I 
 I 
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THE LIFE AND GENIUS OF REMBRANDT. 
 THE MOST CELEBRATED OF 
 
 REMBRANDT' S ETCHINGS 
 
 THIETY PHOTOGRAPHS TAKEN FROM THE COLLECTIONS IN THE 
 BRITISH MUSEUM, AND IN THE POSSESSION 
 OF MR. SEYMOUR HADEN. 
 
 WITH DESCRIPTIONS : AND A DISCOURSE ON THE LIFE AND GENIUS OF REMBRANDT, 
 
 BY DR. SCHELTEMA, OF AMSTERDAM. 
 
 EDITED BY JOSEPH CUND ALL. 
 
 LONDON: 
 
 BELL AND DALDY, 186, FLEET STREET, 
 CAMBRIDGE: DEIGHTON, BELL, AND CO. 
 1867. 
 
PREFACE. 
 
 T is not to the credit of the literary men of Holland, 
 that, for nearly a century and a half, they allowed the 
 fame of one of their most celebrated countrymen to 
 lie under a heavy cloud, when it is now evident that 
 it might have been easily dispelled. Nearly all that has hitherto 
 passed as the Life of Rembrandt Van Rhyn emanated from the pen 
 of Arnold Houbraken, an engraver, who published, at Amsterdam, in 
 the year 1718, a series of portraits of distinguished Dutch painters, 
 and with them gave some slight account of their lives. Nearly every 
 assertion which he made in his Memoir of Rembrandt, which was 
 written within fifty years of that artist's death, has been proved to be 
 incorrect. Rembrandt was not born in a mill on the Rhine, — as Hou- 
 braken asserts, — but in the town of Leyden, where his father lived in 
 good circumstances, and was part proprietor of the mill he worked. He 
 did not marry a peasant girl of Ransdorp, but the daughter of a Doctor 
 of Laws, who was one of the chief magistrates of the town of Leeu- 
 warden, in Friesland, and who gave his daughter a rich dowry. He 
 
 b 
 
vi PREFACE. 
 
 could not have been the associate of low-bred fellows, or the wretch 
 that Houbraken makes him, or he would not have been on terms of 
 friendship with Professor Tulp, one of the most celebrated men in 
 Amsterdam of his day; nor with Tulp's wealthy son-in-law, the 
 Burgomaster Six ; nor with Uytenbogaert, the Chaplain to the 
 Prince of Orange and the friend of Arminius ; nor with the other 
 Uytenbogaert, the banker; nor with the celebrated preacher Jan 
 Cornelius Silvius, who was related to him by marriage ; nor with the 
 poet Decker, who wrote poems in his praise. That he was an 
 uneducated man is also proved to be an error, for his letters to 
 Constantine Huygens, the Secretary of Prince Frederic Henri, which 
 are still preserved, prove him to have been, at all events, fairly 
 educated, and are evidently the productions of an unassuming 
 gentleman. 
 
 Nor could Rembrandt have been miserly or avaricious, for he 
 spent money freely, perhaps too freely, in the purchase of works 
 of art, with which his house was filled ; and he did not die in 
 possession of riches, for, alas ! it is too well proved that his last 
 days were spent in comparative poverty. 
 
 What reason Houbraken had for vilifying his illustrious country- 
 man we shall probably never discover, — though it is a matter 
 worth much investigation. Rembrandt has now found a champion 
 who is in every way worthy of the task he has undertaken ; 
 a learned archivist of Amsterdam has searched every public docu- 
 ment which is likely to throw light on the name of Rembrandt, 
 
PREFACE. vii 
 
 and when the citizens of Amsterdam (in rivalry of their brethren 
 at Antwerp, who not long since set up a statue to Rubens), 
 determined to raise a statue in honour of their greatest painter, 
 Dr. Scheltema delivered a Discourse which can never be forgotten, 
 inasmuch as it, for the first time, gave the result of his investiga- 
 tions, and proved that the aspersions on the character of Rembrandt 
 which Houbraken originated, were nothing better than dishonest 
 fables. 
 
 As an artist, Rembrandt has never been fully appreciated in 
 England, except by connoisseurs who have had access to his best 
 works. His own countrymen have always preserved his finest 
 paintings, which may still be seen in the galleries of Amsterdam 
 and the Hague, and his world-renowned etchings are far too 
 expensive to be in the possession of any but wealthy amateurs. It is 
 through the liberality of the Trustees of the British Museum and Mr. 
 Seymour Haden that we are enabled to offer excellent transcripts 
 of the most celebrated of these etchings ; and that the names of the 
 Burgomaster Six, Ephraim Bonus, Cornelius Silvius, and the other 
 worthy citizens of Amsterdam whom Rembrandt has immortalized, 
 will now be made familiar where they have been hitherto but 
 little known. 
 
 All the photographs have been taken from rare and choice 
 proofs, such as are very seldom to be met with, and the greatest 
 possible care has been taken in their production. The impressions 
 
viii PREFACE. 
 
 of " The Angel appearing to the Shepherds," " The Resurrection of 
 Lazarus," " Christ Healing the Sick/' (the hundred guilder piece), 
 " The Ecce Homo," and " The Death of the Virgin," as well as many 
 others, are from etchings in the finest state, which are amongst 
 the richest treasures of the British Museum, and not only our 
 thanks, but the thanks of all lovers of art, are due to the Trustees 
 for their generosity in allowing these copies to be made. 
 
 The works to which we are chiefly indebted for the informa- 
 tion contained in the following pages are Dr. Scheltema's Rembrand, 
 Discours sur sa Vie et son GSnie, annot6e par W. Biirger, and 
 Bartsch's Catalogue raisonnS de toutes les Estampes qui forment 
 Vceuvre de Rembrandt. We have also availed ourselves of the 
 researches of M. Charles Blanc, who has written a most valuable 
 book upon the works of Rembrandt, and published in an expensive 
 form photographs of nearly all his important etchings. 
 
CONTENTS. 
 
 DISCOURSE on the Life and Genius of Rembrandt, by 
 
 Dr. Scheltema 
 
 Page 
 
 1 
 
 On the Etchings of Rembrandt . . . . . . .27 
 
 Thirty Photographs of Rembrandt's Etchings, with Descriptions . 45 
 
 APPENDIX. 
 
 List of Rembrandt's Etchings, compiled by Daniel Daulby from the 
 Catalogues of De Bukgy, Gersaint, Helle and Glomy, Marcus 
 and Yver ........... 167 
 
 Inventory of Rembrandt's Property sold at Amsterdam in 1656 . 181 
 
PHOTOGRAPHS OF THE ETCHINGS. 
 
 Scriptural Subjects. 
 
 Page 
 
 % Ls^ f|S3r\HE Angel appearing to the Shepherds f>M . ' . . . . . .45 
 
 ^j^L 2. Christ driving out the Money Changers from the Temple .... 49 
 
 (rll) ^' Il esurrec ti° n 0I " Lazarus j^N ........ 53 
 
 fe^teQ^ 4 Ch r i s t Healing the Sick (the hundred guilder piece) • • .57 
 
 5. The Good Samaritan ............ 61 
 
 6. Ecce Homo , . 65 
 
 7. The Descent from the Cross . . . . . . . . • .69 
 
 8. The Death of the Virgin 8H 73 
 
 9. St. Jerome (unfinished) . . . . . . . . . • • .7/ 
 
 10. Haman and Mordecai ............ 81 
 
 Miscellaneous. 
 
 11. Doctor Faustus .............. 85 
 
 12. The Rat Killer . . . . .89 
 
 Landscapes. 
 
 13. View of Omval 93 
 
 14. View of Amsterdam ............ 97 
 
 15. The Three Trees 101 
 
 16. The Mill-sail over the Cottage 105 
 
 Portraits. 
 
 17. Cornelius Anslo .............. 109 
 
 18. Clement de Jonghe ............. 113 
 
 19. Young Haaring . . . . . . . . . . . . .117 
 
 20. Jan Lutma . . . . . . < • - • • • • • .121 
 
 21. Ephraim Bonus .............. 125 
 
 22. Uytenbogaert the Minister . . . . . . . . . . .129 
 
 23. John Cornelius Silvius ............ 133 
 
 24. Uytenbogaert the Banker ............ 137 
 
 25. Van Coppenol, the Writing-master .......... 141 
 
 26. The Burgomaster Six ............ 145 
 
 27. Rembrandt Drawing . .......... 149 
 
 28. The Jewish Bride 153 
 
 29. Rembrandt's Mother • 157 
 
 30. Rembrandt with a drawn sabre {Frontispiece). 
 
 {Photographed by Cundall and Fleming.) 
 
DISCOURSE ON 
 
 THE LIFE AND GENIUS OF REMBRANDT. 
 
ox 
 
 THE LIFE AND GENIUS OF REMBRANDT. 
 
 A DISCOURSE DELIVERED AT AMSTERDAM IN MAY, 1852, 
 BY DR. SCHELTEMA. 1 
 
 UR countrymen have sometimes been accused of ingratitude, 
 or at least of indifference to the memory of our great men. 
 Although I cannot, in general, admit the grounds of this 
 reproach, I am, nevertheless, obliged to acknowledge that 
 the merits of some of our most eminent countrymen have 
 had but little light thrown upon them by the pen of our historians, and that 
 we have not, until the present time, taken sufficient pains to transmit their 
 names to posterity, with the honours which are their due. 1 
 
 Only a few amongst them, such as Huig de Groot (Hugo Grotius) and 
 Michael de Ruyter, have obtained the distinction of having had their biogra- 
 phies carefully and completely written. Of several others, whose names are cited 
 even by foreigners with admiration, we know next to nothing with certainty, 
 and but little has been written about them. It is astonishing that amongst 
 these last we must place the name of the unique Rembrandt Van Ryn, the man 
 who is at the head of the ancient school of Dutch painting, and who occupies 
 
 1 This Discourse is translated from " Rembrandt, Discours sub, sa Vie et son Genie," par 
 Le Docteub Schejltema, Chevalier de la Couronne de Chene ; Annotee par W. Burger, Paris, 
 1866.— Ed. 
 
 2 The Society Arti et Amicitice, to whom M. Scheltema delivered this discourse, is composed 
 of all the eminent artists and distinguished amateurs of Holland. 
 
 B 
 
2 
 
 ON THE LIFE AND 
 
 the same place of honour as that assigned to Rubens in the Flemish School of 
 the seventeenth century. Doubtless we know Rembrandt by the admirable 
 productions of his paint-brush and his graver ; we see in his works how, 
 by means of a striking application of light and shade, he produced the most 
 marvellous effects ; we know that he possessed, in a great degree, the art 
 of animating, as it were, his paper or his canvas by the truthfulness of his 
 representations ; but as to the character, or the life of this admirable artist, 
 there are only a very few accounts, and these, for the most part, unjust or 
 incorrect, which have been handed down to us. 
 
 This perhaps was one of the motives which, a few years ago, decided the 
 Dutch Society of Arts and Sciences to offer to competition an Eulogium on 
 Rembrandt. 
 
 The reply sent by the learned Immerzeel obtained the silver medal. 1 
 This discourse, considered as an Eulogium — and that was what the Society 
 demanded— has merits which must be acknowledged; but has the writer 
 fulfilled the promise made in the preface, of eliminating from his work all 
 that had been falsely advanced or manifestly invented concerning the life 
 of Rembrandt, and of placing our painter in the clear light of truth ? I think 
 not. Scarcely anything is to be met with in this discourse which is not to be 
 found in preceding authors, or which can pass either as new or unknown, 
 except one important particular concerning a sad circumstance in the life of 
 the artist which is communicated to us for the first time by Immerzeel. 
 Moreover, the same errors, the same inaccuracies reappear in his work which, 
 from the time of Houbraken, to whom they seem to owe their birth, up to 
 the present, have been regularly transmitted from one writer to another, 
 occasionally with the addition of new fictions. 
 
 To-morrow our country will accord to its Rembrandt the honour which 
 a few years ago was bestowed upon Rubens in the town of Antwerp. The 
 statue raised to Rembrandt in one of our principal places will be solemnly 
 
 1 In the year 1839. 
 
GENIUS OF REMBRANDT. 
 
 3 
 
 uncovered, 1 and the Amstel will no longer have to envy the prerogative of the 
 Scheldt. 
 
 It seemed to me, that, especially at this moment, there was an absolute 
 necessity that new efforts should be made to throw light on the life of 
 Rembrandt. I imagined that, for more than one reason, I might be expected 
 to undertake this task — that it was, in fact, a duty prescribed to me by my 
 country. 
 
 Obedient to this voice, I have entered upon this study, the fruits of which 
 I now modestly offer. 
 
 It must not, however, be expected of me that, speaking on this occasion 
 of Rembrandt, I should dare to place myself in the position of judge or censor 
 of his works, nor that I should endeavour to point out or explain all the 
 originality and beauty which distinguish his productions. 
 
 The famous Carthaginian general, Hannibal - exiled from his country — 
 having retired to the Court of Antiochus the Great, at Ephesus, was 
 invited to hear a discourse by the peripatetic philosopher, Phormion. The 
 orator spoke before him of the duties of a general and of the various parts 
 of the military art. After the close of the discourse, those who were present, 
 and who had listened with much pleasure, asked the Carthaginian what he 
 thought of the philosopher. Hannibal made this brief but sensible reply, 
 " I have seen many fools in the course of my life, but never so great 
 a fool as Phormion." " Assuredly he was not wrong," remarks Cicero, 
 with regard to this anecdote, which he has related in his book De Ora- 
 tore. What could be more foolish or more impudent than to pretend, 
 without ever having seen either camp or enemy, and without having had 
 any public employment, to give lessons in the military art to Hannibal, 
 who, for so many years, disputed the empire of the world with the Romans, 
 the conquerors of all nations ? 
 
 1 The Statue of Rembrandt, by L. Royer, in the Butter-market in Amsterdam, was uncovered, 
 with great ceremony, in the presence of the king, William III, on the 27th of May, 1852. — Ed. 
 
4 
 
 ON THE LIFE AND 
 
 I should not deserve a more favourable judgment if I undertook to give 
 lessons in painting, or endeavoured to unveil all the riches of Rembrandt's 
 brilliant genius before auditors more competent than myself to appreciate that 
 genius ; for I am happy to see present amongst us men who, whatever may be 
 the decadence of our country in arts and sciences, still maintain worthily the 
 ancient glory of the Dutch School. 
 
 At first, I intended to have given a concise but exact account of the life 
 of Rembrandt, and afterwards to have communicated some observations on his 
 personal qualities and character. It seems to me, however, that in thus 
 limiting my discourse I should be tracing an image without force or colour, 
 since, after all, the idea we form of a person is inseparably connected with the 
 idea of his profession. So, after having set forth before you his biography and 
 his personal qualities, I shall throw a rapid coup d'ceil on his merit as an artist. 
 The opinion that I shall express about his works is partly formed from my 
 own artistic feeling, but it is gained in a greater degree from the knowledge 
 of experienced men. 
 
 If I depart from the opinion of preceding writers on some of the principal 
 points in the life of Rembrandt, I must not be accused of the desire of 
 announcing something new, nor of the still more futile desire of correcting 
 and criticising others. My facts are drawn from authentic sources ; they rest 
 upon a solid foundation, as I hope to make my countrymen acknowledge by 
 the publication of this work, and the honourable secretary of the society Arti 
 et Amicitict has willingly promised me his assistance in making known to 
 foreigners the truth on this subject. 1 
 
 According to general opinion, Rembrandt Hermanszoon Van Ryn* 2 was 
 born in 1606. I think, however, that I shall be able to prove that he did not 
 
 1 M. Alexander Oltmans was not able to keep his promise, for he died on the 10th of 
 April, 1853. But in 1859, in the Revue universelle cles Arts, published in Paris and Brussels, 
 there appeared a translation of my work, reviewed and annotated by W. Burger. 
 
 2 Kembrandt, the son of Herman of the Bhine. 
 
GENIUS OF REMBRANDT. 
 
 5 
 
 come into the world until two years after that date, viz. in 1608. 1 I also 
 think that the place of his birth has been wrongly indicated. A mill, situated 
 near the Rhine, between the villages of Leiderdorp and Koudekerk, has been 
 assigned as the locality. It appears to me, however, very probable that 
 Rembrandt was born in Leyden. It is, at all events, certain that his grand- 
 parents Gerrit Roelofszoon Van Ryn and Lijsbeth Hermansdochter, as well 
 as his parents Herman Gerritszoon Van Ryn and Neeltje Willemsdochter 
 von Zuidbroek 2 always lived 3 in Leyden, in a house situated in the Weddesteeg 
 near the Wittepoort (the White Gate). They lived in a malt-mill, of which 
 they were half owners. 
 
 The parents of Rembrandt were bourgeois in easy circumstances, who, at 
 their death, left a pretty considerable property, comprising, besides other 
 estates, a pleasure-garden at Zoeterwoude. But the succession to this property 
 did not fall on Rembrandt alone as one might have concluded it would, since 
 he has always been represented as the only child of his parents. He had, how- 
 ever, six brothers and sisters, all mentioned by name in the public register of 
 the town of Leyden. Of the seven children, of whom Rembrandt was the 
 sixth, there were, besides himself, three who were alive in 1640, in which year 
 the mother died (the father having died some years before), and with whom 
 he shared the family inheritance. A writer who is worthy of credit 4 relates 
 that Rembrandt's parents sent him to school in Leyden, with the intention 
 of having him afterwards taught Latin, in order that he might enter the 
 University of Leyden and render himself capable of holding some office in 
 the town or state. 
 
 Rembrandt then, as well as Rubens, was in the first instance destined to 
 
 1 Rembrandt, in his marriage registry (on the 10th June, 1634) and in the Pinbock (the public 
 registry) of the city of Amsterdam, declares himself to be twenty-six years of age. 
 
 2 His grandparents were Gerrit, the son of Roelof of the Ehine, and Elizabeth, the daughter of 
 Herman ; and his parents, Herman, the son of Gerrit of the Rhine, and Cornelia, the daughter of 
 William of the village of Zuidbroek. — Ed. 
 
 3 From the year 1599 to 1646. — M. B. Elsevier. 
 
 4 Orlers, Description of Leyden. 
 
B 
 
 ON THE LIFE AND 
 
 the study of jurisprudence. But this vocation did not at all accord with the 
 taste and inclination of the young boy, who, even thus early in life, felt 
 stirring in his breast a decided love for drawing and painting. His parents, 
 giving in to this desire, had him taught the principles of these arts by Jakob 
 Isaakszoon van Swanenburg, a painter but little known. He remained with 
 this master about three years, and made such progress during that period that 
 it might have been predicted, from the imperfect sketches of the young man, 
 that his talent, in its development, would one day produce something great. 
 
 Rembrandt was afterwards placed by his father at Amsterdam, under 
 Pieter Lastman, whom Vondel— certainly by a poetic figure — has styled the 
 Apelles of his age. He only remained six months in Lastman's school, and 
 pursued his studies under the direction of Jakob Pinas, a painter of Haarlem. 
 He only stopped a short time with this master, and soon returned to the 
 paternal abode in Ley den. Here he continued to exercise himself in the use 
 of the graver and paintbrush, and soon acquired such a reputation as a painter 
 that he was frequently sent for to take portraits in Amsterdam. This induced 
 him to establish himself in that town about the year 1630. 
 
 Rembrandt lived in several different places in Amsterdam. The first 
 of his dwellings that can be determined upon with certainty is that in Sint 
 Antonie Breestraat (Great St. Anthony Street), where he lived in 1634. Five 
 years later, we find him dwelling on the Binnen Amstel (Inner Amstel). 
 It appears, however, that he did not remain there long, and that he returned 
 to Sint Antonie Breestraat, where he bought a large house situated in that part 
 of the street now named Joden Breestraat (Great Jew's Street), the second 
 house after the lock of St. Antonie on the south side. He spent a great part 
 of the remainder of his life in this dwelling, where he executed the greater 
 number of his chefs-cfceuvre, without leaving the town of Amsterdam. The 
 last place he lived in was a house at the end of the Rozengracht (Canal of 
 Roses), opposite the ancient Doolhof (Labyrinth). 
 
 In 1634 Rembrandt married Saskia Uilenburg. The marriage was 
 
GENIUS OF REMBRANDT. 
 
 7 
 
 celebrated on the 22nd of June of this year, in Friesland, in the parish of 
 St. Anne, where Saskia was living with her sister Hiskia, who was married to 
 Gerrit van Loo, Secretary of the bailiwick of Bildt (de Grietenij het Bildt). 
 The biographers of Rembrandt have wrongly stated his wife to have been a 
 little peasant girl of Ransdorp in Waterland. Far from being descended from 
 a race of peasants, she was, on the contrary, the issue of a very distinguished 
 and very respectable Friesland family. Saskia was the daughter of Rombertus 
 Uilenburg, a burgher-master and magistrate 1 of the town of Leeuwarden, and 
 who afterwards occupied, for several years, the dignified position of Counsellor 
 of the Court of Friesland, which he filled with distinction. He had eight 
 children, of whom Saskia, the fourth of the daughters, appears to have been 
 the seventh. It is related, as a remarkable circumstance in the life of this 
 Rombertus Uilenburg, that he happened to be at Delft as a delegate from 
 the Friesland towns, on the 10th July, 1584, the day on which William I. was 
 assassinated, and that he dined with the prince shortly before the perpetration 
 of the crime. About two o'clock William got up from the table, and a 
 few moments after, whilst descending the staircase of the Court, he was 
 treacherously shot by Balthazar Gerards. 2 
 
 Saskia Uilenburg was not only a woman of distinction, but moreover she 
 was rich. A sentence of the Court of Friesland apprises us that she was one 
 day reproached with having, by her luxury and pomp, wasted the inheritance 
 of her parents, — a charge which does not appear to have had any foundation. 
 Saskia and Rembrandt might, without vanity, boast of being richly and 
 superabundantly laden with temporal goods, and it is said, " that they could 
 never sufficiently thank the Almighty for it." Rembrandt had not the happiness 
 
 1 Pensionary of Leeuwarden. 
 
 3 M. G. H. M. Delprat has made known this circumstance by publishing (in " Documents to be 
 used for tbe History of Holland, etc," vol. ii. p. 119) a letter from Uilenburg to the magistrate of Leeu- 
 warden, concerning the reception of William I. at Delft, and his death on the 10th of July, 1584. 
 
 M. Gachard, Keeper of the Bourgogne Library at Brussels, has reproduced this letter in his 
 Preface to Vol. VI. of the Correspondence of William the Silent. — W. B. 
 
8 
 
 ON THE LIFE AND 
 
 of possessing his wife for more than eight years. Saskia Uilenburg died in 
 this town 1 in the middle of June, 1642, and was buried on the 19th, in the old 
 church (Oude Kerk). We know that she left Eembrandt a son named Titus, 
 who was brought up by his father in his own profession, but who in no wise 
 distinguished himself as an artist. It is not commonly known, and the fact 
 is of little importance, that another child had been born before Titus, who 
 died young, and was buried in the south church (Zuider Kerk) on the 13th 
 of August, 1G38. By her will, Saskia made her son Titus Van Ryn her 
 heir, with the condition that Rembrandt, her husband, until he re-married, 
 (and if he should not re-marry until his death), should have full possession and 
 usufruct of the property that she left, charged with the expense of giving Titus 
 an honourable education and providing suitably for his wants until he attained 
 his majority, or until he married, in which latter case he was to receive from 
 his father a marriage portion or endowment. It was moreover stipulated that 
 if Titus died before his father, and without legitimate descendants, Rembrandt 
 should inherit the whole ; and that at his death, or if he contracted a new 
 marriage, one half of the property should remain on his side and the other 
 half should go to Hiskia, the sister of Saskia, on condition of her making 
 some legacies to her own relations. 
 
 After the death of Saskia, Rembrandt contracted a new marriage, about 
 which I know nothing certain, except that two children were the result of it. 
 
 I have already said that scarcely anything is known of the life of 
 Rembrandt. He did not seek the society of the great, nor did he win credit 
 and consideration by his social relations. 
 
 Rubens frequented the palaces of the nobility and the courts of princes ; 
 important embassies were confided to him, which spread his glory and his 
 name abroad. Rembrandt lived only for his studies and for the instruction 
 of his pupils, who assembled in great numbers around him. Rubens dwelt 
 alternately in several of the countries of Europe. Italy, Spain, France, and 
 
 1 Amsterdam. 
 
GENIUS OF REMBRANDT. 
 
 9 
 
 England possessed him in turns for a considerable time ; whilst Rembrandt, 
 well known to his fellow-citizens and countrymen, but scarcely famous beyond 
 his own country, passed his life within the walls of his studio. 
 
 Three engravings by Rembrandt have led some to imagine that he must 
 have been in Venice. Some writers assert that he lived in England and in 
 Sweden. Both conjectures are entirely erroneous. From the year 1630 until 
 his death he always had his home in Amsterdam, and he seldom appears to 
 have left this town ; and even when he did, it was only for a short time,— 
 certainly never to travel abroad. I am ignorant whether Rembrandt was a 
 burgher of Amsterdam. It is very probable that, like Go vert Flinck and 
 Ferdinand Bol, and other of his pupils, he enjoyed the burghership. 
 
 " Rembrandt," says Houbraken, " must necessarily have amassed a large 
 sum of money, for he lived in a bourgeois style and gained much by his art ; 
 yet after his death his estate was not found to be worth very much." This 
 writer, who was very ill-informed upon all that concerns the life of Rembrandt, 
 and who has judged his talent with injustice and partiality, was evidently not 
 aware of a misfortune which befel our artist in 1656; otherwise he would 
 have learnt that Rembrandt's productions, sought after with ever-increasing 
 interest at a later date, were far from bringing him treasure in his lifetime. 
 In the year above-mentioned Rembrandt was declared insolvent, and his 
 property passed to the Desolate Boedelkamor (Court of Insolvents). His 
 house in Sint Antonie Breestraat, his furniture and his linen, his pictures and 
 his draAvings, 1 — in one word, all that he possessed,— were sold by a judicial 
 execution. It is true that this misfortune did not stifle his love for art, nor 
 lessen his ardour in work ; but it appears that, embittered by the losses he 
 had experienced, he retired into solitude, and from that time forth was so little 
 remarked in the world, that, for a long time, the place and the time of his death 
 remained in complete uncertainty. Some writers have presumed that Rem- 
 brandt, after his misfortune, established himself in some town in England ; 
 
 1 A very interesting Catalogue of the property which was sold is given in the Appendix. 
 
 C 
 
10 
 
 ON THE LIFE AND 
 
 others pretend that he died in Stockholm. Finally, Immerzeel thought to put 
 an end to the discussion by publishing a note of the register of burial in the 
 cemetery of Sint Antonie, according to which Rembrandt was interred there 
 on the 19th of July, 1664. 1 
 
 This statement, the authenticity of which has already been contested, on 
 account of the existence of a picture executed by Rembrandt in 1667, 2 I have 
 found, upon examination, to be incorrect. I have discovered that Eembrandt 
 died in 1669, at Amsterdam, on the Rozengracht. His mortal remains were 
 interred, on the 8th of October of the same year, in the West Church (Wester 
 Kerk) of this town. 
 
 But if the accounts which ancient authors have given of Rembrandt's life 
 are incomplete and inexact, we may certainly say the same of those which 
 relate to his character. 
 
 We are well acquainted with his outward appearance by means of the 
 number of portraits he has left us of himself, with his features full of vigour 
 and expression, and his eyes sparkling with intelligence and life ; but I think 
 we should form a very false idea of his inward qualities if we were to place 
 faith in the strange particulars that have been related concerning his mode of 
 living and acting. Rembrandt has been represented to us as a man of coarse 
 manners, who sought his amusements amongst the lowest classes of the people. 
 He was, it has been said, a man given up to cupidity and avarice, and yet 
 who, at the same time, absurd as this may seem, was not free from the opposite 
 
 1 Immerzeel. Lofrede op Rembrandt (Eulogium of Rembrandt), pp. 47 and 59. 
 
 2 According to Nagler, Kathgeber, and several other writers, there is a picture by him, signed 
 and dated 1669. It is the one numbered 271 in the Darmstadt Museum, "A woman cleaning the 
 head of her child, who is eating an apple ; a dog has opened the door with his front paw, and is going 
 out. Signed by name. On canvas."— Catalogue of the Darmstadt Museum, 1843. We see that this 
 catalogue, which mentions the signature, does not speak of the curious date. There is a date however, 
 but the last figures are almost illegible. There is no doubt that it is really 1649, and not 1669 ; 
 and the style of the painting quite confirms this date. 
 
GENIUS OF REMBRANDT. 
 
 11 
 
 vices of prodigality and dissipation. If there is anything which, in the course of 
 my researches, has awakened in me a feeling of satisfaction, and has augmented 
 my respect for our illustrious countryman, it is the discovery that these calum- 
 nious rumours are nothing but falsehoods and fables. I am happy to say 
 that, in spite of the scarceness of documents, there still exist proofs sufficient to 
 upset most completely all these accusations. 
 
 It is quite possible that Rembrandt was acquainted with simple bourgeois 
 people of a low class, and even that he sought their society, without there 
 being anything dishonourable to him in so doing. 1 We find the same pecu- 
 liarity in other great geniuses without its being made a reproach to them. 
 The celebrated Junius, when he composed his Nomenclator, or Vocabulary, in 
 eight languages, was not ashamed to hold conversations with workmen and 
 artisans, in order to learn the right names of the instruments and tools used in 
 their professions. And how much useful information might not our painter 
 have acquired from similar conversations, devoted as he was to an art whose 
 practice demands an almost universal knowledge. But that Rembrandt attached 
 himself solely and by preference to the most degraded class of society is what 
 I can emphatically contradict. Our excellent poet, Jeremias de Decker, who 
 is known to us, by his works, as an upright and religious man, called Rem- 
 brandt his friend, in a sonnet composed in honour of the painter ; and 
 Rembrandt, in his turn, gave him a true proof of sympathy by painting, 
 out of pure affection, the portrait of the poet. This caused Decker to again 
 
 1 M. Scheltema's anxiety to justify Eembrandt for having mixed with the lower orders of the 
 people is rather exaggerated ; and Gerard Le Nerval, who heard him deliver his Discourse to the Society 
 Arti et Amicitice, did not fail, in La Revue des Deux Mondes, to reproach the learned and honourable 
 archivist of Amsterdam with this excessive piece of prudery. Eembrandt was like all truly great 
 artists ; he frequented both the highest and the lowest society, he was acquainted with distinguished 
 men of all sorts in the great city of Amsterdam, with painters, poets, learned men, politicians, and 
 with all people of position of whatever kind : but he also sought for and found men amongst the 
 eccentric classes of the Jews' quarter, amongst the labouring or the adventurous population of 
 Amsterdam. It was thence that he took his original, strange, and sometimes savage types. Life, 
 mind, courage, beauty, picturesque forms, are they not to be found everywhere? — W. B. 
 
12 
 
 ON THE LIFE AND 
 
 take up his lyre and express, in some beautiful verses, his gratitude for the 
 distinction accorded him. Rembrandt also enjoyed the friendship and con- 
 fidence of the celebrated Professor Nikolaas Tulp, and of Tulps son-in- 
 law, Jan Six, of Vromade. Of his friendly relations with the last-named 
 person I have found a decisive proof. There fell into my hands, by chance, 
 an album which had belonged to Six, and which contains two pages of 
 sketches by Rembrandt. Now, if Jan Six, who was a lover of art, had only 
 been a patron, or played the part of a Maecenas towards Rembrandt, he would 
 certainly not have accorded him a place in his album. And it is of a man 
 like Rembrandt, who could boast of possessing the friendship and esteem 
 of a Decker, a Tulp, and a Six, that people have dared to say, that he sought 
 his pleasure in the society of low and vulgar people. Truly, this reproach 
 does not need a more ample refutation. 
 
 Another accusation brought against Rembrandt has a greater appearance 
 of truth. He has been accused of cupidity and avarice ; and this seems, at 
 first sight, to have some foundation : but, after impartial examination, it is 
 found to be utterly futile and baseless. For, how can we conclude that he 
 was avaricious from the fact that he once put out his hand to take up a piece 
 of money painted on the ground, or some other place, by one of his pupils ? 
 What man, however disinterested, might not have been the dupe of such an 
 artifice? And what shall we say of the odious charge made against 
 him, of having sent his son to sell his prints below their value, under the 
 pretext that they had been stolen ? Or of this other story, —That he caused 
 his wife to spread a report of his death, in order that his works might fetch a 
 higher price ? What father, in his right senses, would give such an order to 
 his son ? What honest husband would exact such a thing from his wife ? It 
 is equally incredible that Rembrandt, so easily recognized by his physiognomy 
 and his peculiar costume, should have attended the public auctions, hoping not 
 to be known, in order to run up the price of his own works. 
 
 Even his custom of working up the different editions of the same plate 
 
GENIUS OF REMB RANDT. 
 
 13 
 
 has been attributed to a vile avaricious sentiment, although he evidently had 
 but one aim, that of improving and perfecting his proofs. Thus does calumny 
 turn everything to account in order to attain her shameful purposes, trans- 
 forming good into ill, and representing as blameable that which is worthy 
 of praise. 
 
 But enough, perhaps too much, concerning these frivolous anecdotes. 
 Do we, on the other hand, desire a proof of Rembrandt's discretion and dis- 
 interestedness ? I will quote from three letters written by him to the celebrated 
 Constantijn Hiugens. The Prince Frederik Hendrik had ordered two 
 paintings of Rembrandt for his collection, representing The Entombment 
 and The Resurrection. When sending these two pictures to Hiugens, the 
 Prince's secretary, Rembrandt wrote, telling him the price at which he 
 estimated them, but he added, " If the Prince thinks this price too high, he is 
 at liberty to give me less, for I refer the matter to his judgment and discretion, 
 and I shall gratefully content myself with the sum he offers." In a second 
 letter in which Rembrandt modestly requests the sum which is due to him for 
 the pictures ordered by the Prince, the price of which had been fixed, not at 
 2000 florins, as Rembrandt had hoped, but only at 1200 florins, the artist 
 does not show the least irritation at this, nor manifest any discontent at the 
 delay in payment. In a third letter Rembrandt politely offers Hiugens a 
 picture of his own painting, as a mark of his cordial sympathy, — behaviour 
 which does not accord with the nature of an avaricious man. 
 
 This accusation of avarice is still more completely refuted by the sad loss 
 of fortune he afterwards experienced. It appears strange, certainly, that he 
 should have got into such difficulties, inhabiting, as he did, his own house, and 
 enjoying the use of the property left by his wife, besides the considerable 
 income he obtained from his paintings, etchings, and lessons. Sandrart 
 estimates that Rembrandt made more than 2500 florins a-year by pupils, 
 Besides this, he executed numerous works. In the principal galleries of 
 Europe we can now reckon about a hundred and fifty of Rembrandt's pictures, 
 
14 
 
 ON THE LIFE AND 
 
 without counting those that are to be met with in private collections. No 
 collection of drawings can pretend to be even tolerably complete if it does not 
 contain some production of his pencil. If we consider, moreover, that the 
 number of his etchings amounts to three hundred and seventy-six, the 
 different states of which are almost innumerable, we shall feel amazed at the 
 power of production in a genius who could produce, in the lifetime of a man, 
 so many original and finished works. 
 
 The contradiction, which results from the decrease of Rembrandt's 
 fortune and his unexampled assiduity in work, has brought upon him the 
 suspicion of prodigality and dissipation. Nevertheless, we know that he 
 lived in a very simple manner, and that often, whilst at work, his repast 
 consisted only of a bit of bread and cheese, or a red herring. He spent very 
 little either at home or abroad, and was rarely seen in any place of public 
 amusement. To explain this enigma, even the conjecture of a recent writer 1 
 has gained some credit, who pretends that Rembrandt abandoned his fortune 
 to Manasseh ben Israel and Ephraim Bonus to make experiments in alchemy. 
 I think I may reject this conjecture as absurd, seeing that it does not rest on 
 the slightest proof. 
 
 Rembrandt certainly knew these two men, one of whom acquired a 
 reputation in theology and the other in medicine ; but there is nothing to 
 prove that these two worthy Israelites ever practised the senseless art of alchemy, 
 or that Rembrandt ever assisted them in such a pursuit. 
 
 Rembrandt's ruin, it seems to me, may be explained in a very natural 
 and probable manner. After the first half of the seventeenth century, the 
 treasury of the State, exhausted by war, was in a pitiable condition ; and 
 commerce, the nerve of the country, had also suffered great losses during the 
 war. These were felt above all in Amsterdam, where, in 1653, there were, 
 according to some writers, fifteen hundred, and, according to others, nearly 
 
 1 Smith. Catalogue raisonne of the Works of the most Eminent Painters, Sfc. Vol. VII. p. xxvii. 
 
GENIUS OF REMBRANDT. 
 
 15 
 
 three thousand empty houses. Two years later, Holland, on account of her 
 great expenses and continual losses, was obliged to reduce the interest of her 
 debt from five to four per cent. The effect of this reduction was long felt. 
 Doubtless this state of things must have exercised a grievous reaction on the 
 arts, causing works of art to be much lowered in value. Assuredly no one 
 thought of ordering new pictures, for they are not amongst the necessaries 
 of life. Add to this, that Rembrandt, by reason of the second marriage which 
 he probably contracted about this period, was forced, according to Saskia 
 Uilenburg s will, to give up to his son the whole of the maternal inheritance, 
 whilst his own property, valued some years before at more than forty thousand 
 florins, only produced, when it came to be sold, a little more than a quarter of 
 that sum, on account of the badness of the times. According to the inventory 
 of it, which still exists, 1 he had collected a large number of paintings, engravings, 
 and drawings by the principal masters, as well as armour, antiquities, and 
 rarities, the purchase of which had assuredly cost him dear. When all this 
 had again to be sold, in order to fulfil the clauses of the will, the sale produced 
 much less than the value of these objects, and decidedly very much less than 
 they had cost. If Rembrandt had had the good fortune of Rubens, who also 
 sold his collection during his lifetime, he would have passed the remainder of 
 his days in affluence. 
 
 The misfortune which fell upon Rembrandt did not, however, take away 
 his courage, nor prevent him from setting to work again and continuing with 
 zeal his interrupted labours. Several of his admirable productions prove 
 this. 2 Such is the salutary power of art, which, like science, is an honour 
 in prosperity, and a refuge and consolation in misfortune. This consolation, 
 assuredly, was not wanting to Rembrandt when he saw himself unrecognized^ 
 owing to the jealousy of his rivals and brothers in art, who, unable to 
 
 1 A translation is given in the Appendix. 
 
 2 Tosi, in his Catalogue of Rembrandt's Works (in Dutch), p. 11 of the Preface, points out the 
 etchings which he made in the year of his disaster. 
 
16 
 
 ON THE LIFE AND 
 
 equal him in talent, had recourse to malevolence to lessen his reputation 
 and tarnish his name in various ways; at least the calumnious accusations 
 made against him appear to me to have had no other foundation. I have, I 
 think, clearly demonstrated that they are false, and in no wise to have been 
 deserved. 
 
 Virtue is the loveliest crown of true merit, and there is no just reason 
 for refusing the possession of this high distinction to Eembrandt. We will not 
 deprive him of this bright palm, but we will reinstate him in the possession of 
 his honour, of which he has been so audaciously robbed by envy and jealousy ; 
 nor will we hesitate to add to our admiration of his talent, our esteem 
 and respect for the man. 
 
 But it is less the good qualities of the man, whatever estimate we form of 
 these, than the admirable merits of the painter, which we are here called upon 
 to consider. I proposed to myself to draw your attention particularly to this 
 point, for the following reason. It has often been asked, to which of his mas- 
 ters in painting or drawing did Rembrandt owe his rapid progress and happy 
 development ? I willingly admit that their teaching had a salutary influence on 
 his first formation ; but the reason that Rembrandt attained to such a high 
 degree of eminence in the artistic world was only owing, it is my conviction, 
 to himself, and himself alone. Genius is not formed according to determined 
 principles, nor constrained by outward rules. It trusts its own strength, and, 
 choosing its own road, marches courageously forward, free, and master of all its 
 movements. Rembrandt had not received a learned education, he had had no 
 celebrated masters to smooth the road towards the temple of art, and artistic 
 Italy had never opened for him her treasures of painting and sculpture. He 
 knew little of books or theoretical works on art ; but he had read in the great 
 Book of Nature, and had seized its true sense. In this book it was that he 
 studied the eternal and unchangeable laws of life, and of the action of light 
 and shade ; and by means of an attentive observation, and an exact conception 
 of all which surrounded him, he applied these laws in a most masterly 
 
GENIUS OF REMBRANDT. 
 
 17 
 
 manner; his piercing eye penetrated the inmost secrets of Nature, and no 
 painter ever seized her true meaning more closely, or divined it more happily 
 in giving to the productions of art the appearance of reality. 
 
 He was, then, indebted to himself, more than to any other artist, for what 
 he achieved, and his panegyrist proclaimed the truth when he said that 
 " Rembrandt could only have been produced by Rembrandt." 1 
 
 We know that Rembrandt had two different manners. The more detailed 
 manner, resembling somewhat that which Frans Van Mieris followed, seems 
 to belong to the first portion of his life. Afterwards, until his latter years, he 
 adopted the broader and bolder touch by which several of his portraits are 
 distinguished. We may note two examples of his first manner in the Royal 
 Museum at the Hague, and two of his second manner in the museum at 
 Amsterdam. 2 
 
 At the museum at the Hague is the wonderful painting representing 
 Simeon in the Temple, at the moment when, having taken the infant Jesus in 
 his arms, he gives utterance to the famous canticle. By the side of Simeon we 
 see, besides other persons, Mary and Joseph, the latter of whom holds in his 
 hand the two doves destined for the offering. In the background a crowd of 
 Jews are assembled around the High Priest. Whilst regarding this picture, we 
 feel transported in imagination to the temple at Jerusalem, we take part in the 
 ceremony, and involuntarily join in the song of Simeon. This exquisite 
 painting is dated 1631. It is light in tone, noble in its rendering, and delicate 
 in its execution. 3 
 
 In the same style, but on a larger scale, is The Lesson in Anatomy, in which 
 
 1 Immerzeel : Eulogium of Rembrandt. 
 
 2 " Kembrandt may be admired in all the galleries of Europe," says Arsene Houssaye, " but 
 we must go to the Hague and Amsterdam to salute bis genius. The Lesson in Anatomy and The 
 Night- Watch are the most striking and most eloquent expression of his two manners." 
 
 3 The Simeon and all the other pictures here spoken of above are minutely described in the 
 Mtjsees de la Hollande, Amsterdam and La Haye. By W. B. 
 
 D 
 
18 
 
 ON THE LIFE AND 
 
 the figures are the size of life, and represented to the knees. This picture, 
 painted a year after the Simeon, represents the celebrated Professor Nikolas 
 Tulp giving a lesson in anatomy to seven pupils on a corpse extended before 
 him. The general execution is very careful, and the subject is rendered with 
 the strictest truth. The first look we cast on the corpse causes us a shuddering 
 sensation of disgust ; but when we afterwards examine the learned Tulp, whose 
 eyes sparkle with life, and whose lips seem to move ; and his auditors, who, 
 recognizing the importance of his explanations, are listening with profound 
 attention to the professor's words ; we find words fail us in which properly to 
 extol the genius of a painter who has shown us so truly, life side by side with 
 death. 
 
 Of the two pictures in Rembrandt's broad manner exhibited here at 
 Amsterdam in the National Museum, the one dated 1642 has a special renown. 
 This composition is celebrated all over the world by the name of The Night- 
 Watch (de Nacht-Wacht). 1 We see in it a company of citizens, who with 
 their captain, the Chevalier Frans Banning Kok, of Pommerland and 
 Ilpendam, and their Lieutenant, Willem van Ruytenburg, of Vlaardingen, 
 are setting forth on some shooting expedition. One of the armed bourgeois 
 is loading his arquebuse, another wears a crown of oak-leaves on his 
 helmet, and, in the first sketch, a boy runs up to him with a powder-flask. 
 Amongst the moving multitude we see a young girl, in festal array, who carries 
 a white cock attached to her belt, probably designed for the victor. This 
 incomparable work has already gained universal admiration on account of the 
 excellence of its arrangement and the extraordinary force of its execution, by 
 means of which the painter, by apparently slight effort, has produced the most 
 striking effect. A competent judge 2 has most justly said, "Rembrandt's 
 Night- Watch, without exaggeration, is, as a production of art, one of the 
 marvels of the world, and the Museum of Amsterdam may well be proud of it." 
 
 1 A small copy of this painting is in the National Gallery, No. 289. — Ed. 
 
 2 Nieuwenhuys : A Review of the Lives and Works of the most Eminent Painters. 
 
GENIUS OF REMBRANDT. 
 
 19 
 
 Although less rich in composition, the second picture preserved at the 
 Amsterdam Museum does not fall short of the first in its power and truth. 
 This work, painted in the year 1661, represents a meeting of Syndics, 
 (Staalmeesters). Four of these gentlemen are seated round a table covered 
 with a red cloth, on which lies an open book : the fifth has risen ; behind them 
 stands a sixth person, probably a servant, with his head uncovered. They appear 
 to be deliberating on the affairs of their administration, and are all looking up 
 attentively, as if some one had unexpectedly appeared to them. As to the 
 distinctive character of this painting, it is the same as with all Eembrandt's. 
 We feel more than we can describe. Enter a rich collection of pictures, where 
 amongst many chefs-d'oeuvre, there is some one production of Rembrandt's 
 brush, and involuntarily, your look will be attracted towards it, without your 
 being able to give any account to yourself of your impression. 
 
 Rembrandt left several celebrated pupils. Gerard Douw, Ferdinand Bol, 
 Govert Flinck, and Gerbrand Van der Eeckhout, have obtained an undoubtedly 
 high position as painters. But although formed in his school and penetrated 
 by his ideas and principles, they have not entirely seized and rendered one 
 peculiar originality of their master, — an originality the cause of which must be 
 sought, not in the secret of his manner of working, as is ordinarily asserted, 
 but in the secret of his Genius. 
 
 In the opinion of able connoisseurs, Rembrandt's merit consists above 
 all in striking effects, vigorous colour, and masterly execution. As I said 
 just now, he studied Nature most attentively, and carefully observed the 
 action of light on colour. This study led him to make a special theory of light 
 and colours, which, applied with judgment, enabled him to reproduce in his 
 works those fantastic effects which many have imitated, but none have 
 ever equalled. 
 
 His figures do not seem laid on the canvas ; they come out from it and 
 advance towards us in a living form. Rembrandt knew better than any other 
 painter the art of placing objects in the fullest daylight, and, without exaggera- 
 
20 
 
 ON THE LIFE AND 
 
 tion, making their colours speak. He knew how to seize the moment when 
 Nature is most picturesque, and with a light hand reproduced her fresh tints on 
 his canvas. His colour is so beautiful, that, in this respect, he equals, if he does 
 not surpass, the great Titian, who has often been called the father of colour. 
 To this he joined a happy harmony of tone and arrangement. The disposition 
 of his subjects is generally rich and always well considered. He troubled him- 
 self very little about costume, so that in his pictures we often find the costumes 
 of the east and west mixed up together, or allied in the most whimsical manner ; 
 but certainly he did not act thus without meaning it to tell well on the 
 whole. 
 
 The same excuse may be alleged if he sometimes departed from the 
 ordinary rules of drawing in order to follow at his own will and caprice the 
 inspiration which moved him. It is owing to his fidelity to Nature that we 
 sometimes meet with it in him under its less noble forms. He did not strive 
 after the ideal in his pictures, as is the tendency of the Italian school, and 
 he has proved that, even without the admixture of the ideal, painting may fulfil 
 its high mission, simply by the expression of reality. In short, his conception 
 and execution are alike superior, and rarely, in any of his works, however 
 small, or of however little importance, do we not find originality of idea with 
 perfection in execution. 
 
 I should be doing wrong to Rembrandt's genius if I passed by in 
 silence his celebrated etchings ; for he shone no less as an etcher than as a 
 painter. The same original theory of light and colour which he followed in 
 his painting, he applied also to his engraving. He painted, so to speak, on the 
 copper, and gave to his works in aquafortis, as well as to his paintings, the 
 vigour and distinctness to which they owe their brilliancy and softness of tone. 
 He seems sometimes to have played with his point, yet nevertheless he never 
 traced an unintentional line, or made a useless stroke. All his works bear 
 the marks of just conception and profound reflection. The limits of my 
 plan do not permit me to give many examples of his talent as an etcher, 
 
GENIUS OF REMBRANDT. 
 
 21 
 
 but I cannot help citing two. I intentionally choose two subjects taken 
 from Holy Writ. There it was that he expressed himself most forcibly— 
 in order to demonstrate the talent he possessed of rendering apparent in 
 the most striking manner the most opposite impressions and situations. 
 
 The first of these etchings represents Christ healing the Sick. The 
 Saviour stands in a very dignified attitude, in the middle of a crowd of sick 
 people, who have run to him to implore his miraculous assistance for their 
 cure. His left arm rests on a stone, 1 whilst in speaking to the people he 
 stretches forth his right hand. The sick are depicted in the most touching 
 manner, their faces and their bodies are fleshless, and their eyes are 
 weary. Yet, nevertheless, we read in them, and their attitudes also show, 
 that their trust is in Him from whom alone they hope for cure and salva- 
 tion. On the right side are seen several Jews, attracted there, probably, 
 by curiosity and the hope of being present at a miracle. 
 
 The other etching is not less noble in conception. It represents the 
 Death of Mary. The Virgin mother is lying on a bed dying. The faithful 
 Joseph, standing by, has his arm around her, and is endeavouring to 
 reanimate the vital powers which are on the point of being extinguished. 
 Near him a doctor holds Mary's hand, and attentively calculates the beating 
 of her pulse. On the other side of the bed is seated a priest, with an open 
 book before him : he has ceased reading, and, as well as the high priest placed 
 in front of him, is looking at Mary with interest. Farther back are several 
 women weeping or praying. And, whilst all are surrounding the bed with 
 expressions of deep grief, waiting for the last sigh of the dying one— above, 
 the heavens are opened, and a choir of cherubin descend towards the mother 
 of our Lord, to bear her away to the region of eternity. * 
 
 1 This was the first intention, of which traces are still seen in the first states of the etching. 
 But in one of those alterations so common with Keinbrandt, he straightened the left arm and raised 
 the hand as if with a gesture of preaching. The figure of Christ, so majestically simple, has gained 
 movement by this. W. B. 
 
22 
 
 ON THE LIFE AND 
 
 But when should we finish if we desired to point out all the beauties of 
 Rembrandt's works ? How should I be able to follow this prodigious genius 
 in his bold course — in his elevated flights ? I recognize his merit as being 
 far above my praise. Do you desire a better panegyrist ? the discourse of the 
 learned Immerzeel will furnish you with it ; but the best eulogium on the talent 
 of the incomparable Rembrandt you will find in his own works. Go and 
 stand before one of his masterly paintings, and if you have any feeling for the 
 truly beautiful, if one spark of pure taste warms and animates your heart, you 
 will acknowledge that he who has executed such great things merits the 
 admiration not only of his own countrymen but the whole world, and that 
 he is worthy of the homage of a grateful posterity. 
 
 Ten years ago, when a monument was raised to Hadrianus Junius, in the 
 church of the capital of Zealand, I had the honour of receiving from the 
 Academy of Sciences at Middleburg, an invitation to deliver a discourse 
 on the day of the inauguration of the Cenotaph, on the 20th April, 1842. 
 I responded to this request by reading a short address, in which I viewed 
 the distinction accorded to the celebrated Junius — who, with Erasmus, was 
 the most learned Netherlander of his time, and who has been called by some 
 the light of Holland, and by others the ornament of his age — as being not 
 only a testimony of respect for his literary merit in particular, but as being at 
 the same time a recognition of that of our ancestors in general. If on that 
 occasion I was happy to be able to render homage to Science, it is quite as 
 flattering to me to-day to have a like task confided to me with respect to Art, 
 represented by the great Rembrandt. Where is the man who, loving his 
 country, does not attach the highest importance to the study of Science as the 
 first and necessary condition of all civilization ? or, who does not strive, as 
 much as lies in his power, to favour the interests of Art, whose powerful 
 influence embellishes and ennobles the life of the people ? Perhaps our fathers 
 have shone in none of the arts more than in painting, and assuredly no 
 
GENIUS OF REMBRANDT. 
 
 23 
 
 one in our country has surpassed that prince among artists, the immortal 
 Rembrandt. 
 
 Rembrandt may then legitimately aspire to the honour so justly intended 
 for him : and rightly has a meeting of the true patrons of art decided that 
 Holland, which has enjoyed for two centuries the lustre of Rembrandt's glory, 
 and which proudly places his name side by side with those of Rubens and 
 of Raphael, owes him a mark of her highest recognition and a durable proof 
 of her gratitude 
 
 From more recent investigations in the archives of Amsterdam, Dr. 
 Scheltema has discovered the following documentary evidence regarding 
 Rembrandt : — 
 
 In the Register of Baptisms in the Old Church ( Oude Kerk). " On 
 Friday evening, 30th October, 1654, Cornelia, the daughter of Rembrandt 
 van Reyn and Hendricktie Stoffels, was presented for baptism ; Witness, 
 Anne Jans." 
 
 In the Register of Deaths (Doodboek) of the West Church (Wester 
 Kerk), beneath the entry of the death of Rembrandt, " Tuesday, 8th October, 
 1669, Rembrandt van Ryn, painter, of the Roosegraft, opposite the Doolhof, 
 leaving two children," we read " 21st December, 1674, Catherina van 
 Wyck, the widow, has declared that she has no means of proving that her 
 
24 
 
 LIFE OF REMBRANDT. 
 
 children had anything to inherit from their father: of the truth of which 
 Catherina Thennis BlanckerhofF, the aunt, is witness. Present, M. Hinlopen." 
 
 It appears, then, that Rembrandt must have had three wives : Saskia 
 Uilenburg, from 1634 to 1642, by whom he had four children ; Rombertus, 
 baptized on the 15th of December, 1635, when Jan Cornelius Silvius and his 
 wife, who was a cousin of Saskia, were witnesses ; Cornelia, baptized on the 
 22nd of July, 1638, in the presence of " Dominicus Johannes Silvius;" 
 (this child died in the following month ;) Cornelia, baptized on the 29th of 
 July, 1640, in the presence of Commissioner Francoys Copal and Titia van 
 Uylenburg ; Titus, baptized on the 22nd of September, 1641, in the presence 
 of Secretary Gerard van Loo, Commissioner Copal, and Aeltgen Pieters the 
 widow of Johannes Silvius. The three first were baptized in the Oude Kerk, 
 and all died young. 
 
 Titus was baptized in the Zuider Kerk (South Church) and lived to 
 the age of 27. He married, in February, 1668, his cousin by his mother's 
 side, Magdalena van Loo ; but he died in September of the same year, just 
 thirteen months before his illustrious father. In March, 1669, the widow 
 of Titus gave birth to a child, who was christened Titia. The mother died 
 thirteen days after her father-in-law, Rembrandt ; so that the poor child, who 
 never knew a father, lost her mother and her grandfather before she was 
 eight months old. This Titia van Rhyn married a young jeweller named 
 Van Bijler, who lived in Amsterdam, where she died in November, 1725. 
 
 By his second wife, Hendrikje, Rembrandt had one child christened, in 
 1654, Cornelia. And by his third wife, Catharina, he had in his last years, 
 at least the two children whom he left " without inheritance " at his death. 
 
ON THE ETCHINGS OF REMBRANDT. 
 
 tit Mi*.- T~*"W<- ., >-w-\ • ._»• •» 
 
ON THE ETCHINGS OF REMBRANDT. 
 
 fer^^ttill^ F the inestimable value of Rembrandt's Etchings, as works 
 of art, we need no greater proof than that afforded by 
 the great number of criticisms which have been at various 
 times published concerning them. Essays have been 
 written on them in Holland and Germany, France and 
 England, and always with the same amount of admiration and praise. 
 Collectors of Rembrandt's Etchings, from the time of the Burgomaster 
 Six to our own days, have found the greatest delight in gathering together 
 these celebrated productions, and no amateur has been contented until he has 
 added some examples of Rembrandt's works to his portfolio. 
 
 After so much has been said concerning the art-merits of these works 
 it is needless to enter into fresh discussions ; but as the books in which many 
 of these criticisms appeared are now very scarce, the republication of a few 
 of the best notices will be a matter of interest to those who have not access to 
 the originals. 
 
 We will first quote from Adam Bartsch, an engraver by profession, and 
 Keeper of the Print Room in the Museum in Vienna, who, in the year 1797, 
 wrote thus : — 
 
 " However great may be the reputation that Rembrandt has acquired 
 by his paintings, he is no less celebrated for his Etchings, which have 
 at all times excited the admiration of connoisseurs. Three hundred and 
 seventy-six different pieces of his are known, of which one hundred and 
 
28 
 
 ON THE ETCHINGS 
 
 seventy-three bear the date of the year in which they were done, the others 
 being without date. The oldest are of the year 1628, and the latest of 1661. 
 According to these dates Rembrandt did not commence engraving until 
 he was twenty-two years of age, and only gave up the graver thirteen 
 years before his death. 1 It is true, that amongst his undated prints there may 
 be some that were done before the first, or after the last of these epochs ; but 
 they are all so equal in merit, and of such great perfection, that it is difficult 
 to point out one which bears the marks of the inexperience of youth or the 
 feebleness of old age. 
 
 With the exception of the colouring, all that we have said of the 
 beauties and imperfections of Rembrandt's paintings applies equally well to 
 his engravings. They are in the same manner admirable and defective ; but 
 their beauties strike us so forcibly that we scarcely heed their defects. A 
 vagabond liberty, a picturesque disorder, an easy touch, the rarest perception 
 of chiar oscuro, and the talent of expressing the character of the different 
 ages and subjects which he was treating, by touches thrown in as it were by 
 chance ; such are some of the elements, and there are many more which 
 constitute the merit of Rembrandt as an engraver, which give such an 
 inexpressible charm to his prints. 
 
 Rembrandt would never etch in any person's presence ; so that most 
 of his processes have long been regarded as impenetrable secrets. Several 
 artists have tried to imitate them, and have succeeded in some, but have never 
 found out the whole. It is certain that Rembrandt's prints, considered only 
 in regard to their engraving, independently of their design and chiar 7 oscuro, 
 have a character which is quite peculiar to him. The execution of his copper- 
 plates is sometimes rough and sometimes finished, but the lines always cross 
 each other in such different directions that it is impossible to follow them, as 
 we can in most of the prints of other engravers. Nevertheless we cannot be 
 
 1 Since Bartsch's time it has been ascertained that Bembrandt was born in July, 1606, and died 
 in October, 1669.— Ed. 
 
OF REMBRANDT. 
 
 29 
 
 of Houbraken s opinion, who says that there is now no means of finding out 
 the artifices employed by Rembrandt in his engraving; that they are buried 
 with their inventor in the same way as the art of painting on glass, as it was 
 exercised by Dirk and Wonter Crabet 1 has been lost with them. We, how- 
 ever, are persuaded, on the contrary, that the only real secret of Rembrandt's 
 engraving lay in his genius, and that his processes may nearly all be explained. 
 This is the result of the researches that we have made on this subject. 2 
 
 Except in portraits, Rembrandt scarcely ever chalked the outlines of 
 his designs. He drew them at once on the plate with the same freedom 
 and disorder as one meets with in his rough pen-and-ink sketches. 
 
 This manner of projecting his subjects on to the plate is shown in several 
 of his prints; The Drawer of the Model is the most striking example of 
 it. This was not certainly the way to produce a correct design, but it was 
 a sure means of preserving all the fire of the first conception. He very often 
 touched up his plates with aquafortis. The first operation was only of use in 
 bringing out the most delicate work. He then varnished the plate a second 
 time, increasing the force of the work by adding new hatchings and again 
 employing aquafortis. 
 
 By this process he obtained tender tones in the light parts, delicacy in 
 fine details, and strength in the shadows, without getting the lines confused. 
 In order to have proof of these sort of touchings up with aquafortis the 
 portrait of Rembrandt (No. 7) may be consulted amongst others. The folds 
 of the frill round the neck, which are scarcely visible in the first proof, 
 are well expressed in the second, where they have been strengthened by 
 a second operation of aquafortis. In examining The Good Samaritan one 
 sees that the principal shadows of the dog have been fortified by the same 
 means. This piece shows likewise that Rembrandt, in order to obtain variety 
 
 1 Groote Schouburgli, etc. Part I. p. 271. 
 
 2 John Burnet, in "Rembrandt and his Works," (p. 33), has described Rembrandt's process of 
 etching. 
 
30 
 
 ON THE ETCHINGS 
 
 in his tones, not only employed points of different degrees of sharpness, but 
 that also during the operation of the aquafortis he successively covered his 
 plates with an unctuous substance, in order to produce different degrees of 
 depth in his work. 
 
 Rembrandt was very skilful in the use of the dry-point. There are 
 but few of his engravings in which one does not remark its more or less 
 constant employment. The Annunciation to the Shepherds, the portrait 
 of Abraham Frans, that of Young Haaring, and many other pieces, 
 have been entirely worked up with this tool, which has produced the most 
 beautiful effect. He often sketched out his engravings with aquafortis in a 
 light manner and with simple and broad work. He afterwards covered them 
 abundantly with cross hatchings with the dry-point and the burin, giving them 
 by this means a very finished air, full of effect and warmth. 
 
 The portrait of Dr. Faustus, which Rembrandt has not entirely 
 finished, is a proof of this process. The table, the books upon it, the globe, 
 and even the head of Faustus, were in aquafortis, and simply sketched ; 
 all these objects being intended to be worked up with more effect in the same 
 way as the background, which is the only part quite finished. In the 
 Christ Healing the Sick there is scarcely anything except the contours of 
 the figures etched in aquafortis, all the chiaf oscuro, which is so much 
 admired, is for the most part the work of the fine and close hatchings of the 
 dry-point. In this magnificent piece in particular Rembrandt has exhibited 
 the art of employing this implement for glazing and for producing all sorts 
 of tints. 
 
 The portrait of Van Coppenol offers a similar example. In the first 
 proof of this print the right arm and the hand are only lightly sketched in 
 aquafortis ; the second proof shows these same parts well worked up with the 
 dry-point and the whole of the dark background added with this tool alone. 
 One can really hardly conceive how Rembrandt was able to produce such 
 dark brown tones by the simple use of the dry-point, or how it was possible to 
 
OF REMBRANDT. 
 
 31 
 
 extend these tones in such large masses ; however, it is very certain that he did 
 so, and any one may convince himself of the fact by attentively observing the 
 prints we have mentioned. But that which chiefly proves the amount of skill 
 and firmness which Rembrandt brought to the use of the dry-point, is a 
 Landscape (No.222), which he executed entirely by its means, without employ- 
 ing aquafortis at all. Even his name and the year 1652 are engraved in this 
 way, notwithstanding the obstacle presented in the forms of the letters. In 
 examining this landscape, one is astonished at the facility which distinguished 
 it, and which seems so opposed to the use of a tool which is so greatly hindered 
 by the resistance of the metal. It is to be thought that Rembrandt made use 
 of an extremely sharp dry-point, and that he leant on the copper with the 
 greatest force. The first proof of the Ecce Homo presents lines drawn the 
 whole length of the plate and accompanied by strong burrs. 1 The latter 
 prove the depth of the lines and the force which Rembrandt used in cutting 
 the copper. 
 
 The burin was another implement which Rembrandt used with the 
 same success as the dry-point, although less frequently. He generally 
 employed it when he wished to mark his shadows with light touches, or when 
 he desired to produce an intensity which could not be obtained by means of 
 aquafortis and the dry-point. The Ecce Homo and The Descent from the 
 Cross have both been greatly touched up with the burin. 
 
 On these occasions he made use of the burin as a painter, that is to 
 say, he intermixed its work with that of the aquafortis, with such wonderful 
 skill, that it is scarcely possible to distinguish the one from the other. So 
 various were his processes that several pieces exist which have been entirely 
 engraved with the burin. The Model Drawer is amongst this number. All the 
 shadows are executed with the burin in fine cuttings, closely crossed and 
 lying one over the other. In order to make them as black as possible, 
 and, to give unity to the whole, Rembrandt worked it up with the dry-point, 
 
 1 The burr is caused by the rough edge of the copper standing up where the tool has cut the metal. 
 
32 
 
 ON THE ETCHINGS 
 
 crossed and recrossed the hatchings in every possible way, until he obtained 
 the desired tones. 
 
 The Gold Weigher appears to be engraved in this manner, and the 
 portrait of the Burgomaster Six bears but few traces of aquafortis ; nearly 
 all the shadows in it are done with the burin, and afterwards passed 
 over and glazed with the dry-point. Rembrandt, whose great practice 
 in the working of aquafortis made him so perfectly well acquainted with its 
 effects, was not ignorant that it was not possible, by its use alone, to produce 
 narrow hatchings composed of strokes both fine and deep at the same time. 
 He therefore renounced aquafortis whenever he wished to produce a fine 
 velvety and vigorous appearance, persuaded that the burin alone could give 
 this. That is why the most vigorous proof of the copy done in aquafortis by 
 Basan of the Burgomaster Six appears crude, cold, and grey in comparison 
 with the original print, even when the latter has not the highest degree of 
 brilliancy, as is the case with the impression which is now in the Imperial 
 Library of Vienna. 
 
 Aiming at painting rather than engraving his plates, Rembrandt followed 
 none of the ordinary rules of engravers, but employed, as we have shown, any 
 manner and any process which his genius told him would produce the desired 
 effect. He put such complicated work into some of his etchings, that it could 
 hardly be developed. It is with great difficulty, for instance, that one can 
 explain in what mode he has engraved The Flight into Egypt. It is certain 
 that the grey tone in the first proof of this piece, which is spread over the group 
 and the rising ground on which the group is placed, is only the effect of the 
 pumice-stone with which these places have been rubbed ; but it is not so easy 
 to give an account of the process employed on the landscape which occupies 
 the left side of this print. There are scarcely any lines to be discovered in it, 
 and the few one finds appear as if they were traced over it afterwards. All 
 the foliage consists of an assemblage of points more or less close together and 
 very different in form and colour, according as the aquafortis has operated 
 
OF REMBRANDT. 
 
 33 
 
 with greater or less strength. If, whilst varnishing a plate preparatory to 
 etching it in aquafortis, the scraper be leant on rather heavily, it results, on 
 raising it, that the varnish is found pierced with an infinite number of little 
 holes, especially if it has already begun to cool. The varnish in this state 
 exactly resembles the dotting of the foliage in the print we have mentioned, 
 and we are tempted to believe that Rembrandt has made effective use of this 
 manoeuvre, and that the large masses of foliage already perhaps expressed in 
 a great measure by the chance movement of the scraper have been perfected 
 in a second operation by preserving the lights from the effects of the aquafortis 
 by means of a brush dipped into a liquid varnish. But this view we only 
 advance as a conjecture, leaving its probability to be judged of by those of our 
 readers who are acquainted with the art of engraving. We shall be content 
 if we have thrown any light on the other artifices and manoeuvres employed by 
 Rembrandt in engraving his plates, and with having by this means rendered 
 some useful assistance to those who are striving to imitate the charming style 
 of this incomparable artist. 
 
 There also exists a wood-engraving by Rembrandt, representing the bust 
 of a philosopher. If there were several pieces executed in this style of engraving 
 amongst Rembrandt's works, the question might be mooted as to whether 
 Rembrandt engraved them himself, or whether he merely furnished the 
 design. For it is not likely that this fiery artist, who flew, so to speak, from 
 one plate to another, without having the patience to finish them, should ever 
 have had a taste for a kind of engraving so contrary to his ardent genius, and 
 which, by the slow mechanism that it requires, seems to belong rather to a 
 cold artisan. But this piece being very small, and the only one there is by 
 him, it may be believed that for a whim he executed it himself. 
 
 Rembrandt frequently took a few proofs on Chinese paper of his plates. 
 These are much sought after, and always preferred to those on ordinary 
 paper, not only because the yellow colour of this paper gives them a more 
 harmonious appearance, but also because they were the first taken. 
 
 F 
 
34 
 
 ON THE ETCHINGS 
 
 There are also some proofs on parchment ; but although these are first 
 proofs they are not sought after so eagerly, for they are generally badly 
 printed, and the parchment, being liable to shrivel up, nearly always leaves 
 striking unevennesses, which it is never possible to smooth out." 
 
 John Smith, in his well-known Catalogue Raisonne of the works of the 
 Dutch Painters, says : " There is a department of art which Rembrandt 
 carried to such perfection that, as it admits of no comparison with any other, 
 he stands alone in it, unequalled and unrivalled ;— namely, his wonderful pro- 
 ductions in eau forte. His taste for etching appears to have been almost 
 coeval with the use of the palette, and his fondness for it as an amusement, 
 must have occupied a large portion of his leisure hours. Not a year passed 
 after his commencement as a painter, without one or more beautiful productions 
 emanating from his burin, until he had sent forth to the world about three 
 hundred and sixty-five prints. In this pursuit he appears to be singularly 
 careful to throw off a few impressions in the various states of his plate, and in 
 numerous instances, after making the most trifling alterations ; this propensity 
 he carried so far, that, in a few instances, he has touched on finished works, so 
 as to destroy in some measure the beauty they previously possessed. These 
 trials and alterations in his plates could not always have been done for the 
 purpose of essaying their state, he must have had some ulterior object in view, 
 and this could have been nothing else than to promote an increased sale of 
 impressions in the various states of his plates. Whatever benefit he may have 
 derived from this innocent artifice, he could little have foreseen the conse- 
 quences of thus multiplying his etchings on the amateur world, nor could it 
 have entered into his conception that a print of the value of a few stuivers, 
 would, in the process of time, sell for sixty guineas ; or a portrait of his friend 
 Tolling, value perhaps five florins, fetch, at a public sale, 130 guineas; or that 
 the piece, representing Christ Healing the Sick, which, for its singular excel- 
 lence, sold, on one occasion for 100 guilders, about £8 12s, the usual price 
 
OF REMBRANDT. 
 
 35 
 
 being 45 florins, and thereby obtained the cognomen of The Hundred Guilder 
 Print, would at length sell for 250 guineas. 
 
 " These precious productions of the burin appear to have cost him no 
 previous study or labour in preparing the compositions ; for, with the excep- 
 tion of three or four instances, no pictures or drawings exist corresponding 
 with the prints. The plate appears to have been taken in hand, and, to the 
 superficial observer, a confusion of lines made, crossing each other in all 
 directions ; out of this seeming chaos, his ready invention conceived, and his 
 dexterous hand embodied, the subject, which a little labour afterwards carried 
 to perfection : hence these excellent productions may, with propriety, be 
 considered drawings or pictures, for they possess the same powerful expression, 
 and have, to a certain extent, the same properties, as brilliancy of effect, 
 richness of tone, and freedom of hand. Of his readiness and dexterity in the 
 performance of these works, some idea may be formed from an anecdote given 
 by most of his biographers. 'Being at table with his constant friend and 
 patron, the Burgomaster Six, the mustard was asked for, and it not being on 
 the table, the servant went to fetch it. Rembrandt, knowing the tardiness of 
 this domestic, laid a wager with his friend, that he would commence and finish 
 an etching before he returned. This he actually performed, and the plate is 
 known under the appellation of Six's Bridge ; or, the Mustard- Pot. 
 
 " To acquire a correct knowledge of these etchings, together with their 
 numerous variations, demands the study and application of years, and few 
 may be said to be perfect masters of it, for new variations are constantly being- 
 discovered. In this pursuit, the labours of the amateur are, in some measure, 
 abridged by the Catalogues Raisonnees, which have at various times been 
 published, each succeeding one being more complete than the former. Of 
 these, Gersaint's appeared in 1 752. A Supplement to the same, by Pierre 
 Yver, in 1756. Daulby's, in 1796. Bartsch's, in 1797. M. le Chevalier de 
 Claussin's, in 1824; to which he added a Supplement in 1828. ,?1 
 
 1 M. Charles Blanc published his " L'CEuvre Complet de Rembrandt " in 1859. 
 
ON THE ETCHINGS 
 
 We will next quote from the well-known engraver, John Burnet, who 
 says, " The portrait of the Burgomaster Six is the most finished and 
 perfect of all the etchings of Rembrandt ; and as it was done expressly for 
 his friend and patron, we can easily imagine that the painter exerted 
 himself to the utmost, so as to render it worthy of the subject. I have 
 been at some trouble to get an account of the family of Jan Six, but 
 have gleaned little from those books connected with the history of Holland. 
 During the war with England, in the reign of Charles the Second, he was 
 Secretary of State to the City of Amsterdam, and his family was afterwards 
 connected with some of their most celebrated men. But what has rendered 
 his name more famous than intermarrying with the families of Van Tromp or 
 De Ruyter, is his patronage of Rembrandt — in the same way that Lord 
 Southampton's name is ennobled by his patronage of Shakespeare. We know he 
 was devoted to literature as well as the fine arts, having left a tragedy on the 
 story of Medea, a copy of which is mentioned in the catalogue of Rembrandt's 
 effects, and an etching by the artist was prefixed to the work — viz. the 
 Marriage of Jason and Creusa ; the rare states of this print are before the 
 quotation of the Dutch verses underneath, also the statue of Juno is without 
 the diadem, which was afterwards added. I have mentioned that this portrait 
 was a private plate ; in fact, the copper is still in possession of the family. In 
 a sale which took place in 1734, for a division of the property among the 
 various branches, fourteen impressions were sold, but brought comparatively 
 small prices, from the number to be contended for. Two proofs, however, on 
 India paper are still in the portfolio of his descendants, which in five years 
 will, it is said, be brought to the hammer, as by that time the parties will be 
 of age. These proofs will in all probability realize two hundred guineas each. 
 The ease and natural attitude of the figure in this work are admirable ; the 
 intensity of the light, with the delicacy and truth of the reflected lights, are 
 rendered with the strong stamp of genius ; the diffusion of the light also, by 
 means of the papers on the chair, and the few sparkling touches in the shadow, 
 
OF REMBRANDT. 
 
 37 
 
 completely take this etching out of the catalogue of common portraiture. The 
 only work that I can at present think of that can be brought into competition 
 with it, is the full-length portrait of Charles the First, by Vandyke, in the 
 Queen's Collection, and which is rendered so familiar by Strange's admirable 
 engraving. 
 
 In entering into an examination of the execution of this print, it is 
 evident the whole effect is produced by means of the dry-point, which must 
 have been a work of great labour. The best impressions are on India paper ; 
 and I perceive, by referring to Gersaint's catalogue, that at the sale of the 
 Burgomaster's property, they only brought about eighteen florins. The next 
 portrait amongst his etchings that at all approaches to the Burgomaster, is that 
 of Old Haarin, which has always struck me as one of the foundations for the 
 style of Sir Joshua Reynolds in portraiture. A fine impression of this work 
 on India paper, is more like Sir Joshua than many prints after his own 
 pictures ; and with all the high veneration I have for Reynolds, I cannot omit 
 noticing how very ambiguously he frequently speaks of this great genius. We 
 know his master, Hudson, had an excellent collection of Rembrandt's works, 
 and therefore he must have been early imbued with their merits and 
 peculiarities. This, however, we shall have a better opportunity of noticing 
 when we come to the treatment of colour. The next etching in excellence I 
 should mention is the portrait of John Lutma, the Goldsmith, with the light 
 background; this was afterwards softened down by the introduction of a 
 window. And here I must observe, that though he often had light backgrounds 
 to his prints, yet in his finished pictures they were generally the reverse. The 
 etching of Ephraim Bo7ius, the Jewish Physician, is also one of his most 
 effective works; the introduction of the balustrade, on which he leans 
 descending the staircase, removes it from the ordinary level of mere portraiture. 
 On the hand that rests upon the balustrade, is a ring, which in the very rare 
 impressions, from its being done with the dry-point, prints dark from the burr. 
 These are invaluable, as in that state the whole work has the fulness and 
 
ON THE ETCHINGS 
 
 richness of a picture. A very large sum was given for the impression of the 
 print in this state— now in the British Museum— in fact, one hundred and 
 sixty pounds ; though at the Verstolke sale, where this print was purchased, 
 the commission given amounted to two hundred and fifty pounds : but when we 
 consider that the collection in the British Museum is now the finest in 
 existence, no extra price should be spared to complete the collection, especially 
 as these works are foundations for the sure improvement of the fine arts in the 
 country. The crown jewels are exhibited as a necessary appendage to the 
 rank of the nation — but there the value stops ; now the works of art in this 
 country are not only valuable, but intrinsically beneficial. We know that 
 Charles the Second pawned the crown pearls to the Dutch for a few- 
 thousands ; but our collection of Kembrandts would realize in Holland at 
 least ten thousand pounds. This, of course, is a digression, and is merely 
 mentioned here to show how absurd the hue and cry is, that the country is 
 wasting money in purchasing a few specimens of fine art. The portrait of 
 Utenbogardus is also excellent ; and I here may notice the large book, which 
 Rembrandt was so fond of introducing, as a means of a breadth of light and 
 employment for his portraits. Now, to these circumstances we are indebted 
 for some of the finest works of both Reynolds and Lawrence : amongst many, 
 I might mention the large ledger in Lawrence's portraits of the Baring 
 Family, and Sir Joshua's picture of the Dilettante Society, and others. No 
 doubt we find these means of making up a picture both in Raffaelle and Titian ; 
 but it is rendered more applicable to our own purposes when it is brought 
 nearer to our own times, especially when translated by so great a genius as 
 Rembrandt. The next fine work amongst his etchings is the portrait of 
 Cornelius Silvius, the head of which, being delicately finished with the dry 
 needle, is seldom seen very fine. This also has a book, and the hand extended 
 beyond the frame of the oval opening, upon which it casts its shadow. This 
 practice of representing objects nearer the eye than the frame is certainly to 
 be observed in some of the prints after Rubens and others, and has descended 
 
OF REMBRANDT. 
 
 39 
 
 to several common prints in our own time, but ought not to be adopted, as 
 bordering too much upon that art which may be designated as a sort of ad 
 captandum vulgus display. As we shall speak more particularly of Kem- 
 brandt's portraits when colour is investigated, these works are merely 
 mentioned as excellent specimens of composition and chiaro-scuro. I must not 
 omit, however, to notice here the great Coppenol, the writing-master to the 
 city of Amsterdam ; he holds a pen and a sheet of paper in his hand, and is 
 looking at the spectator with a look of intelligent observation. The head 
 and figure of this work were perfected, in the first instance, before the 
 background was put in, and in this state is exceedingly rare — the one in 
 the British Museum is valued at five hundred guineas, and was left, amongst 
 other rare works in his collection, by the Eev. Mr. Cracherode, to the public. 
 And here we ought to bear in mind, when individuals contribute so largely by 
 their bequests to the country, it is our bounden duty to carry out their views 
 by perfecting the various collections as opportunities offer in the course of 
 time, which to them was impossible. In one of the impressions in the 
 Museum, in a finished state, is written, in a large ornamental hand, a commen- 
 dation by Coppenol himself, wherein he says he does so to unite his name with 
 that of the great artist, Rembrandt Van Ryn, as by that means he knows he 
 shall secure immortality to himself. The portrait, however, that is the most 
 powerful, as well as the most rare, is Van Tolling, the Advocate. The effect, 
 both from the reflected light on the face, and the fearless masses of burr, is 
 more like a picture than a print, and renders every other etching comparatively 
 tame. From the chemical bottles at the side, and from the character of the 
 gown in which he is dressed, I am of opinion that he was a physician. The 
 excellence of this work, added to its rarity, has at all times produced large 
 prices. There are two states of this print — the first with an irregular beard, 
 the second with the beard cut square, also some additional work on the 
 drapery, &c ; but, what is worthy of remark is, in both states it is exceedingly 
 scarce ; in fact, there are but seven impressions known — viz. two in the British 
 
40 
 
 ON THE ETCHINGS 
 
 Museum, one in Mr. Holford's collection, one in Mr. Hawkins', in Amsterdam 
 one, in Paris one, and one in the collection of Mr. Rudge. I ought here to 
 notice that the Van Tolling is one of the prints bequeathed to the nation 
 by the Rev. Mr. Cracherode, and that at the sale of the Hon. Pole Carews 
 prints, in 1835, this valuable etching was purchased for the late Baron Ver- 
 stolke, for two hundred and fifty pounds. 
 
 In the "Fine Arts Quarterly" of June, 1866, we find the following : — 
 " In Rembrandt's house in the Breestraat, besides upwards of 150 pictures 
 in oil, most of them by himself and his pupils, but some of them by Van Eyck, 
 Raphael, Giorgione, and Michael Angelo ; besides casts from the life of whole 
 and parts of figures and animals, statues, antique busts, arms and armour, wind 
 and stringed instruments, zoological, mineralogical, and botanical specimens, 
 costumes, and every conceivable accessory to artistic suggestion and pro- 
 duction, — were found nearly one hundred volumes of the prints of all the 
 great painter- engravers who had flourished in Europe from the discovery of 
 the art to his own time — Schoen, the Meckens, Lucas Cranach, Lucas of 
 Leyden, Diirer, Vandyke, Rubens, Hollar, Holbein, Jordaens, Andrea Man- 
 tegna, Bonasone, Titian, Guido, Tempesta, the Caracci, &c ; the most precious 
 works (we quote the catalogue) of Marc Antonio, after the designs of Raphael ; 
 together with a supplementary collection of the prints of contemporary artists, 
 who, as they are not mentioned by name, were probably the etchers. In a 
 word, not only a complete illustration of the engraver's art as it had been 
 practised for 200 years, but an almost equally complete representation of Art 
 itself, as it had existed since the revival. The Gothicism of the Germans, the 
 academicism of the Italians, and the realism of the Flemings, had here each a fair 
 and, as exemplified in their engraving, a more ample demonstration than they 
 had ever received before ; — the graceful contours of Marc Antonio conveying 
 a refined ideal of that kind of beauty which depends upon form — the complex 
 but more dextrous curves and inflexions of Albert Diirer, not devoid of a 
 
O F RE MB R A ND T. 
 
 41 
 
 certain semi-barbarous expression— the noble simplicity of Andrea Mantegna 
 —the strength of Rubens— the weakness of Guido — the truth of Holbein — the 
 courtly artifice of Vandyke. Rembrandt availed himself of this vast collection 
 as a man who lived only for his art would. It was an open book to him to 
 which we find him making constant reference ; at one time adding to its stores 
 by bidding chivalrous prices for single prints of masters with whom he might 
 be supposed to have little sympathy, but in whom, doubtless, he saw a quality 
 which he thought cheaply acquired at any price ;* at another making elaborate 
 studies of subjects which interested him or which served his immediate purpose. 
 To this collection and to his numerous copies of the Oriental drawings which 
 it contained, — prompted, of course, by the innate sentiment which led him to 
 use them for such a purpose,— we probably owe it that of all the men who 
 have undertaken to illustrate the Bible, he is the only one that has been able 
 to give faithful expression to its simple reality and to make us personal sharers 
 in the homely and impressive incidents with which it abounds. Who, for 
 instance, that has seen that commonest of his etchings the Return of the 
 Prodigal, or that still more affecting one of Tobit— the stricken old man 
 vainly feeling for the door which is within a foot of him ;— or the little subject 
 full of grief of the disciples carrying our Lord to the burial ; or the so-called 
 Death of the Virgin, — the body slipping towards the foot of the bed, as dying 
 bodies do — without being sensible of this faculty, and of the deep natural 
 tenderness of character by the promptings of which alone their author could 
 have produced them ? To the influence of Titian, again, whose drawings 
 Rembrandt possessed, we owe the splendid backgrounds of some and whole 
 subjects of others of his etchings; 2 while, in a minute copy of a morality 
 of Andrea Mantegna's, we have a singular proof that the quaint but impressive 
 work of the earliest and most simple of his predecessors was not without its 
 influence upon him. We have been thus particular in directing attention to 
 
 1 For The Espiegle of Lucas Van Leyden, eighty-eight guilders. 
 
 2 The St. Jerome with the lion and the square tower. Ch. Blanc. 75. 
 
 G 
 
42 
 
 ON THE ETCHINGS OF REMBRANDT. 
 
 the copious use made by Rembrandt of his collection, because we wish to show 
 that it was not without due warrant and consideration that he broke through 
 the prescriptions of two centuries, and because it presents the great student to 
 us in a noble aspect and in a character as far removed as possible from that 
 of the charlatan and the cheat. Then, again, what man more competent or 
 more likely than he— surrounded by all that was accounted great in art-to 
 perceive and to weigh, to select and to turn to account, whatever he thought 
 worthy his adoption, or-if he had found a better— to amend the practice he 
 had begun in his father's mill ? " 
 
PHOTOGRAPHS OF REMBRANDT'S ETCHINGS. 
 
I. ^ 
 
 THE ANGEL APPEARING TO THE SHEPHERDS. 
 
 ND there were in the same country shepherds abiding in the field, keeping 
 watch over their flock by night. And, lo, the angel of the Lord came upon 
 them, and the glory of the Lord shone round about them: and they were sore afraid. 
 And the angel said unto them, Fear not : for, behold, I bring you good tidings of great 
 joy, which shall be to all people. For unto you is born this day in the city of David, 
 a Saviour, which is Christ the Lord. And this shall be a sign unto you ; Ye shall find 
 the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was 
 with the angel a multitude of the heavenly host, praising God, and saying, Glory to God 
 in the highest, and on earth peace, good will toward men. — Luke ii. 8-14. 
 
 This is a night-piece in the country. In the middle a bridge is discovered ; and 
 on the right some trees and shrubs spring on a bank. At the top, to the left, 
 appears a luminous space, in which a great number of cherubs are seen. Below them is 
 an angel standing upon a cloud, with his left hand raised towards heaven, revealing to 
 the shepherds the birth of our Lord. They appear to be astonished and terrified at the 
 sudden light that bursts upon them ; even the cattle express their fear by flight. The 
 glory illumines the figures, the cattle, and part of the foreground, and likewise catches 
 the extremities of the trees. This is an exceedingly fine print, and produces an 
 admirable effect. — Daulby, No. 43. 
 
 There are four states of this plate. In the first, the angels, the shepherds, and the 
 animals are but slightly sketched, and the trunk of the tree in the middle of the picture 
 is quite white. There are but two proofs known ; one in the British Museum, from 
 which the photograph is taken, the other in the Dresden Museum. 
 
 In the second state, the etching is more finished, but the wings and dress of the 
 angel, and the upper part of the trunk of the tree, are still white ; and the two cows are 
 not so much worked upon as in the third state. 
 
 In the fourth state, the trunk of the tree, and the wings and dress of the angel are 
 all shaded. 
 
 45 
 
Y 
 
r 
 
 II. 
 
 JESUS CHRIST DRIVING THE MONEY-CHANGERS OUT 
 
 OF THE TEMPLE. 
 
 TND Jesus went into the temple of God, and cast out all them that sold and 
 * b0U S ht Jn the tem P le > and overthrew the tables of the money-changers, and the 
 seats of them that sold doves, and said unto them, It is written, My house shall be 
 called the house of prayer ; but ye have made it a den of thieves. And the blind and 
 the lame came to him in the temple; and he healed them.— Matthew xxi. 12-14. 
 
 This is a fine print, full of work, highly finished, and produces a grand effect. 
 The architecture of the temple is richly disposed, many pillars are seen, and from 
 the arched ceiling, on the left, is suspended a lustre. Our Saviour, from whose 
 head proceeds a glory, is in the middle of the foreground ; he has overturned a table, at 
 which sat a money-changer, who is securing a bag with money ; several pieces are sliding 
 off the table. The man looks up with fear at our Saviour, whose left hand holds up a 
 scourge, with which he is about to strike him. A woman, with a basket of doves on her 
 head, with many other persons, are endeavouring to get away. To the right, all are in 
 hurry and confusion; some are thrown down by cattle, which are making their escape. 
 Behind them, on an elevation in the temple, is seen the high priest, with many 
 attendants. One of them holds a crosier, and they appear to be sitting in judgment on 
 a person who is on his knees before them. The heads of this piece are full of expression. 
 At the bottom, to the right, is written Rembrandt f. 1635.— No. 69. 
 
 There are two states of this plate. In the second, the mouth of the man who is 
 dragged by the ox is larger than it is in the first state. There are a few other points of 
 difference. 
 
 49 
 
III. %)\ 
 
 THE RESURRECTION OF LAZARUS. 
 
 JHEN they took away the stone from the place where the dead was laid. And 
 Jesus lifted up his eyes, and said, Father, I thank thee that thou hast heard me. 
 And I knew that thou nearest me always: but because of the people which stand by, I 
 said it, that they may believe that thou hast sent me. And when he had thus spoken, 
 he cried with a loud voice, Lazarus, come forth. And he that was dead came forth, 
 bound hand and foot with grave-clothes : and his face was bound about with a napkin. 
 Jesus saith unto them, Loose him, and let him go. — John xi. 41-44. 
 
 This is a large arched piece, finely executed, and the chiar'-oscuro produces a great 
 effect. Our Lord, who is placed a little to the left, and turned to the right, is repre- 
 sented standing, in a dignified attitude, on a stone, which appears to have been a part of 
 the tomb of Lazarus. His left hand is extended above his head, and his right rests upon 
 his side; behind him is a group of six figures, two of whom, with uplifted hands, appear 
 terrified at the miracle. At the feet of our Lord appears Lazarus, just rising above 
 the tomb; his death-like countenance is admirably expressive of his late situation. 
 On the right are several figures ; one of them, probably intended for his sister, 
 stretches out her arms, and seems in haste to receive him ; above her, a man (his head 
 covered with a cap), starts back with terror and amazement. Above our Lord are 
 some folds of drapery that form a kind of funereal canopy, within which, in the 
 background, hang the turban and sword, with the bow and quiver of Lazarus. On the 
 rock, opposite to the breast of our Saviour, is written Rt. v. Rynf. — Daulby, No. 74. 
 
 M. Charles Blanc has found impressions from eleven different states of this plate, 
 but they do not appear to differ in any important particular. It is clear that when 
 Rembrandt wished to take great pains with an etching, he tried various effects ; some- 
 times adding a hat or bonnet, altering the position of an arm or leg, increasing the depth 
 <of his shadows, and in many other ways. 
 
 This plate is 14- 5 ^ inches by 10 T X - inches. 
 
 53 
 
IV. 
 
 CHKIST HEALING THE SICK. 
 
 (the hundred guilder piece.) 
 
 TND Jesus went about all Galilee, teaching in their synagogues, and preaching 
 5 the gospel of the kingdom, and healing all manner of sickness and all manner o & f 
 disease among the people. And his fame went throughout all Syria: and they brought 
 unto him all sick people that were taken with divers diseases and torments, and those 
 which were possessed with devils, and those which were lunatick, and those that had the 
 palsy ; and he healed them. — Matthew iv. 23, 24. 
 
 The piece known as the Hundred Guilder piece, represents our Lord healing the sick. 
 
 Christ is seen in front, standing a little to the left, with an extensive glory 
 proceeding from his head. He leans his left elbow upon some stone-work, and his left 
 hand is held up; his right hand is stretched out towards the people, to whom he is 
 speaking. In front, towards the middle, a woman appears on a mattress, lying on the 
 ground, depressed with languor and disease; above her, an old woman raises her 
 shrivelled arms in a supplicating posture ; another approaches our Saviour, carrying a 
 child ; these, with many other sick persons, implore his assistance. To the left are 
 many figures that appear to be spectators of the miracles; some of them seem to be 
 disputing about the power or authority by which they are performed. To the right are 
 a great number of sick persons. One in a wheelbarrow, with two figures just above 
 him, an old woman leading an old man, are most admirably expressive of great age and 
 decrepitude. To the right of them an Ethiopian is seen, with a camel in the back- 
 ground, denoting that the fame of our Saviour's miracles had spread far abroad. This 
 piece is shadowed to the right, and on the left is illuminated. It is generally esteemed 
 the chef-oVceuvre of Eembrandt, being highly finished, the characters full of expression, 
 and the effect of the chiar'-oscuro very fine. — Daulby, No. 75. 
 
 This etching, which is considered to be Rembrandt's masterpiece, has always been 
 sought by amateurs with the greatest avidity. It is said that Rembrandt would never 
 sell an impression for less than one hundred guilders (about eight guineas). At Mr. 
 Esdaile's sale, in 1840, a proof of the first state of the plate, with the neck of the ass 
 white, was bought by Messrs. Colnaghi for ^231 ! 
 
 In the second state, with the ass's neck etched upon, there is a proof in the Museum 
 of Amsterdam, on the back of which is written, « Given to me by my esteemed 
 friend Rembrandt, in exchange for a proof of Marc Antonio's. Z. P. Zoomer." 
 
 There are two other known states of this plate, which was bought by Capt. Baillic 
 who retouched it, and after selling proofs for five guineas, cut it into four pieces, and 
 sold proofs from each separately. 
 
 This plate is 15-JL- inches in length by 11 inches in height. 
 
 57 
 
V. 
 
 THE GOOD SAMARITAN. 
 
 rND J esus answering said, A certain man went down from Jerusalem to Jericho, 
 and fell among thieves, which stripped him of his raiment, and wounded him, and 
 departed, leaving him half dead. And by chance there came down a certain priest that 
 way : and when he saw him, he passed by on the other side. And likewise a Levite, when 
 he was at the place, came and looked on him, and passed by on the other side. But a 
 .certain Samaritan, as he journeyed, came where he was : and when he saw him, he had 
 compassion on him, and went to him, and bound up his wounds, pouring in oil and wine, 
 and set him on his own beast, and brought him to an inn, and took care of him. And on 
 the morrow when he departed, he took out two pence, and gave them to the host, and 
 said unto him, Take care of him : and whatsoever thou spendest more, when I come 
 again, I will repay thee.— Luke x. 30-35. 
 
 In the front a horse is seen, standing in profile, which a lacquey holds by the 
 bridle. On the other side of the horse appears a man who carries in his arms 
 the wounded traveller, whom he has just taken from his horse. On the left is a flight of 
 steps which lead to the door of the inn, where the good Samaritan is charging the host 
 to take proper care of his guest. To the left, a man in a cap and feather looks 
 through a window. To the right is a well, from which a woman is drawing water, 
 and in the distance beyond it, are seen several public buildings, and beyond them, 
 a rock. The introduction of a dog, towards the right corner, in an attitude in the true 
 Dutch style, is an injury to the composition (considered as a piece of sacred history), 
 which otherwise is very fine, and richly picturesque. This is one of the pieces that 
 Rembrandt has finished with the greatest care, producing a wonderful effect, with a fine 
 point, and light hand. In the middle of the margin, at the bottom, is written, 
 Rembrandt inventor et fecit, 1633. — Daulby, No. 77. 
 
 There are four states of this plate. In the first the tail of the horse is white. A 
 proof of this was sold at Paris, in 1853, for £84. The second state, in which the horse's 
 tail is shaded, is more rare than the first: the margin is reduced. In the third state, 
 the wall of the flight of steps is also shaded. In the fourth state only is there the name 
 and date. 
 
 61 
 
VI. ^ 
 
 ECCE HOMO. 
 
 ^HEN Pilate therefore took Jesus, and scourged him. And the soldiers platted a 
 crown of thorns, and put it on his head, and they put on him a purple robe, and 
 said, Hail, King of the Jews ! and they smote him with their hands. Pilate therefore 
 went forth again, and saith unto them, Behold, I bring him forth to you, that ye may 
 know that I find no fault in him. Then came Jesus forth, wearing the crown of 
 thorns, and the purple robe. And Pilate saith unto them, Behold the man !* — John xix. 
 1-5. 
 
 This piece is the companion of the Descent from the Cross, which is nearly the 
 same size. The disposition of this piece was an arduous task, as it consists of an 
 incredible number of figures. Pilate is standing under a canopy to the right; his left 
 arm is extended, and he appears to be speaking to the crowd of Jews that are before 
 him ; one of whom is kneeling, with the reed in his left hand. Our Lord is seen in 
 front, standing, surrounded by the guards, and exposed to gratify the malice of the 
 populace. His eyes are raised to heaven, his arms hang down, and his hands are 
 manacled and joined together before him ; on his head is the crown of thorns. His body 
 is naked, except a slight covering thrown over the shoulders and tied over the breast, 
 and a cloth tied round his waist At the foot of the judgment seat appears a Jew, who 
 stretches out his right hand towards the crowd that fills the lower part of the print, and 
 seems desirous of appeasing the fury of the people ; promising them that their demands 
 shall be satisfied. The background is rich in architecture. This piece is very scarce, 
 and is highly esteemed ; there are many fine heads in it, and it is extremely well 
 executed, producing a great effect. In the margin is written, Rembrandt ft. 1636. — 
 Daulby, No. 83. 
 
 There are four different states of this plate. In the first, the group consisting of 
 Pilate, four other figures, and the Jew who stretches his hand towards the people, does 
 not exist. In the second, the face of the Jew immediately above the man who holds the 
 reed, is not shaded. A proof of this state was sold in Paris, in 1859, for £56. In the 
 third state the Jew's face is shaded. 
 
 This plate is 21 T 6 T inches by 17 T ^- inches. 
 
 * In the Latin Vulgate, Ecce Homo. 
 65 
 
 ■ 
 
mm 
 
VII. 
 
 THE DESCENT FROM THE CROSS. 
 
 ND now when the even was come, because it was the preparation, that is, the 
 clay before the sabbath, J oseph of Arimathea, an honourable counsellor, which 
 also waited for the kingdom of God, came, and went in boldly unto Pilate, and craved 
 the body of J esus. And Pilate marvelled if he were already dead : and calling unto him 
 the centurion, he asked him whether he had been any while dead. And when he knew 
 it of the centurion, he gave the body to Joseph. And he bought fine linen, and took 
 him down, and wrapped him in the linen, and laid him in a sepulchre which was hewn 
 out of a rock, and rolled a stone unto the door of the sepulchre. And Mary Magdalene, 
 and Mary the mother of Joses, beheld where he was laid. — Mark xv. 42-47. 
 
 The companion of the " Ecce Homo." The subject is illuminated by the rays 
 of light that fall from the sky directly upon the group, which is busied in taking 
 down the body of J esus Christ from the cross. In the upper part of the print, a man 
 stands upon a ladder, leaning over the transverse beam of the cross, and holding with his 
 right hand a corner of the sheet in which the body is to be wrapped. There are two 
 other ladders reared against the cross, with a man on each ; one of whom is supporting 
 our Saviour by his left arm, and the other by his right. Two men stand below and 
 sustain the body, which they receive in the sheet, the effect of their hands under which 
 is well expressed. On the left stands Joseph of Arimathea, seen in profile, richly 
 habited ; the two ends of his turban hang down behind, and his garment is embroidered, 
 and turned up with fur ; his hand is supported on a walking stick. In the right corner 
 is St. John, with the Virgin and Mary Magdalene, spreading a rich fringed carpet on the 
 ground, to receive the body. Beyond them are several spectators, who appear to be 
 suitably affected by this mournful event. The city of Jerusalem occupies the back- 
 ground. In the margin, a little to the left, is written Rembrandt f. cum pryvl 0 . 1633. 
 This print is extremely well executed ; the composition is grand, the heads full • of 
 character, and the effect, in a good impression, very fine. — Daulby, No. 84. 
 
 Rembrandt etched this subject twice. Of the first plate, which was spoiled, pro- 
 bably by overheating the varnish, only three impressions are known — one in the Cabinet 
 des Estampes, at Paris, another in the British Museum, and the third in the Amsterdam 
 Museum. 
 
 Of the second plate there are two states. In the first, the legs of the two men 
 who receive the body of Christ are etched with single strokes. In the second state these 
 legs are finished with cross hatchings, and in the margin is written Rembrandt f. cum 
 pryvlo, 1633. On some impressions the names of engravers are added. 
 
 Rembrandt painted this composition, with some alterations in the effect. It is now 
 in the Pinacotheca of Munich. 
 
 This plate is 20~ inches high by 16^ inches wide. 
 
 69 
 
VIII. 
 
 THE DEATH OF THE VIRGIN. 
 
 jHE disposition of this subject is grand ; it is executed in a masterly manner and 
 produces a fine effect. The Virgin appears to be expiring in a bed, the curtains 
 of which being drawn up, discover the posts, richly ornamented. Near it are many 
 persons, several of them weeping. A physician feels her pulse with great attention, 
 while Joseph raises up the pillow on which rests her head, and holds a handkerchief to 
 her nose. To the left sits a Jewish Rabbi at a table, seen from behind, reading in a 
 large book. Above the table, near the head of the bed, stands the high priest; his arms 
 hang down, and his hands are clasped together before him ; he looks with a fixed and 
 mournful attention on the Virgin. At the side of the high priest is a boy holding a 
 great crosier. At the foot of the bed stands a tall woman, with her hands raised and 
 clasped together, and behind her, St. John, with his arms extended ; both of them 
 appear to be in great affliction. To the right is a large curtain, which a person from 
 behind opens with his right hand ; he has a turban on his head, and his face has some 
 resemblance of Rembrandt's. In the right corner is an elbow chair. Above the bed, 
 surrounded with a luminous glory, is seen an angel, with several cherubs, the faces of 
 
 which are all ill expressed. To the left, at the bottom, is written Rembrandt f. 1639. 
 
 Daulby, No. 97. 
 
 There are three states of this plate. In the first, the top of the elbow chair 
 which stands in the corner is indicated by a single stroke. In the second, it is 
 shaded, and the back of the chair is more worked upon. In the third state the plate, 
 which is still in existence, has been entirely retouched. 
 
 This plate is 16 inches high by 12 T 3 - inches wide. 
 
 73 
 
/ 
 
 IX. 
 
 SAINT JEROME. 
 
 ( Unfinished). 
 
 T is much to be regretted that the whole of this plate was not finished. The 
 disposition of the subject is rich, and that part which is done is in good style. 
 The composition is much in the manner of Albert Diirer. St. Jerome is sittino- 
 on a bank or rock to the left, at the foot of a large tree, the higher part of what 
 is seen of it being unfinished ; on the trunk, a bird is perched. There is a clump of 
 trees immediately behind it in shade. The figure of St. Jerome is only traced with the 
 outline, except the hat and upper part of the face, which are nearly finished. The bank 
 on which he sits, which takes up almost the foreground of the print, is likewise only 
 traced. He rests upon his left elbow, and holds a book in both hands, in which he is 
 reading. On the bank behind him stands a lion, in a spirited attitude, seen from behind ; 
 his hinder part is only etched with the single stroke. In the distance, to the right, is a 
 country house and a church, with clumps of trees on each side of them, which are all 
 well finished. Beneath the church is a fall of water, which tumbles down, amongst the 
 rocks, to the right corner of the print. Over the water-fall is a wooden bridge, with two 
 figures at the end of it. — Daulby, No. 104. 
 
 In the first impressions of this plate the piles of the bridge are but slightly indicated ; 
 in the second state they are much more shaded. 
 
 77 
 
X. 
 
 HAMAN AND MORDECAI. 
 
 |ND Haman answered the king, For the man whom the king delighteth to 
 i honour, let the royal apparel be brought which the king useth to wear, and the 
 horse that the king rideth upon, and the crown royal which is set upon his head: and 
 let this apparel and horse be delivered to the hand of one of the king's most noble princes, 
 that they may array the man withal whom the king delighteth to honour, and brino- him 
 on horseback through the street of the city, and proclaim before him, Thus shall it be 
 done to the man whom the king delighteth to honour. Then the king said to Haman 
 Make haste, and take the apparel and the horse, as thou hast said, and do even so to 
 Mordecai the Jew, that sitteth at the king's gate: let nothing fail of all that thou hast 
 spoken. Then took Haman the apparel and the horse, and arrayed Mordecai, and 
 brought him on horseback through the street of the city, and proclaimed before him, 
 Thus shall it be done unto the man whom the king delighteth to honour.-^Aer vi' 
 7-1.1 
 
 Mordecai, mounted on the king's horse, and arrayed in royal apparel, with a sceptre 
 in his right hand, is conducted in triumph by Haman in the midst of the people. 
 He is at the king's gate, through which, at a distance, is seen a round temple. Haman, 
 who appears in front, extends his arms, and seems to proclaim, « Thus shall it be 
 done to the man whom the king delighteth to honour." To the right, king Ahasuerus 
 with his queen Esther, are looking out of the palace. A concourse of people attend' 
 who appear affected with respect and admiration. This piece is executed in a 
 good style, and is full of work. It is esteemed one of Rembrandt's most beautiful 
 prints.— Daulby, No. 39. 
 
 There are two states of this plate. In the second, which is much worn, the beard 
 of Mordecai has been retouched by an unskilful hand. 
 
 81 
 
XI. 
 
 DOCTOR FAUSTUS. 
 
 HE Doctor is standing in his laboratory, on the left side, behind a table, on 
 which he rests his right hand ; and his left rests on an arm of his chair. His 
 face is in profile, he has a white cap on his head, and he is looking with a fixed attention 
 on some magic characters which he sees in a mirror held out by a figure, of which only 
 the hands are discovered. These characters are placed in the middle of a casement. At 
 the right corner, at the bottom, is a globe, of which only half is discovered. Behind 
 him part of a curtain is seen, drawn on a rod, and near it a skull. By all which it 
 appears that he was supposed to be an adept in the mysteries of the Cabbala. This piece 
 is highly finished, and the chiar'-oscuro has a wonderful effect. — Daulby, No. 250. 
 
 M. Charles Blanc has discovered three states of this plate. Proofs of the first 
 state are generally upon India paper, and are very rare. In the second state, there is 
 more etching on the shoulder of the figure ; and in the third, the ray of light is divided 
 by additional lines. 
 
 85 
 
XII. 
 
 THE RAT -KILLER. 
 
 '!R1S piece represents an old man, holding in his left hand a pole, with a cage on 
 the top of it containing rats. On the top of the cage sits a live one, and^from 
 the bottom is suspended a dead one; there is likewise a rat perched on his shoulder. 
 He has a high cap on, and a sword hanging by his side, with a short fur cloak thrown 
 over his right arm, and hanging behind him. He is accompanied by a little boy, who 
 carries a box of ratsbane; the old man offers a packet of it to another, who is leaning 
 over a door-hatch to the left; he puts it aside with his hand, rejecting it, and likewise 
 turns his head from it. By the side of the door appear the trunk of an old blasted 
 tree, and a broken cart. To the right, in the distance, is a cottage, with trees appearing 
 above it. Near the bottom, on the right side, is written, Rt. 1632, the 3, with the 2 
 after it, are reversed. — Daulby, No. 117. 
 
 There are two states of this plate. In the first impressions, which are very scarce, 
 the trees above the head of the rat-killer are not cross-etched. 
 
 89 
 
XIII. 
 
 VIEW OF OMVAL, NEAR AMSTERDAM. 
 
 [HIS subject is well chosen, and finely executed. On the foreground to the left 
 is a clump of trees ; one of them is the venerable trunk of a large tree which 
 appears to be nearly dead. On a bank, amongst these trees, a young couple are sitting. 
 The youth is putting a garland on the head of the young woman. To the right of the trees, 
 stands a peasant seen from behind, looking at a covered barge, full of people, sailing on 
 the river. Over the river is seen the village of Omval ; before it lie several boats, and 
 to the right are two windmills. At the right corner, at the bottom, is written Rembrant, 
 1645, the d being omitted. It is scarce. — Daulby, No. 201. 
 
 93 
 
XIV. 
 
 A VIEW OF AMSTERDAM. 
 
 'HIS piece is executed in a good style, with a very fine point. The foreground is 
 a marsh. The river Amstel crosses the print ; beyond it, Amsterdam is seen in a 
 point of view which exhibits many churches ; and to the right several windmills. In 
 the centre a large double-roofed building, with a windmill near it, particularly attract 
 the eye. To the left lies the shipping. This piece is scarce. — Daulby, No. 202. 
 
 Ordinary impressions from this plate are frequently to be met with. 
 
 97 
 
XV. 
 
 THE THREE TREES. 
 
 HIS is a very fine landscape ; known by this name, because to the right, on an 
 eminence, is a singular group of three trees, through which, on a rising ground, 
 is perceived a waggon, full of peasants, part of which is intercepted by the trunk of the 
 right-hand tree, and some houses are likewise intercepted by the trunk of the middle 
 tree. In the left front is a large piece of water ; on the other side of it, on a bank, 
 stands a man who is angling ; a woman is sitting near him. In the distance is a large 
 town, with several churches in it, and between the piece of water and the town are 
 several groups of cattle and figures. The sky is covered with dark clouds, and a shower 
 of rain is falling to the left. Beneath some water- weeds on the left, near the bottom, 
 is written Rembrandt f. 1643. This piece is esteemed the best and most finished of all 
 the landscapes of Rembrandt ; it is executed in a good style, and produces a great effect. 
 —Daulby, No. 204. 
 
 Good proofs of this plate are rare. They are distinguished by the burr upon the 
 work in the sky, which is chiefly executed with dry-point. 
 
 In an impression in the Amsterdam Museum, M. Charles Blanc has traced the 
 scarcely visible outline form of a giant, who, it may be supposed, is the Spirit of 
 the Storm. The figure is in the dim part of the sky above the trees. 
 
 101 
 
XVI. 
 
 A LARGE LANDSCAPE WITH A MILL SAIL SEEN 
 
 ABOVE A COTTAGE. 
 
 |N the left are two large trees ; but the boundary of the plate does not admit of 
 their being carried up above half their proper height. Behind the spreading one 
 is a large thatched cottage, above which appears the sail of a mill. The door of the 
 cottage is open, and a boy is standing within it, with a younger child in a stooping 
 posture before him. In front of the cottage a wooden platform projects into a canal or 
 river, that runs nearly across the print, and, meandering, loses itself in the distance on 
 the right, which is terminated with a view of a village, in which a tower-steeple and a 
 windmill are conspicuous objects. To the right, on a bank near some water weeds, is a 
 duck pluming itself, and another on the water is swimming towards it On the bank is 
 written Rembrandt f. 1641. This piece is not common. — Daulby, No. 222, 
 
 105 
 
xvir. 
 
 CORNELIUS A.NSLO.. 
 
 ^^^^NSLO was an Anabaptist minister. He is represented sitting in an elbow. 
 S&jgi^k chair behind a covered table, on the middle of which is an inkstand ; he holds a 
 pen in his right hand, which is supported on a book that stands upright, and with his 
 left he points to another lying open, which rests against two more, one lying on the 
 other. His beard is dark and bushy ; he has on a gown turned up with fur, a ruff 
 round his neck, and a broad-brimmed hat. The background is shaded with the double 
 stroke, nearly as high as the top- of the chair on the left, and is lightly touched in many 
 places, to give it the character of an inner wall ; on the right is a nail driven into it. 
 On the back of a chair, above the three books, is written Rembrandt f. 1641, but the 
 figure 4 is reversed. This is one of Rembrandt's best portraits, and is very scarce ; it is 
 highly finished, and produces a fine effect. — Daulby, No. 251. 
 
 This portrait was wrongly named by Gersaint, who confounded Renier Hanslo, the 
 poet, with the celebrated preacher, Cornelius Anslo. 
 
 There are two states of this plate. In the first, which is very rare, there is a white- 
 margin at the bottom of the plate, which is covered with etching in the second state. 
 
 There is a copy extant of this portrait, so faithfully made, that the most experienced 
 critics are deceived by it. 
 
 109 
 
XVIII. 
 
 CLEMENT DE JONG'E. 
 
 HIS is the portrait of a printseller ; he is represented a half-length in front, 
 sitting in an elbow chair ; his hair is short and straight, he has a broad-brimmed 
 hat on, turned up at the sides, and wears a- cloak which is open before, and he has gloves 
 on ; his right arm rests on the elbow of the chair, which raises the hand opposite to his 
 breast, the other falling on his left knee. The background is etched on the left side, as 
 high as the hat, and on the right, as high as the elbow. In the right corner, at the 
 bottom, in all the impressions, is written Rembrandt f. 1651. — Daulby, No, 252.. 
 
 There are six states of this plate. In the first, which is extremely rare, there is a 
 small space unetched on the back of the chair. The shadow beneath the hat, on the right 
 side, is one uniform grey, and there is an angular patch of white beneath the right eye. 
 In the second state, the shadow and the white spaces have been etched on. In the third, 
 the form of the hat has been altered ; and the fourth and fifth present some slight further 
 variations. The sixth has been retouched by an unskilful hand ; a patch of black being 
 formed on the right shoulder, and the expression of the eyes altered. 
 
 113 
 
XIX. 
 
 YOUNG HAARING. 
 
 ¥g^E was the son of the Burgomaster, Jacob Haaring. This piece is executed in 
 |P§|ff Kembrandt's dark manner, and the ckiar'-oscuro has a strong effect. The light 
 comes through the window, and falls full on his left cheek and band, and the rest of the 
 subject is kept down in shade. He is sitting in an elbow chair, rather inclining towards 
 the left ; he rests both hands on the arms of the chair, and holds his hat in his right hand. 
 There is a curtain rod that crosses the window, about one third from the top of it, and the 
 curtain is drawn to the right side. On the lower row of the window panes is written, 
 Rembrandt f. 1655, the 6 is reversed.— Daulby, No. 255. 
 
 This portrait is called Young Haaring, to distinguish it from that of his father, whom 
 also Rembrandt etched. The son's name was Thomas; he was « concierge" of the 
 Insolvent Court at Amsterdam, and in this capacity, about a year after this etching was 
 finished, had to superintend the sale of Rembrandt's house and furniture. 
 
 There are five states of this plate. In the first, which is very rare, there is no 
 curtain rod nor curtain. In the second state, there is a rod across the window, and a 
 curtain hanging from it. In the third, a little picture is added at the bottom. In the 
 fourth state, this picture is effaced ; and in the fifth, the plate is considerably cut down. 
 
 117 
 
XX. 
 
 JOHN LUTMA. 
 
 HIS person was a noted goldsmith of Groningen. His portrait is one of Rem- 
 brandt's best; the expression in the face is particularly spirited. He is sitting 
 in an elbow chair, with his arms resting upon it, and holds something like a metal figure 
 in his right hand ; he has on a black velvet cap ; his hair is very short, and his beard 
 bushy. At his left elbow is a table, on which lies a scollop, with a box of gravers and 
 a hammer. On the top corners of the chair are two grotesque heads. Above the table 
 is written (but apparently not by Rembrandt) Joannes Lutma, aurifex natus Groningce. 
 To the right is a window, and in the right corner of it stands a water bottle. In the 
 top left corner of the window is written Rembrandt f. 1656. — Daulby, No. 256. 
 
 There are three different states of this plate. In the first, there is no window, neither 
 are there any names or date. In the second, the window and the writing have been added. 
 In the third, the height of the picture is reduced, there being no margin at the bottom. 
 This state is much inferior to the others, and its great rarity constitutes its chief value. 
 
 121 
 
XXI. 
 
 E PHRAIM BONUS 
 (le juip A la rampe.) 
 
 HIS person was a Jewish physician. He is represented coming down a staircase, 
 with his right hand on the balustrade ; his head is seen nearly in front, with a 
 high crowned hat on ; his hair is short and dark, and he has a Jewish beard ; a short 
 cloak covers his left shoulder, under which the hand and arm are concealed, and on the 
 forefinger of his right hand is a diamond ring. He has a band round his neck, and a 
 cuff at his sleeve. This piece is one of Eembrandt's finest portraits ; the face is full of 
 expression, and the chiar'-oscuro has a masterly effect. Towards the bottom, at the right 
 corner, is to be read (though with diflficulty), Rembrandt f. 1647. — Daulby, No. 258. 
 
 Ephraim Bonus was a Portuguese by birth, and settled in Amsterdam in the first 
 half of the seventeenth century. In 1651 he was made a Burgomaster. Speaking of 
 this etching, one writer has observed,—" He appears as if deliberating on the case of a 
 patient," and as if doubtful whether he will not remount the stairs. 
 
 This is perhaps the most famous of all Rembrandt's portraits. There are but three 
 proofs known of the first state of the plate. These are called « with the black ring"— 
 because in these early impressions the burr on the plate caused the ring to print quite 
 black. One is in the Amsterdam Museum; one, which cost £138, and from which the 
 photograph is taken, in the British Museum ; and the third in the Collection of Mr, 
 Holford. 
 
 In the second state of the plate the ring is white, and the hand and the balusters of 
 the stairs are more worked upon. 
 
 125 
 
XXII. 
 
 UYTENBOGAERT, A DUTCH MINISTER 
 
 I HIS minister was of the sect of the Remonstrants, and lived under the govern- 
 ment of Prince Maurice, whom he always opposed, and for some time 
 successfully; but was at length obliged to fly from the Prince's resentment. This 
 portrait is executed in an oval, squared at the bottom, in an irregular octagon plate. He 
 is sitting at a table in a gown faced with fur; he wears the calotte cap, and has a ruff 
 round his neck. His hair is short, and appears to be turned grey, the beard is likewise 
 short and thick ; his face is nearly a full front, with the body turned a little to the right ; 
 his right hand is supported on the arm of the chair; in his left hand is a book open', 
 which rests upon some others lying on the table, and farther back are several other 
 books thrown negligently one upon another. Behind him is a pillar, and to the right of it, 
 an arch in the background. On each side of the print, a curtain is drawn aside. This 
 is a fine portrait, highly finished, and produces a strong effect. In the two angles at 
 the top is written, Rembrandt f. 1635. It is scarce. Under the print are the following 
 Latin verses, by Grotius : 
 
 " Quern pia mirari plebes, quern castra solebant, 
 Damnare et mores aula coacta suos, 
 Jactatus multum, nec tantum fractus ab annis 
 
 Wtenbogardus sic tutus, Haga redit." — H. Grotius. 
 
 Daulby, No. 259. 
 
 John Uytenbogaert, who was born at Utrecht in 1557, was a man of considerable 
 eminence, and took a prominent part in the religious controversies which agitated Holland 
 in the early part of the seventeenth century. For fifteen years he was chaplain to the 
 Prince of Orange, whom he followed in all his campaigns. He was a friend of Arminius 
 and was obliged to take refuge at Amiens, Paris, and Rouen. In 1625 Uytenbogaert 
 returned to Amsterdam, where he continued to reside until he died in the year 1644. 
 
 There are four states of this plate. In the first, a proof of which is in the Amsterdam 
 Museum, there is no curtain, nor the Latin verses; and the ruff round the neck is only 
 sketched out. In the second the ruff is more worked upon. In the third the curtain is 
 added, and the character of the head is altered. The plate is reduced to an octagon 
 form, but with « ears" at the right and left extremities. In the fourth state, which is 
 common, the plate is an octagon without the ears. 
 
 129 
 
 9 
 
 EH 
 
XXIII. 
 
 JOHN CORNELIUS SYLVIUS. 
 
 YLVIUS was a minister of great learning. This portrait is an oval, round 
 which is written, Spes mea Christus, which was his motto, and Johannes Cornelii 
 Sylvius. Amstelodamo : with other inscriptions in Latin, and under the portrait are Latin 
 verses by C. Barleus. This is esteemed one of Rembrandt's best portraits. It is very 
 scarce, especially if a good impression ; the etching is so tender that many could not be 
 taken off before the plate was worn. The head, which is nearly a full front, is finely 
 executed ; it is covered with a calotte, the hair and beard are white ; the hair is short, but 
 the beard is long, divided in the middle, and pointed; round the neck is a ruff; his gown 
 is faced with fur at the breast, and at the sleeves, which are short and open. The fingers 
 of his left hand are placed in a book, which is closed, and lies on a desk before him. He 
 stoops a little, and is addressing his audience with his right hand, which projects in front, 
 and casts a shadow that extends beyond the oval ; as likewise does the book, and the 
 effect thereby produced is very singular and striking. Behind him is a pillar, and on 
 the left side, a curtain, which is drawn up, and which likewise casts some little shade 
 beyond the oval. A square is described without the oval. On the pillar, near the top, 
 is written, Rembrandt 1646,—Daulb?/, No. 260. 
 
 M. Le Blanc states that the portrait known as that of Janius Sylvius represents the 
 same person at a somewhat earlier period of his life. It is dated 1633. In delicacy of 
 execution and general excellence as a work of art it is not equal to the later portrait. 
 
 Sylvius was connected with Rembrandt by marriage, his wife being a cousin of 
 Saskia Uilenburg, Rembrandt's first wife. The very few early impressions from this 
 plate may be recognized by the velvet-like appearance of the beard, and the colour of the 
 lower part of the proof, particularly in the corners. 
 
 133 
 
XXIV. 
 
 UYTENBOGAERT, THE BANKER. 
 
 gHIS is likewise one of the finest and scarcest portraits in the collection. The 
 composition, effect, and execution, are all in the best style. In Holland it is 
 called the « Goldweigher," and in France, the « Banker." Uytenbogaert was Receiver 
 General to the States of Holland. He is represented sitting in the counting-house. 
 His face is seen nearly in-front, with moustaches ; his hair is short; he has on a velvet 
 cap. His head inclines a little over his right shoulder, which gives great spirit to the 
 attitude. His gown is turned up before, and at the sleeves, with fur. He holds a pen 
 in his right hand, which rests on a large account-book, that lies open on a desk standing 
 on a table covered with a richly flowered cloth, fringed at the bottom, on which are 
 several bags of money. He is delivering a bag to a man, who is kneeling on his left knee, 
 and appears to be receiving it in order to pack it in a cask that stands before him with 
 the head off. Two other casks lie on their sides, with a mallet and driver lying upon 
 one of them. On the left side is a large iron chest. Over the table is a shelf suspended 
 from the ceiling, on which lie several bundles of papers ; and from it hangs a pair of 
 scales, in one of which is a bag of money. In the background, on the left, stand two 
 persons behind a door-hatch, as if waiting to transact business. On the wall is a large 
 arched picture, which represents the history of the Brazen Serpent; to the right of it 
 hangs a sword. In the margin is written, Rembrandt f. 1639.— Daulby, No. 261. 
 
 There is but little known concerning the original of this portrait. His name occurs 
 more than once in the correspondence between Rembrandt and Constantine Huygens, 
 the secretary of Prince Frederick Henri, regarding the sums to be paid for certain 
 pictures; and doubtless it was from having to go to the banker to receive money that 
 Rembrandt became acquainted with him. 
 
 There are three states of this plate. In the first, which is extremely rare, the head 
 of the banker is simply outlined. In the second state, which is very rare, the head is 
 finished. In the third, the plate has been retouched all over, and very much spoiled. 
 Impressions from this state are usually upon thick and coarse India paper. 
 
 137 
 
XXV. 
 
 VAN COPPENOL, THE WRITING - MASTER. 
 
 miS portrait is esteemed a capital piece of this master; the countenance is very 
 > expressive, and the whole is highly finished. He is sitting before a table turned 
 to the right, but his face is nearly a full front; his head is covered with the calotte, his 
 hair short and white, with small moustaches, but no beard. He has a large, plain band 
 round his neck; his habit is a kind of cassock, with very small buttons near together, 
 and with open cuffs at his sleeves. Over the cassock is a gown, or cloak, open, and 
 falling back with a tassel at the cape. He holds a blank paper with both hands, and in 
 his right hand is a pen. The plate was probably damaged, for it was cut to a size which 
 takes m little more than the head, measuring (including a margin of half an inch) 
 6 by 5 T V This reduced plate is still in existence in France, and there are good 
 impressions of it, which shows that there were not many taken off when entire, for the 
 head is delicately etched. Coppenol wrote some verses under the entire print, as like- 
 wise under the smaller portraits of himself. They are curiously written, and enhance 
 the value of those impressions on which they are found.— Daulby, No. 263. 
 
 Of this plate five states are known. In the first, the background is white, with the 
 exception of a column on the left. This column is shaded with a single stroke to half 
 its height. The right sleeve is white. Of this state only two examples exist. 
 
 In the second state the background is white, but the column is shaded nearly to the 
 top, and the sleeve is shaded with a single stroke. 
 
 In the third state a curtain is substituted for the column, and there is more work on 
 the coat, especially on the left sleeve. In the fourth, the folds of the curtain are more 
 defined, and there is additional work on the sleeves. 
 
 In the fifth, the plate has been cut down, so that only the head and shoulders of the 
 figure remain. 
 
 141 
 
XXVL 
 
 THE BUKGOM ASTER SIX. 
 
 JHIS celebrated portrait and that of Van Tol, are the most valuable in this class. 
 An impression of Van Tol has been sold for fifty guineas, and the same sum has 
 been given for a first impression of this portrait. It must indeed be confessed that, 
 besides its rarity, it is one of Rembrandt's best performances ; the chiaroscuro is as 
 finely preserved as in his best paintings. The Burgomaster is represented a full-length, 
 8tanding, and leaning his back against a window, the lower casement of which is open' 
 He is reading a quarto pamphlet, which he holds doubled in his hands. As the whole 
 piece is illuminated from the window, all the light that is thrown upon the face is by 
 reflection from the book. The manner in which Rembrandt has expressed the attention 
 of his friend and patron to the subject he is reading is inimitable. His hair is full and 
 bushy, waving gently and gracefully to his shoulders; his habit and neck-band are open 
 before, with tassels hanging down, and his cloak is thrown off behind him, part of it 
 lying on the window frame, and part on a table, on which lie his sword and belt. His 
 cane stands on the table, leaning against the wall, and over it hangs his hat, with a short 
 sword near the top of the cane. Above the table is an historical picture, with a curtain 
 drawn before part of it. In the left corner, in front, stands a chair, with a cushion and 
 three books on it, the uppermost of which is open. On the right side of the window a 
 curtain is drawn back in a festoon. Beneath the window the floor is raised a step, and 
 the wall is covered with matting, which Gersaint mistakes for stone-work. In a narrow 
 margin of an eighth of an inch is written, to the right, Rembrandt f. 1647, and on the 
 left, Jan Six JE, and a little farther on, 29. — Daulhy, No. 265. 
 
 Of this plate three states are known. In the first, there is seen at the window a 
 stone shelf behind the burgomaster; the names of Rembrandt and Six do not yet appear. 
 The Museum at Amsterdam and the Cabinet des Estampes at Paris each possess a copy 
 of this state. In the second, the stone shelf has been removed ; the name of Rembrandt 
 is engraved with the date 1647 ; the figures 6 and 4 are reversed. Impressions of this 
 state are rare, and are as fine as the first, especially when printed on India paper. In the 
 third state Jan Six JE 29 has been added, and the figures 6 and 4 have been re-engraved 
 in the ordinary position. Impressions of this state exist, which are vigorous and delicate, 
 but they are very rare. 
 
 Six, in addition to his love of art, possessed considerable literary talent. He was 
 the author of several poems and other works. He died in 1700, at the age of 82. 
 
 At Mr. Thorel's sale in Paris, in 1853, an impression from the second state of this 
 plate was sold for £140 ; and in March, 1861, at the sale of M. Ferol, a superb proof of 
 the same state fetched the enormous sum of £250. 
 
 145 
 
XXVIf. 
 
 PORTRAIT OF REMBRANDT DRAWING. 
 
 N this portrait Rembrandt has laid aside the superb cap and feather, and repre- 
 sented himself as a complete Dutch character. This print is finely etched, and 
 highly finished in his dark manner. It is a full-front, half-length. His head is covered 
 with a narrow-brimmed hat, his garment is very plain, and open at the neck. He is 
 sitting at a table, which is in the front of the print, and holds a crayon in his right hand, 
 with which he is drawing on paper, placed upon a book, on which he rests his left. 
 Upon the left side is a casement open, through which a landscape is seen at a distance. 
 Of this piece the strongest impressions are the best, the strokes of the plate being 
 extremely light and tender. On a short curtain or screen, hanging from the top of the 
 casement, is written Rembrandt f. 1648. — Daulby, No. 27. 
 
 Of this, which is one of the finest portraits of Rembrandt, no less than ten states 
 have been described, but of the first two no examples can now be traced in any collections, 
 either public or private. 
 
 The first is mentioned by Claussin as being only an outline ; Wilson refers to a 
 second, rather more finished. In the third, the face, previously pale and without force, is 
 life-like and effective ; the figure is highly finished, but the hands and wristbands are 
 white. In the fourth state the upper part of the left side of the plate has been made 
 regular in outline, which it was not in the earlier impressions; there is further 
 work on the plate, but the hands and wristbands are still white. In the fifth, the name 
 of Rembrandt and the date 1648 have been added on a scroll at the top of the window. 
 In the sixth, the left hand is lightly shaded. In the seventh, the right hand is similarly 
 shaded, and there are some additional fine strokes on the face, especially on the left 
 temple. The eighth is very similar, but there are some fine vertical lines on the right 
 side of the paper, and the wristband of the left hand is worked with a light stroke. In 
 the ninth, a landscape is seen through the window, and there are additional light touches 
 on other parts of the plate. In the tenth, the plate has been heavily retouched, and with 
 the worst possible effect ; the shadow beneath the right hand is overcharged with ink ; 
 the name of Rembrandt on the scroll is no longer visible. 
 
 In addition to these are modern impressions taken from the plate in its present very 
 deteriorated condition ; but there is no probability of such prints being in the possession 
 of a connoisseur. 
 
 149 
 
XXVIII. 
 
 THE GREAT JEWISH BRIDE. 
 
 HIS is a fine portrait, highly finished. The bride is sitting in an elbow chair, 
 her face is a three-quarters, turned to the left ; her hair is long, flowing over her 
 shoulders down to her waist ; her head, round which is a string of pearls, is uncovered, 
 according to the custom in Holland among the Jewish women when they go to be 
 married ; she rests her right hand on the end of the elbow of the chair in which she is 
 sitting, and in her left she holds a scroll of paper. She has a kind of toilet gown over 
 her other apparel. Close by her right hand is a table, on which lie several bundles of 
 papers and books. The background consists of stonework ; on the left side is an arch. 
 On the cloth which covers the table is the letter R reversed.— Daulby, No. 311. 
 
 M. Le Blanc asserts that this portrait is erroneously named, and that, in reality, it 
 represents the first wife of Rembrandt. The reasons he advances in support of his 
 opinion are numerous, and it is at least extremely probable that he is correct in his 
 judgment. 
 
 There are four states known of this plate. The first is very rare ; in it the bust 
 only of the figure is finished, and the background is less worked on than in the sub- 
 sequent states. In the second state, which is even more scarce, the background is 
 rather more finished. The third presents vertical mouldings in the stonework of the 
 background. In the fourth, the hands and the toilet gown, which are white in the 
 earlier impressions, are covered with light strokes. 
 
 153 
 
XXIX. 
 
 REMBRANDT'S MOTHER. 
 
 HE is turned a little to the right, her eyes look downward ; her head is covered 
 with a black, open veil : her habit is black, and her left hand is placed high up 
 on her breast. The face is finely finished with a light point, and is very expressive of 
 old age ; the background is shaded. In the margin, towards the left, is written, Rt. 
 1631.— Daulby, No. 318. 
 
 There appears to be only one state of this plate. Wilson mentions an earlier state 
 in which the background is less worked on, especially around the head; but more recent 
 authorities do not confirm his opinion. 
 
 157 
 
XXX. 1? 
 
 A PORTRAIT OF REMBRANDT, WITH A DRAWN SABRE. 
 
 {Frontispiece). 
 
 HIS piece is extremely well executed. He is seen full-face, with a richly orna- 
 } mented cap, his hair is full and frizzled, and he has moustaches. In his right 
 hand he holds a glittering sabre. His habit is embroidered, and the top enriched with 
 ermine and a string of jewels. The background is shaded on the left as high as the 
 shoulder. At the top, on the left, is written Rembrandt f. 1634.— Daulbij, No. 23. 
 
 This is the most celebrated of the many portraits which Rembrandt executed of 
 himself, not only because of its great excellence, but because of the rarity of the proofs 
 m the first state of the plate, of which only four are known to exist. One in the 
 Museum at Amsterdam, a second in the possession of Lord Aylesford, who paid 350 
 guineas for it, a third in the print room of the Bibliotheque, in Paris, and the fourth, 
 which formerly belonged to Jean Pierre Zoomer, of Amsterdam, a contemporary and 
 friend of Rembrandt's, was bought at M. Verstolk's sale, in 1847, for the British Museum, 
 at the price of 150 guineas. It is from this impression that the photograph is taken. 
 
 There are two other states of this plate. In the second state, impressions of which 
 are rare, the plate is cut into an oval-shaped octagon; and in the third state it is a 
 perfect oval. 
 
 157 
 
A CATALOGUE OF REMBRANDT'S ETCHINGS. 
 
 4 
 5, 
 6, 
 7, 
 8. 
 9. 
 
 10. 
 
 11. 
 
 12. 
 13. 
 14. 
 15. 
 16. 
 17. 
 18. 
 19. 
 20. 
 
 Compiled by Daniel Daulby, ebom the Catalogues oe De Bubgy, Gebsaint. 
 Heele and Glomy, Mabcus, and Yveb, and now used in the 
 Pbint Eoom of the Bbitish Museum. 
 
 I. Portraits of Rembrandt, or Heads which resemble Him. 
 
 HE Portrait of Rembrandt drawing. 
 
 2. The Bust of a Young Man resembling Rembrandt. 
 
 3. A Head very much resembling Rembrandt, well etched, and highly 
 finished. 
 
 Another Portrait of Rembrandt, called the Bird of Prey portrait. 
 
 A Bust of a Young Man resembling Rembrandt. 
 
 A Small Head, stooping, somewhat resembling Rembrandt. 
 
 A Bust of a Young Man, resembling Rembrandt, coarsely etched. 
 
 A Portrait of Rembrandt whilst he was young. 
 
 A Head resembling Rembrandt. 
 
 A Head of Rembrandt, in a cap, which is more highly finished than the portrait. 
 A Portrait resembling Rembrandt, highly etched on a narrow plate, and 
 unfinished. 
 
 A Portrait of Rembrandt, etched in the early part of his life. 
 A Bust of a Young Man, resembling Rembrandt. 
 
 A Bust, in which there is some resemblance of Rembrandt in his youth. 
 
 A Portrait of Rembrandt when young. 
 
 A Bust of Titus, Son of Rembrandt. 
 
 A small Portrait of Rembrandt in a cap and fur cloak. 
 
 A Bust of a Young Man resembling Rembrandt. 
 
 A Bust which resembles Rembrandt in his youth. 
 
 A Bust resembling Rembrandt. 
 
168 
 
 CATALOGUE OF 
 
 21. A Bust very much resembling Rembrandt. 
 
 22. A Portrait of Rembrandt. 
 
 23. A Portrait of Rembrandt, with a drawn sabre. 
 
 24. The Portrait of Rembrandt and his Wife. 
 
 25. A Portrait of Rembrandt in the Mezetin cap and feather. 
 
 26. A fine Portrait of Rembrandt. 
 
 27. The Portrait of Rembrandt drawing. 
 
 28. A Portrait of Rembrandt in an oval. 
 
 II. Scripture Subjects erom the Old Testament. 
 
 29. Adam and Eve. 
 
 30. Abraham entertaining the Three Angels. 
 
 31. Abraham sending away Hagar and Ishmael. 
 
 32. Abraham with his son Isaac. 
 
 33. Abraham's Sacrifice. 
 
 34. Four Prints for a Spanish Book — 
 
 Jacob's Ladder. 
 
 The Combat of David with Goliath. 
 
 The Image which Nebuchadnezzar saw in his dream. 
 
 The Vision of Ezekiel. 
 
 35. Jacob lamenting the supposed death of Joseph. 
 
 36. Joseph and Potiphar's Wife. 
 
 37. Joseph telling his dream to his Brethren in the presence of his Father and 
 
 Mother. 
 
 38. Gideon's sacrifice. 
 
 39. Haman and Mordecai. 
 
 40. David on his knees. 
 
 41. Tobit. 
 
 42. The Angel ascending from Tobit and his family. 
 
 III. Scripture Subjects from the New Testament. 
 
 43. The Angel appearing to the Shepherds. 
 
 44. The Nativity, or Adoration of the Shepherds. 
 
 45. The Nativity, a night piece. 
 
 46. The Circumcision. 
 
REMBRANDT' S ETCHINGS. 
 
 169 
 
 47. The Little Circumcision. 
 
 48. The Circumcision. (Berendreck ex.) 
 
 49. The Presentation of Jesus in the Vaulted Temple. 
 
 50. The Presentation, in Rembrandt's dark manner. 
 
 51. The Presentation, with the Angel. 
 
 52. The Little Flight into Egypt. 
 
 53. The Flight into Egypt, a night piece. 
 
 54. The Return from Egypt. 
 
 55. The Flight into Egypt, the Holy Family crossing a rill. 
 
 56. The Flight into Egypt, in the style of Elsheimer. 
 
 57. The Rest in Egypt, in a wood, by night. 
 
 58. Three Pieces which are generally classed together ; the Rest in Egypt, St. Peter, 
 
 and a Man with a Pen. 
 
 59. The Rest in Egypt, (unique.) 
 
 60. The Virgin and the Infant Jesus in the clouds. 
 
 61. The Holy Family. 
 
 62. The Holy Family, Joseph looking in at the window. 
 
 63. Jesus disputing with the Doctors in the Temple, a sketch. 
 
 64. The same subject, a larger sketch. 
 
 65. The same subject, a small upright. 
 
 66. Little La Tombe. 
 
 67. The Tribute to Cassar. 
 
 68. Christ delivering the Keys to St. Peter. 
 
 69. Jesus Christ driving the Money-changers out of the Temple. 
 
 70. The Prodigal Son. 
 
 71. Jesus and the Samaritan Woman at the Well, — arched. 
 
 72. Jesus and the Samaritan Woman at the Well, — an upright. 
 
 73. The Small Resurrection of Lazarus. 
 
 74. The Larger Resurrection of Lazarus. 
 
 75. The Hundred Guilder Piece. 
 
 76. Jesus Christ healing the Sick. 
 
 77. The Good Samaritan. 
 
 78. Our Lord in the Garden of Olives. 
 
 79. Our Lord before Pilate. 
 
 80. The Three Crosses. 
 
 81. Our Lord on the Cross between the Two Thieves, an oval. 
 
170 
 
 CATALOGUE OF 
 
 82. The Little Crucifixion. 
 
 83. The Ecce Homo. 
 
 84. The Descent from the Cross. 
 
 85. The Descent from the Cross, a sketch. 
 
 86. The Descent from the Cross, a night piece. 
 
 87. Jesus Christ entombed. 
 
 88. The Funeral of Jesus. 
 
 89. The Virgin mourning the Death of Jesus. 
 
 90. Our Lord and his Disciples at Emmaus. 
 
 91. Our Lord and the Disciples at Emmaus, the little print. 
 
 92. The Decollation of St. John the Baptist. 
 
 93. The Decollation of St. John, doubtful. 
 
 94. St. Peter and St. John at the Beautiful Gate of the Temple. 
 
 95. The Baptism of the Eunuch. 
 
 96. The Angel delivering Saint Peter out of Prison. 
 
 97. The Death of the Virgin. 
 
 98. The Martyrdom of Saint Stephen. 
 
 99. Saint Jerome, unique. 
 
 100. Saint Jerome sitting at the foot of a tree. 
 
 101. Saint Jerome kneeling, arched. 
 
 102. Saint Jerome before the trunk of an old tree. 
 
 103. Saint Jerome kneeling. 
 
 104. Saint Jerome, unfinished. 
 
 105. Saint Jerome. 
 
 106. Saint Jerome, in Rembrandt's dark manner. 
 
 107. Saint Francis praying. 
 
 108. The Hour of Death. 
 
 109. Youth surprised by Death. 
 110 A Man meditating. 
 
 IV. Pious Subjects. 
 
 V. Fastcy Pieces. 
 
 112. 
 
 111. 
 
 An Allegorical Piece. 
 The Star of the Kings. 
 
REMBRANDT' S ETCHINGS. 
 
 171 
 
 113. Four Hunting Pieces. 
 
 114. Three Oriental Fi gures. 
 
 115. The Blind Beggar. 
 
 116. The Spanish Gipsy. 
 
 117. The Eat Killer. 
 
 118. The Rat Killer (presque-unique). 
 
 119. The Goldsmith. 
 
 120. The Pancake Woman. 
 
 121. The Sport of Kolef. 
 
 122. A Jews' Synagogue. 
 
 123. Fortune, an allegorical piece. 
 
 124. The Marriage of Jason and Creusa. 
 
 125. The Corn Cutter. 
 
 126. The Schoolmaster. 
 
 127. The Mountebank. 
 
 128. The Draughtsman. 
 
 129. Peasants travelling. 
 
 130. Cupid reposing. 
 
 131. The Jew with the high cap. 
 
 132. An Old Man with a boy. 
 
 133. The Onion Woman. 
 
 134. The Peasant with his hands behind him. 
 
 135. A Man playing at cards. 
 
 136. The Old Man with a short beard and a stick. 
 
 137. The Blind Fiddler. 
 
 138. The Man on Horseback. 
 
 139. ThePolander. 
 
 140. Another Polander. 
 
 141. An Old Man seen from behind. 
 
 142. The Two Travelling Peasants. 
 
 143. The Old Man without a beard. 
 
 144. The Old Man with a bushy beard. 
 
 145. The Persian. 
 
 146. A Blind Man. 
 
 147. The Astrologer. 
 
 148. The Two Venetian Figures. 
 
172 
 
 C A T A LOG TIE OF 
 
 149. A Little Polish Figure. 
 
 150. A Physician feeling the pulse of his patient. 
 
 151. The Skater. 
 
 152. The Hog. 
 
 153. The Little Dog sleeping. 
 
 154. The Shell. 
 
 VI. Beggars. 
 
 155. A Beggar standing, spiritedly etched. 
 
 156. A Beggar, a profile in a cap. 
 
 157. Two Beggars, a man and a woman conversing. 
 
 158. Two other Beggars coming from behind a bank. 
 
 159. A Beggar, in the manner of Callot. 
 
 160. A Beggar in a slashed cloak. 
 
 161. A Beggar Woman, in Callot's manner. 
 
 162. A Beggar standing. 
 
 163. A Beggar with his dog in a string, arched. 
 
 164. A Beggar Woman asking alms. 
 
 165. Lazarus Klap, or the Dumb Beggar. 
 
 166. The Ragged Mariner, with his hands behind him. 
 
 167. A Beggar warming his hands over a chafingdish. 
 
 168. A Beggar with his mouth open. 
 
 169. An Old Beggar with a long beard, and a dog by his side. 
 
 170. Beggars at the door of a house. 
 
 171. A Beggar, and its companion, in two pieces. 
 
 172. A Beggar with a wooden leg. 
 
 173. A Peasant standing with his hands behind him, and a basket at his feet. 
 
 174. A Beggar, a sketch, unique. 
 
 175. Two Beggars, a man and a woman, presque-unique. 
 
 176. A Beggar, in Callot's manner, unique. 
 
 177. A Sick Beggar lying on the ground. 
 
 VII. Free Subjects. 
 
 178. Ledikant ; the French Bed. 
 
 179. The Friar in the Straw. 
 
REMBRANDT'S ETCHINGS. 
 
 173 
 
 180. The Flute Player. 
 
 181. The Shepherds in the "Wood. 
 
 182. A Man with a bundle at his back. 
 
 183. A Woman crouching under a tree. 
 
 VIII. Academical Subjects. 
 
 184. A Painter drawing, after a model. 
 
 185. An Academical figure of a man, called in Holland the Prodigal Son. 
 
 186. The Dog Cart. 
 
 187. The Bathers. 
 
 1 88. The Man sitting on the ground. 
 
 189. The Woman sitting before a Dutch Stove. 
 
 190. A Naked Woman. 
 
 191. A Woman preparing to dress after bathing. 
 
 192. A Woman with her feet in the water, after bathing. 
 
 193. A Woman bathing near the foot of a large tree.. 
 
 194. The Woman with the Arrow. 
 
 195. A Woman sleeping, and a Satyr. 
 
 196. Another print on the same subject. 
 
 197. A Naked Woman seen from behind. 
 
 IX. Landscapes. 
 
 198. A Landscape, terminating with the sea, and ruins on the shore. 
 
 199. A Landscape with a house, and a large tree by it. 
 
 200. Six's Bridge. 
 
 201. A View of Omval, near Amsterdam. 
 
 202. A View of Amsterdam. 
 
 203. The Sportsman. 
 
 204. The Three Trees. 
 
 205. The Peasant carrying the milk pails. 
 
 206. A Landscape, lightly etched, and washed with Indian Ink. 
 
 207. The Coach Landscape. 
 
 208. A Landscape, unique. 
 
 209. A Village near a high road, arched. 
 
 I 
 
174 
 
 CATALOGUE OF 
 
 210. A Village with a square tower, arched. 
 
 211. A Farm House and barn. 
 
 212. The Shepherd. 
 
 213. A Landscape, of an irregular form. 
 
 214. A Landscape, with a vista. 
 
 215. The Landscape with and without the pointed tower. 
 
 216. An Arched Landscape, with cattle. 
 
 217. A Large Landscape, with a cottage and a Dutch barn. 
 
 218. An Arched Landscape, with an obelisk. 
 
 219. A Village with a canal. 
 
 220. A Landscape, unique. 
 
 221. An Orchard, with a barn. 
 
 222. A Large Landscape, with a mill sail seen above the cottag 
 
 223. A Grotto with a brook. 
 
 224. A Cottage with white pales. 
 
 225. Rembrandt's Father's Mill. 
 
 226. The Gold Weigher's Field. 
 
 227. Two Landscapes of the same size. 
 
 228. A Landscape, Avith a cow drinking. 
 
 229. The same as No. 210. 
 
 230. The same as No. 239. 
 
 231. A Landscape, unique. 
 
 232. A Landscape. 
 
 233. A Landscape with a great tree in the middle. 
 
 234. A Farmhouse surrounded with white pales. 
 
 235. A Landscape, unique. 
 
 236. Another Landscape, presque-unique. 
 
 X. Portraits of Men. 
 
 237. A Man in an arbour. 
 
 238. A Young Man sitting in a chair. 
 
 239. An Old Man with a large beard, an unfinished piece. 
 
 240. Bust of an Old Man with a long beard. 
 
 241. The Man with the crucifix and chain. 
 
 242. An Old Man with a large white beard. 
 
REMBRANDT'S ETCHINGS. 
 
 17 '5 
 
 243. Portrait of a Man with short beard. 
 
 244. Abraham Vander Linden. 
 
 245. An Old Man in a fur cap, divided in the middle. 
 
 246. Janus Silvius. 
 
 247. An Old Man sitting at a table. 
 
 248. A Young Man musing. 
 
 249. Manasseh Ben Israel. 
 
 250. Doctor Faustus. 
 
 251. Cornelius Hanslo, or Anslo. 
 
 252. Clement de Jonge. 
 
 253. Abraham France, or Franz. 
 
 254. Old Haaring, or Haring, the Burgomaster. 
 
 255. Young Haaring, or Haring. 
 
 256. John Lutma. 
 
 257. Asselyn Crabbetje. 
 
 258. Ephraim Bonus. 
 
 259. Wtenbogardus, or Wytenbogaert, a Dutch Minister. 
 
 260. John Cornelius Sylvius. 
 
 261. Wtenbogardus, or Wytenbogaert, the Banker. 
 
 262. The Little Coppenol. 
 
 263. The Great Coppenol. 
 
 264. Van Tol, the Advocate. 
 
 265. The Burgomaster Six. 
 
 XI. Fancy Heads of Men. 
 
 266. Three Original Heads. 
 
 267. A Young Man in a Mezetin cap. 
 
 268. The Bust of an Old Man with a large beard. 
 
 269. The Bust of an Old Man, bald-headed, with a long beard. 
 
 270. Two Profiles of a bald-headed man. 
 
 271. An Old Man with a pointed beard. 
 
 272. The Bust of an Old Man, in an oval. 
 
 273. An Old Man with a bald head. 
 
 274. An Old Man with a beard. 
 
 275. Bust of a Bald Old Man, with his mouth open. 
 
176 CATALOGUE OF 
 
 276. Bust of an Old Man in a very high fur cap. 
 
 277. Bust of a Man, with a beard from ear to ear. 
 
 278. The Slave, with a great cap. 
 
 279. A Turkish Slave. 
 
 280. Bust of a Man, seen in front, in a cap. 
 
 281. Bust of a Man, with curling hair, resembling Rembrandt. 
 
 282. Profile of a Bald Old Man. 
 
 283. Bust of a Man in a fur cap, stooping. 
 
 284. Profile of a Bald Man, coarsely etched. 
 
 285. Bust of a man, singularly out-mouthed. 
 
 286. An Old Man with a large white beard. 
 
 287. A Young Man. A half-length. 
 
 288. A Man with a broad-brimmed hat and a ruff. 
 
 289. Bust of an Old Man with a large beard and fur cap. 
 
 290. An Old Man in a rich velvet cap. 
 
 291. An Old Man with a square beard. 
 
 292. Bust of an Old Man with a very large beard. 
 
 293. A Portrait resembling Bembrandt in a Mezetin cap. 
 
 294. A Full Face, laughing. 
 
 295. Profile of a Man with a short thick beard. 
 
 296. A Philosopher with an hour glass. 
 
 297. The Head with the mutilated cap. 
 
 298. A Man with moustaches, in a high cap, sitting. 
 
 299. Bust of a Man in a cap, one of Rembrandt's first performances. 
 
 300. The Man's Head with the cap and stay. 
 
 301. Bust of a Man bald-headed. 
 
 302. An Old Man sleeping. 
 
 303. An Old Man with a very large beard. 
 
 304. A grotesque head in a high fur cap. 
 
 305. Another grotesque head, with the mouth open. 
 
 306. A Man painting. 
 
 307. An Old Man's Head. 
 
 308. Portrait of an Officer. 
 
 309. A Young Man sleeping. 
 
REMBRANDT' S ETCHIN G S. 
 
 XII. Portraits of Women. 
 
 310. The Great Jewish Bride. 
 
 311. Saint Catherine. 
 
 312. Two Portraits of Old Women. 
 
 313. A Young Woman reading. 
 
 314. An Old Woman meditating, after reading. 
 
 315. Eembrandt's Wife. 
 
 316. An Old Woman with her hand on her breast. 
 
 317. Rembrandt's Mother. 
 
 318. Head of an Old Woman, etched no lower than the chin. 
 
 319. Another Head of an Old Woman, etched no lower than the chin. 
 
 320. Bust of an Old Woman, lightly etched. 
 
 321. An Old Woman in a black veil. 
 
 322. A Woman with a basket. 
 
 323. A Morisco. 
 
 324. Bust of a Woman, the -lower part oval. 
 
 325. A Woman in a large hood. 
 
 326. An Old Woman's Head. 
 
 327. A Woman reading. 
 
 XIII. Studies of Heads and other Sketches. 
 
 328. The Head of Rembrandt, and other studies. 
 
 329. Part of a Horse, and other sketches. 
 
 330. Rembrandt's Wife, and five other heads. 
 
 331. A Sheet of Sketches. 
 
 332. Three Heads of Women. 
 
 333. Three Heads of Women, one asleep. 
 
 334. Two Women in separate beds, and other sketches. 
 
 335. Rembrandt's Head, and several others. 
 
 336. Rembrandt's Head, and others. 
 
 337. The Sketch of a Dog. 
 
 338. Sketch of a Tree, and other subjects. 
 
 339. Two Small Figures. 
 
 340. Three Profiles of Old Men. 
 
178 
 
 A SUPPLEMENT TO THE CATALOGUE OF THE 
 WORKS OF REMBRANDT. 
 
 TRANSLATED FROM THE FRENCH OF PIERRE YVER. 
 
 I. Portraits of Rembrandt. 
 
 1 . A Bust of Rembrandt, whilst young. 
 
 2. Another Bust of Rembrandt. 
 
 II. Scripture Subjects from the Old Testament. 
 
 3. Abraham sending away Hagar and Ishmael. 
 
 4. The same subject. 
 
 III. Scripture Subjects from the New Testament. 
 
 5. The Holy Family. 
 
 IV. Fancy Pieces. 
 
 6. An Old Man seen in front. 
 
 7. An Astrologer, or Old Man asleep. 
 
 8. An Alchymist in his laboratory. 
 
 V. Beggars. 
 
 9. A Beggar sitting in an elbow chair, of which the back is seen. 
 
 10. A Beggar seen from behind, with a basket of pedlary on his back. 
 
 11. A Peasant standing. 
 
 VI. Landscapes. 
 
 12. A Beautiful Landscape. 
 
 13. A Landscape with a canal. 
 
 14. A Cottage with a Dutch barn. 
 
SUP P LEMENT TO CATALOGUE. 
 
 179 
 
 15. A Landscape, of great effect. 
 
 16. A Landscape, strongly etched. 
 
 17. The Hay Waggon. 
 
 18. The Castle. 
 
 19. The Bull. 
 
 VII. Fancy Heads of Men and Women. 
 
 20. An Old Man with a short beard. 
 
 21. Bust of a Young Man, in an octagon. 
 
 22. Bust of a Young Man, lightly sketched. 
 
 23. Bust of a Young Man in a Mezetin cap and feather. 
 
 24. Bust of a Man. 
 
 25. Bust of an Old Man with an aquilice nose. 
 
 26. Bust of an Old Man, seen nearly in profile. 
 
 27. Bust of a Man in a Ruff, with feathers in his cap. 
 
 28. Head of a Man seen in front, in an octao-on. 
 
 29. Bust of an Old Man with a white beard. 
 
 30. Portrait of Titus, Son of Rembrandt. 
 
 31. An Old Woman reading. 
 
 32. Head of a Woman. A Study. 
 
180 
 
 INVENTORY OF THE EFFECTS OF REMBRANDT. 
 
 Reprinted (with permission) from Smith's " Catalogue Raisonne." 
 
 PICTURES, etc. 
 In the Entrance Hall. 
 
 ICTURE, representing the Gingerbread Baker, by Brauwer. 
 A Picture, The Gamblers, by Brauwer. 
 A Picture, a Woman and Child, by Rembrandt. 
 A Picture, the Interior of an Artist's Painting Room, by Brauwer. 
 A Picture, the Interior of a Kitchen, by Brauwer. 
 A Statue of a Woman, in plaster. 
 Two Children, in plaster. 
 A Sleeping Child, in plaster. 
 A Landscape, by Rembrandt. 
 A Landscape, by Rembrandt. 
 A Woman represented standing, by Rembrandt. 
 A Christmas Night Piece, by Jean Lievensz. 
 St. Jerome, by Rembrandt. 
 Dead Hares, a small picture, by Rembrandt. 
 A small picture of a Pig, by Rembrandt. 
 A small Landscape, by Hercules Segers. 
 A Landscape, by Jean Lievensz. 
 A Landscape, by Jean Lievensz. 
 A Landscape, by Rembrandt. 
 A Combat of Lions, by Rembrandt. 
 A Landscape, by moonlight, by Jean Lievensz. 
 A Head, by Rembrandt. 
 
INVENTORY OF THE EFFECTS OF REMBRANDT. 181 
 
 A Head, by Rembrandt. 
 
 A picture of Still Life, objects retouched, by Rembrandt. 
 A Soldier, clad in armour, by Rembrandt. 
 
 A Skull, and other objects, styled a Vanitas, retouched, by Rembrandt. 
 
 A Skull, and other objects, styled a Vanitas, retouched, by Rembrandt. 
 
 A Sea Piece, by Hendrick Antonisz. 
 
 Four Spanish Chairs, covered with leather. 
 
 Two Spanish Chairs, covered in black. 
 
 A Plank of Wood. 
 
 In the Front Parlour. 
 
 A small picture of the Samaritan, retouched, by Rembrandt. 
 The Rich Man, by Palma Vecchio. 
 
 (The half of this picture belongs to Peter de la Tombe.) 
 A View of the Back of a House, by Rembrandt. 
 Two Sporting Dogs, done after nature, by Rembrandt. 
 The Descent from the Cross, a large picture, in a gilt frame, by Rembrandt. 
 The Raising of Lazarus, by Rembrandt. 
 A Courtesan Dressing, by Rembrandt. 
 A Woody Scene, by Hercules Segers. 
 Tobias, &c. by Lastman. 
 The Raising of Lazarus, by Jean Lievensz. 
 
 A Landscape, representing a mountainous country, by Rembrandt. 
 
 A small Landscape, by Govert Jansz. 
 
 Two Heads, by Rembrandt. 
 
 A Picture, en grisaille, by Jean Lievensz. 
 
 A Picture, en grisaille, by Parcelles. 
 
 A Head, by Rembrandt. 
 
 A Head, by Brauwer. 
 
 A View on the Dutch Coast, by Parcelles. 
 
 A View of the same, smaller, by Parcelles. 
 
 A Hermit, by Jean Lievensz. 
 
 Two small Heads, by Lucas Van Valkenburg. 
 
 A Camp on Fire, by the elder Bassan. 
 
 A Quack Doctor, after Brauwer. 
 
 K 
 
182 
 
 INVENTORY OF 
 
 THE 
 
 Two Heads, by Jan Pinas. 
 
 A perspective View, by Lucas Van Leyden. 
 
 A Priest, by Jean Lievensz. 
 
 A Model, by Rembrandt. 
 
 A Flock of Sheep, by Rembrandt 
 
 A Drawing, by Rembrandt. 
 
 The Flagellation of Our Lord, by Rembrandt. 
 
 A Picture, done en grisaille, by Parcelles. 
 
 A Picture, done en grisaille, by Simon de Vlieger. 
 
 A small Landscape, by Rembrandt. 
 
 A Head of a Woman, after nature, by Rembrandt. 
 
 A Head, by Rafaelle Urbino. 
 
 A View of Buildings, after nature, by Rembrandt. 
 
 A Landscape, after nature, by Rembrandt. 
 
 A View of Buildings, by Hercules Segers. 
 
 The Goddess Juno, by Jacob Pinas. 
 
 A Looking Glass, in a black ebony frame. 
 
 An ebony Frame. 
 
 A Wine Cooler, in marble. 
 
 A Table of walnut tree, covered with a carpet. 
 
 Seven Spanish Chairs, with green velvet cushions. 
 
 Back Parlour. 
 
 A Picture, by Pietro Testa. 
 
 A Woman with a Child, by Rembrandt. 
 
 Christ on the Cross, a model, by Rembrandt. 
 
 A Naked Woman, by Rembrandt. 
 
 A Copy after a picture, by Annibal Caracci. 
 
 Two Half Figures, by Brauwer. 
 
 A Copy, after a picture, by Annibal Caracci. 
 
 A Sea View, by Parcelles. 
 
 The Head of an Old Woman, by Van Dyck. 
 
 A Portrait of a deceased person, by Abraham Vink. 
 
 The Resurrection, by A. Van Leyden. 
 
EFFECTS OF REMBRANDT. 
 
 183 
 
 A Sketch, by Rembrandt. 
 
 Two Heads, after nature, by Rembrandt. 
 
 The Consecration of Solomon's Temple, done en grisaille, by Rembrandt. 
 The Circumcision, a copy, after Rembrandt. 
 Two small Landscapes, by Hercules Segers. 
 
 A gilt Frame. 
 
 A small oak Table. 
 
 Four Shades, for engraving. 
 
 A Clothes Press. 
 
 Four old Chairs. 
 
 Four green Chair Cushions. 
 
 A copper Kettle. 
 
 A Portmanteau. 
 
 The Saloon. 
 
 A Woody Scene, by an unknown Master. 
 
 An Old Man's Head, by Rembrandt. 
 
 A large Landscape, by Hercules Segers. 
 
 A Portrait of a Woman, by Rembrandt. 
 
 An Allegory of the Union of the Country, by Rembrandt. 
 
 (This is probably the picture now in the Collection of Samuel Rogers, Esq.) 
 A View in a Village, by Govert Jansz. 
 A Young Ox, after nature, by Rembrandt. 
 
 The Samaritan Woman, a large picture, attributed to Giorgione, the half of which 
 
 belongs to Peter de la Tombe. 
 Three antique Statues. 
 
 A Sketch of the Entombment, by Rembrandt. 
 
 The Incredulity of St. Peter, by Aertje Van Ley den. 
 
 The Resurrection of our Lord, by Rembrandt. 
 
 The Virgin Mary, by Rafaelle Urbino. 
 
 A Head of Christ, by Rembrandt. 
 
 A Winter Scene, by Grimaer. 
 
 The Crucifixion, by Lely of Novellaene. 
 
 (Probably intended for Novellari.) 
 
184 
 
 INVENTORY OF THE 
 
 A Head of Christ, by Rembrandt. 
 
 A Young Bull or Ox, by Lastman. 
 
 A Vanitas, retouched, by Rembrandt. 
 
 An Ecce Homo, en grisaille, by Rembrandt. 
 
 Abraham Offering up his Son, by Jean Lievensz. 
 
 A Vanitas, retouched, by Rembrandt. 
 
 A Landscape, en grisaille, by Hercules Segers. 
 
 An Evening Scene, by Rembrandt. 
 
 A large Looking Glass. 
 
 Six Chairs, with blue cushions. 
 
 An oak Table. 
 
 A Table Cloth. 
 
 A Napkin Press. 
 
 A Wardrobe, or Armoir. 
 
 A Bed, and a Bolster. 
 
 Two Pillows. 
 
 Two Coverlids. 
 
 Blue Hangings of a bed. 
 
 A Chair. 
 
 A Stove. 
 
 In the Cabinet of Arts. 
 
 A pair of Globes. 
 A Box containing minerals. 
 A small Architectural Column. 
 A Tin Pot. 
 
 The Figure of an Infant. 
 
 Two pieces of Indian Jadd. 
 
 A Japan or Chinese Cup. 
 
 A Bust of an Empress. 
 
 An Indian Powder Box. 
 
 A Bust of the Emperor Augustus. 
 
 An Indian Cup. 
 
 A Bust of the Emperor Tiberius. 
 
EFFECTS OF REMBRANDT. 
 
 185 
 
 An Indian Work Box, for a lady. 
 
 A Bust of Caius. 
 
 A pair of Roman Leggings. 
 
 Two porcelain Figures. 
 
 A Bust of Heraclitus. 
 
 Two porcelain Figures. 
 
 A Bust of Nero. 
 
 Two Iron Helmets. 
 
 An Indian Helmet. 
 
 An ancient Helmet. 
 
 A Bust of a Roman Emperor. 
 
 A Negro, cast from nature. 
 
 A Bust of Socrates. 
 
 A Bust of Homer. 
 
 A Bust of Aristotle. 
 
 An Antique Head ; done in brown. 
 
 A Faustina. 
 
 A Coat of Armour, and a Helmet. 
 
 A Bust of the Emperor Galba. 
 
 A Bust of the Emperor Otho. 
 
 A Bust of the Emperor Vitellius. 
 
 A Bust of the Emperor Vespasian. 
 
 A Bust of the Emperor Titus Vespasian. 
 
 A Bust of the Emperor Domitian. 
 
 A Bust of Silius Brutus. 
 
 Forty-seven specimens of Botany. 
 
 Twenty-three specimens of Land and Marine Animals. 
 
 A Hammock and two Calabashes. 
 
 Eight various objects, in plaster, done from nature. 
 
 On the Last Shelf. 
 
 A quantity of Shells, Marine Plants, and sundry curious objects, in plaster, done from 
 nature. 
 
 An Antique Statue of Cupid. 
 A small Fuzil, and a Pistol. 
 
186 
 
 INVE NT ORY OF THE 
 
 A steel Shield, richly embossed with Figures, by Quintin Matsys ; very curious and 
 rare. 
 
 An Antique Powder-horn. 
 
 An Antique Powder-horn; Turkish. 
 
 A Box, containing Medals. 
 
 A Shield of curious workmanship. 
 
 Two Naked Figures. 
 
 A Cast from the face of Prince Maurice, taken after his death. 
 A Lion and a Bull, in plaster, after nature. 
 A number of Walking Sticks. 
 A long Bow. 
 
 Books on Art. 
 A Book, containing Sketches, by Rembrandt. 
 
 A Book, containing Prints, engraved in wood, by Lucas Van Leyden. 
 A Book, containing Prints, engraved in wood, by Wael and others. 
 A Book, containing Etchings, by Baroccio and Vanni. 
 A Book, containing Prints, after Rafaelle Urbino. 
 A gilt Model of a French Bed, by Verhulst. 
 
 A Book full of Engravings, many of which are double impressions, by Lucas Van 
 Leyden. 
 
 A Book, containing a great number of Drawings, by the best Masters. 
 A Book, containing a number of fine Drawings, by Andrea Mantegna. 
 A Book, containing Drawings by various masters, and some Prints. 
 A Book, larger, full of Drawings and Prints. 
 
 A Book, containing a number of Miniatures, Wood-cuts, and Copper-plate Prints of the 
 
 various costumes of countries. 
 A Book full of Prints, by Old Breughel. 
 A Book, containing Prints, after Rafaello Urbino. 
 A Book, containing valuable Prints, by Rafaelle Urbino. 
 A Book, full of Prints, by Tempesta. 
 
 A Book, containing Wood-cuts and Engravings by Lucas Cr attach. 
 A Book, containing Prints, after the Caracci and Guido, and Spagnoletti. 
 A Book, containing Engravings and Etchings, by Tempesta. 
 A large Folio of Engravings and Etchings, by Tempesta. 
 
EFFECTS OF REMBRANDT. 
 
 187 
 
 A large Folio of Engravings and Etchings, various. 
 
 A Book, containing Prints, by Goltius and Midler. 
 
 A Book, containing Prints after, Rafaelle Urbino, very fine impressions. 
 
 A Book, containing Drawings, by Brauwer. 
 
 A Folio, containing a great number of Prints, after Titian. 
 
 A number of curious Jars and Venetian Glasses. 
 
 An old Book, containing a number of Sketches, by Rembrandt. 
 
 An old Book, containing a number of Sketches, by Rembrandt. 
 
 A large Folio of Sketches, by Rembrandt. 
 
 An empty Folio. 
 
 A Backgammon Board. 
 
 An antique Chair. 
 
 A Book containing Chinese Drawings in miniature. 
 A large Cluster of White Coral. 
 A Book full of Prints of Statues. 
 
 A Book full of Prints, a complete work, by Heemskirk. 
 A Book full of Sketches, by Rubens, Van Dyck, and other Masters. 
 A Book, containing the Works of Michael Angelo Buonarotti. 
 Two Small Baskets. 
 
 A Book, containing Prints of free Subjects, after Rafaelle, Roest, Annibal, Caracci, and 
 Giulio Romano. 
 
 A Book full of Landscapes, by the most distinguished Masters. 
 
 A Book, containing Views of Buildings in Turkey, by Melchoir Lowick, Hendrick Van 
 Heist, and others ; and also the Costumes of that Country. 
 
 An Indian Basket, containing various Engravings, by Rembrandt, Hollar, Cocq, and 
 others. 
 
 A Book, bound in black leather, containing a selection of Etchings, by Rembrandt. 
 
 A paper Box, full of Prints, by Hupe Martin, Holbein, Hans Broemer, and Israel Mevtz. 
 
 A Book, containing a complete set of Etchings, by Rembrandt. 
 
 A Folio, containing Academical Drawings of Men and Women, by Rembrandt. 
 
 A Book, containing Drawings of celebrated Buildings in Rome, and other Views, by the 
 
 best Masters. 
 A Chinese Basket, full of various Ornaments. 
 A Folio. 
 A Folio. 
 
 A Folio, containing Landscapes after Nature, by Rembrandt. 
 
188 
 
 INVENTORY OF THE 
 
 A Book, containing a selection of Proof Prints, after Rubens and Jacques Jordaens. 
 A Book, full of Drawings, by Miervelt, Titian, and others. 
 A Chinese Basket. 
 
 A Chinese Basket, containing Prints of Architectural Subjects. 
 
 A Chinese Basket, containing Drawings of various Animals from Nature, by 
 Rembrandt. 
 
 A Chinese Basket, full of Prints, after Frans Floris, Buitwael, Goltius, and Abraham 
 Bloemart. 
 
 A quantity of Drawings from the Antique, by Rembrandt. 
 Five Books, in quarto, containing Drawings, by Rembrandt. 
 A Book full of Prints of Architectural Views. 
 The Medea, a Tragedy, by Jan Six. 
 A quantity of Prints, by Jacques Callot. 
 
 A Book, bound in parchment, containing Drawings of Landscapes, after Nature, by 
 Rembrandt. 
 
 A Book full of Sketches of Figures, by Rembrandt. 
 
 A Book full of Sketches, various. 
 
 A small Box, with wood divisions. 
 
 A Book, containing Views drawn by Rembrandt. 
 
 A Book, containing fine Sketches. 
 
 A Book, containing Statues, after Nature, by Rembrandt. 
 
 A Book, containing Statues, after Nature, various. 
 
 A Book, containing Pen Sketches, by Peter Eastman. 
 
 A Book, containing Drawings in Red Chalk, by Peter Eastman. 
 
 A Book, containing Sketches drawn with the Pen, by Rembrandt. 
 
 A Book, containing Sketches drawn with the Pen, various. 
 
 A Book, containing Sketches drawn with the Pen, various. 
 
 A Book, containing Sketches drawn with the Pen, various. 
 
 A Book, containing Sketches drawn with the Pen, various. 
 
 A Book, containing Sketches drawn with the Pen, various. 
 
 A Folio of large Drawings of Views in the Tyrol, by Roeland Savery. 
 
 A Folio full of Drawings by celebrated Masters. 
 
 A Book, in quarto, containing Sketches by Rembrandt. 
 
 A Book of Wood-cuts of the proportions of the Human Figure, by Albert Durer. 
 A Book, containing Engravings by Jean Lievensz and Ferdinand Bol. 
 Several parcels of Sketches, by Rembrandt and others. 
 
EFFECTS OF REMBRANDT. 
 
 189 
 
 A quantity of Paper of a large size. 
 
 A Box, containing Prints by Van Vliet, after Pictures by Rembrandt. 
 A Screen, covered with cloth. 
 A steel Gorget. 
 
 A Drawer, containing a Bird of Paradise, and six Forms of divers patterns. 
 A German Book, containing Prints of Warriors. 
 A German Book, with Wood-cuts. 
 
 Flavius Josephus, in German, illustrated with Engravings, by Tobias Kinderrnan. 
 
 An ancient Bible. 
 
 A marble Inkstand. 
 
 A Cast, in plaster, of Prince Maurice. 
 
 In an Anti-chamber of the Room of Arts. 
 
 St. Joseph, by Aertje Van Leyden. 
 Three Prints, in frames. 
 The Salutation. 
 
 A Landscape after Nature, by Rembrandt. 
 
 A Landscape, by Hercules Segers. 
 
 The Descent from the Cross, by Rembrandt. 
 
 A Head after Nature. 
 
 A Skull, retouched by Rembrandt. 
 
 A Model, in plaster, of the Bath of Diana, by Adam Van Vianen. 
 A Model from Nature, by Rembrandt. 
 
 A Picture of Three Puppies, after Nature, by Titus Van Ryn. 
 
 A Picture of a Book, by Titus Van Ryn. 
 
 A Head of the Virgin, by Titus Van Ryn. 
 
 The Flagellation, a copy after Rembrandt. 
 
 A Landscape, by Moonlight, retouched by Rembrandt. 
 
 A Naked Woman, a Model from Nature, by Rembrandt. 
 
 An unfinished Landscape from Nature, by Rembrandt. 
 
 A Horse painted from Nature, by Rembrandt. 
 
 A small Picture, by Young Hals. 
 
 A Fish, after Nature. 
 
 A Model, in plaster, of a Bason, adorned with Figures, by Adam Van Vianen. 
 An old Chest. 
 
 L 
 
190 
 
 INVENTORY OF THE 
 
 Four Chairs, with black leather seats. 
 A Table. 
 
 In the Small Painting Room. 
 
 Thirty-three pieces of Armour, and Musical Instruments. 
 
 Sixty pieces of Indian Armour, and several Bows, Arrows, and Darts. 
 
 Thirteen bamboo Pipes, and several Flutes. 
 
 Thirteen Objects, consisting of Bows, Arrows, Shields, &c. 
 
 A number of Heads and Hands, moulded from Nature, together with a Harp, and a 
 
 Turkish Bow. 
 Seventeen Hands and Arms, moulded from Nature. 
 Some Stag Horns. 
 Five ancient Casques. 
 Four Long Bows, and Cross Bows. 
 Nine Gourds and Bottles. 
 
 Two modelled Busts of Bartholt Been and his Wife. 
 
 A plaster Cast from a Grecian Antique. 
 
 A Bust of the Emperor Agrippa. 
 
 A Bust of the Emperor Aurelius. 
 
 A Head of Christ, of the size of life. 
 
 A Head of a Satyr. 
 
 A Sibyl — antique. 
 
 The Laocoon — antique. 
 
 A large Marine Vegetable. 
 
 A Vitellius. 
 
 A Seneca. 
 
 Three or four Antique Heads of Women. 
 A metal Cannon. 
 
 A quantity of Fragments of Antique Dresses of divers colours. 
 Seven Musical stringed Instruments. 
 Two small Pictures, by Rembrandt. 
 
 In the Large Painting Room. 
 
 Twenty Objects, consisting of Halberds and Swords of various kinds. 
 Dresses of an Indian Man and Woman. 
 
EFFECTS OF R EMBRANDT. 
 
 191 
 
 Five Cuirasses. 
 
 A wooden Trumpet. 
 
 A picture of Two Negroes, by Rembrandt. 
 A Child, by Michael Angelo Buonarotti. 
 
 In the Shed. 
 
 The skins of a Lion and a Lioness, and two Birds. 
 
 A large Piece representing Diana. 
 
 A Bittern, done from Nature, by Rembrandt. 
 
 In a Small Room. 
 
 Ten Paintings of various sizes, by Rembrandt. 
 A Bed. 
 
 In the Kitchen. 
 
 A pewter Pot. 
 Several Pots and Pans. 
 A small Table. 
 A Cupboard. 
 Several old Chairs. 
 Two Chair Cushions. 
 
 In the Passage. 
 
 Nine Plates. 
 
 Two earthen Dishes. 
 
 The Linen (then at the Washerwoman's). 
 
 Three Shirts. 
 
 Six Pocket Handkerchiefs. 
 
 Twelve Napkins. 
 
 Three Table Cloths. 
 
 Some Collars, and Wristbands. 
 
 The preceding Inventory was made on the 25th and 26th oj July, 1656. 
 
CHISWICK PRESS : PRINTED BY WHITTINGHAM AND WILKINS, 
 
 TOOKS COCRT, CHANCERY LANE. 
 
■HI 
 
11345 
 
 THE GETTY CENTER 
 LIBRARY