 in the collection of ,mr ,yerkes in ,new ,york1 completes the list4 ,there is only one picture bearing the date #afbi1 a small ,portrait of ,himself1 at ,gotha ,no4 #aha2 but there are eleven others believed to have been painted about that time4 ,two are in the ,mauritshuis at the ,hague4 ,a ,bust of ,himself ,no4 #adh is a strong1 resolute piece of work1 and a marked advance on all that he had done before4 ,the other picture at the ,hague ,no4 #eih is supposed to be his elder brother ,adriaen4 ,there is less doubt about a portrait in the ,ryksmuseum at ,amsterdam ,no4 #abdh1 painted about that time1 though bearing a forged signature and the impossible date #afda4 ,it is that of a man with a short peaked beard and grey moustaches martially brushed up1 and a long aquiline nose4 ,the same features occur frequently in the earlier pictures and etchings1 and ,m4 ,michel has made out a very good case for their being those of ,harmen ,gerritsz1 the painter's father4 ,there are three other ,portraits of ,himself1 ,a ,head of a ,boy1 ,a ,young ,man ,laughing1 and a ,st ,peter1 all painted about that time2 but of more importance are two small subject-pictures4 ,the first1 signed ,r4,h41 but not dated1 ,christ at ,emmaus1 in the possession of ,madame ,andr-,jacquemart of ,paris1 is the earliest example of that presentment of a group of figures lighted by artificial light1 to which ,rembrandt was so partial4 ,here1 as in most cases1 the source of the light is hidden1 as it stands on a table1 on the right of the picture1 in front of which ,christ is seated1 in profile to the left1 his silhouette sharply cut against the radiance4 ,at his feet one of the disciples kneels4 ,the second1 seated in the centre1 on the further side of the table1 lifts up his hands in amazement4 ,on the left1 in the background1 the secondary softer illumination1 so frequently introduced in similar effects by ,rembrandt1 is provided by the glow of firelight on two women engaged in cooking4 ,the other is ,the ,presentation in the ,temple1 in the collection of ,consul ,weber at ,hamburg4 ,like the last1 it is signed1 with the full name ,rembrandt however1 but is not dated1 and the effect is to some extent marred by the harshness of the contrasts of light and shade1 his later complete grasp of subtle transitions being still imperfectly developed4 ,six out of the seventeen pictures attributed to #afcj or thereabouts are signed and dated1 and one1 a reproduction of the ,portrait of his ,father1 in the ,hermitage at ,st ,petersburg ,no4 #had1 is signed with the monogram ,r4,h4,l41 but not dated2 while a different portrait of the same1 at ,rotterdam ,no4 #bcg1 is signed ,r4 alone4 ,four of these are portraits3 one1 at ,hamburg1 of ,maurice ,huygens1 the brother of the painter's admirer ,constantin2 one1 in the collection of ,count ,andrassy at ,buda-,pesth1 his own2 one1 at ,cassel1 of an unknown ,old ,man ,no4 #bji2 and one1 in the ,ferdinandeum at ,innsbruck1 though called ,philon the ,jew1 is probably his father4 ,one of the two subject-pictures1 in the ,six collection1 ,amsterdam1 is a sketch1 broadly but expressively handled1 of ,joseph interpreting his ,dreams1 signed with the full name ,rembrandt1 #afcj4 ,the other1 signed ,r4,h4,l4 #afcj1 in the collection of ,count ,stroganoff1 is of doubtful import4 ,it represents an old man seated in a cave1 resting his head upon his right hand1 while his left rests on a large book4 ,beside him lie a cloth embroidered with gold1 various gold vessels1 and other objects of value4 ,in the distance is seen a town in flames1 from which the inhabitants are hurriedly escaping4 ,what it is intended to represent is an unsolved riddle1 and the title of ,a ,philosopher in ,meditation1 though convenient to identify it by1 has not otherwise much significance4 ,the remaining eleven pictures are studies or portraits1 of which the old woman1 belonging to the ,earl of ,pembroke1 a bust of ,a ,young ,girl1 the property of ,dr ,bredius1 and lent by him to the ,hague ,museum1 and another ,portrait of an ,old ,woman resembling somewhat in features the picture at ,wilton1 but known1 for some mysterious reason as1 ,the ,countess of ,desmond1 may be mentioned4 ,at what time in #afca ,rembrandt moved to ,amsterdam we have no means of judging1 nor can we say with any certainty which pictures of that year were painted before1 which after1 his change of residence4 ,a ,bust of his ,father1 signed ,r4,h4,l4 #afca1 the property of ,mr ,fleischmann1 was probably among the former4 ,the ,young ,man with the ,turban1 at ,windsor1 must also1 presumably1 have been painted before his removal1 if ,m4 ,michel is justified in his belief that it is a portrait of ,gerard ,dou4 ,of the others we know nothing that points either way4 ,rembrandt was now beginning to find himself4 ,the dry precision1 the timid carefulness have disappeared4 ,his hand moves easily about its appointed task1 not indeed1 as yet1 with the splendid freedom of later years1 but with an assured confidence4 ,he knows what he wants to do1 and begins to feel that he can do it4 ,the commissions that finally necessitated his establishment in ,amsterdam showed him also1 we may suppose1 that other people appreciated the fact1 and we may1 perhaps1 refer to this growing confidence in himself the great increase in the number of pictures signed that year4 ,there are eleven1 bearing both date and signature1 two signed1 but undated1 and two which1 though bearing neither date nor signature1 are believed to have been painted about that time4 ,illustration3 ,hermitage1 ,st4 ,petersburg ,,portrait ,,called ,,coppenol 7#afca7 ,of the first class1 a picture of a man reading1 in the ,museum at ,stockholm ,no4 #egi1 known as ,st ,anastasius1 bears yet another version of the painter's name1 the d being absent in this case1 so that it reads ,rembrant4 ,a ,holy ,family1 at ,munich ,no4 #bcd1 signed ,rembrandt1 is an example of a propensity1 which he never thoroughly shook off1 to over-compose his pictures4 ,the same over-marked arrangement1 though1 to a far less degree1 is also observable in the pyramidal group in the otherwise splendid ,presentation in the ,temple1 at the ,hague ,no4 #ade4 ,this is signed with the initials ,r4,h4 alone1 interlaced1 but seven others bear the three1 ,r4,h4,l41 including the portrait of ,gerard ,dou1 already mentioned2 a portrait1 said to be his mother1 at ,oldenburg ,no4 #aff1 wearing a semi-oriental dress1 and reading1 from which circumstance the picture has obtained the name of ,the ,prophetess ,anna2 and the ,portrait of a ,merchant1 long called ,coppenol1 in the ,hermitage at ,st ,petersburg ,no4 #hjh4 ,of the two undated pictures1 ,zachariah receiving the ,prophecy of the ,birth of ,john the ,baptist1 in the collection of ,m4 ,albert ,lehmann1 ,paris1 bears the full name ,rembrandt4 ,the mysterious figure at ,berlin ,no4 #hbh;,c41 a young woman in a rich dress1 seated by a table1 on which lie pieces of armour1 a book1 and a lute1 while other arms1 including a shield1 decorated with a gorgon's head1 hang on the wall above her1 gaming for her the fanciful titles ,judith or ,minerva1 has only vague traces of the initial ,r4 ,of the last class1 one is a copy1 formerly in the ,beresford-,hope collection1 of the ,portrait of his ,father1 in the ,ryksmuseum1 the other is a small figure of ,diana ,bathing1 in the collection of ,m4 ,warneck1 ,paris4 ,once satisfactorily established in ,amsterdam1 ,rembrandt increased his annual production marvellously4 ,the number of pictures known or believed to belong to each of the four preceding years1 are1 in succession1 four1 nine1 twelve1 and twenty1 the numbers for the four succeeding years are1 respectively1 forty-two1 thirty1 twenty-six1 and twenty-seven2 or1 taking the average of each period1 we find that the first would give a little more than eleven pictures per annum1 the second1 very nearly thirty4 #afcb1 in especial1 when he was new to ,amsterdam1 was a year of extraordinary energy4 ,illustration3 ,imperial ,museum1 ,vienna ,,portrait ,,of ,a ,,man 7#afcj-afcb7 ,illustration3 ,imperial ,museum1 ,vienna ,,portrait ,,of ,a ,,woman 7#afcj-afcb7 ,we find also1 at the same time1 a vast increase in the number of signed pictures1 yet still note a surprising variety in the form the signature takes4 ,no less than thirty are signed1 and all but two of these are also dated4 ,nine of them bear the monogram1 ,r4,h4,l41 and ten others have the same1 with1 for the first time1 the addition van ,rijn1 while one has the plain initial ,r4 with van ,rijn added4 ,one1 forming a sort of transition with the other group1 is signed ,rembrandt ,h4,l4 van ,rijn1 and nine are signed with the full name1 in three of which the d is missing4 ,thirty-four of the pictures are portraits1 and six of them form pairs representing husband and wife--namely1 ,burgomaster ,jan ,pellicorne1 with his son ,caspar1 and ,suzanna van ,collen1 his ,wife1 and her ,daughter1 in the ,wallace collection2 an unknown ,man and his ,wife1 in the ,imperial ,museum1 ,vienna1 though these four are only believed to belong to that year2 the portraits of ,christian ,paul van ,beersteyn1 and ,volkera ,nicolai ,knobbert1 his wife1 in the possession of ,mr ,havemeyer of ,new ,york1 alone bearing the date4 ,there is also a portrait at ,brunswick ,no4 #bcb1 fantastically called ,grotius1 the companion of which was painted next year2 another1 believed1 with good reason1 to represent ,dr ,tulp1 formerly in the collection of the ,princess de ,sagan1 which is also one of a pair1 though the picture of the wife was not painted until two years later2 and a third1 in the collection of ,m4 ,pereire1 ,paris1 of a man1 whose wife was also not painted till the following year4 ,twelve others represent actually or conjecturally known individuals1 but two of these1 if1 as is probable1 they represent the painter's father1 must have been painted earlier1 as would also be the case with four others more doubtfully described1 two as his mother1 two as his sister4 ,one at ,cassel ,no4 #bab almost certainly represents ,coppenol1 the ,caligraphist1 and an admirable picture in ,captain ,holford's collection1 is undoubtedly ,martin ,looten1 a merchant of ,amsterdam2 while1 even in that busy year1 he found time once to paint his own portrait4 ,the other four include the two of ,saskia1 already mentioned in the ,life1 and two men1 one said to be ,matthys ,kalkoen1 and one1 a certain ,joris de ,caulery4 ,so engaged was he on portraiture1 that he only found time for three small figure subjects1 if1 indeed1 they were painted that year1 for none is dated4 ,one1 in the ,wallace collection1 is ,the ,good ,samaritan2 the second at ,berlin ,no4 #hbc1 represents ,pluto in his ,chariot carrying off ,proserpine1 quite the most successful of ,rembrandt's rare appeals to classical mythology for inspiration2 while the third at ,frankfort ,no4 #ahc1 is a somewhat indifferent rendering of ,david playing the ,harp before ,saul4 ,i have left to the last1 the great work of that year1 the famous ,anatomy ,lesson1 at the ,hague4 ,in producing this1 the largest and most ambitious work he had yet attempted1 one1 moreover1 the success or failure of which could scarcely help having a marked influence on his future career1 ,rembrandt1 we cannot but perceive1 was not altogether at his ease4 ,there are obvious signs that the hand that could already move with such courage and freedom1 when the mere satisfying of himself was in question1 was hampered by a return1 partial at least1 to his earlier timidity1 when so much was at stake4 ,he was so anxious to do his best that the spontaneity1 conspicuous in most of his work1 escaped in the process4 ,the result is a little stiff in consequence1 and the work somewhat dry and frigid2 but the life and expression in the various heads is1 nevertheless1 so excellent1 that it is impossible to regard it without delight and admiration4 ,portraits again took up much of his time in #afcc1 among them the two companions to the portraits of the year before1 and another pair1 ,willem ,burchgraeff1 at ,dresden ,no4 #aeeg1 and ,margaretha van ,bilderbeecq1 his wife1 in ,frankfort ,no4 #ahb4 ,the painter's masterpiece1 however1 in matrimonial groups1 is the ,shipbuilder and his ,wife1 at ,buckingham ,palace4 ,illustration3 ,the ,hague ,,the ,,anatomy ,,lesson 7#afcb7 ,illustration3 ,cassel ,,portrait ,,of ,,jan ,,herman ,,krul 7#afcc7 ,there are thirteen other signed portraits of that year1 including one of ,jan ,herman ,krul1 at ,cassel ,no4 #bac1 two of ,saskia--one at ,dresden ,no4 #aeef2 one1 called however1 ,lysbeth van ,rijn1 which belonged to the late ,baroness ,hirsch-,gereuth--and two of himself1 one1 the oval portrait in the ,louvre ,no4 #dab1 and the other in the collection of ,m4 ,warneck at ,paris4 ,out of these twelve signatures1 only one is the monogram ,r4,h4,l41 the other eleven being signed with the full name1 and from only one of these1 ,a ,head of a ,girl1 in the collection of ,prince ,jousoupoff1 is the d missing4 ,three subject-pictures also belong to that year1 in all probability2 ,an ,entombment1 in the ,hunterian ,museum1 ,glasgow2 a small picture described as ,petitioners to a ,biblical ,prince1 belonging to ,m4 ,lon ,bonnat of ,paris2 and ,a ,philosopher in ,meditation ,no4 #beda1 in the ,louvre4 ,the last1 indeed1 though undated1 may almost certainly be attributed to that year1 since its companion1 another ,philosopher in ,meditation1 also in the ,louvre ,no4 #bedj1 is signed ,r4 van ,rijn1 #afca4 ,but the great event of the year must have been the patronage which came to him from ,prince ,frederick-,henry1 resulting in the purchase of two pictures1 both of which1 in later years1 after passing to the gallery at ,dsseldorf1 were transferred to ,munich4 ,in both we see ,rembrandt at his most characteristic--his determination to tell his story clearly1 to concentrate his light upon the chief figure1 the keynote of his theme1 to get the true and expressive actions of his personages1 not even yet free of some exaggeration1 without troubling a jot as to the minor detail of correct costume4 ,so1 in the first1 ,the ,elevation of the ,cross ,no4 #cbg1 the cross1 with the tense figure wrung with anguish1 slants right athwart the picture1 and stands out against the murky sky and dim surrounding crowds with startling incisiveness4 ,so the four men occupied in raising it display an almost passionate energy2 so a soldier wears a more or less classical helmet and breastplate over a sleeved doublet unknown to ,rome2 a man behind is dressed in the peasant's ordinary garb of ,rembrandt's day2 and another1 wearing a doublet and soft flat cap1 seems to be ,rembrandt's self2 while the centurion on horseback superintending the carrying out of the sentence is a frank ,turk as to his headgear1 a nondescript for the rest of him4 ,the other1 ,the ,descent from the ,cross ,no4 #cbf1 while displaying many of the same qualities1 merits and defects alike1 is more deliberately composed1 suffers indeed from that over-composition already noticed1 being too obviously built up into that high pyramidal form1 which we found in ,the ,presentation in the ,temple4 ,there is1 nevertheless1 a very delicate sentiment of pathos in it1 and that ,rembrandt himself was content with it1 is shown not only by his correspondence with ,huygens on the subject1 but by the fact that he repeated it on a larger scale during the following year4 ,yet so curiously capricious was he in adding or withholding date and signature that neither has a date1 and only ,the ,descent from the ,cross is inscribed with what appears to be ,c4 ,rlembrant f4 ,illustration3 ,munich ,gallery ,,the ,,elevation ,,of ,,the ,,cross 7#afcc7 ,,chapter ,,vi ,,time ,,of ,,prosperity 7#afcd-afdb7 ,at the one hundred and twenty-nine pictures produced during the succeeding nine years ,i can only glance hastily4 ,there are eighteen works dated #afcd1 and1 no less than seven of them are1 or are called1 ,portraits of ,himself4 ,one at the ,louvre ,no4 #beec1 and two at ,berlin ,nos4 #hjh and #haj1 are unmistakably so1 and one now in ,america1 a companion to a ,portrait of ,saskia1 would seem to be2 but the ,portrait of ,rembrandt as an ,officer1 at the ,hague ,no4 #adi1 which1 however1 bears no date1 and one in a helmet1 at ,cassel ,no4 #bae1 bear only the most general resemblance to him4 ,he furthermore painted a portrait of ,saskia disguised as ,flora1 called ,the ,jewish ,bride1 in the ,hermitage at ,st ,petersburg ,no4 #hab1 a very similar picture in the collection of ,m4 ,schloss1 ,paris1 and a third at ,cassel ,no4 #bad4 ,there are eight dated portraits1 and one probably belonging to that year4 ,among the portraits are the pair to the one of ,dr ,tulp1 and two other pairs1 ,martin ,daey and ,machteld van ,doorn1 his wife1 belonging to ,baron ,gustave de ,rothschild1 and ,the ,minister ,alenson and ,his ,wife1 belonging to ,m4 ,schneider1 ,paris1 a ,portrait of ,himself in a ,cuirass1 in the ,wallace collection1 one of ,a ,young ,girl1 at ,bridgewater ,house1 and the ,old ,lady1 in the ,national ,gallery ,no4 #gge4 ,there are also four subjects4 ,a replica of ,the ,descent from the ,cross1 formerly in the ,cassel ,gallery1 but removed by ,napoleon ,i4 to ,malmaison1 whence it passed to the ,hermitage ,no4 #hjj4 ,it is of interest historically as showing that high as ,rembrandt's reputation stood at the time1 he had leisure enough to paint this large picture1 without any immediate purchaser in prospect1 and it remained in fact on his hands until the enforced sale in #afef4 ,a second1 also in the ,hermitage ,no4 #hja1 is ,the ,incredulity of ,st ,thomas1 and a third1 in the ,prado at ,madrid ,no4 #aedd1 has been called both ,queen ,artemisia receiving the ,ashes of ,mausolus and ,cleopatra at her ,toilet4 ,there is also a doubtful ,tobias restoring his ,father's ,sight1 in the collection of ,duc d',arenberg at ,brussels1 but it is a matter of doubt whether the last figure of the date is #d or #f4 ,lastly1 there is an undated ,prodigal ,son1 belonging to the executors of the late ,sir ,f4 ,cook1 which1 in spite of the signature1 must also be regarded as dubious4 ,there are only two ,portraits of ,himself dated #afce1 and one of ,saskia1 but there are two others attributed to about that time1 and1 in addition1 two large and highly finished pictures1 supposed to represent ,rembrandt and ,saskia1 both signed ,rembrandt1 and believed to have been painted in or near that year4 ,the one at ,dresden ,no4 #aeei1 contains1 without doubt1 portraits of the painter and his wife 7see illustration1 p4 #bd74 ,the other1 at ,buckingham ,palace1 long known as ,the ,burgomaster ,pancras and his ,wife1 is less certain4 ,illustration3 ,national ,gallery1 ,london ,,portrait ,,of ,,an ,,old ,,woman 7#afcd7 ,illustration3 ,buckingham ,palace ,,the ,,burgomaster ,,pancras ,,and ,,his ,,wife 7,,about #afce7 ,illustration3 ,national ,gallery1 ,london ,,portrait ,,of ,a ,,man 7#afce7 ,apart from these1 there are nine dated portraits1 and five subject-pictures1 together with six portraits and one subject of about the date4 ,only two of the portraits bearing dates are in public galleries1 one ,a ,rabbi1 at ,hampton ,court ,no4 #cha1 and one ,a ,man1 in the ,national ,gallery ,no4 #cej1 while two others of about the date are the ,portrait of ,himself1 in the ,pitti ,no4 #fj1 and ,a ,young ,woman1 at ,cassel ,no4 #baf4 ,in subjects the artist on two occasions went out of his way to court failure in attempting to represent classical subjects1 with the spirit of which he was utterly out of sympathy4 ,the homely truthfulness of his art1 though it may occasionally result in details somewhat shocking to the reverent mind1 was1 nevertheless1 well adapted to set forth the humanising side of ,scripture incidents4 ,his ,christ is always more the ,son of ,man than the ,god ,incarnate4 ,his ,virgin ,mary has none of the delicate beauty conceived for her by ,italian painters1 but she is first of all1 and beyond all1 the type of motherhood4 ,his apostles have none of the heroic dignity of ,michael ,angelo's1 yet they are without question devout1 devoted fishers of men4 ,but this lack of wish or power to idealise1 this persistence in the search for the true and neglect of the beautiful1 is entirely at variance with the classical tradition4 ,there are no great fundamental ideas beneath the story of ,acton1 ,diana1 and ,callisto1 or ,the ,rape of ,ganymede1 for the artist to bring home to us1 and the representation of the former as coarse1 ungainly peasants1 as in the picture belonging to ,prince ,salm-,salm of ,anholt1 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 eagle1 as in the picture at ,dresden ,no4 #aeeh1 serve only to reveal the limitations of the artist's imagination without disguise or compensation4 ,three other subject pictures1 painted in or about that year1 are also in public galleries3 a little sketch of ,the ,flight into ,egypt1 at the ,hague ,no4 #egi2 ,the ,sacrifice of ,abraham1 in the ,hermitage ,no4 #gib2 and ,samson threatening his ,father-in-law1 at ,berlin ,no4 #hjb4 ,seven pictures only bear the date #afcf1 of which one formed a further addition to the collection of ,prince ,frederick-,henry1--,the ,ascension1 now at ,munich ,no4 #cbh1 quite the least satisfactory of the series4 ,rembrandt1 indeed1 was not in a happy vein this year in his treatment of subjects4 ,both the ,samson overpowered by the ,philistines1 in the collection of ,count ,schnborn at ,vienna1 and ,lord ,derby's ,belshazzar's ,feast1 if it be ,rembrandt's1 which1 though unsigned1 is attributed to that year1 are seriously marred by a distinct melodramatic element in the conception1 an extreme exaggeration of pose1 gesture1 and expression4 ,on the other hand1 we find the most pleasing study of the nude the painter ever made1 in the ,danae1 at the ,hermitage ,no4 #hjb1 which1 though the first and third figures of the date have disappeared1 leaving only two sixes1 was most probably painted that year4 ,illustration3 ,the ,hermitage ,,danae 7#afcf7 ,illustration3 ,liechtenstein ,gallery1 ,vienna ,,portrait ,,of ,a ,,man 7#afcf7 ,illustration3 ,liechtenstein ,gallery1 ,vienna ,,portrait ,,of ,a ,,lady 7#afcf7 ,the four remaining pictures are portraits2 two1 forming a pair1 a young man and his wife1 belonging to ,prince ,liechtenstein of ,vienna2 one1 a woman1 to ,mr ,byers1 ,pittsburg1 ,u4,s4,a42 and also a woman1 to ,lord ,kinnaird4 ,the ,ecce ,homo1 in the ,national ,gallery ,no4 #adjj1 must have also been painted that year1 if not before1 for it is a sketch for the etching of that date4 ,other pictures probably dating from that year are a ,standard ,bearer1 belonging to ,baron ,gustave de ,rothschild1 from which the last figure of the date is missing2 a ,portrait of an ,old ,lady1 belonging to the ,earl of ,yarborough2 ,a ,saint1 formerly in the collection of ,earl ,dudley2 ,saint ,paul1 at ,vienna2 and the ,portrait of an ,oriental1 in the ,hermitage ,no4 #hac4 #afcg is inscribed on eight pictures1 but in one case1 that of a ,portrait of ,himself1 belonging to ,captain ,heywood-,lonsdale1 there is some doubt about the correct reading of the last figure1 and in that of ,susannah and the ,elders1 in the collection of ,prince ,jousoupoff1 the genuineness of the signature is not above suspicion4 ,no such question1 however1 applies to the rendering of the same subject at the ,hague ,no4 #adg1 the ,portrait of ,himself1 in the ,louvre ,no4 #beed1 the ,portrait of ,henry ,swalm1 at ,antwerp ,no4 #gje1 that of another ,minister at ,bridgewater ,house1 or to the ,portrait of a ,man1 in the ,hermitage ,no4 #haa1 once absurdly called ,sobieski1 and now1 with scarcely less absurdity1 said to be ,rembrandt4 ,the remaining work is ,the ,parable of the ,master of the ,vineyard1 also in the ,hermitage ,no4 #gih4 ,two portraits1 one of himself1 belonging to ,lord ,ashburton1 and one of a ,young ,woman lacing her bodice1 belonging to ,dr ,bredius1 are also attributed to that year1 as is ,the ,angel quitting ,tobit1 in the ,louvre ,no4 #becf1 in which once more ,rembrandt's desire for actuality has1 as far as the angel is concerned1 led him to the border-line between the ungraceful and the ridiculous4 ,in the following year we find him for the first time attempting pure landscape4 ,one1 signed and dated1 an entirely imaginary composition1 is in the possession of ,herr ,georg ,rath at ,buda-,pesth2 another1 also signed and dated1 in which he has to some extent compromised by introducing some small figures illustrating the ,parable of the ,good ,samaritan1 is in the ,czartoryski ,museum at ,cracow4 ,christ and ,mary ,magdalene at the ,tomb1 in ,buckingham ,palace1 though the figures are made of more importance1 may also be included in the transition pictures between landscape and subject1 for the garden1 tomb1 and distant city are at least as much insisted on as the figures4 ,the important picture of the year1 however1 was a figure subject1 ,samson propounding his ,riddle to the ,philistines1 the great canvas in the ,dresden ,gallery ,no4 #aefj1 a magnificent piece of work1 but1 apart from its technical qualities1 of no great interest3 the only other pictures dated #afch being a ,portrait of an ,old ,man1 in the ,louvre ,no4 #bedd1 and a ,bust of a ,man in ,armour1 at ,brunswick ,no4 #bcg4 ,illustration3 ,hermitage1 ,st4 ,petersburg ,,portrait ,,called ,,sobieski 7#afcg7 ,illustration3 ,dresden ,gallery ,,the ,,man ,,with ,,the ,,bittern 7#afci7 ,two more pictures were completed for the ,stathouder in #afci1 a ,resurrection ,no4 #cbi1 signed and dated1 and an ,entombment ,no4 #ccj1 unsigned1 now with the others at ,munich4 ,the only other subject treated that year1 if the date and signature are genuine1 which ,m4 ,michel doubts1 was ,the ,good ,samaritan dressing the wounds of the injured man1 in the collection of ,m4 ,jules ,porgs1 for ,the ,slaughter-house1 belonging to ,herr ,georg ,rath1 is a study rather than a picture2 and the ,man with the ,bittern at ,dresden ,no4 #aefa as much a portrait as a study4 ,other portraits are the so-called ,lady of ,utrecht1 lent by the family ,van ,weede van ,dykveld to the ,amsterdam ,museum2 that of ,alotte ,adriaans1 belonging to the executors of the late ,sir ,f4 ,cook1 a life-sized full-length figure of ,a ,man1 at ,cassel ,no4 #bag1 at one time erroneously called ,burgomaster ,six1 and a so-called ,portrait of ,rembrandt's ,mother1 at ,vienna ,no4 #aada4 ,there are six pictures dated #afdj--;four subjects and two portraits--one of himself in the ,national ,gallery ,no4 #fgb1 7see ill41 p4 #bh71 and the famous one of ,paul ,doomer1 better known as ,the ,gilder1 now in the possession of ,mr ,havemeyer of ,new ,york4 ,the subjects include the ,duke of ,westminster's beautiful ,salutation and the ,expulsion of ,hagar and ,ishmael1 in the ,victoria and ,albert ,museum1 in both of which1 however1 the concentration of light on a small portion is so intense as to suggest the lime-light of a theatre2 the charming version of ,the ,holy ,family in the ,louvre ,no4 #bedb1 known as ,the ,house of the ,carpenter1 where the contrasting light and shade1 though equally marked1 are reasonably brought about2 and the mysterious allegory1 in the ,boymans ,museum at ,rotterdam ,no4 #bch1 known as ,the ,concord of the ,country1 containing a rather confused mass of detail and incident1 all obviously meaning something1 but what no one can quite decide4 ,other pictures supposed to have been painted about the same time are a ,good ,samaritan2 a ,saving of ,moses1 in which the figures play a part quite subordinate to the landscape2 three pure landscapes1 ,an ,effect of ,storm1 at ,brunswick ,no4 #bcf1 one in the ,wallace collection2 a study of ,dead ,peacocks1 belonging to ,mr ,w4 ,c4 ,cartwright2 and several portraits1 the most noteworthy of which is the one of ,elizabeth ,bas in the ,ryksmuseum at ,amsterdam ,no4 #bdi4 ,six pictures again bear the date #afda1 and all are portraits except the great ,offering of ,manoah and his ,wife1 at ,dresden ,no4 #aefc1 wherein we are distressed once more by the artist's unfortunate conception of an angelic being4 ,two of the portraits form a pair now widely sundered1 the admirable ,lady with the ,fan being at ,buckingham ,palace1 while her husband has strayed away to ,brussels ,no4 #cig4 ,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 years1 having passed from ,lady ,ashburnham to ,berlin4 ,the ,portrait of ,anna ,vymer1 on the other hand1 the mother of ,burgomaster ,six1 is one of a very few1 if it be not the only one1 which is still in the possession of the descendants of the subject4 ,the remaining picture is a portrait of a ,young ,woman1 called ,saskia1 at ,dresden ,no4 #aefb4 ,illustration3 ,amsterdam ,gallery ,,portrait ,,of ,,elizabeth ,,bas 7,,about #afdj7 ,illustration3 ,berlin ,,anslo ,,consoling ,a ,,widow 7#afda7 ,the dated pictures of #afdb are few4 ,there is one subject in the ,hermitage ,no4 #aggg long known as ,the ,reconciliation of ,jacob and ,esau1 but now recorded in the catalogue as ,the ,reconciliation of ,david and ,absalom2 while the ,christ taken from the ,cross1 in the ,national ,gallery ,no4 #dc1 may belong to the same year1 since it is a sketch probably made for the etching which was certainly executed then4 ,there are also four portraits3 one of ,a ,rabbi1 belonging to ,m4 ,jules ,porgs of ,paris2 ,lord ,iveagh's ,portrait of a ,woman2 ,mrs ,alfred ,morrison's ,portrait of ,dr ,bonus2 and ,an ,old ,man1 at ,buda-,pesth ,no4 #bce4 ,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 work1 ,the ,sortie of the ,company of ,francis ,banning ,cocq1 for many years known as ,the ,night-watch1 because time and careless usage had so blackened it that the original illumination was nearly obscured1 and the figures appeared to be dimly visible by artificial light4 ,the careful restoration by ,m4 ,hopman has1 of late years1 altered all this1 and that the sortie is taking place by daylight1 the condensed1 highly localised daylight of ,rembrandt1 to be sure1 has been established beyond cavil4 ,one would have supposed that such devoted art-patrons as the ,dutch people of that time1 would have hailed with delight the creation of such a masterpiece by one of themselves1 and would have showered praises and commissions upon its creator4 ,the very contrary seems to have been the fact2 nor is the reason far to seek4 ,holland at that time abounded in ,guilds and ,companies1 civil and military1 ,boards of ,management of this or that ,hospital or charitable ,institution1 and a perfect craze for being painted in groups animated one and all4 ,the galleries are full of these ,doelen and ,regent pictures by great and little masters1 and dreary objects many of them are4 ,each member subscribed his share1 and each expected to get his money's-worth2 so the painter was expected to distribute his light and his positions with an impartial hand1 and a comically stiff and formal collection of effigies was often the result4 ,to all such considerations ,rembrandt was gloriously indifferent4 ,he was painting a picture of an event in real life1 and he meant it to be a picture and alive1 not a mere row of wax figures in a booth2 and when he had finished1 the subscribers cried aloud in wrath and consternation4 ,and indeed it is difficult not to sympathise with the poor amateur soldiers who had paid to be painted1 not to be immortalised4 ,even if they could have known1 they would have cared very little for the fact that their picture was to rank in after years among the most famous in the world1 since their worthy citizen-faces were not to be discerned in it1 and no one would care to read the names which1 failing to move the domineering painter1 they caused to be inscribed upon an escutcheon in the background so that they might get some return for their florins4 ,they had their revenge1 however1 after a kind1 for they left it to blacken with dirt and smoke2 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 space1 as a copy by ,lundens in the ,national ,gallery ,no4 #bhi makes evident4 ,illustration3 ,buckingham ,palace ,,the ,,lady ,,with ,,the ,,fan 7#afda7 ,illustration3 ,brussels ,gallery ,,portrait ,,of ,a ,,man 7#afda7 ,,chapter ,,vii ,,years ,,of ,,decline 7#afdc-afeh7 ,there is still no lack of portraits in #afdc4 ,there are two pairs1 ,the ,gentleman with the ,hawk1 and ,the ,lady with the ,fan1 at ,grosvenor ,house1 which1 however1 ,dr ,bode and ,m4 ,michel decline to admit among ,rembrandt's works1 and ,the ,dutch ,admiral and ,his ,wife1 now in ,america4 ,it is doubtful whether the ,old ,woman weighing ,money1 at ,dresden ,no4 #aefd1 ought to be included among the portraits2 but there can be no question about the ,young ,man in a ,cap and ,breastplate1 in the same gallery ,no4 #aefe1 the ,old ,woman1 in the ,hermitage ,no4 #hjg1 called ,rembrandt's ,mother1 or the ,man1 in the collection of ,mr ,armour4 ,the other ,old ,man1 belonging to ,mr ,schloss of ,paris1 is probably only a study2 and the ,portrait of a ,man1 incorrectly called ,six1 in the collection of ,morris ,k4 ,jessup of ,new ,york1 is but conjecturally a work of this year4 ,there are three portraits of himself3 one at ,weimar1 one belonging to ,prince ,henri of the ,pays ,bas1 one1 signed but undated1 at ,carlsruhe ,no4 #bch2 and there is a portrait1 called ,saskia1 at ,berlin ,no4 #hab4 ,the only signed subject of the year is the ,bathsheba at her ,toilet1 in the ,steengracht collection at the ,hague2 but ,the ,holy ,family1 at ,downton1 was painted about that time4 ,the next year has very small results to show1 and might1 taken by itself1 support the belief in the sudden unpopularity of ,rembrandt were there not five other years for which we can now find only five pictures1 and several with fewer4 ,all the five of #afdd are signed4 ,three are portraits3 ,captain ,holford's ,man with a ,sword1 ,earl ,cowper's ,young ,man1 and the fancifully named ,constable of ,bourbon1 in the collection of ,herr ,thieme at ,leipzig4 ,there is one subject-picture1 ,the ,woman taken in ,adultery1 painted for ,jan ,six1 and now in the ,national ,gallery ,no4 #de4 ,another of the same subject1 in the possession of ,consul ,weber at ,hamburg1 bears1 according to ,m4 ,michel1 a forged signature1 and is regarded by him as very doubtful4 ,illustration3 ,national ,gallery1 ,london ,,the ,,woman ,,taken ,,in ,,adultery 7#afdd7 ,illustration3 ,dulwich ,gallery ,a ,,girl ,,at ,a ,,window 7#afde7 ,there are four subject-pictures dated #afde4 ,first and foremost is ,the ,holy ,family1 in the ,hermitage ,no4 #gif4 ,fine also is ,the ,tribute ,money1 belonging to ,mr ,beaumont1 though much more summarily handled4 ,the ,daniel's ,vision1 at ,berlin ,no4 #hjf1 is more careful in treatment1 but the companion picture1 ,tobias' ,wife with the ,goat ,no4 #hje1 is little more than a sketch4 ,at ,berlin1 also1 are two of the five dated portraits of that year1 one of ,a ,rabbi1 in the ,museum ,no4 #hbh;,a1 and one of ,j4 ,c4 ,sylvius1 in the collection of ,herr von ,carstangen4 ,the ,hermitage has one portrait ,no4 #hbj1 called at one time ,manasseh ben ,israel4 ,a ,portrait of a ,young ,girl1 in the ,dulwich ,gallery ,no4 #bjf1 and ,an ,orphan ,girl of ,amsterdam1 now in the ,united ,states1 are probably works painted for the purpose of study1 rather than portraits2 and the same remark applies to the ,portrait of ,himself1 at ,buckingham ,palace1 which1 though the last figure of the date is wanting1 was1 in all likelihood1 a work of that year4 ,the ,portrait of a ,lady1 in the collection of ,captain ,holford2 the little sketch of ,an ,old ,man ,seated1 belonging to the executors of the late ,sir ,f4 ,cook1 and ,an ,old ,man1 at ,dresden ,no4 #aega1 are undated portraits of about this time2 while the ,man reading by a ,window1 in the ,carlsberg ,glyptotek at ,copenhagen1 if it be really a ,rembrandt1 which is doubtful1 is an undated subject4 ,there are1 furthermore1 two landscapes1 both undated1 one at ,oldenburg ,no4 #afi1 and one in the collection of ,mme4 ,lacroix at ,paris4 ,another landscape1 ,a ,winter ,scene1 at ,cassel ,no4 #bai1 is dated #afdf1 as is a ,portrait of a ,young ,man1 belonging to ,mr ,humphry ,ward4 ,there are also four subject-pictures bearing the same date1 two of ,the ,adoration of the ,shepherds1 one in the ,national ,gallery ,no4 #dg1 painted originally for ,six1 and one at ,munich ,no4 #cca1 differing entirely in arrangement2 one of ,christ bound to the ,column1 in the collection of ,herr von ,carstangen at ,berlin2 and the ,holy ,family1 called ,the ,woodchopper1 at ,cassel ,no4 #bah4 #afdg is inscribed on only five pictures4 ,two are the portraits called ,nicholas ,berchem1 and ,his ,wife1 at ,grosvenor ,house1 and a small one of ,an ,old ,man1 at ,leeuwarden1 in the collection of ,baron van ,harinxma4 ,a fourth of ,dr ,bonus1 in the ,six collection1 is not dated1 but as it exactly resembles the etching of that year1 it is1 with much reason1 attributed to it4 ,there is only one subject1 ,susannah and the ,elders1 in the ,berlin ,gallery ,no4 #hbh;,e4 ,two undated studies also belong to about that time1 a small head and shoulders of ,susannah1 belonging to ,m4 ,lon ,bonnat of ,paris1 and the ,woman bathing1 at the ,louvre ,no4 #beej4 ,a large picture of ,joseph's ,coat1 in the collection of the ,earl of ,derby1 is one of the most ungraceful and undignified spectacles that even ,rembrandt's stern realism ever produced4 ,enchanting1 on the other hand1 in its truth and delicacy is the ,the ,shepherds reposing at ,night1 in the ,national ,gallery of ,ireland1 with its contrasted effects of firelight and moonlit night4 ,no known portrait bears the date #afdh1 though one of ,a ,young ,painter with ,papers and ,crayon1 signed ,rembrandt #afd--1 is believed to belong to about that year4 ,there are1 however1 four dated subject-pictures3 two at the ,louvre--,christ at ,emmaus ,no4 #beci1 and ,the ,good ,samaritan ,no4 #becg1--one1 ,hannah teaching the ,infant ,samuel to read1 at ,bridgewater ,house1 and one1 a different version of ,christ at ,emmaus1 at ,copenhagen ,no4 #bib4 ,a small picture of ,christ on the ,cross1 in the collection of ,herr ,carl ,hollitscher at ,berlin1 was also probably painted about this time4 ,illustration3 ,royal ,museum1 ,berlin ,,portrait ,,of ,a ,,rabbi 7#afde7 ,illustration3 ,cassel ,gallery ,a ,,winter ,,scene 7#afdf7 ,the succeeding year1 #afdi1 is one of the two that has no dated picture1 and were it not for the ,portrait of ,marshal ,turenne1 at ,panshanger1 which must have been painted that year--if indeed it be his1 which has recently been doubted--we should have to regard it as utterly barren2 for ,m4 ,jules ,porgs' ,old ,woman is only supposititiously of that date4 ,we may be sure1 however1 that some of the large number of unsigned pictures attributed to about that time were undoubtedly painted in the course of it4 ,of these there are several in public galleries3 ,the ,slaughter-house1 at ,glasgow ,no4 #gjg1 from the date on which the two last figures are missing2 the portrait of ,his ,brother1 in the ,emperor ,frederick ,museum at ,berlin2 the ,bust of an ,old ,man1 at ,strasburg2 the ,portrait of ,himself1 at ,leipzig2 ,the ,ruin1 at ,cassel ,no4 #bbj2 the picture1 called ,the ,metamorphosis of ,narcissus1 at ,amsterdam ,no4 #abea2 and five pictures in the ,hermitage3 ,abraham entertaining the ,angels ,no4 #gia1 ,the ,sons of ,jacob bringing him ,joseph's ,coat ,no4 #gic1 ,the ,disgrace of ,haman ,no4 #gie1 ,pallas ,no4 #hji1 and ,hannah teaching ,samuel to read ,no4 #hbb1 none of which is dated1 though the second1 third1 and fifth are signed4 ,there are also in private hands1 two portraits in those of ,m4 ,jules ,porgs1 a portrait in ,m4 ,bonnat's1 and others4 ,dated pictures of the year #afej are rare4 ,there is a ,portrait of ,himself1 in the ,fitzwilliam ,museum at ,cambridge1 and one1 ,his ,brother1 at the ,hague ,no4 #efj2 and three subject-pictures1 ,tobit and his ,wife1 the ,duke of ,abercorn's ,deposition1 and ,the ,young ,woman in ,bed1 in the ,national ,gallery1 ,edinburgh4 ,the same number of pictures is dated #afea4 ,four are portraits3 one of himself1 belonging to ,herr ,mendelssohn of ,berlin2 the ,old ,man1 in the possession of the ,duke of ,devonshire2 ,the ,man with a ,baton1 in the ,louvre ,no4 #beea1 and ,the ,girl with a ,broom1 in the ,hermitage ,no4 #bhf4 ,the subject-picture ,christ and ,mary ,magdalene in the ,garden1 called ,noli me tangere1 is at ,brunswick ,no4 #bce4 ,the next two years are very deficient in dated pictures4 ,two only1 ,the ,old ,man1 seated in a chair1 belonging to the ,duke of ,devonshire1 and the ,portrait of ,bruyningh1 at ,cassel ,no4 #bba1 are dated #afeb2 but the picture of ,hendrickje ,stoffels1 in the ,louvre ,no4 #bedg1 and a ,head of ,christ1 belonging to ,m4 ,rodolphe ,kann of ,paris1 are of about that year4 #afec has only one1 ,the ,portrait of a ,man1 wrongly entitled ,van der ,hooft1 belonging to the ,earl of ,brownlow1 for ,the ,entombment1 at ,dresden ,no4 #aeff1 is but a copy of the picture at ,munich ,no4 #ccj1 touched up by ,rembrandt4 ,here again we may safely accord to the seemingly empty year some of the undated pictures of the period1 which include six portraits1 one of which1 ,an ,old ,man1 is in the ,hermitage ,no4 #hah4 ,an ,old ,woman1 in the same collection ,no4 #hjd1 may also belong to the year1 for it is very similar to the two pictures1 dated the following year ,nos4 #hje and #hjf4 ,the only other undated pictures which call for special mention are two landscapes3 the ,mill1 in the collection of the ,marquis of ,lansdowne1 and the one at ,glasgow ,no4 #gje1 which is known as ,tobias and the ,angel from the figures in the foreground4 ,illustration3 ,louvre1 ,paris ,,christ ,,at ,,emmaus 7#afdh7 ,the dated pictures of #afed are nine portraits and two subjects1 ,bathsheba1 at the ,louvre ,no4 #bedi1 being one1 and ,the ,woman bathing1 at the ,national ,gallery ,no4 #ed1 the other4 ,of the portraits1 one of himself1 doubted1 however1 by ,dr ,bode1 is at ,munich1 ,no4 #ccc1 ,an ,old ,man with a ,beard1 at ,dresden ,no4 #aefg1 ,an ,old ,woman1 at ,brussels ,no4 #cig;,a1 ,an ,old ,jew1 ,an ,old ,man1 and ,an ,old ,woman1 besides the two old women being in the ,hermitage ,nos4 #haj1 #hbc1 and #hbe1 while ,the ,young ,servant is at ,stockholm ,no4 #ehd4 ,most1 if not all of these1 however1 were studies painted because his still restless energy would not allow him to be idle4 ,the same may be said of the portraits dated #afee1 only two of which we can even suppose to have been commissions--the companion pictures of ,an ,old ,man1 and ,an ,old ,woman1 at ,stockholm ,nos4 #eha and #ehb2 the two others bearing dates being studies of his son ,titus1 one in the collection of ,m4 ,rodolphe ,kann1 the other in that of the ,earl of ,crawford4 ,the dated picture at ,glasgow ,no4 #gjf1 like the undated ,man in ,armour1 at ,cassel1 is rather a study of armour than a picture4 ,the portrait at the ,louvre ,no4 #bedf1 a copy of one at ,cassel ,no4 #bbe1 and the rest of the undated heads1 mostly of small size1 painted about that time1 are simply sketches or studies1 the only subjects being ,the ,slaughter-house1 in the ,louvre ,no4 #bedh1 and two pictures of ,joseph accused by ,potiphar's ,wife1 differing only in details1 one at ,berlin ,no4 #hbh;,e1 and one in the ,hermitage ,no4 #gid1 for ,the ,flight into ,egypt1 at ,buda-,pesth1 though belonging to the period1 is undated4 #afef1 the year of his actual bankruptcy1 was an unusually prolific one1 including ,the ,anatomy ,lesson of ,dr ,johannes ,deyman1 now in the ,ryksmuseum at ,amsterdam1 of which1 unfortunately1 the fire of #agbc has left only a fragment1 ,no4 #abej2 the ,portrait of ,arnold ,tholinx1 belonging to ,madame ,andr-,jacquemart of ,paris2 the ,portrait of an ,architect1 at ,cassel ,no4 #bbd1 the signature and date of which1 however1 ,m4 ,michel declares to be forged2 and the companion pictures of ,a ,young ,man1 and ,a ,young ,woman1 at ,copenhagen ,nos4 #bgc and #bgd1 the second of which is alone dated4 ,there are also two undated ,portraits of ,himself1 painted about that time--one belonging to ,lord ,iveagh1 the other to ,lady de ,rothschild2 and an ,old ,man1 at ,dresden ,no4 #aefh4 ,in addition to these portraits there are two large subject-pictures--,the ,parable of the ,labourers in the ,vineyard1 at ,frankfort ,no4 #aha1 and ,jacob blessing ,joseph's ,sons1 at ,cassel ,no4 #bbg1 besides ,the ,preaching of ,st ,john the ,baptist1 at ,berlin ,no4 #hbh,k4 ,there are1 moreover1 two pictures belonging to about that date--,the ,denial of ,st ,peter1 in the ,hermitage ,no4 #gii1 and ,pilate washing his ,hands1 in the collection of ,m4 ,sedelmeyer at ,paris4 ,one1 or perhaps both of these1 may belong to the following year1 #afeg1 which is otherwise lacking in important works1 though it includes the ,portrait of ,catrina ,hoogh1 known as ,the ,lady with the ,parrot1 belonging to ,lord ,penrhyn2 ,the ,adoration of the ,magi1 at ,buckingham ,palace2 a ,portrait of an ,old ,woman1 belonging to ,m4 ,rodolphe ,kann2 and one1 at ,dresden ,no4 #aefi1 of ,a ,man sketching in a ,book4 ,it may also include the ,rabbi1 in the ,national ,gallery ,no4 #aij1 a ,portrait of a ,boy1 at ,belvoir ,castle1 and ,an ,angel1 a mere fragment of a larger picture1 belonging to ,mr ,sellar4 ,illustration3 ,royal ,museum1 ,berlin ,,john ,,the ,,baptist ,,preaching 7#afef7 #afeh would seem to have been still more disastrous4 ,of three signed pictures1 one is a ,portrait of ,himself1 in the collection of the ,earl of ,ilchester2 one1 ,an ,old ,woman cutting her ,nails1 belonging to ,m4 ,rodolphe ,kann1 is undoubtedly a model2 and only the ,young ,man1 in the ,louvre ,no4 #bede1 may be a portrait4 ,of the unsigned works of that time1 two more are ,portraits of ,himself1 one belonging to ,lord ,ashburton1 the other at ,vienna ,no4 #aadb1 and one1 also at ,vienna ,no4 #aadd1 is probably a ,portrait of ,titus1 while two ,old ,men1 one of which is in the ,pitti ,palace ,no4 #ab1 are presumably models4 ,the portrait1 called ,an ,admiral1 belonging to ,mr ,schaus of ,new ,york1 and that of ,six1 in the ,six collection were1 however1 doubtless commissions4 ,the subjects include one of ,rembrandt's infrequent incursions into classical story in ,baucis and ,philemon receiving ,jupiter and ,mercury1 now belonging to ,mr ,yerkes of ,new ,york1 a ,christ1 in the possession of ,count ,orloff-,davidoff at ,st ,petersburg1 and ,lord ,wimborne's seated figure of ,st ,paul4 ,few facts are more admirable in ,rembrandt's checkered career than the noble struggle he maintained against misfortune and neglect4 ,that he suffered there can be no doubt--the careworn face and whitening hair of the later portraits reveal it all too clearly1--but he stiffened his back and worked on undismayed4 ,of #afei there are six pictures fully dated1 and two believed to have been1 though in each the last figure of the date is missing4 ,both are ,portraits of ,himself1 one at ,bridgewater ,house1 and one at ,cassel ,no4 #bbb1 while a dated one1 belonging to the ,duke of ,buccleuch1 is a magnificent representation of the grave1 strong face that had met and supported so much care4 ,three others are also portraits--,an ,old ,man1 in the ,national ,gallery ,no4 #bdc1 the ,merchant1 belonging to the ,earl of ,feversham1 and ,a ,man in a ,red ,cloak1 signed ,rembran1 in the collection of ,m4 ,maurice ,kann at ,paris4 ,there are also two subject-pictures1 both at ,berlin1 ,moses breaking the ,tables of the ,law ,no4 #haa1 and ,jacob wrestling with the ,angel ,no4 #hbh4 ,illustration3 ,amsterdam ,gallery ,,the ,,syndics ,,of ,,the ,,drapers 7#affa7 ,to #affj a large number of pictures is attributed1 eighteen being portraits1 and one1 ,head of ,christ1 belonging to ,m4 ,maurice ,kann1 coming under the head of subject-pictures4 ,of these only four portraits are dated1 and in two cases there is some doubt as to the last figure4 ,two of the dated portraits are of himself2 one with the full date is in the ,louvre ,no4 #beee1 and one with a doubtful date belongs to ,sir ,a4 ,d4 ,neeld4 ,both are of extreme interest in their bearing on the personal history of ,rembrandt4 ,the portrait of the year before1 belonging to the ,duke of ,buccleuch1 shows us a man bearing some traces indeed of a struggle with adversity1 but of a not altogether unsuccessful one4 ,the character has been developed rather than shaken in the strife2 the man is still strong in body1 firm in mind2 the hair1 as far as it can be made out against the dark background1 is still untouched by the hand of time2 yet it is beyond question ,rembrandt himself4 ,in the two pictures now under consideration we find a change truly startling4 ,the hair is thin and white1 the face is wrinkled1 the eyes weary4 ,but it is in the character conveyed that the chief transformation is perceived2 he has sunk suddenly into old age and weakness1 the strength1 the resolution of the man have gone out of him--he seems1 stout as he was1 to have broken at last4 ,and yet in the next year he painted the finest work he ever did4 ,there is nothing in his story to account for it4 ,a severe illness seems the only possible explanation1 followed by a remarkable1 though brief1 recuperation2 but it is1 perhaps1 the greatest of the many great puzzles offered to us in the course of his history4 ,of the other two portraits1 one1 though fully signed and dated1 is of a doubtful authenticity2 while the date on ,the ,portrait of an ,old ,woman1 belonging to ,colonel ,lindsay1 is uncertain4 ,the pictures painted about that year are numerous1 and include a pair of portraits1 husband and wife1 belonging to ,prince ,jousoupoff2 ,the ,capuchin1 in the ,national ,gallery ,no4 #aff2 and two other figures in monks' robes1 one belonging to ,lord ,wemyss1 the other to ,count ,stroganoff2 ,captain ,holford's portrait of a young man supposed to be ,titus2 ,the ,standard-,bearer1 formerly at ,warwick ,castle but now transferred to ,america1 and others4 ,there are ten pictures bearing the date #affa1 one signed1 but with the last figure of the date missing1 and three with neither date nor signature4 ,of these1 however1 one1 ,the ,conspiracy of ,claudius ,civilis1 we know to have been painted that year4 ,a second painted about the time is ,the ,circumcision1 belonging to ,earl ,spencer4 ,the third is the ,venus and ,cupid1 at the ,louvre ,no4 #bedc1 if it should not rather be counted among the portraits1 since ,dr ,bode believes it to represent ,hendrickje ,stoffels and her daughter ,cornelia4 ,the same doubt as to classification applies to the ,st ,matthew1 also in the ,louvre ,no4 #bech1 and to ,a ,pilgrim at ,prayer1 belonging to ,consul ,weber at ,hamburg4 ,two figures of ,christ1 one at ,aschaffenbourg1 the other belonging to ,count ,raczynski at ,posen1 complete the list of subjects4 ,there is only one ,portrait of ,himself1 belonging to ,lord ,kinnaird1 the others being one of a man with a knife in his hand1 nicknamed1 ,rembrandt's ,cook1 at ,downton2 the ,portrait of an old ,woman1 in the ,museum of pinal2 another ,old ,woman1 in the possession of ,lord ,wantage2 ,a ,man1 in the ,hermitage ,no4 #hba2 and the misnamed ,jansenius1 belonging to ,lord ,ashburton4 ,all other works of that year are1 however1 eclipsed by the artist's masterpiece1 which1 if it alone remained in existence1 would compel us to place ,rembrandt in the very highest rank of painters--,the ,syndics of the ,drapers1 at ,amsterdam ,no4 #abdg4 ,after that eventful year1 the record is a thin one4 ,the very next1 indeed1 is the other of which no known picture survives4 ,there are a pair of portraits1 the ,man in the collection of ,m4 ,maurice ,kann1 the ,woman in that of ,m4 ,rodolphe ,kann1 which may have been painted that year2 and the same may be said of a portrait called ,hendrickje ,stoffels1 at ,berlin ,no4 #hbc;,b 7see ill41 p4 #dd74 ,the next year is little better4 ,a picture of ,homer reciting his ,poems alone bears part of a signature1 and f41 with the date #affc4 ,it belongs to ,dr ,bredius1 and is lent by him to the ,museum at the ,hague ,no4 #ehd4 #affd1 again1 is found on but one canvas1 ,the ,death of ,lucretia1 belonging to ,m4 ,lon ,gauchez of ,paris1 but ,the ,unmerciful ,servant1 in the ,wallace collection1 and the ,portrait of ,himself1 in the ,national ,gallery ,no4 #bba 7see ill41 p4 #df71 belong to about that time4 ,one1 a ,portrait of an ,old ,man1 in the ,metropolitan ,museum1 ,new ,york ,no4 #bgd1 is dated #affe4 ,a portrait1 signed ,rembrandt f41 in the collection of ,mr ,charles ,morrison2 one of himself1 in that of ,herr von ,carstangen at ,berlin2 ,the ,jewish ,bride1 at ,amsterdam ,no4 #abeb1 from the date on which the last figure is missing2 and ,david playing before ,saul were also painted about that year4 #afff1 however1 appears on three portraits--,a ,youth1 belonging to ,lord ,leconfield2 ,a ,woman1 in the ,national ,gallery ,no4 #bcg2 and ,jeremias de ,decker1 a poet who was one of ,rembrandt's rare clients in his later years1 at the ,hermitage ,no4 #hbg4 ,the ,portrait of an ,old ,man1 at ,dresden ,no4 #aegj1 and two of himself--one at ,vienna ,no4 #aadc1 signed but undated1 and one in the ,uffizi ,no4 #deb--were in all probability painted either that year1 the one before1 or the succeeding one1 #affg1 to which we can otherwise accord only one1 a ,portrait of an ,old ,man1 belonging to the ,earl of ,northbrook4 ,and now the tale is nearly told2 #affh occurs but once1 on ,the ,flagellation1 in the ,grand-,ducal ,museum at ,darmstadt1 absolutely the last known work of his2 though three others--,esther1 ,haman1 and ,ahasuerus1 belonging to the ,king of ,roumania2 a large ,family ,group1 at ,brunswick ,no4 #bcb2 and ,the ,prodigal ,son1 in the ,hermitage ,no4 #gig1 are believed to date from that year1 or possibly even the next and last4 ,there is still a considerable number of pictures to which no very approximate date can be assigned1 but as the attempt to fully consider all the work that ,rembrandt did would far exceed all reasonable limits of space1 ,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 him4 ,,rembrandt ,,the ,,etcher ,,chapter ,,viii ,,history ,,of ,,the ,,etchings ,we have seen how ,rembrandt the painter1 after having risen to the foremost place among his fellow-craftsmen in ,holland1 fell a victim to the always unaccountable change of fashion that has cast a blight upon many another man4 ,now1 however1 that we come to consider his etched work1 we have1 to some extent1 a different tale to tell4 ,from the first the products of his needle seem to have been appreciated and sought after1 in certain1 though perhaps limited1 circles4 ,houbraken mentions ,clement de ,jonghe1 whose shrewd yet kindly face is found among the gallery of portraits etched by ,rembrandt1 ,jan ,pietersen ,zoomer1 and ,pieter de la ,tombe1 as having made collections of his etchings2 and in the inventory of the property left by the first of these at his death1 on ,february #aath1 #afgi1 we find a list of seventy-four plates etched by ,rembrandt2 but it is not therefore to be hastily concluded that ,rembrandt himself ever made any important addition to his income by the sale of them4 ,indeed1 the chief foundation of the belief can be shown to be frail and untrustworthy4 ,this is the familiar title of the etching1 ,christ healing the ,sick1 which has been known for many years as ,the ,hundred ,guilder ,print1 that having been1 according to the story1 the sum the artist obtained for a single proof4 ,the amount1 even if he had obtained it1 was hardly excessive--some nine pounds2 but the facts show clearly that he never did4 ,he exchanged a copy1 still in existence1 with his friend ,jan ,zoomer1 who has left in writing on the back of it1 ,given me by my intimate friend ,rembrandt in exchange for ',the ,pest' of ,m4 ,anthony1 to which he may possibly have attached the value of a hundred guilders1 though there is not a particle of evidence for even this4 ,gersaint1 when making the catalogue1 published in #agea1 after his death1 by ,helle and ,glomy1 was informed that the famous proof was exchanged with a ,roman merchant1 and the equivalent1 like ,falstaff s men in buckram1 had swelled to seven engravings1 which were definitely valued at one hundred guilders2 and thence the tradition and the name arose4 ,what1 one wonders1 would the gossips1 who gasped amazed at such a price1 have thought could some seer have succeeded in making them believe that1 little more than a hundred years later1 in #aheh1 that very same proof with old ,jan ,zoomer's writing still upon it would be competed for so fiercely at public auction1 that ,m4 ,dutuit paid cheerfully for it eleven hundred pounds2 while even that was not a record price1 since another copy was sold the year before at the ,palmer sale for eleven hundred and eighty4 ,illustration3 ,,christ ,,healing ,,the ,,sick4 7,b4 #gd7 7#afdi-ej7 ,still1 though this piece of evidence must be abandoned1 there would seem to be no doubt that the etchings were admired even in his lifetime1 and1 from the fact that ,clement de ,jonghe and ,zoomer were art-dealers1 we may fairly conclude that part at least of their collections appertained to their stock-in-trade4 ,it is scarcely probable1 indeed1 that such highly-finished works as the larger ,raising of ,lazarus1 ,christ healing the ,sick1 ,christ preaching1 ,the ,three ,crosses1 ,the ,good ,samaritan1 ,the ,three ,trees1 and others1 landscapes in especial1 were carried out without any subsequent attempts on ,rembrandt's part to profit by them2 and there is good reason for supposing that the portraits of ,jan ,uijtenbogaerd and ,jan ,cornelis ,sylvius with their inscriptions and laudatory verses1 were intended for sale among the followers and admirers of the two eminent ministers2 but the fact remains that we can only assert with any confidence that two out of all the etchings were expressly made for publication1 ,the ,descent from the ,cross1 and the ,ecce ,homo1 and neither of these1 though signed by ,rembrandt cum privilegio1 as issuing from his studio1 and executed under his directions1 according to the custom of the day1 was worked upon by him to any great extent4 ,the numerous other portraits1 the four illustrations to ,manasseh ben ,israel's work1 ,piedra ,gloriosa1 and that to ,der ,zeevrts-,lof1 were doubtless commissions1 but the payments were probably not large1 since we found in the proposal made by ,dirck van ,cattenburch1 in #afed1 that an etched plate not less finished than that of ,six1 was estimated at no more than four hundred florins1 which1 considering the amount of work entailed1 was not magnificent4 ,when we have recalled the partnership formally entered into between ,hendrickje and ,titus on ,december #ae1 #affj1 which has already been explained in telling the story of the artist's life1 we have come to the end of the reasons for concluding that the artist made money by his etching needle4 ,whence1 then1 it may be asked1 the various proofs now in existence1 the first and second1 third and fourth states for which collectors pay such surprising prices1 prices more often regulated by the rarity of the state than by its special artistic merits8 ,perhaps some of them were put into circulation by the firm of ,hendrickje and ,titus4 ,there is1 certainly1 no mention of the plates in the inventory of the sale1 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 plates1 though it is significant in this connection1 unless we can accept the theory suggested before1 that ,rembrandt's eyesight was failing1 that at the very time when etchings were most needed he ceased to produce them4 ,in a very large number of cases1 ,i suspect1 they were given as presents to any sympathetic soul who had enough taste to appreciate them for their merits1 or intelligence enough to foresee that they might some day prove of value4 ,in the case of a portrait1 at any rate1 we know that he gave proofs to his sitter as the work went on1 for on one of the first portrait of ,sylvius1 done in #afcd1 there is a note in ,rembrandt's hand showing that it was one of four presented by him to the minister4 ,others1 again1 would be given to fellow-artists1 such as ,lievensz1 who etched also4 ,many undoubtedly came from the sixty portfolios of leather1 which we find recorded in the inventory1 where they had lain from the day when ,rembrandt1 having learnt the lesson or attained the effect he desired1 had flung them carelessly aside to go on to some further problem4 ,for1 there seems little doubt that he never himself regarded them with any very serious consideration4 ,they were for him only steps in his onward progress4 ,he did them because he wanted to do them1 without any thoughts of fame or profit1 and he signed and dated them1 or left them unsigned and undated1 in the most haphazard and capricious way1 good and bad alike1 with the most complete indifference as to whether they were calculated to enhance his reputation or not4 ,it was1 therefore1 by the inevitable irony of fate1 that for these alone1 for many years1 was he judged worthy of remark4 ,while ,gerard de ,lairesse in his ,groote ,schilderboek1 published in #agad1 was condescendingly assuring a listening public that ,rembrandt's paintings were not absolutely bad1 ,houbraken was recording the struggles of collectors to get possession of his etchings1 and their consequent increase in price--struggles and increasings1 which have gone on augmenting without intermission to the present day1 until even a small representative collection of them is a luxury for the very rich alone1 an absolutely perfect one of all the differing states unobtainable by a many times millionaire4 ,in the eighteenth century there were already famous collections of the etchings3 such as those of de ,burgy and van ,leyden in ,holland itself2 of ,marolles1 ,coypel1 ,silvestre1 and ,mariette in ,france2 of ,barnard1 ,sloane1 ,cracherode1 ,fawkener1 and ,lord ,aylesford in ,england2 and it was inevitable that the making of collections could not go on satisfactorily for long1 unless there was some sort of general agreement as to what was and what was not to be included in them1 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 necessity4 ,gersaint was the first to make the attempt1 but died before his task was finished4 ,his manuscript1 however1 was put up for sale1 and bought by les ,sieurs ,helle and ,glomy1 as they call themselves upon the title-page of the volume in duodecimo which1 after making the necessary augmentations of ,gersaint's material1 they published at ,paris in #agea4 ,an ,english translation of this was published by ,t4 ,jefferys in ,london the following year1 and four years later1 in #agef1 ,pierre ,yver1 an art-dealer in ,amsterdam1 published in that city a ,supplment1 with additions and corrections4 ,forty years later these two works1 collated and again translated into ,english1 were the foundation of an amended catalogue by ,daniel ,daulby1 published in ,london and ,liverpool in #agif4 ,a year later ,adam ,bartsch1 keeper of the prints in the ,library at ,vienna1 published there a catalogue in two octavo volumes1 which to this day remains the chief standard of appeal1 though ,wilson1 ,charles ,blanc1 ,vosmaer1 ,middleton1 and others1 have rejected some of the etchings which he accepted1 and included others which he ignored4 ,illustration3 ,,clement ,,de ,,jonghe4 7,b4 #bgb7 7#afea7 ,there is no doubt that ,bartsch was too generous in his admissions1 but to what extent he carried his over-generosity is still a matter of dispute4 ,the ,chevalier de ,claussin1 writing in #ahbd1 and borrowing freely1 though without acknowledgment1 from ,bartsch1 struck out #aj1 leaving #cfe2 and ,wilson1 publishing in ,london in #ahcf1 under the title of an amateur1 while owning his obligations to ,bartsch1 rejected #f1 but added others1 making #cfi4 ,vosmaer1 in #ahgg1 counted #cec2 ,middleton1 in the following year1 reduced these to #cbi2 ,charles ,blanc1 in the #ahhj edition of his work1 raised the number again to #cec4 ,m4 de ,seidlitz1 in #ahij1 obtained and collated the opinions of all the best living authorities1 and1 after an ample discussion of doubtful points1 accepted #bfj2 while ,m4 ,legros1 adopting heroic methods of criticism1 will only admit #ga as being certainly by ,rembrandt1 with an additional #db which might be1 or #aac at the most4 ,what1 it may well be asked by the bewildered amateur1 is the reason of these surprising differences8 ,surely1 he may well say1 there must be some criterion to hold by4 ,the answer is simple1 if unsatisfactory3 there is not1 there never has been1 there never can be4 ,there is no style to judge by2 for ,rembrandt had half-a-dozen styles at least1 and employed them all together or separately as he listed4 ,the signature is no guide1 for many beautiful works of his have none1 and many that are not his bear forged ones4 ,the subject cannot help us1 for he treated alike the most sacred incidents and the grossest improprieties4 ,the merit of the work is no less dubious ground for judgment2 for while producing1 over and over again1 masterpieces of the art that have never been equalled1 he at other times1 through carelessness1 indifference1 or perhaps ill-health1 turned out and left for future ages stuff which most far inferior men would have obliterated there and then4 ,we can only decide each for ourselves that such or such a plate is in no way worthy of ,rembrandt1 but1 unless we have the courage of ,m4 ,legros1 we cannot go on to assert definitely that therefore it is not his4 ,illustration3 ,,the ,,three ,,trees4 7,b4 #bab7 7#afdc7 ,,chapter ,,ix ,,the ,,authentic ,,etchings ,in the entire absence of any evidence to the contrary1 we are reasonably safe in concluding that the two etchings dated #afbh were1 if not actually the first1 among the very first he ever did2 and1 regarded in this light1 they are truly astonishing4 ,both are called ,rembrandt's mother1 though the one in full face 7,b4 #ceb7 seems to represent a woman in a much humbler station of life than the stately old lady in the other 7,b4 #ced71 while both1 furthermore1 seem to portray a woman much more advanced in years than his mother was at that time4 ,in the first the kindly old lady1 whoever she may be1 wears a large white hood shading her forehead4 ,the right side of her face1 with the exception of the prominence of the cheekbone1 is in shadow1 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 mouth1 and the soft fleshy forms of the cheek and jaw4 ,the seemingly toothless mouth is slightly open above the strong square chin4 ,the work is simple and straightforward1 but admirably expressive of the varied forms1 and the roundness and solidity of the little head are excellent4 ,the second 7,b4 #ced7 is slighter and broader in handling1 the forms are expressed with greater freedom1 the elaboration of the modelling in the one being often replaced by a single significant line1 but the shadows are somewhat forced1 which results1 especially in the hollow of the cheek and on the right temple1 in an excessive and unpleasant blackness4 ,yet the dash and surety of the line-work is very fine1 and to the student it is well worth careful study through a lens4 ,the first excels in delicacy1 the second in strength4 ,the only etching actually known to have been executed in #afbi is the first of many portraits of himself 7,b4 #cch71 very broadly and strongly etched1 and worked upon in places with two needles fastened side by side1 a useless device1 to which he never again resorted4 ,there are fifteen dated etchings of the year #afcj4 ,among these are no less than six portraits or studies of himself1 including an excellent ,portrait in a fur cap and light dress 7,b4 #bd71 and an admirably etched study of expression known as ,rembrandt with haggard eyes 7,b4 #cbj71 which is1 rather1 a humorous sketch of amazed bewilderment4 ,he also1 for the first time1 attempted a composition with several figures--,the ,presentation in the ,temple 7,b4 #ea71 distinguished as the one with the angel1 which1 however1 was not altogether a success1 owing to insufficient biting4 ,a spirited note of ,an ,old ,beggar ,man conversing with a ,woman 7,b4 #afd71 and various small heads1 including two profiles of the same ,bald ,man 7,b4 #bib and #bid71 which ,m4 ,michel has given sound reasons for believing to be ,rembrandt's father1 make up the number4 ,he was again his own model twice in #afca--one1 with a broad hat and mantle 7,b4 #g71 being the most elaborately finished piece of work he had yet attempted4 ,there are also two ,portraits of his ,mother 7,b4 #cdh and #cdi72 one said to be ,his ,father 7,b4 #bfc7 though made after his death2 a brilliant little sketch of a ,blind ,fiddler 7,b4 #ach71 and others4 ,there are only three dated etchings of #afcb--;a little figure called ,the ,persian 7,b4 #aeb71 the first of several pictures of ,st ,jerome 7,b4 #aja71 a subject which had a singular fascination for the artist1 and the group of ,the ,rat-killer 7,b4 #aba74 ,three also bear the date #afcc1 ,an ,old ,woman etched no lower than the chin 7,b4 #cea71 very doubtfully identified as his mother2 a badly overbitten ,portrait of ,himself with a scarf round his neck 7,b4 #ag72 and one subject1 ,the ,descent from the ,cross 7,b4 #ha71 which came so utterly to grief in the biting1 owing apparently to bad grounding1 that it was at once abandoned1 only three impressions being known1 and a second undertaken1 though not by himself1 the work having been carried out under his supervision by some unknown pupil4 ,another equally important plate bearing this date1 ,the ,good ,samaritan 7,b4 #ij71 is included among the disputed etchings4 ,the year #afcd1 which brought ,saskia into his home1 also naturally enough brought her portrait into the list of etchings4 ,one1 with pearls in her hair 7,b4 #cdg71 is certainly a likeness of her1 and ,m4 ,michel believes it to have been the companion plate to one of ,rembrandt 7,b4 #b71 executed about the same time4 ,another charming piece of work1 ,a ,young ,woman ,reading 7,b4 #cde71 though not a portrait1 was also very possibly studied from ,saskia4 ,for subjects both the ,old and ,new ,testaments supplied inspiration1 the first for a decidedly seventeenth-century ,dutch rendering of ,joseph and ,potiphar's ,wife 7,b4 #ci71 the second for the earliest treatment of a favourite subject ,christ and the ,disciples at ,emmaus 7,b4 #hh74 ,christ driving the ,money-lenders from the ,temple 7,b4 #fi71 a crowded and unsatisfactory composition1 the central figure of which was borrowed from ,durer2 the ,martyrdom of ,st ,stephen 7,b4 #ig71 with some singularly bad drawing in it2 and another1 ,st ,jerome 7,b4 #ajb71 were the subjects treated in #afce1 which is more notable for a vivacious ,portrait of ,johannes ,uijtenbogaerd 7,b4 #bgi72 a splendid little study of ,a ,mountebank 7,b4 #abi71 a model of direct etching from nature wherein there is not a superfluous line1 though everything that should be is expressed2 and a skilful piece of chiaroscuro1 ,the ,pancake ,woman 7,b4 #abd74 #afcf has only four etchings to show--,the ,prodigal ,son 7,b4 #ia71 a boldly-handled piece of work1 superbly executed1 full of movement and expression1 but marred by the revolting hideousness of the faces2 the excellent portrait of ,manasseh ben ,israel 7,b4 #bfi72 a charming little revelation of domestic contentment1 ,rembrandt and his ,wife 7,b4 #ai72 and a sheet of sketches1 including a very pleasing head of ,saskia 7,b4 #cfe74 #afcg has only one etching of importance1 ,abraham dismissing ,hagar 7,b4 #cj72 but for sheer skill in craftsmanship the ,young ,man seated in ,meditation 7,b4 #bfh7 would be difficult to match4 ,rembrandt's unfortunate lack of the sense of beauty is nowhere so glaringly made manifest as in the preposterous ,adam and ,eve 7,b4 #bh7 of #afch2 nor are the faces in an etching of that year1 rejected1 however1 by ,sir ,seymour ,haden1 of the brothers listening to ,joseph relating ,his ,dreams 7,b4 #cg7 much less absurd1 though they are to a considerable extent atoned for by the dignified ,jacob1 the very human interest of ,rachel1 and the simple earnestness of ,joseph himself4 ,the ,st ,catherine1 otherwise known as ,the ,little ,jewish ,bride 7,b4 #cdb71 and a ,portrait of ,himself with a ,mezetin ,cap and ,feather 7,b4 #bj71 are the only others of the year4 ,in the following year he achieved1 with conspicuous success1 the most ambitious etching he had yet attempted1 the magnificent ,death of the ,virgin 7,b4 #ii71 which1 with the exception of the unfortunate angels hovering above1 is admirable alike in conception and execution1 attaining by straightforward simplicity the full pathos of the scene4 ,the truthfulness and variety of attitude and expression1 the wholly effective yet unforced arrangement of the composition1 and the perfection of the chiaroscuro are beyond praise1 and justify the somewhat bold assertion that beyond this the etcher's art cannot go4 ,it is no matter for wonder1 therefore1 that this splendid plate seems to have absorbed most of the time he could devote to etching that year1 for a little sketch of ,a ,jew in a ,high ,cap 7,b4 #acc71 and the fine ,portrait of ,himself leaning on a ,stone ,sill 7,b4 #ba71 alone share the date with it4 ,his interest or his leisure would indeed appear to have been exhausted for some time1 since only two small etchings1 ,the ,beheading of ,st ,john the ,baptist 7,b4 #ib71 and ,an ,old ,man with a divided ,fur ,cap 7,b4 #bfe71 are dated #afdj4 ,a return of energy1 however1 marked #afda1 from which year we have twelve dated plates2 among them1 the first three1 to our certain knowledge1 of a long series of landscapes1 the elaborate study known as ,rembrandt's ,mill 7,b4 #bcc71 the beautiful ,cottage and ,barn 7,b4 #bbe71 and the ,landscape with a ,cottage and ,mill ,sail 7,b4 #bbf74 ,there are four subjects from scripture--a ,virgin and ,child in the ,clouds 7,b4 #fa71 ,the ,baptism of the ,eunuch 7,b4 #ih71 one called ,jacob and ,laban 7,b4 #aah71 and ,the ,angel departing from ,tobit and his ,family 7,b4 #dc71 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 angel4 ,a little night-effect1 ,the ,schoolmaster 7,b4 #abh71 and the grand and very rare ,portrait of ,anslo 7,b4 #bga71 are the most important of the remainder4 ,with the exception of a ,bearded ,man seated at a ,table in an ,arbour 7,b4 #beg71 the only etchings of #afdb were three sacred subjects1 all small1 and two of them1 ,the ,raising of ,lazarus 7,b4 #gb7 and ,the ,descent from the ,cross 7,b4 #hb71 mere sketches4 ,the finished plate represents ,st ,jerome 7,b4 #aje71 distinguished as being in ,rembrandt's dark manner1 seated reading at a table in a room lighted only by one window high up in front of him1 so that the contrasts of light and shade are strong1 and the effect very excellent4 ,illustration3 ,,rembrandt',s ,,mill 7,b4 #bcc7 7#afda7 #afdc has only two signed etchings1 but both are masterpieces of out-door work--,the ,hog 7,b4 #aeg71 and the justly-renowned ,three ,trees 7,b4 #bab74 ,there is only one etching dated #afdd1 a landscape with figures1 called ,the ,shepherd and his ,family 7,b4 #bbj74 ,a superb combination of pure etching and dry-point dates from #afde--the ,view of ,omval1 near ,amsterdam 7,b4 #bji71 one of the most entirely satisfactory of the etchings1 both for perfection of workmanship and beauty of effect4 ,the transition from the loving care bestowed upon the splendid study of the gnarled and shattered willow-tree in front1 through the more broadly yet quite adequately expressed foliage behind it on the left1 to the slight yet all-sufficient treatment of the river and landscape beyond it on the right1 shows a precise adaptation of the necessary means to the desired end1 which1 had no other line of ,rembrandt's etching come down to us1 would have been enough to stamp him as the finest known exponent of the art4 ,a second landscape of that year is a study of a boat-house1 known as ,the ,grotto 7,b4 #bca72 and a third1 the one known as ,six's ,bridge 7,b4 #bjh71 a masterly little sketch from nature4 ,as an example of the utmost expressiveness with the fewest necessary means1 of a thorough grasp of the essentials and rejection of superfluities1 and of a profound mastery of technical methods1 this etching cannot easily be over-estimated4 ,an outline sketch of the ,repose in ,egypt 7,b4 #eh71 and a more highly finished ,abraham conversing with ,isaac just previous to the projected sacrifice 7,b4 #cd71 are the only subject-etchings of that year1 which is further remarkable for the absence of any portraits or studies of heads4 ,the next few years are singularly devoid of dated etchings4 ,there are three from #afdf--;a small sketch of ,an ,old ,beggar ,woman 7,b4 #agj72 a subject known as ,ledikant 7,b4 #ahf71 one of those frank improprieties to the perpetration of which ,rembrandt1 with the freedom of his time1 more than once degraded his talents1 from our modern point of view2 and a direct study from the nude model1 ,a ,man seated on the ,ground 7,b4 #aif74 #afdg has only two1 both highly-finished endeavours to realise a wholly pictorial effect--an endeavour which1 however successful1 is always to some extent a mis-application of the art1 a deliberate sacrifice of its special advantages1 in order to attain an object more easily and efficiently obtainable in other ways4 ,still1 regarded as attempts to express the full tonality1 there is much to admire and study in these two portraits of ,six 7,b4 #bhe71 and ,ephraim ,bonus 7,b4 #bgh71 the ,jewish physician1 descending a staircase1 with his right hand on the banister1 as if pausing on his return from visiting a patient1 a reversed reproduction of the picture in the ,six collection already referred to4 ,illustration3 ,,beggars ,,at ,,the ,,door ,,of ,a ,,house4 7,b4 #agf7 7#afdh7 ,in #afdh he once more undertook a ,portrait of ,himself 7,b4 #bb71 a very different presentment from the earlier ones1 with their feathered caps and embroidered cloaks1 their flowing locks and brushed up moustaches4 ,time and trouble have told upon him1 and it is pathetic to contrast the proud elegance of the ,rembrandt of #afci 7,b4 #ba71 his fine clothes1 rich velvet cap flung carelessly on one side of his long curling hair1 and his self-satisfied air1 with this grave1 soberly-clad1 middle-aged man1 in his plain1 high1 square-topped1 broad-brimmed hat1 and dark working blouse4 ,his cavalier curls are cropped1 his once airily upturned moustache trimmed short1 the dainty tuft upon his chin is gone4 ,he has grown stout1 his throat hangs in puffy folds below his chin1 his nose has coarsened1 and he bears his two-and-forty years but badly2 but if his face has aged1 it has also strengthened1 he has learned as well as suffered1 and1 if there is no longer in his eyes the look of undoubting self-approval1 there is still the same keen1 penetrating gaze of observation1 and a wiser self-confidence born of trials and labours past and overcome4 ,among all the portraits of ,rembrandt1 real or supposed1 there is none which makes one feel so strongly that here1 indeed1 one is face to face with him1 as he saw himself when he sat drawing from the mirror in front of him4 ,illustration3 ,,the ,,shell 7,b4 #aei7 7#afej7 ,another splendid example of that year is the ,beggars at the ,door of a ,house 7,b4 #agf71 a masterpiece of composition and workmanship4 ,it has all the rich effect of a highly-laboured piece of work1 yet a careful study of it shows how simple and direct are the means actually employed2 for the elaborately-finished effect1 it will be found1 is due1 not to the multiplication of lines1 but to the absolute rightness and appropriateness of the comparatively few that are used4 ,the crispness and firmness of the drawing are quite magnificent1 and it is satisfactory to know that this marvellous little plate1 simple and unsensational as it is1 comes third1 according to ,m4 ,amand ,durand1 in popularity with the purchasers of reproductions4 ,yet another masterpiece of the same year is ,the ,jews' ,synagogue 7,b4 #abf72 and a fourth etching is ,the ,marriage of ,jason and ,creusa 7,b4 #aab71 a composition of many figures1 made to illustrate his friend ,jan ,six's tragedy of ,medea1 published that year1 in which1 as usual with him1 the attempt to convey the classical spirit was scarcely successful4 ,there is no etching which we can definitely assign to #afdi4 ,in #afej1 on the other hand1 we have six1 including four landscapes1 to which he again turned his attention after an interval of five years4 ,these are ,a ,village by the ,high-,road 7,b4 #bag71 with its big tree and high-gabled cottages2 the excellent ,village with a ,square ,tower 7,b4 #bah72 the ,canal with ,swans 7,b4 #bce72 and the sketch of ,a ,canal with a ,large ,boat 7,b4 #bcf7 lying broadside on athwart the foreground1 which is1 however1 chiefly interesting from the background1 which has given rise to a question as to whether ,rembrandt was about that time on his travels to some place unknown4 ,this hilly distance1 with the steep cliff on the left1 and the ,italian-looking tower in the centre1 certainly bears no resemblance to anything in his ordinary surroundings1 but there is nothing in it to assure us that it was done from nature1 and as we know that he more than once adapted a landscape from some ,italian master1 generally ,titian1 it would be rash to found any conclusion on the resemblance4 ,a remarkable instance of patient and loving care is seen in the ,shell 7,b4 #aei71 an astonishingly truthful and minute study of still life1 which is equally attractive in the first state against a plain white background1 and in the second against a nearly black one1 which1 however1 may have been added by some other hand4 ,the sixth etching of that year1 ,christ appearing to the ,disciples 7,b4 #hi71 is a sketch in outline with a little tentative shading here and there1 and1 though handled with freedom and boldness1 has little of interest or beauty to recommend it4 ,during #afea he devoted himself once and once only to each class of work2 for there is one subject1 ,the ,flight into ,egypt 7,b4 #ec71 showing ,joseph carrying a lantern1 and leading the ass bearing the ,virgin and ,child through the night2 one landscape1 ,the ,goldweigher's ,field 7,b4 #bcd7--so called from the view including the country-house of his friend ,uijtenbogaerd1 the treasurer1 whose portrait1 etched by ,rembrandt1 is known as ,the ,goldweigher2 and one portrait1 ,clement de ,jonghe 7,b4 #bgb71 one of the best1 if not the best1 he ever did4 ,still fewer etchings were produced in #afeb1 and one of the two1 the larger ,christ disputing with the ,doctors 7,b4 #fe71 is only a sketch--in places1 indeed1 it degenerates to a mere scrawl--displaying1 for ,rembrandt1 an unwonted amount of indifferent and inexpressive drawing2 but the other1 a landscape1 generally known in ,england as the ,vista 7,b4 #bbb71 with the two large trees on the left and the dense wood in the centre1 is1 perhaps1 the finest specimen of work in pure dry-point ever produced4 #afec is1 again1 a blank as far as dated etchings are concerned1 but to #afed belong eight1 seven of which are subjects from the ,new ,testament2 a ,circumcision 7,b4 #dg71 known as the one with the cask and net2 a sketch of ,the ,holy ,family crossing a ,rill during the ,flight into ,egypt 7,b4 #ee71 in which the figures are clumsily and unpleasantly thrown into relief by a band of shadow closely following their outlines in very nave fashion1 but which1 nevertheless1 contains a great deal of bold and expressive drawing2 ,jesus and ,his ,parents returning from ,jerusalem 7,b4 #fj71 in which we have another instance of an altogether foreign landscape1 which might as well be adduced in evidence of his foreign travels as that of four years before4 ,in this case1 however1 it has evidently been so closely copied from an unknown original that there can be no doubt that there is somewhere1 or at any rate was then1 a drawing of the subject1 and there is1 furthermore1 a very high degree of probability that the drawing was by ,titian4 ,the figures are full of movement1 and there is1 in especial1 much animation in the young ,christ1 who1 led by ,his father1 himself leads ,his mother1 turning half backwards as ,he walks to speak to her1 but the types of the heads1 especially that of the ,virgin ,mary1 are disagreeably ugly and vulgar4 ,the ,virgin in ,the ,holy ,family with the ,serpent 7,b4 #fc71 has1 on the other hand1 an unusual amount of grace1 but this1 it has to be admitted1 is due to the fact that it is borrowed from ,mantegna1 and the plate is otherwise an indifferent piece of work4 ,christ and the ,disciples at ,emmaus 7,b4 #hg7 is1 again1 no more than a sketch1 presenting with much vividness the actions of surprise on the part of the two disciples and of the serving-man descending the stairs in front2 but here1 as so often elsewhere1 ,rembrandt has failed to rise to any sense of the sublimity or dignity of ,christ1 and as1 in this example1 he sits in full face in the very centre of the picture1 the fault cannot well be overlooked or condoned4 ,a far more satisfactory production1 indeed the best of the year1 is ,the ,descent from the ,cross by ,torchlight 7,b4 #hc71 with its bold drawing and coarse yet effective handling1 but1 like all the work of #afed1 it has serious and obvious defects2 while the last to be noted1 ,the ,game of ,golf or ,kolf 7,b4 #abe71 is yet another instance of ,rembrandt's contentedly signing a work which would disgrace a man without a tithe of his genius1 and is one of those plates which1 if it be authentic--and no one else that ,i know of disputes it--renders any test of genuineness by workmanship impossible4 #afee saw ,rembrandt employed once more as an illustrator1 the book being one entitled ,piedra gloriosa de la estatua de ,nebucadnezar1 by his friend ,manasseh ben ,israel1 for which he etched four subjects on one plate1 afterwards sub-divided--,jacob's ,dream1 ,the ,combat of ,david and ,goliath1 ,nebuchadnezzar's ,dream1 and ,the ,vision of ,ezekiel 7,b4 #cf74 ,abraham's ,sacrifice 7,b4 #ce71 of the same year1 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 energy1 caring little about detail1 shading where he wanted shadows1 and omitting them where he wanted light1 without any regard to where light and shade would have been1 yet putting such vitality1 such genuine1 undeniable1 human feeling into it1 that even bad drawing passes unnoticed4 ,the swirl of the broad-winged angel swooping down from behind on ,abraham1 grasping his left arm just above he elbow to hold back the knife1 while with his right he removes ,abraham's right hand from the eyes of the resignedly kneeling ,isaac1 is marvellous4 ,the startled surprise of ,abraham is amazingly true2 and1 carried away by the vigour of the actions and the sound breadth of the work1 we ignore the fact that ,abraham is left-handed1 and that the angel has no forearm4 ,another equally bold work in outline is ,christ before ,pilate 7,b4 #gf71 with its wonderful crowd of figures in the foreground relieved against the platform on which ,christ and ,pilate stand surrounded by soldiers4 ,the only highly-finished work of the year is the ,portrait of ,thomas ,jacobsz ,haring 7,b4 #bge71 known as ,the ,young ,haring1 to distinguish it from the etching of his father ,the ,old ,haring4 ,there are only two etchings dated #afef1--;,abraham entertaining the ,angels 7,b4 #bi71 in which yet again we have forced upon us the incapacity of ,rembrandt's mind to evolve an acceptable supernatural figure1 and the splendid ,portrait of ,jan ,lutma 7,b4 #bgf74 ,it is impossible to look on this and doubt that it is an admirable likeness of a delightful old man4 ,with what a shrewd humorous expression he sits in that high-backed arm-chair1 surmounted by lions' heads1 which figures in so many of ,rembrandt's portraits at that time4 ,how broad and easy1 yet neither over-laboured nor careless1 is the handling4 ,rembrandt never worked better1 and one cannot but feel convinced1 in regarding the result1 that1 to both artist and sitter1 the work was a labour of love1 and the sittings periods of mutual enjoyment4 ,in this1 the last dated portrait we have1 he reached the highest pitch of excellence he ever attained4 ,illustration3 ,,jan ,,lutma4 7,b4 #bgf7 7#afef7 ,in #afeg1 as far as we know1 he executed only one etching1 ,st ,francis praying 7,b4 #ajg71 unfinished1 and chiefly notable for the fine study of a tree which it contains4 ,three figures of nude women1 ,a ,woman preparing to dress after ,bathing 7,b4 #aii71 ,a ,woman sitting with her ,feet in ,water 7,b4 #bjj71 and a so-called ,negress lying down 7,b4 #bje71 are dated #afeh1 while #afei was marked by two very diverse subjects1 ,st ,peter and ,st ,john at the ,gate of the ,temple 7,b4 #id71 and ,jupiter disguised as a ,satyr discovering the sleeping ,antiope 7,b4 #bjc74 ,throughout #affj ,rembrandt would seem to have left his etching needle to rust in idleness1 but he resumed it once more in #affa1 and produced a study of the nude1 ,a ,woman with her ,back turned sitting cross-legged upon a ,bed1 holding an ,arrow in her right ,hand 7,b4 #bjb72 and with this the list of authentic dated etchings is brought to a close4 ,there are one hundred and one etchings generally accepted as ,rembrandt's to which no date can positively be assigned1 but lack of space forbids our considering them at length1 and we must be content to review them somewhat hastily1 dwelling only on those of special importance4 ,the earlier years1 from #afbh or #afbi to about #afce1 are chiefly characterised by a number of small portraits of himself1 and of various unknown old men and old women1 and by a remarkable series of sketches of beggars and peasants4 ,about #afca we find the first study from the nude1 ,diana bathing 7,b4 #bja71 altogether excellent as an example of well-directed line1 devoted1 however1 to a coarse and unshapely figure4 ,of approximately the same date is a masterly portrait of ,an ,old ,lady1 in all probability ,rembrandt's mother 7,b4 #cdc71 seated at a table1 turned in three-quarter face to the right1 her hands lightly folded in her lap1 which is worthy of remark as showing how rapidly ,rembrandt mastered all the available styles of etching1 and how subtly and skilfully he combined them4 ,a little later1 the assigned dates ranging between #afcc and #afcf1 we have the first portrait1 outside his family circle1 to which we can definitely attach a name1 that of the minister ,jan ,cornelis ,sylvius 7,b4 #bff71 with whose family ,saskia was staying before her marriage4 ,if1 as we may imagine1 it was undertaken to ingratiate himself with people so important to him1 or later out of gratitude for their good offices1 we can only hope that they were not over-critical1 for it must be confessed that this exercise in pure dry-point is about as bad an example as could be found4 ,a sheet of sketches 7,b4 #cfg71 dating from #afce or #afcf1 is noteworthy for the charming ,head of ,saskia included in it1 and a ,portrait of ,himself in a flat cap and slashed vest 7,b4 #bf71 slightly but beautifully etched1 as undoubtedly an admirable presentment of himself as he appeared about #afch4 ,four scripture subjects are1 a sketch of ,the ,flight into ,egypt 7,b4 #ed71 dating anywhere between #afcj and #afdj2 a ,holy ,family1 known as ,the ,virgin with the ,linen 7,b4 #fb71 dating between #afcb and #afdj2 a beautiful little ,crucifixion 7,b4 #hj71 dating from #afcd or #afce2 and ,an ,old ,man caressing a ,boy1 who stands between his knees 7,b4 #cc71 dating from #afch or #afci1 believed by some authorities to represent ,abraham caressing ,isaac4 ,there are1 altogether1 forty-eight etchings attributed with every probability of correctness to the years before #afdj1 many of which deserve more attention than we can spare them2 while two1 ,a ,sketch of a ,tree 7,b4 #cgb71 and ,the ,presentation in the vaulted ,temple 7,b4 #di71 are placed by some a year or two earlier1 by others a year or two later1 than that year4 ,to the year itself probably belongs a landscape ,a large ,tree by a ,house 7,b4 #bjg71 and to it or to the following year ,the ,virgin mourning the ,death of ,jesus 7,b4 #he71 ,the ,flute-,player 7,b4 #ahh71 and ,a ,view of ,amsterdam 7,b4 #baj72 while to #afda are generally assigned two sketches of lion-hunts 7,b4 #aae and #aaf71 more remarkable for energy of action then accuracy of drawing2 a vigorous ,battle-,scene 7,b4 #aag72 ,the ,draughtsman 7,b4 #acj71 and ,a ,portrait of a ,boy 7,b4 #caj74 ,other landscapes1 of doubtful date1 but almost certainly of some year between #afdj and #afej1 are1 ,the ,bull 7,b4 #bec71 ,a ,village with a ,river and ,sailing ,vessel 7,b4 #bbh71 the beautiful ,landscape with a ,man sketching 7,b4 #bai71 and the ,landscape with a ruined ,tower 7,b4 #bbc74 ,portraits of known originals are those of ,jan ,asselyn 7,b4 #bgg71 a fellow-artist1 a dwarfed1 deformed little man1 nicknamed by his contemporaries the little ,crab1 whose personal failings evidently did not weigh on him1 for he stands gazing at the spectator with a superb air of ludicrous conceit2 and a magnificent one of the same ,jan ,sylvius 7,b4 #bhj7 with whom ,rembrandt had so conspicuously failed before1 so full of life and movement that it is hard to believe1 though an indubitable fact1 that it was etched from a study in #afde or #afdf1 seven or eight years after the death of the minister4 ,the scripture subjects of this decade include an oval ,crucifixion 7,b4 #gi71 and ,the ,triumph of ,mordecai 7,b4 #dj74 ,in the debatable land between the late forties and the early fifties there are two magnificent works1 one1 oddly included in the usual classifications among the portraits1 ,dr ,faustus 7,b4 #bgj71 the other the famous ,hundred ,guilder print1 ,jesus ,christ healing the ,sick 7,b4 #gd74 ,there are1 all told1 twenty-eight etchings dating between #afdj and #afej4 ,only eighteen of uncertain date are placed between #afej and the end of ,rembrandt's career as an etcher in #affa1 but they are nearly all worthy of more space than can be devoted to them4 ,one is a landscape1 ,the ,sportsman 7,b4 #baa74 ,five are portraits1 one of ,a ,youth1 long known as ,rembrandt1 but undoubtedly his son ,titus 7,b4 #aa72 the large one of ,coppenol 7,b4 #bhc71 probably among the last of the etchings1 but beautifully and minutely finished in an exquisitely delicate fashion1 though the hands are less well expressed than usual with ,rembrandt1 who1 whether in painting or drawing1 delighted in bringing out with care the full character revealed by them2 a portrait in dry-point of ,dr ,arnoldus ,tholinx 7,b4 #bhd71 of which it would be impossible to speak too highly2 a less admirable one of ,abraham ,francen 7,b4 #bgc71 whose long and faithful friendship with the painter has been referred to in the ,life2 and one of ,jacob ,haring 7,b4 #bgd71 known as ,the ,old ,haring4 ,there are nine scripture subjects of the period1 two from the ,old ,testament1 ,king ,david at ,prayer 7,b4 #da71 a strong and unhesitating piece of work1 in which1 however1 the face of the king is somewhat too simply expressed1 but was probably not considered by ,rembrandt as finished2 and ,tobit ,blind 7,b4 #db71 scarcely more than a sketch1 but full of the sentiment of helpless blindness4 ,of the seven subjects from the ,new ,testament two are of the first importance1 ,christ preaching 7,b4 #fg71 known as the little ,la ,tombe1 because1 it is supposed1 the plate came into the possession of the dealer of that name2 and the ,three ,crosses 7,b4 #gh71 the former being an etching heightened by dry-point1 the second a work in dry-point throughout4 ,jesus ,christ entombed 7,b4 #hf7 is a powerful and effective etching dating probably from the early fifties1 and ,the ,presentation in the ,temple 7,b4 #ej71 further identified as being in ,rembrandt's dark manner1 from about the middle of the decade4 ,the ,nativity 7,b4 #de71 of about the same time1 is an exquisite little composition expressed with the utmost simplicity compatible with the desired result4 ,in ,christ in the ,garden of ,olives 7,b4 #ge71 on the other hand1 this rapidity of work has been carried too far1 and degenerates into sheer carelessness1 though1 apart from details1 the arrangement of the masses of light and shade is good4 ,christ and the ,samaritan ,woman 7,b4 #gj71 dating from #afeg or #afeh1 is drawn with precision and delicacy1 but the device of relieving the face of the woman by a dark and impossible shadow on a building in the background1 is scarcely a happy or successful one4 ,a figure of ,a ,nude ,woman sitting by a ,dutch stove 7,b4 #aig71 a portrait of ,a ,goldsmith at his ,work 7,b4 #abc71 and ,a ,sheet of ,sketches 7,b4 #cfd71 of which only three copies are known1 bring the tale of etchings to which an approximate date may be assigned to a conclusion4 ,there remain seventeen1 concerning the probable dates of which conjectures vary so widely1 that it is safer to admit we do not know1 and cannot guess with any prospect of success4 ,thus the clever little sketch of ,two ,beggars walking towards the right 7,b4 #add71 has been dated #afbi1 #afcd1 and #afdh2 another ,beggar leaning upon a ,stick 7,b4 #afb71 #afca and #afda1 and a pathetic little composition of ,christ's ,body carried to the ,tomb 7,b4 #hd71 #afcb and #afde2 while the small ,portrait of ,coppenol 7,b4 #bhb71 has been attributed by one to #afcb1 but by another to as far away as #afea4 ,other plates of equally uncertain date are five landscapes--the exquisite ,landscape with a ,flock of ,sheep 7,b4 #bbd71 and the no less admirable ,peasant with ,milk ,pails 7,b4 #bac72 ,the ,cottage with white ,pales 7,b4 #bcb71 ,the ,canal 7,b4 #bba71 the ,landscape with an ,obelisque 7,b4 #bbg71 and the ,landscape with a ,cow drinking 7,b4 #bcg74 ,three are scripture subjects--,the ,adoration of the ,shepherds 7,b4 #df71 a hurriedly executed night effect1 dating between #afcb and #afdj according to ,vosmaer1 from #afeb according to ,middleton2 a second night effect1 ,the ,repose in ,egypt 7,b4 #eg71 also assigned by ,vosmaer to some date between #afcb and #afdj1 by ,m4 ,michel to #afda or #afdb1 and by ,middleton to #afdg2 and a very indifferent ,st ,peter 7,b4 #if71 with a signature and date which ,middleton reads #afde1 ,vosmaer #afee4 ,another dated plate is ,the ,bathers 7,b4 #aie71 which1 according to ,m4 ,michel1 was originally dated #afca1 the #c having subsequently been altered by ,rembrandt into a #e4 ,as to the why and wherefore of such an incomprehensible error on the artist's part1 he offers no conjecture1 but that the etching does not1 at any rate1 belong to the earlier year is indicated by the fact that it is signed ,rembrandt in full1 while all the certain plates of that year are signed with a monogram1 the first to bear the full name being the ,st ,jerome 7,b4 #aja7 of #afcb4 ,a third plate bearing a date1 concerning the interpretation of which the authorities differ1 is the mysterious allegorical one ,the ,phnix 7,b4 #aaj71 ,vosmaer and ,wilson making it #afdh1 ,m4 ,michel and ,middleton #afeh2 while a fourth1 ,a ,sheet of ,sketches with a head of ,himself 7,b4 #cgj71 is dated so indistinctly that it has been read as #afcj1 #afca1 and #afej4 ,as1 however1 it is signed with a monogram1 it certainly belongs to one of the earlier years4 ,the ,star of the ,kings 7,b4 #aac71 a subject from contemporary life1 representing a party of boys carrying a large illuminated star through the streets of a town at ,epiphany1 dating either from #afda or #afeb1 is the last to be mentioned of the undisputed etchings4 ,,disputed ,,etchings ,,and ,,drawings ,at the question of the disputed etchings we have not space even to glance4 ,it is a delicate and difficult one1 and could only be treated to any advantage at considerable length4 ,it is1 furthermore1 one of interest to experts and collectors alone1 and so directly opposite in many cases are their opinions that it is certain no finality can ever be hoped for4 ,the reader who desires to enter upon this thorny ground must content himself with pinning his faith finally to one or another recognised authority1 and abiding by his decision2 unless1 having first thoroughly studied the undisputed etchings1 he is prepared to undertake the trial and judgment of each for himself1 in which case he will1 without doubt1 sooner or later find himself differing on one point or another with every previous writer on the subject4 ,the less ambitious reader1 who wishes only to know and appreciate what ,rembrandt beyond question did do1 will be wiser to confine himself to a study of the undisputed plates4 ,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 art4 ,beginning with the early etchings of himself or the members of his family1 often mere drawings on copper1 with little or no appeal to the variety of line and tone obtainable in etching1 he may follow the artist's sure and rapid development1 until he finds him master of every method the art permits4 ,he may trace the progress of his work1 from a first sketch of an idea1 dashed off on the copper in one sitting1 to the high perfection of such an elaborate portrait as that of ,burgomaster ,six4 ,he will further perceive1 as was first pointed out by ,sir ,f4 ,seymour ,haden1 how during the first ten years he confined himself almost entirely to pure etching1 how during the following ten he began more and more to supplement his work with additions in dry-point1 and how during the last ten years he to a considerable extent expressed himself by means of the point alone4 ,he will1 in especial1 discover1 if he compares ,rembrandt's etched work with that of other masters1 and without doing so he can never rightly understand it1 that it is not in technique1 masterly as that often is1 so much as in expressiveness that his pre-eminence lies4 ,it is in the mental qualities more than in the manual1 that he so incomparably excels4 ,drawing often carelessly1 blind or indifferent to superficial beauties1 he1 nevertheless1 gets straight to the heart of the matter1 grasps the essentials1 and feels clearly and records frankly and simply all that speaks to the fundamental humanity in himself1 and must therefore strike an answering chord in the breasts of his fellow-men4 ,it is in this perceiving and revealing the true inwardness of the matter1 through and apart from the mere accidents of environment1 that he is unapproachable1 far more than in the strength and direction of line1 depth of shadow or brightness of light1 application of acid or scraping of copper4 ,in such a plate as the ,blind ,tobit 7,b4 #db7 there is not a detail of the technique which other men could not have done as well2 but for such another presentment of the hurried1 helpless groping for the door by a blind1 weak old man not yet inured to the perpetual darkness that has fallen on him1 we must wait for a second ,rembrandt--and the wait is likely to be long4 ,of the drawings ,i propose to speak very briefly4 ,in the first place1 their name is legion1 and to treat them properly would take a volume in itself1 such a volume as we may hope some day to see written4 ,m4 ,michel gives a list of nearly nine hundred1 which does not pretend to be a full one4 ,the ,british ,museum alone contains ninety authentic drawings and a considerable number of more or less doubtful ones4 ,in the second place1 their qualities are such as to appeal almost exclusively to the artist4 ,rembrandt's impetuous energy did not lend itself to the production of the minute and elegant drawings characteristic of so many ,italian masters4 ,he made the drawing for the sake of what it had to tell him1 not for the purpose of creating a thing beautiful in itself4 ,an idea crossed his mind1 or an object struck his eye1 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 object4 ,most attractive1 perhaps1 to the amateur1 are the numberless little sketches of landscapes1 just the simple everyday scenes that caught his eye during his daily walks1 jotted down on the spot1 briefly1 but with extraordinary truth and vivacity1 and always with a sense of balance and proportion1 and an intuition of the salient points1 transmuted by his own genius into gems of reticent perfection4 ,,catalogue ,,of ,,works ,,arranged ,,according ,,to ,,the ,,galleries ,,in ,,which ,,they ,,hang ,the following abbreviations are used in this list4--,s4 signed1 ,c4 canvas1 ,p4 panel4 ,where a number is given1 thus ,no4 #f1 it is the number of the ,catalogue of the ,gallery4 ,the dates given must in some cases be accepted as approximate only4 ,,austria-,,hungary ,,buda-,,pesth1 ,,academy4 ,portrait of an ,old ,man with a white beard4 ,s4 #afdj4 ,p4 #bh-b_/e #ba-d_/e4 ,no4 #bce4 ,repose of the ,holy ,family4 #afee4 ,,collection ,,of ,,count ,j4 ,,andrassy4 ,portrait of ,himself4 ,s4 #afcj4 ,p4 #ai-c_/e #ae-a_/e4 ,,collection ,,of ,,mr ,,george ,,von ,,rath4 ,mountain ,landscape4 ,s4 #afch4 ,p4 #bb #bh-c_/e4 ,slaughtered ,ox4 ,s4 #afci4 ,p4 #ba-a_/e #ag-a_/e4 ,portrait of a ,woman4 ,s4 #affj4 ,p4 #bi-b_/e #bj-b_/e4 ,,cracow1 ,,czartoryski ,,museum4 ,landscape4 ,s4 #afch4 ,p4 #ag-c_/d #be-a_/d4 ,,innsbruck1 ,,ferdinandeum4 ,head of an ,old ,man4 ,s4 #afcj4 ,p4 #h-d_/e #f-d_/e4 ,,prague4 ,,count ,,nostitz4 ,an ,old ,man4 ,s4 #afcd4 ,c4 #eh #ed4 ,no4 #bfi4 ,,tarnowitz1 ,,galicia4 ,,count ,,tarnowski4 ,polish ,horseman4 #afee4 ,c4 #df #ec-b_/e4 ,,vienna1 ,,academy4 ,portrait of a ,young ,woman4 ,s4 #afcb4 ,c4 #ci-a_/e #bh-d_/e4 ,,count ,k,,nigswarter4 ,portrait of ,rembrandt4 ,s4 #afdj4 ,c4 #bc #ag-a_/b4 ,,prince ,,liechtenstein4 ,portrait of ,saskia4 ,s4 #afcb4 ,p4 #bc-c_/e #ag-c_/e4 ,young ,girl at her ,toilet1 called the ,jewish fiance4 ,s4 #afcb4 ,c4 #dc-a_/e #cg-a_/e4 ,portrait of ,rembrandt4 ,s4 #afce4 ,c4 #cf-d_/e #bh-d_/e4 ,portrait of a ,man4 ,s4 #afcf4 ,portrait of a ,woman4 ,companion to above4 ,s4 #afcf4 ,,prince ,,lubomirski4 ,study of ,rembrandt with his ,mouth open4 #afbi4 ,p4 #ag-c_/e #ac-a_/e4 ,,franz ,,xavier ,,meyer4 ,a ,philosopher reading by ,candlelight4 #afbg4 ,copper1 #e-c_/e #e-c_/e4 ,a very doubtful picture4 ,,imperial ,,museum4 ,portrait of a ,man4 #afcj4 ,p4 #cf-b_/e #bh4 ,no4 #aaci4 ,portrait of a ,woman4 ,p4 #cf-b_/e #bh4 ,no4 #aadj4 ,st ,paul4 #afcf4 ,c4 #ej-b_/e #dd4 ,portrait of ,rembrandt's ,mother4 ,s4 #afci4 ,p4 #cb #bd-d_/e4 ,no4 #aada4 ,portrait of ,himself4 #afeh4 ,c4 #de-a_/e #cb-b_/e4 ,no4 #aadb4 ,young ,man ,singing4 #afeh4 ,c4 #bh-b_/e #bh-d_/e4 ,no4 #aadd4 ,portrait of ,himself4 ,s4 #affh4 ,p4 #bj #af-b_/e4 ,no4 #aadc4 ,,count ,,sch,,nborn-,,buchheim4 ,samson captured by the ,philistines4 ,s4 #afcf4 ,c4 #ie-a_/e #aad-d_/e4 ,a4 ,,strasser4 ,study of an ,angel4 #afee4 ,p4 #aj-b_/e #i-b_/e4 ,,belgium ,,antwerp1 ,,museum4 ,portrait of ,henry ,swalm1 known as ,portrait of a ,burgomaster4 ,s4 #afcg4 ,c4 #ee-c_/e #dc-c_/e4 ,no4 #gje4 ,the ,young ,fisher4 ,s4 #afei4 ,p4 #i-a_/c #g-a_/e ,no4 #bid4 ,saskia4 ,c4 #dd-d_/e #cc-c_/e4 ,no4 #bic4 ,portrait of an ,old ,jew4 ,p4 #i-a_/c #g-c_/e4 ,no4 #bie4 ,,brussels1 ,,duc ,d',,arenberg4 ,tobias curing his ,father's ,blindness4 ,s4 #afc--4 ,p4 #ai-a_/e #ae-c_/e4 ,,count ,,merode-,,westerloo4 ,st ,peter repenting in ,prison4 ,s4 #afca4 ,p4 #bc-b_/e #ai-a_/e4 ,,museum4 ,portrait of a ,man4 ,s4 #afda4 ,c4 #db #cc-a_/e4 ,no4 #cig4 ,portrait of an ,old ,woman4 ,s4 #afed4 ,p4 #bg-c_/e #bh4 ,no4 #cig;a4 ,,british ,,isles ,,london4 ,,national ,,gallery4 ,portrait of an ,old ,woman4 ,s4 #afcd4 ,p4 #bg #ba4 ,no4 #gge4 ,portrait of a ,man4 ,s4 #afce4 ,c4 #cj-a_/h #bb-a_/b4 ,no4 #hej4 ,ecce ,homo4 ,grisaille4 #afcf4 ,c4 #ba-c_/h #ag-c_/d4 ,no4 #adjj4 ,portrait of ,rembrandt4 ,s4 #afdj4 ,c4 #ci #ca-a_/b4 ,no4 #fgb4 ,the ,woman taken in ,adultery4 ,s4 #afdd4 ,p4 #cb-a_/b #be-a_/b4 ,no4 #de4 ,adoration of the ,shepherds4 ,s4 #afdf4 ,c4 #be #bb4 ,no4 #dg4 ,a ,woman ,bathing4 ,s4 #afed4 ,p4 #bd #ah-a_/d4 ,no4 #ed4 ,portrait of a ,rabbi4 ,s4 #afeg7874 ,c4 #cj #bf4 ,no4 #aij4 ,portrait of an ,old ,man4 ,s4 #afei4 ,c4 #ci #cb-c_/d4 ,no4 #bdc4 ,portrait of a ,monk4 #affj4 ,c4 #cd-a_/b #be-a_/b4 ,no4 #aff4 ,portrait of ,rembrandt4 #affd4 ,c4 #cc #bg-a_/b4 ,no4 #bba4 ,portrait of a ,woman4 ,s4 #afff4 ,c4 #bf-a_/d #bc-a_/d4 ,no4 #bcg4 ,portrait of a ,jew ,merchant4 ,c4 #ec #da4 ,no4 #ea4 ,landscape4 ,p4 #bb #cd4 ,no4 #gb4 ,christ taken down from the ,cross4 ,p4 #ac #aa4 ,no4 #dc4 ,portrait of a ,burgomaster4 ,c4 #ej-a_/b #ch4 ,no4 #afgd4 ,portrait of an ,old ,lady4 ,c4 #ej-a_/b #ch4 ,no4 #afge4 ,,hertford ,,house ,,collection4 ,portrait of ,burgomaster ,pellicorne and his ,son ,caspar4 ,s4 #afcb4 ,c4 #fa #dh4 ,suzanna van ,collen1 ,wife of ,pellicorne1 and her ,daughter4 ,s4 #afcb4 ,c4 #fa #dh-a_/d4 ,the ,good ,samaritan4 #afcb4 ,p4 #i-c_/d #h4 ,portrait of a ,boy4 ,s4 #afcc4 ,copper1 #h #f-c_/d4 ,portrait of ,himself4 ,s4 #afcc-afce4 ,p4 #bf #bj4 ,portrait of a ,young ,negro1 known as the ,black ,archer4 ,oval4 #afdj4 ,p4 #bf #bj4 ,landscape4 #afdj4 ,p4 #ah #be4 ,portrait of ,himself4 ,s4 #afdj4 ,p4 #be #ai-a_/d4 ,portrait of ,himself4 #affj4 #h-a_/b #f4 ,portrait of ,titus4 #afeh4 ,c4 #bf-a_/b #bb4 ,the ,unmerciful ,servant4 #affd4 ,c4 #gj-a_/b #hf-a_/d4 ,,buckingham ,,palace4 ,the ,shipbuilder and his ,wife4 ,s4 #afcc4 ,c4 #dd #fe4 ,no4 #af4 ,the ,burgomaster ,pancras and his ,wife4 ,called ,rembrandt and ,saskia4 ,s4 #afce4 ,c4 #fj #gg4 ,no4 #cj4 ,christ and ,mary ,magdalene at the ,tomb4 ,s4 #afch4 ,p4 #bc-a_/b #ai-a_/b4 ,no4 #da4 ,portrait of a ,lady4 ,s4 #afda4 ,c4 #da #cc4 ,no4 #afb4 ,portrait of ,rembrandt4 ,s4 #afd--4 ,p4 #bg #bc4 ,no4 #agd4 ,the ,adoration of the ,magi4 ,s4 #afeg4 ,p4 #dh #dj-a_/b4 ,no4 #aed4 ,a ,jewish ,rabbi4 ,c4 #cj #ch-g_/h4 ,no4 #aca4 ,,hampton ,,court4 ,portrait of a ,rabbi4 ,s4 #afce4 ,p4 #bh #bd4 ,no4 #cha4 ,,edinburgh4 ,,national ,,gallery4 ,a ,young ,woman in ,bed4 ,s4 #afej4 ,p4 #cb #bf-a_/b4 ,,dublin4 ,,national ,,gallery4 ,portrait of a ,young ,man4 ,said to be ,louis van der ,linden4 #afca4 ,p4 #bg #ba-a_/b4 ,shepherds reposing at ,night4 ,s4 #afdg4 ,p4 #ac-a_/b #ai4 ,no4 #aae4 ,descent ,from the ,cross4 ,s4 #afej4 ,c4 #gj #gg-a_/b4 ,lent by the ,duke of ,abercorn4 ,portrait of an ,old ,man4 ,s4 ,p4 #bd #ah4 ,no4 #dh4 ,,glasgow4 ,,corporation ,,galleries4 ,the ,slaughter-house4 ,s4 #af--4 ,p4 #bh #bj4 ,no4 #gjg4 ,tobias and the ,angel4 #afed4 ,p4 #bi-a_/b #bf4 ,no4 #gje4 ,a ,man in ,armour4 ,s4 #afee4 ,c4 #ec-a_/b #dj-a_/b4 ,no4 #gjf4 ,the ,painter's ,study4 ,p4 #bj #bd4 ,no4 #gji4 ,jeremiah mourning over the ,destruction of ,jerusalem4 ,c4 #ae-a_/b #ab4 ,no4 #gad4 ,study of an ,old ,man4 ,p4 #i #h4 ,no4 #gaa4 ,portrait of ,rembrandt4 ,p4 #bf #bj4 ,no4 #gaj4 ,,hunterian ,,museum4 ,entombment4 #afcd4 ,p4 #ab-d_/e #af4 ,,cambridge4 ,,fitzwilliam ,,museum4 ,portrait of ,rembrandt4 ,s4 #afej4 ,c4 #ed #df-b_/e4 ,no4 #aeb4 ,,dulwich ,,college4 ,a ,young ,man4 ,s4 #afcb4 ,p4 #aa-a_/d #i4 ,no4 #ahi4 ,a ,young ,girl at a ,window4 ,s4 #afde4 ,c4 #ca #be4 ,no4 #bjf4 ,,windsor ,,castle4 ,a ,young ,man4 ,s4 #afca4 ,p4 #be #ai4 ,an ,old ,woman1 known as the ,countess of ,desmond4 #afca4 ,p4 #bc-a_/b #ah4 ,,althorp ,,park4 ,,the ,,earl ,,spencer1 ,k4,g4 ,a ,boy1 formerly called a portrait of ,william ,,iii4 ,p4 #affj4 ,c4 #bd-a_/b #ba4 ,woman with ,flowers4 #affj4 ,c4 #ch #ce-a_/b4 ,the ,circumcision4 ,p4 #affa4 ,c4 #ba-a_/b #bh-a_/b4 ,rembrandt's ,mother4 ,c4 #ef #ci4 ,,ashridge ,,park4 ,,the ,,earl ,,brownlow4 ,portrait of a ,jew4 ,s4 #afcb4 ,p4 #bg #bc4 ,portrait of a ,man1 said to be ,peter ,cornelius van ,hooft1 the poet4 ,s4 #afec4 ,c4 #ee #eb-a_/b4 ,isaac and ,esau4 ,p4 #bb-a_/b #bg4 ,landscape4 ,a very doubtful picture4 ,p4 #h #i-a_/b4 ,portrait of an ,old ,woman4 ,c4 #bi-a_/b #bd-a_/b4 ,,basildon ,,park4 ,,charles ,,morrison4 ,portrait of a ,young ,woman1 called ,rembrandt's daughter4 ,s4 #affe4 ,c4 #ci-a_/b #cc4 ,,belvoir ,,castle4 ,,duke ,,of ,,rutland4 ,a ,young ,man4 ,s4 #affj4 ,c4 #ca #bf-a_/b4 ,,bowood4 ,,marquess ,,of ,,lansdowne4 ,the ,mill4 #afed4 ,c4 #cd #dj-a_/b4 ,,brighton4 ,,william ,,chamberlin4 ,portrait of a ,man-at-,arms4 ,s4 ,p4 #bf #bj4 ,,broom ,,hall1 ,,dunfermline4 ,,lord ,,elgin4 ,portrait of ,saskia4 ,s4 #afcc4 ,p4 #bf #ai-a_/e4 ,,canford ,,manor1 ,,wimborne4 ,,lord ,,wimborne4 ,st ,paul4 ,s4 #afeh4 ,portrait of a ,man4 #affj4 ,,castle ,,howard4 ,,the ,,earl ,,of ,,carlisle4 ,portrait of a ,young ,artist drawing4 ,s4 #afd--4 ,life-size4 #afdh4 ,,chatsworth4 ,,duke ,,of ,,devonshire1 ,k4,g4 ,portrait of a ,rabbi4 ,s4 #afce4 ,p4 #dj #ca-a_/b4 ,,downton ,,castle4 ,a4 ,r4 ,,boughton ,,knight4 ,the ,cradle4 #afdc-afde4 ,p4 #bd #cj-a_/b4 ,portrait of a ,man1 known as ,rembrandt's ,cook4 ,s4 #affa4 ,c4 #cd #bi-a_/b4 ,the ,holy ,family4 ,p4 #cj #be4 ,,drayton ,,manor4 ,,sir ,,robert ,,peel4 ,the ,finding of ,moses4 #afce4 ,c4 oval1 #ah-d_/e #bc-c_/e4 ,,duncombe ,,park4 ,,the ,,earl ,,of ,,feversham4 ,a ,merchant4 ,s4 #afei4 ,c4 #de #ch4 ,,edinburgh4 ,,arthur ,,sanderson4 ,his ,mother in a ,hood4 #afcj4 ,p4 #ad-b_/e #ab-a_/e4 ,portrait of an ,old ,woman4 ,s4 #afce4 ,c4 #ea-c_/e #ci-c_/e4 ,,richard ,,saunderson 7in #ahcf74 ,abraham receiving the ,angels4 ,,glasgow4 ,,william ,,beattie4 ,study of ,himself4 #afbi4 ,p4 #aj-a_/e #h-c_/e4 ,,gosford ,,house4 ,,earl ,,of ,,wemyss ,,and ,,march4 ,a ,monk reading4 ,s4 #affj4 ,c4 #bi #bd4 ,,the ,,grange1 ,,alresford4 ,,lord ,,ashburton4 ,portrait of a ,man4 #afce4 ,p4 #cj #be4 ,portrait of an ,old ,man4 #afcg4 ,c4 #dh #cg-a_/b4 ,portrait of ,lieven ,willemsz van ,coppenol4 ,about #afej4 ,p4 #ad #aa4 ,portrait of ,rembrandt4 ,about #afeh4 ,c4 #cj #be-a_/b4 ,portrait of a ,man1 said to be ,cornelius ,jansenius4 ,p4 #cb #bf4 ,,grittleton4 ,,sir ,a4 ,d4 ,,neeld1 ,bart4 ,portrait of ,rembrandt4 ,s4 #affj4 ,c4 #bc-a_/b #bj4 ,portrait of a ,burgomaster4 ,s4 ,p4 #ae #ab4 ,,hinton ,,st ,,george4 ,,the ,,earl ,,poulett4 ,portrait of a ,boy4 ,s4 #afbh4 ,,keddleston ,,hall4 ,,rev4 ,,lord ,,scarsdale4 ,portrait of an ,old ,man4 ,s4 #afde4 ,c4 #cd #bg4 ,,knowsley ,,hall4 ,,the ,,earl ,,of ,,derby1 ,k4,g4 ,the ,feast of ,belshazzar4 #afcf4 ,doubtful ,rembrandt4 ,c4 #fe #ha-a_/b4 ,,london4 ,w4 ,c4 ,,alexander4 ,rembrandt's ,mother4 #afbh4 ,p4 #h-c_/d #f-c_/d4 ,the ,painter's ,sister4 ,doubtful4 ,c4 #bg #bj-a_/b4 ,,wentworth ,b4 ,,beaumont4 ,the ,tribute ,money4 ,s4 #afde4 ,c4 #be #cc-a_/b4 ,,alfred ,,beit4 ,st ,francis ,praying4 ,s4 #afcg4 ,p4 #bc-a_/e #ah-d_/e4 ,portrait of a ,young ,man4 #affj4 ,c4 #dj #cb-a_/b4 ,r4 ,b4 ,,berens4 ,portrait of the ,painter4 ,an early work4 ,p4 #bd #ah ,,bridgewater ,,house4 ,,earl ,,of ,,ellesmere4 ,a ,young ,woman1 aged #ah4 ,s4 #afcd4 ,p4 #bg-a_/b #ba4 ,a ,young ,woman4 ,oval4 #afce4 ,portrait of a ,burgomaster1 or1 a ,minister4 ,s4 #afcg4 ,c4 #eb #ch4 ,hannah hearing the ,young ,samuel repeat his ,prayers4 ,s4 #afdh4 ,p4 #af #ah4 ,study of an ,old ,man4 #afee4 ,portrait of ,rembrandt4 ,s4 #afe--4 ,c4 #bf-a_/b #bj-c_/d4 ,,montague ,,house4 ,,duke ,,of ,,buccleuch1 ,k4,g4 ,portrait of ,saskia4 ,s4 #afcc4 ,c4 #dh-a_/b #ch-a_/b4 ,portrait of an ,old ,woman4 ,s4 #afee4 ,c4 #ca-a_/b #bf4 ,portrait of ,rembrandt4 ,s4 #afei4 ,c4 #ca #be-a_/b4 ,,baroness ,,burdett-,,coutts4 ,a ,forest ,scene4 ,p4 #af #ad4 ,w4 ,c4 ,,cartwright4 ,dead ,peacocks4 ,s4 #afdj4 ,c4 #ed #ej-a_/b4 ,,the ,,earl ,,of ,,crawford1 ,k4,g4 ,portrait of ,titus4 ,s4 #afee4 ,c4 #bi-a_/b #bd-a_/b4 ,,the ,,earl ,,of ,,derby1 ,k4,g4 ,a ,rabbi4 ,s4 #afce4 ,p4 #bh #ba4 ,joseph's ,coat4 #afdg4 ,c4 #dh #ch4 ,,devonshire ,,house4 ,,the ,,duke ,,of ,,devonshire1 ,k4,g4 ,an ,old ,man4 ,s4 #afea4 ,c4 #bh-a_/b #be4 ,an ,old ,man4 ,s4 #afeb4 ,c4 #dc #cd4 ,,george ,c4 ,w4 ,,fitzwilliam4 ,portrait of a ,man4 #afcb4 ,p4 #bb-a_/b #ah-a_/b4 ,f4 ,,fleischmann4 ,rembrandt's ,father4 ,s4 #afca4 ,p4 #bc #ai-a_/b4 ,,alexander ,,henderson4 ,burgomaster ,six4 #afee4 ,c4 #cf-a_/b #bi4 ,portrait of his ,wife1 ,margaretha1 ,daughter of ,dr4 ,tulp4 ,s4 #afee4 ,p4 #cf-a_/b #bi4 ,,captain ,,heywood-,,lonsdale4 ,portrait of ,rembrandt4 ,s4 #afce or #h4 ,p4 #be #bj4 ,,dorchester ,,house4 ,,captain ,g4 ,l4 ,,holford4 ,martin ,looten4 ,s4 #afcb4 ,p4 #cf #bi-a_/b4 ,a ,man with a ,sword4 ,s4 #afdd4 ,c4 #ci #cd4 ,portrait of a ,lady1 incorrectly called the wife of ,jan ,sylvius4 #afde4 ,c4 #di #dj4 ,portrait of ,titus4 ,s4 #affj4 ,c4 #bi #bd-a_/b4 ,,lord ,,francis ,,pelham ,,hope4 7,collection sold in #ahih47 ,a ,lady and ,gentleman4 ,s4 #afcc4 ,c4 #ea #db4 ,the ,ship of ,st ,peter4 ,s4 #afce4 ,c4 #fc #ej4 ,,the ,,earl ,,of ,,hopetoun4 ,rembrandt's ,mother4 ,oval4 ,p4 #bg #ba4 ,r4 ,w4 ,,hudson4 ,an ,old ,man4 ,s4 #afce4 ,p4 #bf-d_/e #ba-c_/e4 ,,the ,,earl ,,of ,,ilchester4 ,portrait of ,rembrandt4 ,s4 #afeh4 ,c4 #ea-a_/b #dj4 ,,victoria ,,and ,,albert ,,museum4 ,abraham dismissing ,hagar and ,ishmael4 ,s4 #afdj4 ,p4 #ae #bj-a_/b4 ,,lord ,,iveagh4 ,portrait of a ,woman4 ,s4 #afdb4 ,c4 #db #cf4 ,portrait of ,rembrandt4 #affc4 ,c4 #de #cg-a_/b4 ,,mrs ,,joseph4 ,portrait of ,saskia4 ,s4 #afcf4 ,p4 #bf #bj-a_/b4 ,,lesser 7#ahic74 ,portrait of an ,old ,woman4 ,s4 #afce4 ,c4 ,,colonel ,,lindsay 7#ahic74 ,portrait of a ,very ,old ,woman4 ,s4 #affj4 ,c4 #cj #be-b_/e4 ,,mrs ,,alfred ,,morrison4 ,portrait of ,dr ,bonus4 ,s4 #afdb4 ,c4 #da #cj4 ,,duke ,,of ,,newcastle4 ,portrait of an ,orator4 ,c4 #cg-a_/b #bi-a_/b4 ,,the ,,earl ,,of ,,northbrook4 ,landscape4 #afdj4 ,p4 #h-a_/b #aa4 ,portrait of an ,old ,man4 ,s4 #affg4 ,c4 #bg #bb-a_/b4 ,,lord ,,penrhyn4 ,portrait of ,catrina ,hoogh4 ,s4 #afeg4 ,c4 #di-a_/b #ch-a_/b4 ,,james ,,reiss ,landscape4 ,p4 #aa-a_/b #af4 ,,mrs ,,owen ,,roe4 ,portrait of a ,man4 ,c4 #dj #cc4 ,,lady ,,de ,,rothschild4 ,portrait of ,rembrandt4 ,s4 #afef4 ,c4 #ce #bh4 ,,edward ,h4 ,,scott4 ,rembrandt's ,father's ,mill4 ,c4 #cb-a_/b #db4 ,,colonel ,,sterling4 ,portrait of a ,man4 ,c4 #bc #ag4 ,,stephen ,,tucker4 ,the ,angel departing from ,tobit4 ,p4 #be-a_/b #ai-a_/b4 ,,sir ,,charles ,,turner4 ,portrait of a ,girl4 #afej4 ,p4 #h-b_/e #g-a_/e4 ,,lord ,,wantage4 ,portrait of an ,old ,woman4 ,s4 #affa4 ,c4 #bi-a_/b #be4 ,t4 ,,humphry ,,ward4 ,an ,old ,man4 #afcj or #afeh4 ,c4 #bj #ad-c_/d4 ,a ,young ,man4 ,s4 #afdf4 ,c4 #bh #bc4 ,the ,dismissal of ,hagar4 ,p4 #bf #bb-a_/b4 ,,grosvenor ,,house4 ,,duke ,,of ,,westminster1 ,k4,g4 ,the ,salutation4 ,no4 #cc4 ,s4 #afdj4 ,p4 #bb #ah-a_/b4 ,portrait of a ,gentleman with a ,hawk4 ,no4 #ad4 ,s4 #afdc4 ,c4 #dd #cg-a_/b4 ,a ,lady with a ,fan4 ,no4 #ae4 ,s4 #afdc4 ,c4 #dd #cg-a_/b4 ,portrait of ,nicholas ,berchem4 ,,no4 #ai4 ,s4 #afdg4 ,cedar panel1 #bh-a_/b #be-a_/b4 ,portrait of his ,wife4 ,no4 #bj1 the daughter of ,jan ,wils4 ,s4 #afdg4 ,cedar panel1 #bh-a_/b #be4 ,portrait of ,rembrandt4 ,p4 #ae-a_/b #aa-a_/b4 ,landscape4 ,no4 #hc4 ,p4 #ci #fa4 ,,henry ,,willett4 ,portrait of a ,man4 ,p4 #bj #ag4 ,,sir ,,matthew ,,wilson4 ,portrait of a ,lady4 ,oval4 ,p4 #bg #ba4 ,,the ,,earl ,,of ,,yarborough4 ,portrait of an ,old ,lady4 #afcg4 ,p4 #dj-a_/b #ce4 ,,new ,,hall1 ,,bodenham4 ,,alfred ,,buckley4 ,sketch of a ,man's ,head4 ,p4 #i #g4 ,,panshanger4 ,,the ,,earl ,,cowper1 ,k4,g4 ,portrait of a ,man4 ,s4 #afdd4 ,c4 #dd-a_/b #db4 ,portrait of ,marshal ,turenne4 #afdi4 ,c4 #aac #id4 ,head of a ,man4 ,p4 #ab-a_/b #i-a_/b4 ,,petworth4 ,,lord ,,leconfield4 ,portrait of the ,painter's ,sister4 ,s4 #afca4 ,p4 #be #ah-a_/b4 ,portrait of ,rembrandt4 ,s4 #afcb4 ,oval4 ,p4 #be #ah-a_/b4 ,portrait of a ,lady4 ,s4 #afce4 ,c4 #di #ci-a_/b4 ,portrait of a ,youth4 ,s4 #afff4 ,c4 #bi #bd4 ,girl with a ,rosebud4 ,s4 ,p4 #cb #be4 ,,richmond4 ,,the ,,executors ,,of ,,the ,,late ,,sir ,,francis ,,cook4 ,the ,painter's ,sister4 ,s4 #afcb4 ,oval4 ,p4 #bg #ba4 ,portrait of ,alotte ,adriaans1 ,wife of ,elias ,van ,trip4 ,s4 #afci4 ,p4 #be-a_/b #bb4 ,tobit and ,his ,wife4 ,s4 #afej4 ,p4 #af-a_/d #ba-a_/d4 ,study of an ,old ,man4 ,p4 #ac-a_/b #aj-a_/b4 ,the ,prodigal ,son4 ,s4 #afcd4 ,a very doubtful picture4 ,c4 #ea #ff4 ,,rossie ,,priory1 ,,inchture1 ,,perthshire4 ,,lord ,,kinnaird4 ,portrait of a ,young ,woman4 ,s4 #afcf4 ,portrait of ,rembrandt4 ,s4 #affa4 ,c4 #cf #cj4 ,,welbeck ,,abbey1 ,,notts4 ,,duke ,,of ,,portland4 ,head of a ,boy4 ,s4 #afcd4 ,p4 #ag #ad4 ,,wilton ,,house4 ,,the ,,earl ,,of ,,pembroke4 ,an ,old ,woman ,reading4 ,s4 #afca4 ,c4 #bi #bd4 ,,woburn ,,abbey4 ,,duke ,,of ,,bedford4 ,portrait of an ,old ,man4 #afcb4 ,portrait of ,rembrandt4 #afce4 ,c4 #cd-a_/b #cj-a_/b4 ,,present ,,owners ,,unknown4 ,portrait of a ,saint4 ,s4 #afce4 ,c4 #dc #ch4 ,portrait of a ,lady4 ,p4 #bi-a_/b #bc4 ,landscape4 ,c4 #ad #ah-a_/b4 ,,denmark4 ,,copenhagen4 ,,new ,,carlsberg ,,glyptotek4 ,man ,reading4 #afde4 ,c4 #bd-a_/b #bh4 ,,count ,,moltke4 ,portrait of an ,old ,woman4 ,,no4 #cb4 #afed4 ,c4 ,,copenhagen4 ,,museum4 ,christ at ,emmaus4 ,no4 #bib4 ,s4 #afdh4 ,c4 #cc-a_/b #db-a_/b4 ,portrait of a ,young ,man4 ,no4 #bgc4 ,s4 #afef4 ,c4 #bi #be4 ,portrait of a ,young ,woman4 ,no4 #bgd4 ,companion to the last4 ,s4 #afef4 ,c4 #bi #be4 ,,france4 ,,paris4 ,,the ,,louvre4 ,a ,philosopher in ,meditation4 ,no4 #bedj1 ,grand ,gallery4 ,s4 #afcc4 ,p4 #aa-c_/e #ac-a_/e4 ,a ,philosopher in ,meditation4 ,no4 #beda1 ,grand ,gallery4 #afcc4 ,p4 #aa-a_/e #i-a_/e4 ,portrait of ,rembrandt4 ,no4 #beeb1 ,salle ,,xv4 ,s4 #afcc4 ,c4 #bc-a_/e #ah4 ,portrait of ,rembrandt4 ,no4 #beec1 ,grand ,gallery4 ,s4 #afcd4 ,p4 #bg-a_/e #ba-a_/e4 ,the ,angel ,raphael leaving ,tobit4 ,no4 #becf1 ,grand ,gallery4 ,s4 #afcg4 ,p4 #bg-a_/e #bj-d_/e4 ,portrait of ,rembrandt4 ,no4 #beed1 ,grand ,gallery4 ,s4 #afcg4 ,p4 #cb #bd-d_/e4 ,portrait of an ,old ,man4 ,no4 #bedd1 ,grand ,gallery4 ,s4 #afch4 ,oval4 ,p4 #cf #bb-b_/e4 ,the ,carpenter's ,home4 ,no4 #bedb1 ,salon ,carr4 ,s4 #afdj4 ,p4 #af-b_/e #ac-c_/e4 ,a ,woman ,bathing4 ,no4 #beej1 ,salle ,lacaze4 #afdg4 ,p4 #bd-d_/e #ai-a_/e4 ,christ at ,emmaus4 ,no4 #beci1 ,salon ,carr4 ,s4 #afdh4 ,p4 #bg-a_/e #bf4 ,the ,good ,samaritan4 ,no4 #becg1 ,grand ,gallery4 ,s4 #afdh4 ,p4 #de-c_/e #ed4 ,portrait of a ,man4 ,no4 #beea1 ,salle ,lacaze4 ,s4 #afea4 ,c4 #cc-a_/e #bf-b_/e4 ,portrait of ,hendrickje ,stoffels4 ,no4 #bedg1 ,salon ,carr4 ,p4 about #afeb4 ,c4 #bh-d_/e #bd4 ,bathsheba1 or a ,woman bathing4 ,no4 #bedi1 ,salle ,lacaze4 ,s4 #afed4 ,c4 #ef-d_/e #ef-d_/e4 ,portrait of a ,man4 ,no4 #bedf1 ,grand ,gallery4 #afee4 ,p4 #aj-b_/e #g-c_/e4 ,the ,slaughter-house4 ,no4 #bedh1 ,grand ,gallery4 ,s4 #afee4 ,p4 #cg-c_/e #bg-c_/e4 ,portrait of a ,young ,man4 ,no4 #bede1 ,salon ,carr4 ,s4 #afeh4 ,c4 #bi-a_/e #bd-b_/e4 ,portrait of ,rembrandt4 ,no4 #beee1 ,salon ,carr4 ,s4 #affj4 ,c4 #dd-b_/e #cd4 ,saint ,matthew4 ,no4 #bech1 ,grand ,gallery4 ,s4 #affa4 ,c4 #ch-b_/e #cb-b_/e4 ,venus and ,cupid4 ,no4 #bedc1 ,grand ,gallery4 #affa4 ,c4 #dd #ce-a_/e4 ,,pinal4 ,,museum4 ,portrait of an ,old ,woman4 ,no4 #aja4 ,s4 #affa4 ,c4 #de-c_/e #cb4 ,,nantes4 ,,museum4 ,portrait of ,rembrandt's ,father4 ,no4 #ebb1 attributed to van ,vliet4 #afbh4 ,p4 #g #e-b_/e4 ,,paris4 ,,mme4 ,,andr-,,jacquemart4 ,christ at ,emmaus4 ,s4 ,r4,h4 #afbi4 ,paper on panel #ae-c_/e #af-d_/e4 ,portrait of ,lysbeth van ,rijn4 ,s4 #afcb4 ,c4 #bf #bj-b_/e4 ,portrait of ,arnold ,tholinx4 ,s4 #afef4 ,c4 #cj-b_/e #be-a_/e4 ,l,,on ,,bonnat4 ,petitioners ,to a ,biblical ,king4 #afcc4 ,p4 #aa-b_/e #aj-c_/e4 ,jean ,six at a ,window4 ,very doubtful4 ,p4 #aj #h4 ,figure of ,susannah4 ,oval4 #afdg4 ,p4 #h-d_/e #g4 ,tasters in a ,cellar4 #afej4 ,p4 #ai-d_/e #be-a_/e4 ,portrait of an ,old ,man4 #afej4 ,p4 #bb #ag-c_/e4 ,portrait of a ,rabbi4 #afee4 ,p4 #h-g_/be #i-ci_/ej4 ,head of an ,old ,man4 #affj4 ,p4 #aj #h-d_/e4 ,,marquis ,,boni ,,de ,,castellane4 ,portrait of ,nicholas ,ruts4 ,s4 #afca4 ,p4 #df #cd-a_/b4 ,,prince ,,de ,,chalais4 ,portrait of a ,man4 ,l,,on ,,gauchez4 ,lucretia4 ,s4 #affd4 ,c4 #df-b_/e #ci-a_/e4 ,,leopold ,,goldschmidt4 ,portrait of a ,woman4 ,called ,rembrandt's cook4 #afee4 ,c4 #bi-d_/e #bd-c_/e4 ,,harjes4 ,old ,man ,with a ,white ,beard4 ,c4 #be-a_/e #bc-a_/e4 ,,baroness ,,hirsch-,,gereuth 7,,the ,,late74 ,portrait of his ,sister1 or ,saskia4 ,oval4 ,s4 #afcc4 ,p4 #bc #ag-c_/e4 ,,maurice ,,kann4 ,head of ,christ4 #affj4 ,c4 #ah-c_/e #ad-d_/e4 ,a ,man in a ,red ,cloak4 ,s4 #afei4 ,p4 #ae-b_/e #ab-b_/e4 ,portrait of a ,man4 ,p4 between #afff and #affh4 ,c4 #cf-b_/e #bi-d_/e4 ,,rodolphe ,,kann4 ,head of ,christ4 #afeb4 ,p4 #aj-b_/e #h4 ,portrait of ,titus4 ,s4 #afee4 ,c4 #ca-c_/e #bc-c_/e4 ,portrait of a ,rabbi4 #afee4 ,p4 #aj #g-d_/e4 ,portrait of an ,old ,woman4 ,s4 #afeg4 ,p4 #h-d_/e #g-a_/e4 ,old ,woman cutting her ,nails4 ,s4 #afeh4 ,c4 #ej-b_/e #dj4 ,portrait of a ,young ,woman4 #affh4 ,c4 #cg-a_/e #bi-a_/e4 ,,mme4 ,,lacroix4 ,landscape1 with ,swans4 #afde4 ,c4 #be-c_/e #ag-a_/e4 ,,albert ,,lehmann4 ,zachariah receiving the ,prophecy of the ,birth of ,john the ,baptist4 ,s4 #afcb4 ,p4 #bb-b_/e #ai-a_/e4 ,,paul ,,mathey4 ,head of an ,old ,man4 ,p4 #bj #bd4 ,,henry ,,pereire4 ,portrait of a ,man4 ,s4 #afcb4 ,p4 #bd #ah-d_/e4 ,portrait of ,cornelia ,pronck4 ,wife of the man4 ,s4 #afcc4 ,p4 #bd #ah-d_/e4 ,,jules ,,porg,s4 ,the ,good ,samaritan4 ,s4 #afci4 ,c4 #ch-a_/e #ej4 ,portrait of a ,rabbi4 ,s4 #afdb4 ,p4 #cj #bd-b_/e4 ,an ,old ,woman meditating over a ,book4 #afdi4 ,c4 #ci-a_/e #ca-a_/e4 ,portrait of ,rembrandt's ,brother4 #afej4 ,p4 #bb-b_/e #ag-a_/e4 ,portrait of a ,woman holding a ,book4 #afej4 ,p4 #bb-b_/e #ag-a_/e4 ,,countess ,,edmond ,,de ,,pourtal,s4 ,portrait of a ,young ,man rising from a ,chair4 ,s4 #afcc4 ,c4 #ej #dj4 ,,baron ,,alphonse ,,de ,,rothschild4 ,portrait of an ,old ,woman4 ,s4 #afcb4 ,p4 #cj-c_/e #bc4 ,,baron ,,gustave ,,de ,,rothschild4 ,portrait of ,martin ,daey4 ,s4 #afcd4 ,c4 #hb-d_/e #eb-d_/e4 ,portrait of ,machteld van ,doorn1 ,wife of ,martin ,daey4 ,c4 #hb-d_/e #eb-d_/e4 ,the ,standard-,bearer4 ,s4 #afcf4 ,c4 #ej #db4 ,,baroness ,,nathaniel ,,de ,,rothschild4 ,portrait of a ,boy4 ,s4 #afcc4 ,p4 #ag-c_/e #ac-a_/e4 ,,baron ,n4 ,,de ,,rothschild4 ,portrait of ,anthoni ,copal4 ,s4 #afce4 ,p4 #cc-a_/e #bf-d_/e4 ,,durand ,,ruel4 ,david playing before ,saul4 #affc4 ,c4 #eb-a_/e #fe-c_/e4 ,,baron ,,arthur ,,de ,,schickler4 ,judas with the ,price of the ,betrayal4 #afbi4 ,c4 #ca-c_/e #da-a_/e4 ,a4 ,,schloss4 ,portrait of ,saskia4 ,oval4 #afcd4 ,p4 #bf-d_/e #ba4 ,old ,man4 ,s4 #afdc4 ,p4 #aj #g-c_/e4 ,,henri ,,schneider4 ,hans ,alenson4 ,s4 #afcd4 ,c4 #ga-a_/e #eb-d_/e4 ,the ,wife of ,alenson4 ,s4 #afcd4 ,c4 #ga-a_/e #eb-d_/e4 ,,charles ,,sedelmeyer4 ,pilate washing his ,hands4 #afef4 ,c4 #ea-a_/e #gb4 ,,charles ,,waltner4 ,an ,old ,rabbi4 #afed-ef4 ,c4 #cb-d_/e #bf4 ,e4 ,,warneck4 ,diana bathing4 #afca4 ,p4 #g-a_/e #f-d_/e4 ,rembrandt laughing4 ,s4 #afcc4 ,p4 #h-a_/e #g4 ,study of a ,rabbi4 #afej ,to #afee4 ,p4 #h-d_/e #g-b_/e4 ,study of a ,young ,boy4 #afed4 ,p4 #i-a_/e #g-d_/e4 ,,dr ,,melvil ,,wassermann4 ,study of his ,father4 #afcj4 ,p4 #aa-b_/e #i-a_/e4 ,portrait of an ,old ,man4 #afcc4 ,p4 #aj-b_/e #h-b_/e4 ,,rouen4 ,m4 ,,dutuit4 ,portrait of ,rembrandt4 ,s4 #afca4 ,p4 #cb-b_/e #ba-c_/e4 ,,tours4 ,,museum4 ,portrait of ,his ,father4 ,no4 #dcg4 ,a copy of the one in the ,museum at ,nantes4 #afbh4 ,p4 #f #d4 ,,germany4 ,,berlin ,,gallery4 ,,royal ,,museum4 ,the ,money-,changer4 ,no4 #hbh ,d4 ,s4 #afbg4 ,p4 #ab-a_/e #af-d_/e4 ,judith1 or ,minerva4 ,no4 #hbh ,c4 #afca4 ,p4 #bc-c_/e #ai-a_/e4 ,the ,rape of ,proserpina4 ,no4 #hbc4 #afcb4 ,p4 #cc-a_/e #ca-a_/e4 ,rembrandt4 ,no4 #haj4 ,s4 #afcd4 ,p4 #bb-d_/e #ah-d_/e4 ,rembrandt4 ,no4 #hjh4 #afcd4 ,p4 #bb #ah-b_/e4 ,samson threatening his ,father-in-law ,no4 #hjb1 formerly called ,the ,duke of ,gueldres4 ,s4 #afce4 ,c4 #fb-b_/e #ea-c_/e4 ,portrait of the ,minister ,anslo consoling a ,widow4 ,s4 #afda4 ,c4 #gc-c_/e #hi-c_/e4 ,portrait of ,saskia4 ,no4 #hab4 ,s4 #afdc4 ,p4 #bh-d_/e #bc-a_/e4 ,portrait of a ,rabbi4 ,no4 #hbh ,a4 ,s4 #afde4 ,c4 #dd #cb-d_/e4 ,the ,wife of ,tobias with the ,goat4 ,no4 #hje4 ,s4 #afde4 ,p4 #h #aj-d_/e4 ,joseph's ,dream4 ,no4 #hjf4 ,s4 #afde4 ,p4 #h #aj-d_/e4 ,susannah and the ,elders4 ,no4 #hbh ,e4 ,s4 #afdg4 ,p4 #cj-b_/e #cf-b_/e4 ,daniel's ,vision4 ,no4 #hbh ,f4 #afej4 ,c4 #ch-b_/e #df-b_/e4 ,joseph accused by ,potiphar's ,wife4 ,no4 #hbh ,h4 ,s4 #afee4 ,c4 #da-a_/b #cd4 ,study of an ,old ,man4 ,no4 #hbh ,j4 #afee4 ,c4 #bj-b_/e #ad-d_/e4 ,john the ,baptist preaching4 ,no4 #hbh ,k4 ,s4 #afef4 ,c4 #be #ca4 ,jacob ,wrestling with the ,angel4 ,no4 #hbh4 ,s4 #afei4 ,c4 #ed-d_/e #df-b_/e4 ,moses breaking the ,tables of the ,law4 ,no4 #haa4 ,s4 #afei4 ,c4 #ff-d_/e #ed4 ,portrait of ,hendrickje ,stoffels4 ,no4 #hbh ,b4 #affb4 ,c4 #cd-d_/e #bf4 ,,altfranken4 ,,count ,,luckner4 ,portrait of ,saskia4 ,s4 #afce4 ,p4 #ci-a_/e #bh4 ,,anholt4 ,,prince ,,of ,,salm-,,salm4 ,diana1 ,acton1 and ,callisto4 ,s4 #afce4 ,c4 #bh-d_/e #ch4 ,,aschaffenbourg4 ,,royal ,,museum4 ,the ,risen ,christ4 ,s4 #affa4 ,c4 #cb #be-a_/e4 ,,berlin4 ,,von ,,carstangen4 ,portrait of ,j4 ,c4 ,sylvius4 ,s4 #afde4 ,c4 #eb #dd4 ,christ at the ,column4 #afdf4 ,p4 #ac-c_/e #aa-a_/e4 ,portrait of ,rembrandt4 ,s4 #affe4 ,c4 #cb-d_/e #be-a_/e4 ,,emperor ,,frederick ,,museum4 ,rembrandt's ,brother4 #afej4 ,c4 #bf-d_/e #bj-c_/e4 ,,carl ,,hollitscher4 ,st ,paul in ,meditation4 #afce4 ,c4 #dg-a_/e #ch4 ,christ on the ,cross4 #afdh4 ,p4 #ad #i-c_/e4 ,,robert ,,von ,,mendelssohn4 ,rembrandt4 ,s4 #afea4 ,p4 #bf-b_/e #ba-a_/e4 ,,sans-,,souci4 ,the ,capture of ,samson4 ,s4 #afbh4 ,p4 #bd #ai-c_/e4 ,,james ,,simon4 ,portrait of a ,young ,girl4 ,s4 #afcd4 ,p4 #ag-c_/e #ad-b_/e4 ,,bonn4 ,,professor ,g4 ,,martius4 ,an ,old ,woman4 #afdj4 ,p4 #bg-a_/e #bb-a_/e4 ,,brunswick4 ,,grand ,,ducal ,,museum4 ,an ,unknown ,man4 ,no4 #bcb4 #afca4 ,p4 #be-b_/e #ai-a_/e4 ,portrait of a ,woman4 ,no4 #bcc4 ,s4 #afcc4 ,p4 #be-b_/e #ai-a_/e4 ,portrait of a ,man4 ,no4 #bcg4 ,s4 #afch4 ,p4 #cb-d_/e #bg4 ,stormy ,landscape4 ,no4 #bcf4 ,s4 #afdj4 ,p4 #bj-d_/e #bh-d_/e4 ,noli ,me ,tangere4 ,no4 #bce4 ,s4 #afea4 ,c4 #bf #ca-c_/e4 ,portrait of a ,family4 ,no4 #bch ,s4 #affh4 ,c4 #ej-b_/e #ff-c_/e4 ,,carlsruhe4 ,,grand ,,ducal ,,museum4 ,portrait of ,himself4 ,no4 #bch4 ,s4 #afde4 ,p4 #bi-c_/e #bc-c_/e4 ,,cassel4 ,,museum4 ,rembrandt4 ,no4 #bjh4 #afbg4 ,p4 #h #f-b_/e4 ,an ,old ,man4 ,no4 #bji4 ,s4 #afcj4 ,p4 #bf-b_/e #bb-b_/e4 ,an ,old ,man4 ,no4 #baj4 ,s4 #afcb4 ,p4 #bj #ae-c_/e4 ,an ,old ,man4 ,no4 #baa4 ,s4 #afcb4 ,p4 #bc-c_/e #ai-c_/e4 ,portrait1 said to be ,coppenol4 ,no4 #bab4 ,s4 #afcb4 ,c4 #dj #ca-a_/e4 ,jan ,herman ,krul4 ,no4 #bac4 ,s4 #afcc4 ,c4 #di-a_/e #cg-c_/e4 ,saskia4 ,no4 #bad4 #afcd4 ,p4 #ci-a_/e #cj-d_/e4 ,rembrandt4 ,no4 #bae4 ,s4 #afcd4 ,p4 #ca-c_/e #be-c_/e4 ,a ,young ,woman4 ,no4 #baf4 #afce4 ,p4 #bh-d_/e #bc-c_/e4 ,a ,man4 ,no4 #bag4 ,s4 #afci4 ,c4 #gi-a_/e #dh-b_/e4 ,holy ,family4 ,no4 #bah4 ,called ,the ,woodchopper4 ,s4 #afdf4 ,p4 #ah #bf-d_/e4 ,a ,winter ,landscape4 ,no4 #bai4 ,s4 #afdf4 ,p4 #f-b_/e #h-d_/e4 ,the ,ruin4 ,no4 #bbj4 ,s4 #afej4 ,p4 #bf-b_/e #cd-b_/e4 ,portrait of ,bruyningh4 ,no4 #bba4 ,s4 #afeb4 ,c4 #db #cf4 ,man in ,armour1 known as ,the ,watch4 ,no4 #bbc4 ,s4 #afee4 ,c4 #de-a_/e #cf4 ,an ,old ,man4 ,no4 #bbf4 #afee4 ,p4 #h #f4 ,an ,old ,man4 ,no4 #bbe4 #afeg4 ,p4 #h #f-b_/c4 ,an ,architect1 or ,geometrician4 ,no4 #bbd4 #afef4 ,c4 #dh #cf4 ,jacob ,blessing ,joseph's ,sons4 ,no4 #bbg4 ,s4 #afef4 ,c4 #fi-c_/e #hj4 ,portrait of ,rembrandt4 ,no4 #bbb4 ,s4 #afei4 ,c4 #bi-a_/e #bc-c_/e4 ,,cologne4 ,,baron ,a4 ,,von ,,oppenheim4 ,a ,young ,girl4 #afee4 ,p4 #h-b_/e #g4 ,,darmstadt4 ,,grand-,,ducal ,,gallery4 ,the ,flagellation4 ,no4 #cdg4 ,s4 #affh4 ,c4 #cg-c_/e #bi-a_/e4 ,,dresden4 ,,royal ,,gallery4 ,saskia4 ,no4 #aeef4 ,s4 #afcc4 ,p4 #ba #ag-c_/e4 ,a ,man4 ,no4 #aeeg4 ,willem ,burchgraeff4 ,no4 #ahb4 ,s4 #afcc4 ,p4 #bg #ba4 ,the ,capture of ,ganymede4 ,no4 #aeeh4 ,s4 #afce4 ,c4 #fh-c_/e #eb4 ,rembrandt and ,saskia4 ,no4 #aeei4 ,s4 #afce4 ,c4 #fd #eb-d_/e4 ,the ,marriage of ,samson4 ,no4 #aefj4 ,s4 #afch4 ,c4 #ej-b_/e #gj-b_/e4 ,the ,man with the ,bittern4 ,no4 #affa4 ,s4 #afci4 ,p4 #dh-b_/e #ce-c_/e4 ,saskia holding a ,pink4 ,no4 #aefb4 ,s4 #afda4 ,p4 #ci-a_/e #cb-d_/e4 ,the ,sacrifice of ,manoah4 ,no4 #aefc4 ,s4 #afda4 ,c4 #if-b_/e #aad4 ,old ,woman weighing ,gold4 ,no4 #aefd4 ,c4 #dd-d_/e #ci-c_/e4 ,a ,young ,man4 ,no4 #aefe4 ,s4 #afdc4 ,c4 #cj-d_/e #bf-d_/e4 ,an ,old ,man4 ,no4 #aega4 #afde4 ,c4 #cg-c_/e #cj-d_/e4 ,the ,entombment4 ,no4 #aeff4 ,s4 #afec4 ,c4 #ch-d_/e #bg-c_/e4 ,an ,old ,man with a ,beard4 ,no4 #aefg4 ,s4 #afed4 ,p4 #dj #cj-d_/e4 ,portrait of a ,man4 ,no4 #aefh4 #afef4 ,c4 #ce-d_/e #bg-b_/e4 ,rembrandt4 ,no4 #aefi4 ,s4 #afeg4 ,c4 #cd-a_/e #bf4 ,an ,old ,man4 ,no4 #aegj4 #afff4 ,c4 #cb-d_/e #bh-b_/e4 ,,elberfeld4 ,,karl ,,von ,,der ,,heydt4 ,the ,denial of ,st ,peter4 ,s4 #afbh4 ,copper1 #h-d_/e #f-d_/e4 ,a ,lady4 ,s4 #afce4 ,p4 #cj-d_/e #be-c_/e4 ,,frankfort4 ,,st,,del ,,art ,,institute4 ,david playing before ,saul4 ,no4 #ahc4 ,p4 #bd-d_/e #bj4 ,portrait of ,margaretha van ,bilderbeecq4 ,no4 #ahb4 ,oval4 ,s4 #afcc4 ,p4 #bf-d_/e #bb-b_/e4 ,parable of the ,labourers in the ,vineyard4 ,no4 #aha4 ,s4 #afef4 ,c4 #fa-a_/e #ed-d_/e4 ,,gotha4 ,,museum4 ,rembrandt4 ,no4 #aha4 ,s4 #afbi4 ,p4 #g-a_/e #e-c_/e4 ,,hamburg4 ,,kunst-,,halle4 ,maurice ,huygens4 ,s4 #afcb4 ,c4 #eb #dd4 ,,consul ,,weber4 ,presentation in the ,temple4 ,s4 #afcj4 ,p4 #bb #ag-c_/e4 ,the ,woman taken in ,adultery4 #afdd4 ,c4 #de-c_/e #ed4 ,a ,pilgrim at ,prayer4 ,s4 #affa4 ,c4 #cf #ca-a_/e4 ,,leipzig4 ,,julius ,o4 ,,gottchald4 ,study of an ,old ,man4 #afcj4 ,p4 #h-a_/e #f-d_/e4 ,,museum4 ,rembrandt4 ,no4 #cdg4 #afed4 ,p4 #aj-b_/e #h-b_/e4 ,,alfred ,,thieme4 ,the ,good ,samaritan4 #afdj4 ,c4 #ab-b_/e #ae4 ,portrait called the ,constable of ,bourbon4 ,s4 #afdd4 ,c4 #cf-b_/e #bi-c_/e4 ,,metz4 ,,museum4 ,an ,old ,man4 ,s4 #afcc4 ,p4 #bc-c_/e #ag-c_/e4 ,,munich4 ,,royal ,,gallery4 ,holy ,family4 ,no4 #cbd4 ,s4 #afca4 ,c4 #gg-a_/e #eb4 ,portrait of a ,turk4 ,no4 #cbe4 ,s4 #afcc4 ,p4 #cc-c_/e #be-a_/e4 ,the ,descent from the ,cross4 ,no4 #cbf4 ,s4 #afcc4 ,p4 #ce-c_/e #bf4 ,the ,elevation of the ,cross4 ,no4 #cbg4 #afcc4 ,c4 #ch-b_/e #bh-d_/e4 ,the ,ascension4 ,no4 #cbh4 ,s4 #afcf4 ,c4 #cf-d_/e #bf-d_/e4 ,the ,entombment4 ,no4 #ccj4 #afch4 ,c4 #cg-a_/e #bg-c_/e4 ,the ,resurrection4 ,no4 #cbi4 ,s4 #afci4 ,c4 #cg-c_/e #bh4 ,the ,adoration of the ,shepherds4 ,no4 #cca4 ,s4 #afdf4 ,c4 #ch-d_/e #bh-d_/e4 ,rembrandt4 ,no4 #ccc4 ,s4 #afed4 ,p4 #cb-d_/e #bf-d_/e4 ,,dr ,,martin ,,schubart4 ,an ,old ,man4 #afcb4 ,p4 #be #ah-c_/e4 ,,nordkirchen4 ,,count ,,esterhazy4 ,a ,young ,man4 ,s4 #afbi4 ,,nuremberg4 ,,museum4 ,rembrandt ,no4 #bih1 in armour4 ,s4 #afbi4 ,p4 #ae-c_/e #ab-d_/e4 ,saint ,paul4 #afbi4 ,,oldenburg4 ,,augusteum4 ,the ,prophetess ,anna1 or the painter's mother4 ,no4 #aff4 ,s4 #afca4 ,c4 #bd #ai-a_/e4 ,an ,old ,man4 ,no4 #afg4 ,s4 #afcb4 ,c4 #bf-c_/e #bj-b_/e4 ,landscape4 ,no4 #afi4 #afde4 ,p4 #aa-c_/e #af4 ,,posen4 ,,count ,,edward ,,raczynski4 ,christ4 ,s4 #affa4 ,c4 #ci #cb-c_/e4 ,,schwerin4 ,,grand ,,ducal ,,museum4 ,an ,old ,man4 ,no4 #hed4 ,s4 #afcj4 ,p4 #bg-a_/e #bj-d_/e4 ,an ,old ,man4 ,no4 #hee4 #afef4 ,c4 #bb-d_/e #ah-d_/e4 ,,strasburg4 ,,museum4 ,an ,old ,man1 holding a scroll4 #afej4 ,c4 #bd-b_/e #ah-b_/e4 ,,stuttgart4 ,,museum4 ,st ,paul in ,prison4 ,no4 #bbe4 ,s4 #afbg4 ,p4 #bh #bc-a_/e4 ,,weimar4 ,,grand ,,duke ,,of ,,saxe-,,weimar4 ,portrait of ,rembrandt4 ,s4 #afdc4 ,c4 #bd-b_/e #ai-a_/e4 ,,holland4 ,,the ,,hague4 ,,mauritshuis1 ,,royal ,,museum4 ,rembrandt's ,mother4 ,no4 #eef1 ,room ,,xiv4 #afbh4 ,p4 #g #e4 ,rembrandt's ,father4 ,no4 #efe1 ,room ,,xiv4 #afbh4 ,p4 #ah-d_/e #ae-c_/e4 ,rembrandt4 ,no4 #adh1 ,room ,,xiv4 #afbi4 ,p4 #ad-d_/e #aa-c_/e4 ,a ,man ,laughing4 ,no4 #eih1 ,room ,,xiv4 #afcj4 ,p4 #f #d-d_/e4 ,a ,young ,girl4 ,no4 #egg1 ,room ,,xiv4 ,s4 #afcj4 ,p4 #bb #ah4 ,the ,presentation in the ,temple4 ,no4 #ade1 ,room ,,xiv4 ,s4 #afca4 ,p4 #bd #ai-a_/e4 ,the ,anatomy ,lesson of ,professor ,pieterszoon ,tulp4 ,no4 #adf1 ,room ,,xiii4 ,s4 #afcb4 ,c4 #fd-d_/e #hf-b_/e4 ,rembrandt ,as an ,officer4 ,no4 #adi1 ,room ,,xiv4 ,s4 #afcd4 ,p4 #bd-d_/e #ah-d_/e4 ,the ,flight ,into ,egypt4 ,no4 #egi1 ,room ,,xiv4 ,s4 #afcf4 ,p4 #ae-a_/e #ad4 ,a ,woman at ,her ,toilet4 ,no4 #eeb1 ,room ,,xiv4 ,s4 #afcg4 ,p4 #bi #be4 ,susannah at the ,bath4 ,no4 #adg1 ,room ,,xiv4 ,s4 #afcg4 ,p4 #ah-d_/e #ae-c_/e4 ,portrait ,believed ,to ,be ,rembrandt's ,brother ,adriaen4 ,no4 #efj1 ,room ,,xiv4 ,s4 #afej4 ,c4 #ca-a_/e #bf-b_/e4 ,homer ,reciting ,his ,poems4 ,no4 #ehd1 ,room ,,xiv4 ,s4 #affc4 ,c4 #dc-a_/e #cb-d_/e4 ,,amsterdam4 ,,ryksmuseum4 ,rembrandt's ,father4 ,no4 #abdh4 #afbi4 ,c4 #ba-c_/e #ah-b_/e4 ,a ,young ,lady1 ,known ,as the ,lady of ,utrecht4 ,s4 #afci4 ,p4 #db-b_/e #cb-b_/e4 ,elizabeth ,bas ,no4 #abdi1 ,widow of ,admiral ,swartenhout4 #afdj4 ,c4 #df-b_/e #ce-a_/e4 ,the ,sortie of the ,company of ,captain ,frans ,banning ,cocq ,no4 #abdf1 ,called the ,night ,watch4 ,s4 #afdb4 ,c4 #adc-c_/e #agd4 ,mythological ,subject4 ,no4 #abea4 #afej4 ,c4 #cd #bf-d_/e4 ,the ,anatomy ,lesson of ,dr ,johannes ,deyman4 ,no4 #abej4 ,s4 #afef4 ,c4 #dj #eb-d_/e4 ,the ,syndics of the ,drapers4 ,no4 #abdg4 ,s4 #affa4 ,c4 #gd #aji-c_/e4 ,the ,jewish ,bride4 ,no4 #abeb4 ,s4 #affe4 ,c4 #dg-a_/e #fe-c_/e4 ,,dr ,c4 ,,hofstede ,,de ,,groot4 ,rembrandt's ,sister4 #afcj4 ,p4 #e-a_/d #c-c_/d4 ,,six ,,collection4 ,joseph ,interpreting ,his ,dreams4 ,s4 #afcj4 ,cardboard1 #bj #ae-a_/e4 ,anna ,vymer4 ,s4 #afda4 ,p4 #dj #cb4 ,portrait of ,ephraim ,bonus4 #afdg4 ,p4 #g-c_/e #f4 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,jerusalem 7etching71 #ajd ,jew in a ,high ,cap1 ,a 7etching71 #ig ,jews' ,synagogue1 ,the 7etching71 #aja ,jewish ,bride1 ,the 7,prince ,liechtenstein71 #ai2 7,st ,petersburg71 #fa2 7,amsterdam71 #hc ,jewish ,bride1 ,the ,little 7etching71 #ig ,john the ,baptist preaching1 #gh2 ill41 #gh ,john the ,baptist1 ,beheading of1 7etching71 #ig ,jonghe1 ,clement de1 #be1 #he1 #hg2 ,portrait of 7etching71 #ajc2 ill41 #ij ,joseph accused by ,potiphar's ,wife1 #gg ,joseph and ,potiphar's ,wife 7etching71 #if ,joseph interpreting his ,dreams1 #ec ,joseph relating his ,dreams 7etchings71 #ig ,joseph's ,coat1 #gd ,judas with the ,price of the ,betrayal1 #ea ,judith1 #ee ,jupiter and ,antiope 7etching71 #ajg ,kalkoen1 ,matthys1 ,portrait of1 #eg ,knobbert1 ,volkera ,nicolai1 ,portrait of1 #ef ,krul1 ,jan ,herman1 ,portrait of1 #eh2 ill41 #eh ,lady1 ,portrait of a 7,capt4 ,holford71 #gc ,lady of ,utrecht1 ,the1 #fg ,lady with the ,fan1 ,the 7,buckingham ,palace71 #fh2 ill41 #gj2 7,grosvenor ,house71 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,brownlow71 #gf2 7,m4 ,kann71 #hb ,man and his ,wife1 ,portraits of a 7,vienna71 #ef2 ill41 #ef2 7,prince ,liechtenstein71 #fd2 ill41 #fd2 7,prince ,jousoupoff71 #ha ,man in ,armour 7,brunswick71 #ff2 7,glasgow71 #gg2 7,cassel71 #gg ,man in a ,red ,cloak 7,m4 ,kann71 #gi ,man reading by a ,window 7,copenhagen71 #gc ,man sketching in a ,book 7,dresden71 #gh ,man with a ,sword 7,capt4 ,holford71 #gb ,man with a ,baton 7,louvre71 #ge ,man with the ,bittern 7,dresden71 #fg2 ill41 #ff ,man seated on the ,ground 7etching71 #ajj ,man in an ,arbour 7etching71 #ih ,manasseh ben ,israel1 his ,piedra ,gloriosa1 #hg1 #aje2 ,portrait of1 #gb2 7etching71 #if ,manoah and his ,wife1 ,the ,offering of1 #fh ,marriage of ,jason and ,creusa1 ,the 7etching71 #aja ,merchant1 ,portrait of a 7,st ,petersburg71 #ee2 7,lord ,feversham71 #gi ,metamorphosis of ,narcissus1 ,the1 #ge ,mill1 ,the1 #gf ,minerva1 #ee ,minister1 ,portrait of a1 #fe ,monks1 figures of1 #ha ,mordecai1 ,the ,triumph of 7etching71 #aaj ,moses breaking the ,tables of the ,law1 #hj ,moses1 ,the ,saving of1 #fg ,mountebank1 ,a 7etching71 #if ,nativity1 ,the 7etching71 #aaa ,nebuchadnezzar's ,dream 7etching71 #aje ,negress1 ,a 7etching71 #ajg ,neeltje1 ,rembrandt's ,mother1 #b1 #g1 #ad1 #bh2 ,portraits of1 see ,rembrandt's ,mother ,night-,watch1 ,the1 #cj1 #fi ,noli me tangere1 #ge ,old ,man caressing a ,boy 7etching71 #ajh ,old ,beggar ,man conversing with a ,woman 7etching71 #id ,old ,beggar ,woman 7etching71 #ajj ,old ,jew 7,st ,petersburg71 #gf ,old ,lady1 ,portrait of an 7,national ,gallery71 #fa2 ill41 #fb2 7,earl of ,yarborough71 #fe2 see also ,old ,woman ,old ,man1 ,portrait of an 7,berlin71 #dh2 7,cassel71 #ec2 7,louvre71 #ff2 7,buda-,pesth71 #fi2 7,m4 ,schloss1 ,paris71 #ga2 7,lady ,cook71 #gc2 7,dresden71 #gc1 #gf1 #gh1 #hc2 7,leeuwarden71 #gc2 7,strasburg71 #ge2 7,duke of ,devonshire71 #ge1 #gf2 7,st ,petersburg71 #gf2 7,stockholm71 #gg2 7,pitti71 #gi2 7,nat4 ,gallery71 #gi2 7,col4 ,lindsay71 #ha2 7,new ,york71 #hb2 7,earl of ,northbrook71 #hc ,old ,man with a divided ,fur ,cap 7etching71 #ig ,old ,woman1 ,portraits of an 7,wilton ,house71 #ec2 7,st ,petersburg71 #ga1 #gf2 7,m4 ,porgs71 #gd2 7,brussels71 #gf2 7,stockholm71 #gg2 7,m4 ,kann71 #gh2 7pinal71 #hb2 7,lord ,wantage71 #hb2 7etchings71 #ie1 #ajh ,old ,woman ,sleeping 7etching71 #aje ,old ,woman weighing ,money 7,dresden71 #ga ,omval1 ,view of 7etching71 #ii ,oriental1 ,portrait of an1 #fe ,oriental ,heads 7etching71 #abg ,orphan ,girl of ,amsterdam1 ,an1 #gb ,pallas1 #ge ,pancake ,woman1 ,the 7etching71 #if ,pancras1 ,burgomaster1 and his ,wife1 #fb2 ill41 #fb ,parable of the ,labourers in the ,vineyard1 #gh ,parable of the ,master of the ,vineyard1 #fe ,peasant with ,milk ,pails 7etching71 #aab ,pellicorne1 ,burgomaster ,jan1 ,portrait of1 #ef ,persian1 ,the 7etching71 #ie ,petitioners to a ,biblical ,prince1 #ei ,philon the ,jew1 #ec ,philosopher in ,meditation1 ,a 7,stroganoff ,collection71 #ec2 7,louvre71 #ei ,philosopher reading by ,candlelight1 #di ,phnix1 ,the 7etching71 #aac ,piedra ,gloriosa1 ,rembrandt's illustrations to1 #hg1 #aje ,pilate washing his ,hands1 #gh ,pilgrim at ,prayer1 ,a1 #ha ,pluto carrying off ,proserpine1 #eg ,presentation in the ,temple1 ,the 7,hamburg71 #eb2 7,the ,hague71 #ee1 #fj2 7etchings71 #id1 #aaa ,presentation in the ,vaulted ,temple1 ,the 7etching71 #aji ,prodigal ,son1 ,the1 #fb1 #hc2 7etching71 #if ,rabbi1 ,a 7,hampton ,court71 #fc2 7,m4 ,porgs71 #fh2 7,berlin71 #gb2 ill41 #gd2 7,nat4 ,gallery71 #gh2 7,duke of ,devonshire71 #abh ,raising of the ,cross1 ,the1 #bj ,raising of ,lazarus1 ,the1 #ea2 7etchings71 #hg1 #ih ,rape of ,ganymede1 ,the1 #fc ,rat-,killer1 ,the 7etching71 #ie ,rembrandt1 date of birth discussed1 #b1 #c2 birthplace1 #e2 his father1 #f2 entered as a student at ,leyden ,university1 #g2 apprenticed to ,swanenburch1 #h1 #i2 under ,lastman at ,amsterdam1 #aj2 return to ,leyden1 #aj2 removal to ,amsterdam1 #aa2 the ,anatomy ,lesson1 #ac1 #af2 early portraits1 #ac1 #af1 #ag2 meeting with ,saskia1 #ai2 marriage1 #bb2 early extravagance1 #bc2 his first child1 #bd2 family quarrels1 #bc1 #bf2 his friends1 #be2 birth and death of two daughters1 #bg2 financial difficulties1 #bf1 #bh1 #bi2 birth of ,titus1 #cj2 death of ,saskia1 #cj2 decline of prosperity1 #cb1 #cf2 relations with ,hendrickje ,stoffels1 #cd1 #ce2 bankruptcy1 #ch2 sale of his property1 #ci1 #dj2 fresh commissions1 #da1 #dc2 failing sight1 #dc2 death of ,hendrickje1 #dd2 his last pupil1 #dd2 death of ,rembrandt1 #df ,rembrandt1 ,portraits of himself-- 7,count ,andrassy71 #ec2 7,lord ,ashburton71 #fe1 #gi2 7,berlin71 #fa2 7,bridgewater ,house71 #gi2 7,duke of ,buccleuch71 #gi1 #hj2 7,buckingham ,palace71 #gb2 7,cambridge71 #ge2 7,carlsruhe71 #ga2 7,herr von ,carstangen71 #hc2 7,cassel71 #di1 #fa1 #gi2 7,gotha71 #ea2 7,the ,hague71 #ea1 #fa2 7,heywood-,lonsdale71 #fe2 7,lord ,ilchester71 #gh2 7,lord ,iveagh71 #gh2 7,lord ,kinnaird71 #hb2 7,leipzig71 #ge2 7,louvre71 #fa1 #fe1 #hj2 7,herr ,mendelssohn71 #ge2 7,munich71 #gh2 7,nat4 ,gallery71 #fg1 #hb2 ill41 #bh1 #df2 7,sir ,a4 ,d4 ,neeld71 #hj2 7,prince ,henri of the ,pays ,bas71 #ga2 7,pitti71 #fc2 7,lady de ,rothschild71 #gh2 7,uffizi71 #hc2 7,vienna71 #gi1 #hc2 7,wallace ,collection71 #fa2 7,warneck ,collection71 #eh2 7,weimar71 #ga ,etchings1 #c1 #id1 #ie1 #ig1 #ajj1 #ajh ,rembrandt's ,brother1 ,portrait of 7,berlin71 #ge2 7,the ,hague71 #ge ,rembrandt's ,cook 7,downton71 #hb ,rembrandt's ,father1 see ,gerritsz ,rembrandt and his ,wife 7etching71 #if ,rembrandt's ,mother1 ,portraits of1 #di1 #ea1 #ee1 #eg1 #fg1 #ga2 ill41 #f2 7etchings71 #ic1 #ie1 #ajh ,rembrandt's ,mill 7etching71 #ih2 ill41 #ih ,repose in ,egypt 7etchings71 #ii1 #aab ,resurrection1 ,the1 #ff ,robinson1 ,sir ,j4 ,c41 #dh ,ruin1 ,the1 #ge ,saint1 ,a1 #fe ,st ,anastasius1 #ed ,st ,catherine 7etching71 #ig ,st ,francis praying 7etching71 #ajg ,st ,jerome 7etchings71 #ie1 #if1 #ih1 #aac ,st ,matthew1 #ha ,st ,paul 7,vienna71 #fe2 7,lord ,wimborne71 #gi ,st ,paul in ,prison 7,stuttgart71 #di ,st ,peter1 #eb2 7etching71 #aab ,st ,peter1 ,the ,denial of 7,elberfeld71 #ea2 7,st ,petersburg71 #gh ,st ,peter and ,st ,john at the ,gate of the ,temple 7etchings71 #ajg ,st ,stephen1 ,the ,martyrdom of 7etching71 #if ,st ,thomas1 ,incredulity of1 #fb ,salutation1 ,the1 #fg ,samson captured by the ,philistines 7,berlin71 #ej ,samson overpowered by the ,philistines 7,count ,schonborn71 #fd ,samson propounding his ,riddle to the ,philistines1 #ff ,samson threatening his ,father-in-,law1 #fd ,saskia1 ,early ,portraits of1 #ad1 #ag1 #ah1 #eg2 ill41 #ah2 her birth and family1 #ah2 first meeting with ,rembrandt1 #ai2 marriage1 #bb2 her character1 #bb2 children1 #bd1 #bg1 #cj2 death1 #cj2 her will1 #ca2 ,portraits of 7,dresden71 #eh2 7,st ,petersburg71 #fa2 7,m4 ,schloss71 #fa2 7,cassel71 #fa2 #afce1 #fb2 ,rembrandt and ,saskia 7,dresden71 #fb2 ill41 #bd2 7,buckingham ,palace71 #fb2 7,berlin71 #ga2 7etchings71 #ie1 #ajh2 pencil drawing of 7at ,berlin71 #d ,schoolmaster1 ,the 7etching71 #ih ,six1 ,burgomaster1 #be1 #cd1 #ch2 ,portrait of1 7,six ,collection71 #gi2 7etching71 #ajj1 #aad ,six's ,bridge 7etching71 #ii ,shell1 ,the 7etching71 #ajb2 ill41 #ajb ,shepherds reposing at ,night1 #gd ,shipbuilder and his ,wife1 ,the1 #eh2 ill41 ,frontispiece ,sketches1 sheets of 7etchings71 #aab1 #aac ,slaughter-house1 ,the 7,herr ,rath71 #ff2 7,glasgow71 #ge2 7,louvre71 #gg ,sobieski1 #fe2 ill41 #ff ,sortie of the ,banning ,cocq ,company1 #cj1 #fi ,sportsman1 ,the 7etching71 #aaj ,standard ,bearer1 ,the 7,baron ,g4 de ,rothschild71 #fe2 7in ,america71 #ha ,star of the ,kings1 ,the 7etching71 #aac ,stoffels1 ,hendrickje1 see ,hendrickje ,storm1 an ,effect of1 #fg ,susannah and the ,elders 7,prince ,jousoupoff71 #fe2 7,berlin71 #gc ,susannah1 ,study of1 #gd ,swalm1 ,henry1 #be2 ,portrait of1 #fe ,swanenburch1 ,jacob van1 #h ,sylvius1 ,jan ,cornelis1 #ah1 #ba1 #be2 ,portrait of1 #gb2 7etchings71 #hg1 #hh1 #ajh1 #aji ,syndics of the ,drapers' ,guild1 ,the1 #dc1 #hb2 ill41 #hj ,tholinx1 ,arnold1 #ch2 ,portrait of1 #gg2 7etching71 #aaj ,three ,crosses1 ,the 7etching71 #hg1 #aaa ,three ,trees1 ,the 7etching71 #hg1 #ih1 ill41 #ib ,titia1 ,rembrandt's ,granddaughter1 #df1 #dg ,titus1 ,rembrandt's ,son1 #cj1 #cc1 #ce2 his will1 #ch1 #ci2 partnership with ,hendrickje1 #db2 marriage1 #df2 death1 #df2 ,portraits of 7,m4 ,kann71 #gg2 7,earl of ,crawford71 #gg2 7,vienna71 #gi2 7,capt4 ,holford71 #ha2 7etching71 #aaj ,tobias and the ,angel1 #gf ,tobias restoring his ,father's ,sight1 #fb ,tobias' ,wife with the ,goat1 #gb ,tobit and his ,wife1 #ge ,tobit ,blind 7etching71 #aaa1 #aae ,tree1 ,sketch of a 7etching71 #aji ,tribute ,money1 ,the1 #gb ,tulp1 ,dr1 #ac1 #be1 #da2 ,portraits of1 #eg ,turenne1 ,marshal1 ,portrait of1 #gd ,uijtenbogaerd1 ,jan1 ,portraits of 7etchings71 #hg1 #if1 #ajc ,unmerciful ,servant1 ,the1 #hb ,uylenborch1 ,hendrick van1 #af1 #be1 #bi1 #ca1 #dj ,uylenborch1 ,magdalena van1 wife of ,titus1 #df1 #dg ,uylenborch1 ,saskia van--see ,saskia4 ,van ,loo1 ,albert1 #bf1 #df ,van ,loo1 ,gerrit and ,hiskia1 #ba1 #bb1 #bc1 #be ,venus and ,cupid1 #ha ,virgin mourning the ,death of ,jesus1 ,the 7etching71 #aji ,virgin and ,child in the ,clouds1 ,the 7etching71 #ih ,vision of ,ezekiel1 ,the 7etching71 #aje ,village by the ,high ,road 7etching71 #ajb ,village with a ,river and ,sailing ,vessel 7etching71 #aji ,village with a ,square ,tower 7etching71 #ajb ,vista1 ,the 7etching71 #ajc ,vymer1 ,anna1 ,portrait of1 #fh ,winter ,scene1 ,a1 #gc2 ill41 #gd ,woman1 ,portrait of a 7,mr ,byers71 #fd2 7,lord ,kinnaird71 #fd2 7,lord ,iveagh71 #fi2 7,m4 ,kann71 #hb2 and see ,old ,woman ,woman bathing 7,louvre71 #gd2 7,nat4 ,gallery71 #gf ,woman taken in ,adultery1 ,the1 #gb2 ill41 #gb ,woman by a ,dutch ,stove 7etching71 #aaa ,woman preparing to dress after ,bathing 7etching71 #ajg ,woman with her ,feet in ,water 7etching71 #ajg ,woman with an ,arrow 7etching71 #ajg ,woodchopper1 ,the1 #gc ,young ,girl1 ,portrait of a 7,stockholm71 #ea2 7,the ,hague71 #ec2 7,bridgewater ,house71 #fa2 7,dulwich71 #gb2 ill41 #gb ,young ,man1 ,portrait of a 7,earl ,cowper71 #gb2 7,mr ,humphry ,ward71 #gc2 7,copenhagen71 #gg2 7,louvre71 #gh ,young ,man and his ,wife 7,prince ,liechtenstein71 #fd ,young ,man in a ,cap and ,breastplate 7,dresden71 #ga ,young ,man laughing1 #eb ,young ,man with the ,turban1 #ed ,young ,man seated in ,meditation 7etching71 #if ,young ,painter with ,paper and ,crayon1 #gd ,young ,servant 7,stockholm71 #gf ,young ,woman1 ,portrait of a 7,cassel71 #fc2 7,dr ,bredius71 #fe2 7,dresden71 #fh2 7,copenhagen71 #gh ,young ,woman in ,bed 7,edinburgh71 #ge ,young ,woman reading 7etching71 #ie ,youth 7,lord ,leconfield71 #hc ,zachariah receiving the ,prophecy of the ,birth of ,john the ,baptist1 #ee ,zeewrts-,lof1 ,der1 #hg ,zoomer1 ,jan ,pietersen1 #he1 #hf1 #hg ,,the ,,riverside ,,press ,,limited1 ,,edinburgh ,,notice4 ,,photographs of most of the works mentioned in this volume are to be obtained in various sizes from 99,w4 ,a4 ,,mansell ,co499 ,art ,photograph ,publishers and ,dealers1 #dje1 ,,oxford ,,street1 ,,london1 ,w4 #af1 ,,pall ,,mall ,,east1 ,s4,w4 ,permanent ,carbon ,prints1 ,permanent ,prints1 ,photogravures1 from most of the ,pictures in the ,galleries at ,,london4 ,national ,gallery4 ,tate ,gallery4 ,dulwich ,gallery4 ,,edinburgh4 ,,glasgow4 ,,brussels4 ,,milan4 ,,venice4 ,,munich4 ,,berlin4 ,,dresden4 ,,vienna4 ,liechtenstein4 ,belvedere4 ,czernin4 ,,amsterdam4 ,hague1 ,haarlem4 ,,cassel4 ,etc41 ,etc4 ,royal ,collections ,,at ,,buckingham ,,palace4 ,,windsor ,,castle4 ,private ,collections of ,the ,duke of ,devonshire4 ,the ,earl ,spencer4 ,the ,earl of ,northbrook4 ,,art ,,books--,,art ,,albums--,,artistic ,,framing 99 99 99 99 99 ,,franz ,,hanfst,,ngl #af1 ,,pall ,,mall ,,east1 ,s4,w4 99 99 99 99 99 ,lists and ,prospectuses ,free4 ,catalogues1 ,one ,shilling4 ,the ,art ,reproduction ,co4 ,ltd4 #c and #d1 ,,plough ,,court ,,fetter ,,lane1 ,,london1 ,e4,c4 ,for3 ,line ,process ,blocks ,half-,tone ,blocks on ,zinc and ,copper ,photogravure ,plates ,copperplate ,printing ,fine ,art ,printing ,artistic ,advertising ,catalogues1 ,price ,lists etc4 ,write for ,specimens and ,estimates ,telegraphic ,address ,,perquisite1 ,,london ,national ,telephone #hij ,,holborn