¦-Sav>*?.ed .yAffj,?sAb ¦ SJrwAs.

DESCRIPTIVE CATALOGUE

PRINTS

REMBRANDT.

AN AMATEUR.

LONDON:
J. F. SETCHEL, KING STREET, AND H. G. BOHN, YORK STREET, COVENT
GARDEN; COLNAGHI & CO., PALL MALL EAST; HODSON & GRAVES,
AND MOLTENO, PALL MALL; TIFFIN, 434, WEST STRAND; WHITE,
BROWNLOW STREET, HOLBORN; AND MESSRS. WOODBURN, SAINT
MARTIN'S LANE.

1836.

ADVERTISEMENT.

Circumstances beyond my control, have delayed
the publication of the following work far beyond the time
of its announcement. For this I have to apologise, as
well as for some errors ; which, considering the nature of
the work, will, I hope, meet with indulgence.
I have to notice the admission of a duplicate num
ber (135). This has arisen in consequence of the rejec
tion of the subject from the Scriptural Class, and its
restoration, too late, to the Class of Fancy Pieces, where
it now again appears. Nothing can induce me to con
sider it as representing " Abraham caressing Isaac," short
of the declaration of the artist who etched it.
I must entreat the excuse of that tasteful amateur*
Monsieur de Claussin, for having, in most parts of the
body of the work, omitted a letter of his name.
T. W.
AprU, 1830.

PREFACE.

The elaborate catalogues of the Prints of Rem
brandt, compiled by Daulby, Bartsch, and De
Clausin, would seem to leave no fair ground for
the present attempt ; but since the period of
Daulby, much has been discovered to interest the
collector ; and no subsequent edition of his cata
logue has appeared, although numerous corrections
and additions are required in almost every part,
to render it as creditable to England, as those of
Bartsch and De Clausin are to Germany and
France. It has therefore been thought proper, to build
the present work on the English foundation, add
ing the experience of observation, a comparison
of the various^catalogues, and of the editor's col-
a2

IV PREFACE.
lection, with such others as were attainable for
that purpose.
The collection here alluded to, as belonging to
the editor, contains all the important prints of
Rembrandt, lately in the cabinet of the celebrated
Baron de Non, and remarkable as one of the
very few formed by a contemporary of our great
artist. These have been carefully compared with the
collections in the British and Dutch Museums,
those of Lord Aylesford, Mr. Esdaile, and Mr.
Rudge ; and the result as to each print is accu
rately, and, it is hoped, candidly detailed ; as are
the observations on the examination oi Rembrandt's
works in the French Museum and elsewhere, when
the opportunity of comparison was not afforded.
Though the catalogues of Daulby and Bartsch
were published within a year of each other, (that
of Daulby in 1796, that of Bartsch in 1797)
no notice is taken by the latter of the English
writer's work. It may be accounted for, perhaps,
by considering the little communication which
then existed between this country and the Conti
nent, and the limited diffusion of our language.

PREFACE. V
These two catalogues, published so nearly to
gether, are both excellent ; but they differ mate
rially in some important particulars, in which each
has alternately the advantage. For instance,
Bartsch omits to notice any variation of the por
trait of Old Haaring, which Daulby has correctly
described. In the account of the celebrated por
trait of the Burgomaster Six, Daidby makes no
mention of the impression properly the first, accu
rately described as such by Bartsch. In the de
scription of The Hundred Guilder-piece, however,
both are defective.
The catalogue published by De Claussin, with
its supplement, is certainly the most complete
work we have on Rembrandt's prints, notwith
standing some observations which have been
made to its prejudice, and which undoubtedly
must be the result of hasty perusal.
The Life of Rembrandt, prefixed to the present
catalogue, is adopted from different authorities,
some of which disclose new matter; and the
observations and reflections of Bartsch are added,
as possessing numerous interesting particulars. A
few notes, with additional information, are ap-

VI PREFACE.
pended ; and, at the end, is a chronological arrange
ment of such of his prints as the artist has dated,
with a few remarks on the style and peculiarities
disclosed by those dates, which may, perhaps, lead
to some more developed essay on the dawn, pro
gress, and perfection of this great master's talents.
As no prints are omitted to be noticed except
such as the editor considers much more probably
the work ofsome scholar or contemporary imitator,
than of the great master himself, the class of
" Doubtful Pieces" has been rejected ; nor has it
been within the scope of the editor's leisure, to
extend this catalogue to the scholars of Rembrandt :
he hopes, however, that some future opportunity
will enable him so to do.

London, 1836.

CONTENTS.

PAGE
Preface  3
The Life of Rembrandt  7
Descriptive Catalogue of his Prints  25
Table of the Prints omitted in this Catalogue which were in
former Catalogues, and the reasons why  24 1
The Numbers of the Catalogues of Gersaint and D'Yver,
Daulby, Bartscb, and De Claussin, compared with those
of the present Catalogue.
Table 1st. The Numbers of Gersaint and D'Yver, in
succession  242
 2nd. The Numbers of this Catalogue in suc
cession  251
A Chronological Arrangement of Rembrandt's dated Prints,
with Remarks  261
A List of the previous Catalogues of Rembrandt's Prints . 266

THE LIFE

OF

REMBRANDT VAN RHYN.

Paul Rembrandt Gerritzen, now only known as
Rembrandt van Rhyn, was the son of a miller, named
Herman Gerritzen, called van Rhyn because he occupied a
mill on the banks of a canal formed by the Rhine, between
the villages of Leyerdorp and Koukerck, near the city of
Leyden, in which mill our artist was born, on the 15th
of June, 1606. His mothef's maiden name, it appears,
was Cornelia van Suidbroek.
The early indications of rising talent which young
Rembrandt displayed, but the bent of which was not un
derstood by his parents, induced them, at every sacrifice,
to send him to the college at Leyden, that he might ob
tain an education fitted to his supposed abilities. The
classics, however, and all belonging to them, had little
enticements for Rembrandt, and they were neglected for
the pursuit of painting, to which he soon professed himself
most ardently attached.
Those authors who have written his life, are at a loss
to determine the masters to whom he is indebted for his

8 LIFE OF REMBRANDT.
education in the arts. Some quote George van Schooten
as his first instructor ; others, James Pinas ; while three
authors (D'Argenville, Descamps, and Houbraken) affirm
it to be James van Schwanenbourg, with whom he is said
to have studied for three years; then to have placed
himself with Pieter Lastman, of Amsterdam, for a few
months ; and, finally, with. Pinas; hut to neither of these
can it he proved that he was much indebted. Nature,
and the force of his own genius, were his principal instruc
tors ; for, as Fuseli justly observes, " he never made any
regular approaches to the temple of fame, but seems to
have stolen the key, and entered the building."
Elated by the visions of art and the prospect of success,
Rembrandt returned to his father's mill, where he estab
lished his painting room ; and where he mingled with the
people of his father's sphere of life and employment, from
whom his models of nature are chiefly drawn.
A picture which he painted in this retired corner of the
world, soon attracted attention, and he started into public
notice. Being advised to shew his performance to an
amateur at the Hague, he took it there himself, and was
gratified by perfect approbation, and the price of a hun
dred florins for his picture. He is stated to have been so
excited with this success, as to have returned post to his
father with the joyful news.
From this time, it is said, when the spirit of avarice
was fairly roused, Rembrandt's prosperous career is to be
dated. But this is not a fair conclusion. Success would
naturally incite the glowing genius of such an artist;
would encourage him with the raptures of hope, without
unduly seducing him by the mere prospect of riches ; and
might make him feel a yearning for that immortal repu
tation, which he then believed to be within his grasp.

LIFE OF REMBRANDT. 9
Having occasion frequently to visit Amsterdam, in con
sequence of various commissions for portraits, he considered
it adviseable to select that opulent city as the theatre of
his glory, — and he settled there accordingly, in 1630, being
then twenty-four years old. He was soon in the greatest
request, and could scarcely satisfy the impatience of his
employers by the increased rapidity of his performances ;
but this did not produce neglect ; — it brought forth an
immortal pencil tipped with fire.
Soon after this, he married Saskia van Uylenburg, a
peasant of Raerep or Ransdorp, a village in Waterland,
of which he has given us a view in one of his magical
etchings. As a figure appears there, seated, in the act of
drawing, we may be granted the liberty of supposing, that
it represents the artist himself, during one of his visits of
courtship. Of De Piles' account that he was at Venice
in 1635 and 1636, little can be made from the scrawl on
his oriental heads, unaccompanied by the smallest portion
of other evidence; but he is said to have perpetually threat
ened the Dutch with a flight to England,* or some of the
northern kingdoms. His habits, Houbraken tells us, were
those of extreme frugality and economy, or, more properly
speaking, of parsimony ; a red herring, or a piece of cheese,
being the chief relish of his usual repast. His dress was
slovenly, and his appearance coarse and vulgar. As proofs
of his miserly propensities, itis stated, that he continually
published his etchings in unfinished states, to increase their
variations, and to enhance the value of the early impres
sions : that his wife either suggested or aided this scheme,
and initiated their only son, Titus, into the same quackery ;
and that they pushed this minor kind of fraud so far, as to
* It is said that he visited Hull, and painted two portraits there.

10 LIFE OF REMBRANDT.
pretend his death ; and, on the report being credited, to
proceed by selling early impressions of his plates, kept
back for that purpose, at an enormous price. He is said,
also, to have gained an enormous sum by his pupils, and
by retouching and selling their works.
Rembrandt had a munificent patron in the Burgomaster
Six, whose portrait is among the most exquisite of his etch
ings. This excellent gentleman, who filled the responsi
ble offices of dignity in the Dutch metropolis, with the love
and confidence of his fellow citizens, is said to have used
all his endeavours to bring Rembrandt into good society ;
but, though he received him often at his country-house near
Amsterdam, he failed to detach him from the low com
pany in which he spent much of his time. His expressions
in justification of this conduct were, that when " he wanted
relaxation, he took care to avoid the society of the great,
which was irksome to him, as he required liberty." Des-
camps says, that " he loved liberty, his art, and his money,
and that, notwithstanding Houbraken's assertion that he
left no considerable estate, it is certain that he died rich."
If he was addicted to the miserly propensities thus noticed,
it is a sin gular paradox,though a certain fact, that he became
insolvent in the year 1656, as appears from Mr.Josi's cata
logue of the collection of Rembrandt's etchings, belonging
to Ploos von Amstel, now in the cabinet of Lord Aylesford.
On the 15th and 16th of June, in that year, his effects were
scheduled, and shortly afterwards sold by auction, by the
younger Haaring, whose portrait he has engraved.
The following is a copy of the notice of sale :
"The trustee of the insolvent estate oiRembrandtvanRyn,
the celebrated painter, will, in pursuance of authority from
the Commissioners of the Insolvent Court, sell, under exe
cution, the prints now remaining, which form that

LIFE OF REMBRANDT. 11
estate, consisting of the works of the most eminent Italian,
French, German, and Flemish masters, and of Rembrandt
van Ryn himself, collected with much discrimination.
At the same time, a great number of drawings and
sketches, by Rembrandt van Ryn. The sale to begin at
the day and hour above stated, at the house of Barnard van
Scheuerman, at the Imperial Crown, in the Kalver-straet."
We see by this, that his parsimony did not preclude his
acquiring an expensive collection of foreign prints. The
Editor has been given to understand, that a copy of the
sale catalogue contains, among other lots, a rolling-press ;
which proves that the early impressions of his prints, so
various in their effects, were taken by himself, or under
his immediate eye, in his own house. The produce of the
sale was about 5000 guilders.
Josi observes, that on this occasion, the old Burgomaster
Haaring and his son, and Rembrandt's great patron, Six,
appear to have been his true friends, and to have enabled
him to continue his profession ; since, in the same year,
he finished the superb portrait of Lutma ; and Abraham
entertaining the Angels. In 1657, he etched Saint Francis
Praying: in 1658, The Woman sitting near the Stove: in
1659, Peter and John at the Gate of the Temple ; and
finally, in 1661, The Woman ivith the Arrow. It does not
appear, from any dated print or otherwise, that he en
graved any thing subsequently to this ; although, ac
cording to every account, many years elapsed before his
death. One of his finest pictures, however, now in the
Dutch Museum, The Meeting of Fow Syndics, is dated in
1664, leaving an interval of three years, at a period of life
when it is evident he had retained all his talent.
In 1668, according to De Piles, he died at Amsterdam,
at the age of sixty-two ; " bitterly censured," says Josi,

12 LIFE OF REMBRANDT.
" by his enemies ; but highly lauded by all true judges of
art." He left only one child, Titus, whom we have men
tioned before, but who had not a particle of the genius of
his father.
Houbraken, and those who have followed him, place
his death in 1674, six years later ; but Mr. Josi calls our
attention to the following legal document, discovered by
him at the Town Hall of Amsterdam :
It is dated the 9th September, 1665, by which, " Titus
van Rhyn, as only surviving son of Rembrandt van Rhyn
and Saskia van Uylenburg, acknowledges to have re
ceived from the Commissioners of the insolvent Court,
under guarantee of Abraham Franz, Merchant and eminent
Connoisseur, and B. van Beuningen, Woollendraper , the
sum of .F.6952-9, being the balance as well of the produce
of the sale at his father's house, in the Bree-Straat near
St. Antoni's Sluis, in 1658, as also of the former inherit
ance." According to this it would appear that Rembrandt
and his wife were both dead in 1665 ; but M. Josi subse
quently discovered an undoubted picture by him, which
he considers to be a portrait of the Burgomaster Six, with
an authentic date of 1667.
This picture is now in the possession of Lord Aylesford.
It does not sufficiently resemble Six to conclude that it is
a portrait of that illustrious individual, but is apparently
that of a Swede, and this brings us to the consideration
of a curious circumstance. Baldinucci tells us, but his ac
count is not credited, that Rembrandt retired to Sweden and
died there poor, about 1670. It is remarkable, that Mr.
Woodburn,whose judgment of art is well known, being very
recently at Stockholm, discovered there a superb picture
by Rembrandt, not only a genuine specimen of the best
talent of the Master, but representing an historical event

LIFE OF REMBRANDT. 13
in Swedish history. It is The Conspiracy of Ziska, con
taining eleven figures, the size of life ; " unfinished," says
Mr. Woodburn, " but fine in expression, and of sur
prising effect." We may perhaps at last fairly con
clude, that Rembrandt, after his insolvency, did actually
retire to Sweden ; that he painted there for several years,
and died probably at Stockholm, about 1670. That he
did not die at Amsterdam is now certain, as Mr. Josi
searched every register in that city, from 1650 to 1680 :
it remains still to search those of Stockholm.
Rembrandt is one of those artists who are pourtrayed in
their own works. Almost all his productions bear, in some
degree, the character of their author. His ideas of his art
were invariably such as he had acquired in his youth, in the
mill of his father. He was constantly occupied in imi
tating low nature, by which he loved to be surrounded ;
and his fancies were to him the models of the art. With
the antique he was acquainted only by name, and he in
variably made a jest of it. Old armour, and foreign or
eccentric articles of dress, were assiduously collected by
him, with which he loaded, rather than clothed his models,
and these he called his antiques.
Having a preference for simple subjects, which do not
require great composition, he has left more portraits and
heads than historical pieces ; the latter having, in most
cases, as much of the ludicrous about them, in the eyes of
persons. of general good taste, as they have of the admirable
qualities of painting in the eyes of artists. Though the
composition is usually treated in a low and vulgar style,
it is nevertheless sometimes sublime. His picture of
Jacob's Dream, in the Dulwich Gallery ,4s of that charac
ter ; as are his prints of the Raising of Lazarus, and The
Angel appearing to the Shepherds, notwithstanding the

14 LIFE OF REMBRANDT.
ludicrous effect, in the latter, of fright, on the cattle
and the herdsmen. Rembrandt, we know, occasionally
affected a singularity, almost amounting to burlesque,
in the subjects least suited to it. Though his costume
is varied to an infinite degree, he generally adopted the
oriental. All his patriarchs resemble Turkish pashas, or
Arabian Jews : his apostles and saints have the character
of beggars, and his St. Joseph is a mere village carpenter.
His angels are usually older than it is the custom to re
present them, and so fat, gross, and heavy, as to call in
question the sufficiency of the enormous wings which
Rembrandt has given them.
Portraits excepted, his drawing is most frequently incor
rect : the extremities are never well managed. So sensible
was he of his inability to draw the hands, that he has endea
voured to hide them whenever he could. We look in
vain for much grace and delicacy in the heads of his
females. When he attempted the naked figure, he failed
entirely; his bodies are short, lean, emaciated, and
heavy, and the extremities too large or too small, but
always out of proportion. Owing his talent to nature only,
if he occasionally approached the beautiful, it was less
from design than chance.
It must nevertheless be remarked, that if Rembrandt
was ignorant of, or slighted, these essential qualities of his
art, he understood expression, which alone can animate
the productions of the artist ; and, if seldom noble, he was
always true and intelligent. Whatever were the defects
of his drawing, he has redeemed them all by his color
his touch, and the charms of his chiaro 'scuro ; qualities
infinitely precious ; and which have placed him on a level
with the greatest masters. He formed his own rules, and
had a sure practice in the mixture of colors, and the effects

LIFE OF REMBRANDT. 15
of their varied tones. He was fond of strong contrasts of
light and shade, and his understanding of these was ex
traordinary. His study, dark at all times, was so contrived as to re
ceive its chief light only from a hole, in the manner of a
camera-obscura, and this body of light was conveyed by the
artist upon whatever object he wished to illuminate. When
his backgrounds were to be clear, he placed a cloth of the
desired color behind his model : this, participating of the
same strong ray which fell upon the head, enabled him to
mark distinctly the gradations to be effected.
Rembrandt's treatment seems the result of magic. No
painter ever understood better the operation of colors upon
each other, — which were accordant, and which hostile.
Every tint is in its place ; and with so much harmony,
as to secure that freshness which the mixture would
otherwise have altered. To unite the transitions of light
and shade, and to soften the sharp and too glaring colors,
he made use of a glazing, which he spread with the utmost
skill. In his works all is glowing, and, by an admirable
management of chiaro 'scuro, he has almost invariably
produced startling effects in his pictures.
He sketched his portraits with precision, and with a
mixture of color peculiar to himself. On this he worked
with vigorous touches, and sometimes charged the lights
with so great a body, as to approach nearer to modelling
than painting ; an instance of which may be quoted in
the portrait of his maid-servant, which De Piles, who pur
chased the picture, tells us was placed at an open window,
where it was taken, by many persons, for the female in
question. Great as is the reputation which Rembrandt has ac
quired by his paintings, he is not less celebrated for his

16 LIFE OF REMBRANDT.
engravings, which have never ceased to excite the admi
ration of every true connoisseur. He has executed about
373 pieces : the earliest dated is in 1628, the latest in
1661. According to these dates, Rembrandt began to en
grave when twenty-two years of age, and continued so to do
until within seven years of his death. Among those
without date, of which there are many, may be some earlier
or later productions ; but the merit of all is so equal, that
scarcely anything can be fairly quoted as the raw essay of
youth, or the feeble effort of dotage. Color excepted, all
the beauties and defects of this master's paintings are to
be found in his engravings. A roving freedom, a pictu
resque disorder, a light touch, and a most singular intelli
gence in chiaro 'scuro ; the talent of rendering by strokes
apparently given at hazard, the characters of every age
and period of life, and of all the objects he professed to
represent; these, and many other qualities, constitute
Rembrandt's merit, and spread an inexplicable charm over
all his prints.
He would never engrave in the presence of any one,*
therefore the greater part of his process was for a long
period considered as an impenetrable secret. Artists have
attempted to imitate his methods, but with very partial
success. How he accomplished many things will probably
never be known. The prints of Rembrandt, the engraving
only considered, independently of the drawing and chiaro
'scuro, have a character altogether peculiar. Their exe
cution is sometimes coarse, sometimes finished ; but, in
all, the strokes are so crossed and blended that they can
not be traced to any system.
Rembrandt drew on the copper with the same freedom

* Descamps, Vic des Peinties, vol. ii.

LIFE OF REMBRANDT. 17
and disorder which we find in his pen and bistre sketches.
As an example, we may take the Student drawing from a
Model. It was not calculated to produce correctness,
but it was a certain means of preserving all the spirit and
freedom of the original idea.
He frequently rebit his plates. The first operation pro
duced the more delicate work. He then revarnished the
plate, strengthened the work where required, and sub
mitted it a second time to the aqua-fortis. By this pro
ceeding, he obtained tender tones in the lighter parts,
delicacy in the finer details, and force, without confusion,
in the shadows. For a proof of such rehiring, we may in
stance the Portrait of Rembrandt (No. 7.J The folds of
the ruff round the neck, which, in the first impressions
are scarcely visible, in the next are plainly expressed,
where they have undergone a second operation of the
aqua-fortis, and the arrangement of the work on the hat is
different. In examining the Good Samaritan, we see that
the principal shadows on the dog have been heightened
by that method. This print proves also, that Rembrandt,
to obtain variety in his tones, has not only used points of
various degrees of sharpness, but has likewise, during the
biting, successively covered his plates with some unctuous
substance, to obtain degrees of depth in the work.
Rembrandt was perfect master of the dry point, and few
of his prints are without its effects. The Angel appearing
to the Shepherds, the portrait of Abraham Franz, of the
Young Haaring, and many others, are entirely worked
over with that instrument, and thus brought up to the
most beautiful effect.
Frequently he sketched his prints, with little use of the
aqua-fortis, in a light manner, and in a simple open style.
He then covered his work profusely with dry point,
B

18 LIFE OF REMBRANDT.
closely hatched, and mixed with work of the burin, which
gave a very rich and glowing effect. The portrait of
Dr. Faustus, which he never finished, is an instance of
this. The table, the books, the globe, and the head of
Faustus, are etched only in a sketchy manner ; all which
objects were intended to be finished in the same way as
the background, which alone is completed. In the Hun
dred Guilder print, scarcely more than the contours of the
figures are etched ; all that, chiaro 'scuro so justly admired
is, in the greater part, the fine close work of dry point.
It is particularly in this superb specimen, that Rembrandt
has shewn the art of employing that instrument to har
monize and produce all the gradations of tone. The Great
Coppenol affords a similar proof. In the first and second
impressions of this print, the right arm and hand are only
slightly etched ; the next impression shews us those parts
high-finished with the dry point, and all the background
entirely added with that tool. It is not easy to imagine
how Rembrandt could have produced such tones with the
dry point alone, and spread in such masses: the fact
however, is certain, as will be seen on a careful scrutiny
of the parts we have noticed.
The principal proof of Rembrandt's skill and firmness
in the use of the dry point, rests on the Landscape, with a
vista, (No. 21 9 J entirely executed with it. His very name
and the date are done with the same instrument, notwith"
standing the presumed difficulty in forming the figures.
In examining this landscape, we cannot fail to be as
tonished at the facility it displays, completely at variance
with the use of an instrument so opposed by resistance
of the metal. Rembrandt must have used a point ex
tremely sharp, and have employed his utmost force
in so doing. The first impression of the large Ecce

LIFE OF REMBRANDT. 19
Homo, shews lines drawn the whole height of the plate,
accompanied by strong bur. This proves the depth
of the incision, and the force with which Rembrandt un
derstood how to cut the copper.
Another instrument employed by him, though not so
frequently as the dry point, but with equal success, was
the burin. He used it most frequently in order to mark
his shadows with decided touches, and to produce that
necessary strength which aqua-fortis and dry point could
not effect. Thus, the Ecce Homo, (No. 82 J and the Des
cent from the Cross, (No. 83. ) have been in a great measure,
retouched with the burin. He used this as a painter would
do ; that is to say, he so intelligently mingled it with the
etching, that it is not possible clearly to distinguish be
tween them.
In addition to such a variety of mixed processes, there
exist pieces which he has engraved chiefly with the
burin. Of this class is The Student drawing after a
Model, mentioned before. All the shadows are exe
cuted with the burin in fine close narrow lines, one
over another ; and, to render them more black and har
monious, Rembrandt crossed the work in all parts with
the dry point, and in every possible direction, till he ob
tained the desired effect. The Goldweigher appears to be
engraved in the same manner, and, in the portrait of the
Burgomaster Six, very few traces of the etching are per
ceptible ; almost all the shadows are done with the burin,
and worked over with the dry point. Rembrandt, from
his intimate knowledge of the effects of the aqua-fortis,
was well aware that it was not possible, with that alone,
to produce close lines by strokes fine as well as deep. He
therefore quitted the etching ou all occasions when he

20 LIFE OF REMBRANDT.
wished to obtain a beautiful, vigorous, yet velvet-like
effect, persuaded that only the burin could accomplish
his object. For this reason the most brilliant impression
of the copy of this print, by Basan, is raw, cold, grey and
flat, compared even with an indifferent impression of the
original. Among Rembrandt's prints are seven different pieces
which appear like the work of mezzotinto. These are the
Adoration of the Shepherds (No. 50.) The Flight into
Egypt (No. 58.) A Descent from the Cross (No. 88.) Our
Saviour laid in the Sepulchre (No. 91.) Saint Jerome
(No. 1 10.) A Man Meditating (No. 146.) and the portrait
of Young Haaring. These prints have given rise to the no
tion of Rembrandt's having invented mezzotinto, which
we now know to have been discovered by Colonel Siegen,
in 1642. The prints in question, however, are certainly
not executed thus, the plates having evidently never been
prepared with a mezzotinto ground, the great peculiarity
of Siegen's discovery.
Many capricious impressions, and other varieties, in
Rembrandt's prints, are the result of a peculiar method
of spreading the ink on the plate, and then wiping away
those portions only where light was designed to appear.
Two perfectly similar impressions of this sort, from the
same plate, are rarely found. They were doubtless all
printed by the artist himself, in his own house. If he did
not derive any hint from the then recently discovered
invention of mezzotinto, his dark plates were possibly
suggested to him by the blots which the printing-ink left
on the copper, in those parts where the strong touches
had ploughed it up, and which plates he frequently
printed off without burnishing. This effect is called bur

LIFE OF REMBRANDT. 21
in our language, in French les barbes, and in Dutch braam.
Some of his most picturesque effects are produced by this
means. The object of Rembrandt being more to paint than to
engrave, on his plates, he never followed the ordinary
rules of other engravers, but having employed, as we have
seen, all the methods, and every process which his genius
dictated, he has sometimes mingled in his engravings
such complicated work, as to render it next to impossible
to discover its nature. For instance, it is very difficult to
determine in what manner the Flight into Egypt (No. 61.)
is executed. It is certain that the grey tint diffused
throughout this print, on the group and the eminence in
front is the effect of pumice stone, with which those
places in the copper have been rubbed ; but it is not so
easy to say what method he has resorted to in forming the
landscape, which occupies the left of the plate. Scarcely
any strokes are to be discovered, and the few we find have
apparently been added on after-thought. The foliage
consists of dots more or less thickly spread, and very dif
ferent in their form and colour, according to the force with
which they were operated upon by the aqua-fortis. If, in
spreading the varnish on a plate prepared for etching,
we bear hard on the dabber, we shall find, on removing
it, that the varnish has been penetrated, producing an
infinite number of minute holes, particularly if it has
already begun to cool. The varnish in this state perfectly
resembles the dotted work we find in the foliage of the
print just mentioned ; and, we may imagine that Rem
brandt resorted to this manoeuvre with effect ; and that
the masses of foliage were expressed, in the first instance
in the greater part by the movement of the dabber, and

22 LIFE OF REMBRANDT.
completed by a second operation, preserving the lights
from the corrosion of the acid, by a brush dipped in liquid
varnish. The foregoing remark, is however, only a con
jecture ; but, leaving this to the judgment of those better
versed in the practical detail of engraving, it will be satis
factory to have shewn some manoeuvres and experiments
resorted to by Rembrandt in engraving his plates.
He is said to have executed a wood-cut, the bust of a
philosopher, described in this catalogue. If there were
several similar specimens among his "works we might be
inclined to doubt whether he was more than the designer
on such occasions : for an artist who so frequently left
one plate unfinished to begin another, without, perhaps,
having patience to finish either, would he unlikely to take
much pleasure in the slow mechanical process of wood
engraving : probably, as a single and very small specimen,
he might have had a fancy to execute it himself.
Rembrandt usally printed the early impressions of his
plates on China-paper :* they are much sought after and
preferred ; not merely because the yellow tint of this
luxurious material gives them a more mellow, harmonious
appearance, but because the impressions themselves are
the first. Some, equally early, are found on vellum, but
they are not so much covetted, as they are, in general, ill
printed ; and the vellum, being subject to shrink and
cockle, leaves inequalities, which can never be entirely
got rid of.
* This is subject to many exceptions. All the impressions of the
Sabre Portrait, the first state of Utenbogardus the Minister, of Ephraim
Bonus, the Young Haaring, and several others, are not found except on
ordinary paper, and of the portrait of Van Tolling, only one impression
on India paper is known.

LIFE OF REMBRANDT. 23
It would be impossible to add to the eulogies which
have been bestowed on the talents of this extraordinary
genius. We may, however, safely grant him the privilege
scarcely accorded to any other artist, of having produced
works, which are capable of fascinating without satiety.

END OF THE LIFE.

FIRST CLASS.

PORTRAITS OF REMBRANDT

OR HEADS RESEMBLING HIM.

1.  PORTRAIT OF REMBRANT, WHEN YOUNG,
WITH BUSHY HAIR.
The figure is placed towards the left side of the print, from whence
the light comes in ; the body is turned to the right, but the face is
seen in front : the nose is broad, the eyes are small, the hair is
bushy, standing up on the crown, and frizzled ; the neckband is seen
over the habit, and divides in the middle. The back-ground is light,
except a faint shadow at the bottom to the right, a little above which
is written Rt. Heighth, 2 in. 2-\0ths ; width, 2 in.
Of this print there are two impressions.
First impression. This, according to M. de Clausin, is in the
De Fries collection, now belonging to Baron Verstolk van Soelen,
at Amsterdam ; differing from the ordinary one, in the plate's
being a little larger and uncleaned.
Second impression, as described. It is a scarce print when fine.
c

26 PORTRAITS OF
2.  A PORTRAIT OF REMBRANDT WITH MUSTACHES.
This is a full front face, with mustaches ; the head is covered
with a cap, set a little on the left, on which side the hair is short ;
but it is long and curling on the right ; the work extends no lower
than the neck, and the ground is light on the right side. This litde
plate is exquisitely etched.
Heighth, 2 in. ; toidth, 7-lQths.
There are two impressions of it.
First impression. The eye, not in shadow, is smaller and less
worked upon ; as are likewise the cap and hair.
Second impression. The left eye is enlarged, and the cap and hair
are slightly worked upon.
3.  PORTRAIT OF REMBRANDT, HOLDING A BIRD OF PREY.
Of this print a good impression is very uncommon, as the plate
failed in biting, and the endeavour to repair it has altogether injured
the harmony, and, no doubt, induced Rembrandt to destroy it.
He is seen nearly in front ; the hair is frizzled as usual, and
the head covered with a slashed cap, with a feather in it. The body
is directed towards the left, and the dress he wears has button-holes
on both sides, and on the sleeves, which are slashed. On the right
hand is perched a bird, most probably a falcon.
Heighth, 5 in. ; width, 3 in. 9-lOths.
4.  A BUST OF REMBRANDT, WITH A LARGE NOSE.
In addition to the size of the feature above noticed, the roundness
of his face, his frizzled bristly hair, and the thickness of his lips, be
speak a likeness. This piece is strongly etched, and the lines are
coarse and thick. The head is uncovered, and seen nearly in front ;
the neck band is open before. The light comes in on the right side,
full on the cheek and shoulder. The ground is light on the left,
nearly as high as the top of the head, the rest of it is shadowed.
This is one of the rarest of the portraits of Rembrandt.
Heighth, 2 in. 7-lOths; width, 2 in. 5-lOths.

REMBRANDT. 27
5. — A SMALL HEAD OF REMBRANDT STOOPING.
The head is uncovered, and seen nearly in front ; the face is
round, the hair frizzled, the nose thick, and the eyes almost shut.
The countenance is turned a little towards the right, and shaded on
the left; the shoulders are expressed only by a single stroke
on each side, and the breast is lightly shadowed with single lines
from left to right. The ground is entirely white.
Heighth, 1 in. 7-lOths ; width, I in. 6-lOths.
Of this piece, which is etched with a strong point, and is very
scarce, there axe four impressions.
First impression. It is merely an unfinished sketch, and measures
2 in. 5-10ths by 1 in. 9-lOths at the top, and two inches at the
bottom : it is of great rarity.
Second impression. It is more finished ; the face, particularly about
the chin, is more worked on ; this impression is full of bur, and
the plate is of the same dimensions as in the preceding state. It
is extremely scarce.
Third impression. It is that which has been particularly described ;
the plate is reduced, and the bur cleared away.
Fourth impression. This differs only from the third, in having a
zigzag line on the left shoulder effaced.
6.  A BUST OF REMBRANDT, WITH A FUR CAP AND DARK
DRESS COARSELY ETCHED.
In this piece the strokes are broad and black. It is, however,
undoubtedly the work of Rembrandt, and appears to be in his first
manner. The head is seen in front, and is covered with a fur cap,
which is higher on the right side than on the left. The hair is
curled, but falls down on the right shoulder, and is short on the
other side ; the body is directed towards the left, from whence the
light comes in. The ground is light, except a small part to the
right, which is shadowed with the double stroke as high as the
shoulders : it is extremely rare.
Heighth, 2 in. 6-10ths ; width, 2 in. 4-lOths.
c 2

28 PORTRAITS OF
There are two impressions.
First impression. The plate is nearly an inch larger each way.
Second, impression. The plate is reduced to the dimension in the
detailed description.
7. — A PORTRAIT OF REMBRANDT, IN A TURNED-UP HAT
AND AN EMBROIDERED MANTLE.
This portrait is designed with taste, and highly finished with a
fine point ; a good impression of it is very scarce. The head, which
is seen nearly in front, is covered with a common hat, turned up
over the left eye. The hair, which is very finely executed, appears
on each side of the face, and on the left side hangs down to the
shoulder ; the body is directed to the left, and covered with a rich
mantle, turned up with fur, and a little raised upon the right shoul
der. Round the neck is a ruff, laced and plaited. On the left hand,
are a band, a ruffle, and a glove : the light comes in on the right
side. It is scarce.
Heighth, 5 in. 8-Wths ; width, 5 in. 1-I0th.
Of this piece there are seven impressions.
First impression. It is presque unique ; only the head, hair, and hat,
are expressed ; the body is not made out. On the front of the
hat, turned up, is a space entirely light.
Second impression. It is similar, except that the light in front of the
hat is worked over : presque unique.*
Third impression. In this, which is extremely rare, the mantle is en
graved, but without embroidery ; there is a light on the drapery
covering the left arm ; the ruff is without lace, and the back-

* An impression of each of these states, cut nearly close to the head,
the second with work in crayon by Rembrandt, were in the Denon
Collection. An impression nearly the full size of the plate, in the second
state, with the bust most spiritedly drawn in crayon, was also in the
same Collection. The ruff and dress differ totally, the latter being with
out the heavy mantle. On the left, at top, is written "iEt. A°. 24." and
under the bust, in crayon, " Rembrandt fecit, 1631." .This impression
is in the collection of the editor.

REMBRANDT. 29
ground is white, except a few irregular strokes in the right corner
at bottom.
Fourth impression : more worked throughout ; especially in the
ruff, where the lace is defined ; the background is still the same.
At the top, on the left, is the monogram Rt. without date.
Fifth impression : still more worked ; the date 1631 affixed to the
monogram ; the ground is the same.
Sixth impression : much more finished than the last ; the back
ground covered with strokes in different directions, instead of being
left light, as in the preceding impressions, and, upon the whole,
it is superior to the preceding in beauty.
Seventh impression. This differs from the last in being yet more
worked upon, and in having added, at the top, on the right,
Rembrandt f. This impression is oneof much vigour and effect.
There is also an impression, in which the back-ground has been
erased, with a view to deceive inexperienced amateurs into a belief
of its being the third impression. The name and date have disap
peared with the background, and the whole work is dry and rotten.
Bt.de Clausin observes, that the first ortrial proofs of Rembrandt's
etchings, taken to ascertain their state, are always distinguished by
a fine light, and spirited, yet rich work, though sometimes they are
very slight. 8.  A HEAD RESEMBLING REMBRANDT, WITH
FRIZZLED HAIR.
His distinguishing feature, a large broad nose, is particularly
shewn ; the hair is frizzled, as well on the crown of the head as on
each side of the face, and falls on the shoulder. The beard is short
and downy, with mustaches ; the eyebrows are contracted, and the
countenance has the air of grimace. The face is seen nearly in
front, directed towards the left, and shadowed on that side. The
shoulder is scarcely marked with a single stroke, but there is a sha
dow under the chin : the ground is white. It is etched in a good
taste, and is scarce.
Heighth, 2 in. 6-\0ths ; width, 2 in. 4-10/As.

30 PORTRAITS OF
Of this there axe five impressions.
First impression. The plate measures 3 in. 5-lOths, by 3 in., and
the work is light and fine : it is of the greatest rarity.
Second impression. The plate is reduced to the dimension first de
scribed, and the head is a little more worked on.
Third impression. The head is still more worked upon, particularly
near the nose.
Fourth impression. The crown of the head is covered with strokes,
and the shadows are strengthened.
Fifth impression. This is entirely retouched with the burin, and
the hair behind shortened.
9. — A BUST OF A YOUNG MAN RESEMBLING REMBRANDT,
THE EYES DEEPLY SHADED.
The head is uncovered, and the hair frizzled. The face is a
three quarters, turned to the right, and shadowed on the opposite
side. The eyes are very small, and so black as to be displeasing ;
the nose is large, and the mouth drawn together. The ground is
shaded only on the left side. This piece, which is extremely rare,
is without name or date. It has not succeeded in the biting, and is
generally of a feeble effect.
Heighth, 3 in. ; width, 2 in. 5-10tks.
10. — A BUST, RESEMBLING REMBRANDT IN HIS YOUTH,
• WITH AN AIR OF GRIMACE.
The head is uncovered, and shadowed on the left side ; the face
is a full front ; the hair is frizzled, a little standing up : the eye-brows
are depressed ; and the lips contracted, with the appearance of gri
mace. The body is covered with a fur cloak, and turned towards
the left. This print is distinguished by two small strokes, which
are drawn nearly parallel, and cross the tuft of hair at the top of the
head. There are two impressions.
First impression. Extremely rare. To the left, within the two

REMBRANDT. 31
strokes, is written Rt. 1630. The edges of the plate are very
dirty, and it measures 3 in. by 3 in.
Second impression. Only the figures 30 of the date remain, the
rest being entirely cut off, and the plate is reduced to 2 in. 9-lOths
by 2 in. 4-10ths.
11. — A PORTRAIT OF REMBRANDT, WHEN YOUNG:
HALF LENGTH.
The head is seen nearly in front, in a cap or toque. The arms
are wrapped in a mantle thrown over the right shoulder, but the
left elbow is exposed. The face and hail- are shaded to the left ;
the body is little more than an outline, except a slight shade on the
left. The back-ground is also shaded to the left of the head, and
there are a few strokes towards the bottom, on the right side. It
is very scarce.
M. de Clausin observes, that the early impressions of this print
are on China paper, with bur ; but that as the portrait is that of a
youth, and the etching is in Rembrandt's latest manner, it cannot
be his portrait, but more probably that of his son Titus. In the
Museum at Amsterdam, is an impression of the plate, so wiped in
the printing, as to leave only the face clear, which produces a strong
effect. This, M. de Clausin also remarks, as having noticed, and
thinks with the editor, that such impressions were doubtless taken
by Rembrandt himself.
Heighth, 3 in. 3-10^As ; width, 2 in. 8-10 ths.
12.  A PORTRAIT OF REMBRANDT, IN AN OVAL. I
This piece is coarsely scratched, in an irregular oval, bounded
with a sort of chain work, of double triangular points. It is a full
face, with a cap on. The effect is very strong ; the light comes full
on the left cheek, and on the lower part of the nose, which is very
broad, and just catches his right cheek. The eyes, and the rest of
the face, are in deep shade. The light likewise falls strongly on the
body, between the left shoulder and the breast. The hair is thick

32 PORTRAITS OF
and frizzled. This print is extremely rare, and is by Daulby erro
neously described as a bust of Rembrandt's son, Titus.
Heighth, 2 in. 5-\0ths ; width, 2 in.
There are two impressions.
First impression. This is without the dots or strokes which form
the oval : it is presque unique, and may be found in the Royal
Collection at Paris.
Second impression. It is that described.
13. — A BUST OF A YOUNG MAN WITH AN OPEN MOUTH,
RESEMBLING REMBRANDT.
The portrait is seen almost in full face, turned to the left, and
shadowed on the same side ; the hair is frizzled, and stands up
towards the top of the head ; the mouth is open, and the under lip
thrust out, — which gives the countenance the expression of pain.
The garment is open at the top. The ground is white, except the
bottom to the left, which is a little etched upon ; and on the top,
on the same side, is faintly written Rt. 1630. It is very scarce,
especially a fine impression.
Heighth, 2 in. 8-10ths ; width, 2 in. 4-\0ths.
Of this piece there are two impressions.
First impression. This is extremely rare ; the plate measures 3 in.
2-10ths by 2 in. 7-]0ths, and is very dirty round the edges.
Second impression. The plate is cut to the dimension first de
scribed, and is more worked upon.
14. — A BUST RESEMBLING REMBRANDT IN HIS YOUTH,
WITH A FUR CAP AND ROBE.
The head is seen in front, covered with a fur cap, which is high
est on the right side. The robe is turned up with fur, and is open
at the top, disclosing the shirt and collar : it is shaded on the left
side. The ground is light, except some double strokes on the left,
as high as the shoulder ; and at the top, on the same side, is writ-

REMBRANDT. 33
ten Rt. 1631. This print is scarce. It measures, including a
small margin at the bottom of the plate, of 2-lOths of an inch,
2 in. 5-lOihs by 2 in. 2-lOths.
15. — A BUST RESEMBLING REMBRANDT, WITH A MANTLE
AND CAPE.
The head is a three quarters ; the hair, as usual, is frizzled, and
stands upright on the crown, though it comes so low on the forehead
as nearly to reach the eyebrows. The face is directed towards the
left, and is shaded on the same side : the body is wrapped in a
cloak, with a cape which turns back, and is buttoned before, and
the shirt is seen. The ground is shaded on the left side, towards
the bottom. At the top, on the same side, appears Rt. 1631.
This piece is scarce. It measures, including a margin at bottom of
2-lOths of an inch, and one on the left side of \-lOth of an inch —
Heighth, 2 in. 6- IQths ; width, 2 in. 1-I0th.
Of this bust there are two impressions.
First impression. It is as described.
Second impression. It has been retouched and strengthened, as
well in the head as in the dress, and on the left side, the hair falls
as low as the mouth. It has not, however, the character of Rem
brandt's work, and is most probably retouched by another hand.
, 16.  A BUST VERY MUCH RESEMBLING REMBRANDT, WITH ?~
A ROUND FUR CAP.
The head is seen in front, covered with a high round fur cap, in
the shape of a turban. The hair is short and curled ; the shoulders
are covered with a cloak, faced on the left with fur ; the other side
of this cloak is unfinished : the light comes full on his left cheek.
Above, on the left, is written: Rt. 1631. This is a spirited
etching, and in the early impressions the back-ground is dirty.
Heighth, 2 in. 5-lQths ; width, 2 in. 2A0ths.
There is a copy of it reversed.

34 PORTRAITS OF

17. — A PORTRAIT OF REMBRANDT, WITH A SCARF ROUND
HIS NECK.
This is a bust, the face nearly a full front, but the body turned
more to the left. The light comes full on the lower part of the left
cheek, and on the left shoulder ; the rest of the face and figure is
in shade. The head is covered with the usual cap, placed on one
side ; round the neck is a kind of scarf, which hangs down behind,
and a small epaulette is seen on the left shoulder ; the hair hangs
loosely. The back-ground is white, except a few strokes at the
bottom on the right, and some cross etchings on the left. In a
margin of nearly half an inch, at the bottom, is written Rembrandt
f. 1633. Heighth, 5 in. 2-lOths ; width, 4 in. l-10th.
Of this print there axe four impressions.
First impression. It is without the name and date, and is not so
highly finished in many parts. It measures 5 in. 3-1 Oths by
4 in. 6-10ths and is extremely rare.
Second impression. Very rare : it is reduced to the size first men
tioned, but is in other respects similar to the foregoing.
Third impression. This is more worked upon, and the name and
date are added.
Fourth impression. This is still more finished, and is that first de
scribed. 18. — A PORTRAIT OF REMBRANDT, WITH A DRAWN SABRE,
HELD UPRIGHT.
The figure is seen in front, with a richly ornamented turban :
his hair is full and frizzled, and he wears mustaches : in his right
hand he holds a glittering sabre ; his habit is embroidered, and the
top is enriched with ermine and a string of jewels. The back-ground
is shaded on the left as high as the shoulder. At the top, on the
same side, is written Rembrandt f. 1634.
Heighth, 4 ire. 8-lOths ; width, 4 in.

REMBRANDT. 35
There are two impressions of this print.
First impression. It is less worked on, particularly in the shadows
of the face and of one eye, which appear defective.
Second impression. The shadows and the eye are rendered more
accordant ; though a fine impression is rarely seen, where the
work is in harmony.

19.  THE PORTRAITS OF REMBRANDT AND HIS WIFE.
Rembrandt is sitting on the right side of the print, before a
table, on which he rests his left hand, holding a port-crayon, in the
attitude of drawing ; he wears a cap with a feather in it ; his face is
a full front, his body inclined to the left ; his hair is frizzled, and
he wears mustaches. To the left, behind the table, sits his wife;
her face is turned a little to the right : the back of her chair ap
pears. The background is white, except a few etchings between the
lower part of the faces ; in the left corner, at top, is written Rem
brandt f 1636. Fine impressions are known by the mellow
effect of the shadows under the hat, and the uncleaned background.
Heighth, 5 in. 3-i.Oths ; ividth, 4 in. l-10th.
There are impressions, and they are very rare, in which the por
trait of Rembrandt's mother is substituted for that of his wife : this
was produced by covering the space where the wife's portrait was
etched, with thin paper, leaving a blank in the impression, and then
passing the plate, with the mother's portrait, on the blank space of
the same impression, covering the head of Rembrandt.

20.  PORTRAIT OF REMBRANDT IN A CAP AND FEATHER.
This piece is executed in a good taste. It is nearly a full face,
in the Mezetin cap, with a feather at the side. He has mustaches,
and his beard is rather long and thin ; the body is covered with a
rich mantle, faced with fur, and embroidered, from under which
the left arm is discovered, the hand being in the breast. The back-

H. r.

36 PORTRAITS OF
ground is white, except a few cross strokes above the right shoulder.
Towards the top, on the left, appears Rembrandt f. 1638. A fine
impression, in which the shadows are harmonious, is very difficult
to meet with. Heighth, 5 in.3-l0ths; width, 4in. 1-I0th.

21. — PORTRAIT OF REMBRANDT LEANING ON A STONE SILL.
This piece is designed with taste, and is extremely well executed :
it is a half-length, the face more inclined to a three-quarters than a
full front. The hair is curled, hanging down on the shoulders, and
he has long mustaches. The head is covered with the Mezetin
cap, set on one side ; the body is wrapped in a rich mantle, and is
turned towards the left. His left arm is supported on a piece of
stone work; the hand of that arm, on which is a glove, appears from
under his mantle, and his right is placed upon his breast. The
back-ground is white, except a few strokes near the bottom, to the
right. In the left corner, on the top, is written Rembrandt f.
1639. Heighth, 8 in. 1-10/A ; width, 6 in. 4-lQths.
Of this print there are three impressions.
First impression. The narrow band or fillet at the lower edge of
the cap, does not extend over the hair at the right extremity : it
has slight traces of bur on the breast. This is extremely scarce.
Second impression. The border of the hat extends over the hair on
the right. The impression is rich in this state when well printed.
In Lord Aylesford's collection, an impression was said to exist,
in which the cap was broader than in the subsequent impressions,
as the outline would seem to indicate might have been the case.
The editor learns from his Lordship that such is not the fact. Lord
Aylesford possesses an impression of the second state, in which
Rembrandt has indicated with crayon the intended alteration in the

REMBRANDT. 37
band, and has made some additions to the stone work, and behind
the figure ; which, however, he has not executed in the third im
pression. This plate has been very well retouched.
22. — THE PORTRAIT OF REMBRANDT DRAWING.
In this portrait Rembrandt has laid aside the superb cap and
feather, and represented 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 the other hand. Upon the left side
is a casement open, through which a landscape is seen at a distance.
On a short screen, or scroll, hanging from the top of the window-
frame, is written, Rembrandt f. 1648. It measures on the right
side 6 in. 3-lOths, and on the left, 6 in. 1-I0th by 5 in. \-\0th.
Of this print there are ten impressions.
First impression. It is extremely rare, and is a mere slight etching
without effect.
The second is more worked upon, and the features are better defined.
Third impression. It is much more worked upon in the face, which
is now very spirited and full of life. The bust is covered with
bur, but the rest is of a grey tone, and the plate is quite uneven
at the top, towards the left ; the hands and sleeve are white.
This is the finest state of the plate, and is of great rarity.
Fourth impression. In this the plate is cut even ; the whole of the
subject is worked up to a beautiful velvet-like tone, but some of
the animation of the countenance is gone : the hands and the
sleeve are still white.
Fifth impression. This is yet more finished; the hands and the
sleeve are still white, but the name and date appear in the scroll.
Sixth impression. This is more shaded in the scroll and the win-

rt-i

38 PORTRAITS OF
dow-sill : the left hand is shadowed with a slight single stroke.
The print in this state is harmonious and beautiful.
Seventh impression. This differs considerably from the preceding ;
the right hand is shaded with a slight single stroke, but the cuff
remains white. The desk he is drawing on is more shaded, and
so is his dress ; on the front of which, to the left, strong lines full
of bur are drawn horizontally from left to right ; the name and
date also have some bur.
Eighth impression. In this, a landscape is seen through the win
dow; the cuff is covered with very fine lines, and the left hand
crossed with lines equally minute; the window-sill and the scroll
are much more shaded.
Ninth impression. The head is retouched, but very skilfully; the
dress has strong lines filled with bur on the right of the bust ;
the desk is almost covered with shading, as also the back of the
book under the desk, so as to appear like one large volume : the
scroll is so much in shadow as to render the name and date in
distinct.
Tenth impression. This is wholly retouched, and the character of
the head altered.
23. — A PORTRAIT OF REMBRANDT IN AN OVAL.
The face is a three-quarters, the body is turned to the right, and
shadowed on the left, the hair is strong and curling, and he has
mustaches. On the crown of his head is a light cap or turban, with
a feather in front; he is dressed in a kind of Persian habit, which
is fastened before with a clasp, and has on his breast an officer's
gorget, over which is thrown a striped scarf. The ground is lightly
shaded round the oval on the upper part, and is a little darker above
his right shoulder. On the right side is written Rembrandt f
1634. 6 in. \-\Qth by 4 in. 2-10ths.
Heighth, 5 in. l-10th; width, 4 in. 2-lOths.
Of this portrait there are three different impressions.
First impression. It is so extremely rare that not more than two

REMBRANDT. 39
were known in Holland when Gersaint made his catalogue : viz.
one in the possession of M. van Leyden, now in the Museum
at Amsterdam, the other in that of M. Le Conseiller Muilman
in the same city, now in Lord Aylesford's collection. There are in
fact however four in existence ; the two mentioned above, one in
the royal collection at Paris, and the fourth, in the editor's collec
tion, formerly that of Baron Denon. Rembrandt is discovered
to the knee ; his left hand holds a naked sabre, extending to
the bottom of the plate, which measures 7 in. 9-lOths by 6 in.
4-10ths.
Second impression. There is a kind of square formed by an outline
at each extremity of the oval, before the plate was cut to the
latter shape.
Third impression. As described ; it is extremely rare, the angles
effaced and the plate quite oval.
There is a copy of this print reversed in the oval, and another
in the square : the latter is by Novelli of Venice.
24. — PORTRAIT OF REMBRANDT WITH A FUR CAP AND LIGHT DRESS.
Rembrandt is seen nearly in full face, his body turned to the
right, and the light coming from the left : a fur cap which he
wears comes down nearly to his eyebrows. The lower part of the
right ear is seen, and his hair curls down to the right shoulder. His
dress is open in front, and edged with fur ; the back ground is
white, with the exception of a slight shade on the left, reaching
from the bottom of the plate to the shoulder. At top, on the same
side, is written Rt. 1630.
Heighth, 2 in. 4-lOths; width, 2 in.
Of this print there axe four impressions.
First impression. It is very grey, from the defective biting of the
plate. The ground of the plate and its edges are dirty, principally
at top, where it is very patchy. Above the head, near the
middle, is written Rt. 1630. This impression, which is in the

40 PORTRAITS OF
Amsterdam Museum, is probably unique, it measures 3 in. 7 -
lOlhs, by 2 in. 7-10ths.
Second impression. The plate is reduced to the usual size, but is
unfinished, as in the previous state. At the top, on the left, is
written Rt. 1630. It is extremely rare.
Third impression. This is more finished, and a shade is added in
the back-ground behind the right shoulder. The monogram
and date are more distinctly expressed, and the edges of the plate
are still uncleaned.
Fourth impression. The plate is cleaned, as are the sides, and
it is made even, as it is usually found.
25. — PORTRAIT OF REMBRANDT WITH FRIZZLED HAIR.
He is turned towards the right; the left side of the face is
strongly shaded, and his frizzled hair falls on his left shoulder.
His dress, slightly open at top, is edged with fur. The ground is
white, a few strokes to the right at the bottom excepted.
Heighth, 2 in. ; width, 1 in. 5-]0ths.
There are two impressions,
First impression. The plate is larger, measuring 2 in. 4-lOths, by
2 in. 3-lOths. On the left, at top, is written Rt. 1631.
Second impression. The plate is reduced to the measure first de
scribed : the name and date are not seen.
26.  PORTRAIT OF REMBRANDT WITH SHORT CURLY HAIR.
He is seen nearly in full face, the body turned to the right from
which side the light comes. His hair is short and curly, and his
head is covered with a cap which inclines over his right ear ; his
mouth is screwed up. He wears a mantle, underneath which is a
vest a little open at top, and tied with a ribband. The background is
clear, a slight shadow of the figure on the left excepted. There is
a margin at bottom.
Heighth, 3 in. 7-lOths, including margin; width, 2 in
5-\0ths.

REMBRANDT. 41
There are two impressions.
First impression. Marked with the name of Rembrandt at full
length, but very faintly, so as not to be visible except on very
early impressions.
Second impression. On the left, at top, is written Rembrandt,
but it is not the hand of the master.
There is a copy of this print reversed, by Jacques Hazard.
27.  PORTRAIT OF REMBRANDT WITH FRIZZLED HAIR.
This portrait, resembling No. 1, is seen in full face, and the light
comes from the left. The body is turned to the right ; his hair, a
tuft of which rises over the left eye, is much frizzled; a shadow
passes across the eyes, so that they are very imperfectly seen ; his
dress has a white collar. The background is slightly shaded on
the left, from top to bottom, but the shadow on the right only reaches
to the height of the shoulder. At the bottom is a small blank
margin in the plate, measuring about 7-lOths.
Heighth, 3 in. 6-\0 ths, including the margin ; width, 2 in. 9-lOths
28. — PORTRAIT OF REMBRANDT, CALLED " L'HOMME
A TROIS CROCS.''
This little portrait, classed by Gersaint among the fancy heads,
No. 297, and by Bartsch, No. 319, is, no doubt, as De Clausin
observes, a portrait of Rembrandt, as the likeness is strong. It is
very well etched, and is scarce ; the figure is seen nearly in front,
turned a little to the right. He wears the usual cap, his face is
round, and he has mustaches, and a small tuft just under the
lower lip. His hair is short and curly ; he wears a dress turned
up with fur, and his neck is bare : the background is white.
Heighth, 2 in. ; width, 1 in. 7-10ihs.
Of this there are four impressions.
First impression. Extremely rare; the plate about 4-10ths of an
inch higher. The mantle on the right shoulder is white, and the
head, the cap, and the fur, are not so much worked upon as in
the second impression.
Second impression. The plate reduced, and a little more worked on.
o

42 PORTRAITS OF
Third impression. Part of the dress in the left corner, and the
cap, are still more worked upon ; the slight shadow in the back
ground to the height of the right shoulder is effaced.
Fourth impression. The hair is retouched, and the lower rim of the
cap is of a different character.
29. — PORTRAIT OF REMBRANDT, FULL FACE, LAUGHING.
This portrait, much resembling Rembrandt when young, is
spirited and well executed. The body is turned to the right, but
the face is a full front; the head is covered with a cap, the face is
round, the hair short and curling, seen over the forehead, and the
nose is large. The upper teeth are discovered, by the action of
the mouth in laughing. His habit is buttoned, and round his neck
is a cravat untied, one end hanging over the top of his garment
before, the other falling behind over his right shoulder. The light
comes in on the right ; and in the background, to the left, are a
few slight strokes above the shoulder. Near the top, on the same
side, is written Rt. 1630. This print is scarce.
Heighth, 2in.; width, 1 in. 6-lOths.
There are two impressions.
First impression. Lightly etched, but spirited, and of a good tone.
Second impression. More worked on, and entirely retouched,
principally in the mantle.
30. — PORTRAIT OF REMBRANDT WHEN YOU!\G; A BUST.
This has been usually called the portrait of Titus, Rembrandt's
son, but is more probably that of the artist himself, when young.
Bartsch quotes the date upon it as 1639, but it is 1629, as will be
seen on a careful examination : Rembrandt would in that case have
been about the age at which he has here represented himself, —
namely, twenty-three. Itis etched in a hard, coarse manner : the hair
is frizzly and in disorder, and some portion of it falls on the left
shoulder. The body is turned a little to the right, on which side
it is light ; and the dress has a cape. The background is clear,
except a few scratchy strokes on the left. On the same side, in the
corner, at. top, is written in reversed characters Rt. 1629. Bartsch

REMBRANDT. 43
and Daulby state that it was considered by some to be etched on pewter.
M. De Clausin thinks that it is executed with a metal pen, as the
work shews many double lines, parallel to each other, made with a
single stroke of the instrument used. It is very rare ; an impres
sion of it is in the Dutch Museum at Amsterdam. Bartsch has
placed this among the fancy heads, No. 338. It appears in P. I vers
Supplement, No. 133, and in Daulby s translation.
Heighth, 6 in. 9-lOths; width, 6in. 1-I0th.
31.  PORTRAIT OF REMBRANDT IN AN OCTAGON.
This head is well designed, and strongly resembles Rembrandt
when young. It has on a fur cap, and the hair is frizzled. In the
background, which is clear on the left, may be read, though with
difficulty, Rt. This print was placed by Bartsch among the
fancy heads, No. 336, and appears in Yver's Supplement, No. 131,
and in Daulby 's translation of it.
Heighth, 1 in. 7-10tks ; width, 1 in. 5-lOths.
32.  PORTRAIT OF REMBRANDT ON A HIGH AND NARROW PLATE.
The description of this print is entirely taken from M. De Clau
sin s Catalogue. It is said perfectly to resemble Rembrandt to
wards the middle of life ; it is engraved very slightly, and is but
little shaded. He is seen in front, and wears a cap, the end of
which comes down on the right ; the face is round, with a few in
dications of beard below, and on each side of the nose, and both
ears are seen. Above his dress appears his shirt-collar; he is seated
in a chair, the back of which is seen with difficulty, and seems in
the attitude of a person drawing. At the bottom, on the left, is
engraved very faintly, Rembrandt f 1645. One impression of
this print, which is extremely rare, was in the celebrated collection
of Mr. Barnard, and was on China paper. M. De Clausin thinks,
from the dimension of the print No. 1 1 in Gersaint's Catalogue,
rejected by Bartsch, and from the other recollections he retains, that
this print mentioned by Gersaintis thesame withthatnow described.
Basan has copied this piece, and has written underneath, "Rembrandt
gravant une planche." d 2

44 PORTRAITS OF

33.— PORTRAIT OF REMBRANDT WITH HAGGARD EYES AND A
MUTILATED CAP.
The cap is of the usual sort, but the top of it is cut off by the
boundary of the plate ; the body, which is only sketched, is turned
to the left, from whence the light comes in; the head, which looks
upward, is turned to the right, and is nearly a full face. The
countenance, and particularly the expression of the eyes, wliich are
round and staring, is that of a person seized with terror. He has
thin mustaches, and a small tuft of beard, and his mouth is a
little open. The background is very lightly shaded on the left,
from the bottom half way upward. This head is etched with spirit,
and with a fine point. On the breast is written Rt. and the date,
which is 1630, but it cannot easily be made out. This print is
classed by Bartsch among the fancy heads, No. 320, and by Ger
saint and Daulby is placed in the same class, No. 298. It is scarce,
and a fine impression of it is very seldom found.
Heighth, 2 in. ; width, 1 in. 7-\0ths.
In Marcus's Catalogue mention is made of a very scarce impres
sion, which is 2-lOths of an inch larger than that which is described.
34.  PORTRAIT OF REMBRANDT WHEN YOUNG, WITH FRIZZLED
HAIR AND STRONGLY SHADED.
He is placed on the right of the print, on which side the light
comes in. The right side of his face is strongly shaded ; the hair is
frizzled and thick, and falls on the right shoulder, and on the upper
lip is a mustache. His cloak is light on the top of the left shoul
der. The background is shaded, except in the left corner, at the
bottom, which is white, and where is written Rt. The plate ap
pears to have been too much eaten by the aqua fortis : this pro
bably induced Rembrandt to destroy it, as impressions are rare in
the extreme. Heighth, 2 in. 7-lOths ; width, 2 in. 6-lOths.

REMBRANDT. 45
This print is placed hyGersaint and Daulby in the class of fancy
heads, Supplement, 127; by Bartsch in the same class, No. 332,
and by De Clausin in the same class, No. 324. The latter, in the
Supplement to his Catalogue, (Paris, 1828) has, however, intro
duced it among the portraits of Rembrandt.
There are two impressions of this print.
First impression. The right side of the face strongly shaded, has
no reflection of light, and the edges of the plate are irregular and
dirty.
Second impression. The shade on the right side of the face is not
so dark, and there is a light on the edge of the cheek. The mo
nogram Rt. is visible ; the edges of the plate are less irregular
and dirty.
It is to be found in both states in the Museum at Amsterdam.

46

SECOND CLASS.

SUBJECTS FROM THE OLD TESTAMENT.

35. — ADAM AND EVE.
They are represented naked in Paradise; Eve appears standing
in the front of the print, with the forbidden fruit, of which she per
suades Adam to eat ; Adam, who is standing to the left, seems to
refuse the fruit, and to remonstrate against the crime. To the right
is the trunk of a tree, upon which Satan is represented, under the
figure of a large winged serpent, holding another apple in his mouth.
In the remotest part of the landscape, towards the right, an ele
phant is discovered. Rembrandt's skill, as Daulby observes,
in expressing naked figures, was very defective : it is indeed a
miserable representation of our first parents. In the margin of the
print is written Rembrandt f 1638.
Heighth, 6 in. 4-lOths; width, 4 in. 6-10rf/is.
There are two impressions.
First impression. A trifling space is left light in the inner part of
the thigh of Eve.
Second impression. This light is worked over.
36.  ABRAHAM ENTERTAINING THE THREE ANGELS.
Near the door of the Patriarch's house the angels are seated at
table, while Abraham is standing at the foot, with a vase in his
hand, ministering to his guests, who are not represented with that
youth and light appearance supposed to be consistent with their
character; the individual in front has a very Jew-like appearance, and

OLD TESTAMENT. 47
the one on the right looks like an old man. The Patriarch holds a cup
in his right hand, as intending to drink. Sarah is discoverd listen
ing at the back of the house-door, and appears to smile at the pro
mise which she is supposed to hear the angels make to Abraham of
a son. Behind them is a boy drawing water out of a well. The
background is filled up with trees. To the left, at the bottom, is
discovered with some difficulty, Rembrandt f. 1656. This subject
is one of the artist's later performances.
Heighth, 6 in. 7-lOlhs ; width, 5 in. 2-10ths.
The early impressions of this print, in which no variation has yet
been met with, are full of bur, and when on India paper, are very
effective. The print itself is not rare, and is frequently seen fine.
37.— ABRAHAM SENDING AWAY HAGAR AND ISHMAEL.
In this piece the buildings as well as the figures are extremely
well executed, in a rich style of composition. Abraham stands with
his right foot on the first step, at the door of the house. Hagar
and Ishmael are just departing from him ; the former, with her face
nearly covered, appears to be weeping. Sarah is leaning through
a window, pleased at their departure. Isaac is seen within the door,
from which a dog is descending the steps ; at the top, to the right,
is written Rembrandt f. 1637.
Heighth, 5 in.; width, 3 in. 7-\0ths.
Fine impressions are difficult to procure ; they may be known by
the uncleaned edges of the plate.
38. — ABRAHAM WITH HIS SON ISAAC.
Rembrandt has chosen for this subject the moment in which
Isaac asks his father, where is the offering ? Abraham is represented
as explaining to him the command which he had received from
heaven. His right hand is upon his breast, and with his left he
points upwards. Isaac stands before him to the right, in the atti
tude of attention, sustaining with his hands a faggot which he is

48 OLD TESTAMENT.
supposed just to have taken from his shoulder, and placed with one
end upon the ground. To the left is a fire-pot, with lighted em
bers in it. At the bottom, on the left, is written Rembrant,
1645, the d being omitted.
Heighth, 6 in. 1-I0th; width, 5 in.
Of this print, which is arched, there is a good copy reversed,
without name or date. 39. — Abraham's sacrifice.
Abraham is in the middle of the piece; in his left hand he holds
a sacrificial knife, and with his right he covers the eyes of his son
Isaac, who is kneeling, and leans over his father's right knee. The
angel is seen behind Abraham, and arrests both his arms. On an
altar a vessel is placed to receive the blood of the victim ; on the
left are a turban and some drapery ; to the right, below the summit
of the mountain, are seen his attendants in waiting, with a laden
ass ; and at a distance two travellers are coming down a hill. This
piece is executed with spirit, and is the companion to No. 36. At
the bottom, to the right, is written Rembrandt f. 1655 ; the d is
written backwards, as is likewise the 6.
Heighth, 6 in. 2-\§ths; width, 5 in. 2-10ths.
Of this there is a copy reversed, without Rembrandt's name or
the date, apparently by the same person who copied the last print.
40. — FOUR PRINTS FOR A SPANISH BOOK.
These prints are all etched on one plate, an impression of which
is very rarely to be met with entire. At the left corner, at the bot
tom, below the subject of the first, second, and third, and within
that of the fourth, is written Rembrandt f 1655. The book is
written by Manasseh Ben Israel, a Jew, whose portrait is likewise
prefixed to the work, and is classed among the portraits in the pre
sent Catalogue. The title of it is — " Piedra gloriosa 6 6a la csta-
tua de Nebucadnezar, Amsterdam, 1655;" in 12mo.

OLD TESTAMENT. 49
Jacob's ladder is the subject of the first of these pieces. In the
upper part of the print several angels are represented on a ladder,
encircled with a glory; and Jacob is seen through the rounds of
the ladder, lying on the ground on his back, asleep, his head lean
ing on his left hand, and his staff under him near his feet.
The combat of David with Goliath is the subject of the second.
David is placed on the right, and Goliath on the left of the print,
in a cuirass and helmet, and has a shield on his right arm : David,
a very heavy Dutch youth, is preparing to use his sling. The
two combatants are on higher ground than the army, the heads of
the soldiers being but just discovered over the foreground.
The image which Nebuchadnezzar saw in his dream, is the sub
ject of the third.
The vision of Ezekiel is the subject of the fourth and last of these
pieces. At the top of the print is a glory, in the midst of which is
the Deity, surrounded with angels, who are engaged in acts of
adoration ; and at the bottom are the four animals described by the
prophet. The plate, when entire, measures 11 in. by 6 in. 2-lOths.
There are two impressions of it.
First impression. This differs in having the subject of Jacob's lad
der so full of bur, that the figure of Jacob aud the ladder are
scarcely visible. In Nebuchadnezzar's dream, the trunk of the
statue appears in the air, and detached above the legs, which are
falling towards the left; below, appears the pedestal, and to the
right, are some rays or strokes, disposed in angles.
Second impression. This is clearer in the subject oi Jacob's lad
der ; the figure of Jacob and the ladder are more distinctly seen.
In the dream of Nebuchadnezzar the limbs of the statue are at
tached to the trunk, and separated only at the angle. At the right

50 OLD TESTAMENT.
corner, at bottom, a globe is half seen, and a stone from the rock
striking the statue on its iron and clay feet, breaks it to pieces. Over
the head of the statue are slight portions of a circle, to indicate a
niche ; the pedestal below is of a different form from that in the
first. In the fourth subject, the bur is less full, rendering it
very similar to what it appears in that subject after the plate
was cut as mentioned below. An impression of the print in
this state is in the British Museum.
Of the whole plate, in either state, very few impressions have
been taken.
In both states of the entire plate, the subjects cut into four parts
are to be met with.
The first subject measures 4 in. 2-lOths by 2 in. 3-10ths.
The second . . . 4 in. 2-40ths by 2 in. 9-10ths.
The third . . . \ 3 in. 9-10ths by 2 in. 7-10ths.
The fourth  4 in. by 3 in.
The plates themselves, were subsequently cut into four parts, of
measurements very nearly similar lo the cuttings. There is
always, therefore, much confusion in arranging the subjects ac
cording to their real state of priority.
The variations in the plates after being thus cut are as follow :
First subject. The bur is in the greater part worn away, and the
work appears flat and vapid.
Second subject. The face and cop of David arc more worked upon.
Third subject. The names of different nations arc engraved on the
statue ; on the forehead, Babel ; on the upper part of the right
arm, Persi ; on the upper part of the left, Medi ; on the navel,
Graci ; along the right leg, Romani ; and on the left leg, Ma-

OLD TESTAMENT. 51
hometani. The drapery round the head is larger, and reaches
almost down to the eyebrows; and the ear, seen in the other im
pressions, is no longer visible.
41. — JOSEPH TELLING HIS DREAM TO HIS BRETHREN IN THE
PRESENCE OF HIS FATHER AND MOTHER.
This piece, though etched with a very light hand, is highly
finished. Jacob is sitting in an elbow chair on the left ; he seems
extremely attentive to the recital of Joseph, who appears in the
middle of the piece, in an attitude expressive of the words he is
uttering : " Behold, we were binding sheaves in the field, and lo !
my sheaf arose, and also stood upright ; and behold your sheaves
stood round about, and made obeisance to my sheaf." Farther off,
to the left, there appears a bed, the curtains of which being drawn,
discover Rachel, the mother of Joseph, lying in it. One of his
sisters is sitting to the right, with her back to the spectator, and a
book open in her hand. Joseph's brethren are in the background,
one of them in a turban ; another to the right, who is next to
Joseph, turns his head from him, in great contempt, at the idea of
making obeisance to his younger brother. On a stove, under Ja
cob's chair, is written, though scarcely legible, Rembrandt f
1638." Heighth, 4 in. 4-10 ths ; width, 3 in. 3-lOths.
Of this piece there are two impressions.
First impression. It is very scarce : the curtains at the feet of the
bed, the door, the head of the person in the turban, and in gene
ral almost all the heads in the background, are much lighter than
in the second impression, and the effect is better.
Second impression. All the parts mentioned as light in the pre
ceding impression, are shaded.
42. — JACOB LAMENTING THE SUPPOSED DEATH OF JOSEPH.
To the left of the print, Rebecca is standing upon the step of the
door, which is open, in an attitude of distress, with her hands joined

52 OLD TESTAMENT.
together. Jacob, sitting at her feet, and lifting up his hands, ex
presses the sudden sorrow that seizes him, upon the sight oi Joseph's
coat, which is displayed before him by the two brothers Simeon and
Levi, who bring an account of his death. One of them points with
his left hand towards the place where they say Joseph had perished.
A little to the right of the middle of the plate, on the ground, is
written Rembrandt van Ryn. f This piece, however small, is re
garded as one of the best performances of this master.
Heighth, 4 in. 2-lOths ; width, 3 in. 2-lOths.
There is so good a copy of the same size, with the figures in
the same direction, that it may be mistaken for the original, though
the heads are not so expressive. The following distinction may,
however, point out a perceptible difference. In the door-case, above
the shoulder oi Rebecca, is a joint in the stone, which, in both, is
carried on till concealed by the door. In the original, a stroke of
the same thickness, and about the twelfth of an inch in length,
appears under the other stroke, on the wall, up to the door, above
the head of Rebecca : it is also a very little less in heighth, and a
trifle wider than the original.
There is another copy, a reverse, of the same size.

43. — JOSEPH AND POTIPHAR'S WIFE.
Rembrandt has not treated this subject with that decency which
is due to the sacred source from whence it was derived. The wife
of Potiphar appears naked up to the waist, reclined in a lascivious
posture upon a bed, the curtains of which are drawn up at
the head, and the bed clothes are thrown off her in great disorder ;
part of the quilt, which is embroidered, resting upon the floor. She
holds Joseph by his garment, who turns from her, and endeavours
to make his escape to the left. There appears, below Joseph's loot,
Rembrandt f. 1634.
Heighth, 3 in. 6-\0ths ; width, 4 in. 5-lOths.

OLD TESTAMENT. 53

44. — THE TRIUMPH OF MORDECAI.
Mordecai is conducted in triumph by Haman in the midst of the
people, mounted on the king's horse, and arrayed in royal apparel,
with a sceptre in his right hand. He is at the kingsgate ; 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 the most beautiful prints
of the master. Heighth, 6 in. 9-lOths ; width, 8 in. 4-lOths.
The early impressions of this subject are distinguishable by the
fulness of the bur on the right side, and in the central groupe.
45. — DAVID ON HIS KNEES.
David (who is known by his harp, which lies on the floor) is re
presented in his shirt and night-cap, praying on his knees, with his
elbows on the side of the bed, and his hands raised and joined to
gether ; he is turned towards the left. Among the etchings on the
ground, is to be read, with some difficulty, Rembrandt f. 1652.
This piece is not well executed, and possesses but little taste ; it is
also common. Heighth, 5 in. 6-lOths ; width, 3 in. 7-lOths.
46. — TOBIT BLIND.
Tobit, who is blind, is represented walking with a stick, and
groping with his right hand to find the door, in order to go out to
meet his son Tobias, on his return from Rages of Media : at his
foot, a dog is fawning upon him. In the back view, to the right,
is the fire place, with several fish hung to dry ; near it stands a
chair, and behind the old man is a wheel, which appears to have

54 OLD TESTAMENT.
been thrown down by him. In the dark ground in front is written,
Rembrandt f 1651.
Heighth, 6 in. 4-lOths; width, 5 in. \-10th.
47.  TOBIT BLIND. •
He is habited like a Jew, in a fur cap and wears slippers. He
is directed towards the left, and seen nearly from behind, leaning
upon a staff with his left hand, and with his right groping for the
door before him. This little piece is very scarce : it is classed by
Gersaint, Daulby, Bartsch, and De Clausin, among the fancy
pieces ; but it is conceived that there can be no doubt of the subject.
Heighth, 3 in. l-10th; width, 2 in. 1-I0th.
There are three impressions of it.
First impression. It may be reckoned as presque unique : it mea
sures 3 in. 2-\0ths, by 2 in. 7-lOths. In it, some parts of the
drapery are less shaded ; the slippers are quite white, as is also
the upper part of the door. There are etchings in the background,
indicating architecture between the feet, and from the stick to
the garment, which were afterwards erased.
Second impression. The size is reduced : the upper part of the door
is light, and it is extremely rare.
Third impression. The door and the figure are more shaded with
coarse sfrokes.
48. — THE ANGEL ASCENDING FROM TOBIT AND HIS FAMILY.
The angel Raphael is represented as ascending from Tobit and
his family, after having revealed himself, upon their offering him
half their substance, as an acknowledgment for the services which
he had rendered to Tobias in his expedition, and the restoration of
sight to his father. The subject is treated in a singular manner.
Rembrandt has chosen the moment in which the angel (of whom
no more than the lower limbs are discovered) is ascending to Hea
ven, rays of light issuing from him. Beneath him is a large trunk,
open, with the baggage that had served in the expedition to the

OLD TESTAMENT. 55
country of the Medes, which Tobias had just performed, in com
pany with the angel. A servant is sitting by it, and holds the ass
that had earned it by the bridle, in his left hand. Above his left
knee, a figure is discovered at a distance. In the middle of the
piece, Tobias is prostrating himself; and at his side is a dog, by
which he is always distinguished. Behind him is his wife Sara,
upon her knees, with her arms lifted up ; and his mother Anna
standing with looks of astonishment, and both her hands raised and
extended before her. His father Tobit appears to the left, in front,
kneeling, with his hands joined together. A servant is looking
through a window ; and two others are at the door ; one of whom
is carrying two waiters with a jug. On the left side appears part
of a flight of steps, which lead up to the door of the house. On the
ground is written Rembrandt f. 1641.
This piece is designed with taste, is very well executed, and pro
duces a good effect. Heighth, 4 in. l-10tA; width, 6 in.
There are three impressions.
First impression. The head-dress of Sara is clear, without any
work. It is stated by De Clausin, (Supplement, pp.11, 12)
to be so rare, that he had only known of one impression, that in
the collection of M. Robert, at Paris.
Second impression. The head-dress of the wife of Tobias is covered
with single strokes of dry point, drawn diagonally from left to
right : on the right shoulder of Tobias, is an ornament or slight
embroidery ; and on his right sleeve are two buttons faintly ex
pressed : his face and neck are more worked upon.
Third impression. It is feeble : has additional work on the back
of the trunk containing the baggage ; and a slight shadow to an
irregularity in the foreground, at the left corner, formed by a
few very light strokes drawn towards that corner.

THIRD CLASS.

SUBJECTS OF THE NEW TESTAMENT.

49.  THE ANGEL APPEARING TO THE SHEPHERDS.
This is a night-piece. In the middle, a bridge is discovered ;
and on the right some trees and shrubs spring from 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 stand
ing upon a cloud, with his left hand raised towards Heaven, reveal
ing to the shepherds the birth of our Lord. They appear to be as
tonished 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. On the right at the bottom is written
Rembrandt f. 1634. This is an exceedingly fine print, and pro
duces an admirable effect. A good impression is scarce.
Heighth, 10 in. 2-{0ths ; ividth, 8in. 6-10ths.
There axe four impressions.
First impression. This may be considered as presque unique : the
trunk of the principal tree is entirely white, as is the sky, and
the angels and cherubs are only traced with the point. The lower
part of the print is also blank, and the figures and cattle are only
traced. The landscape in the back-ground and the horizon are
dark. In this state it appears in the British Museum, and in
the collection at Dresden.
Second impression. It is finished, except the wings and robe of the

NEW TESTAMENT. 57
angel, which are not shaded, and the trunk of the tree in the
middle, the top of which is white : the background and the hori
zon are very dark, as in the first. This is probably unique, and
was in the Denon Collection.
Third impression. This is similar to the second, except that all
the dark landscape, and the sky round it, are burnished much
brighter; and the figures nearest the recess in the foliage are
slightly worked on. This impression is in the Museum at Am
sterdam.
Fourth impression. The light on the trunk of the tree is extin
guished by dry-point ; the angel's wings and robe are shaded,
as are the men and cattle, the ground around them, and the
foliage to the right, just above their heads. This is the usual
state of the plate ; but in the later impressions of it all the awful
and sublime effects of the chiaro-scuro are nearly lost.
50.  THE NATIVITY, OR ADORATION OF THE SHEPHERDS.
This print exhibits the inside of a stable, in the middle of which
the Virgin Mary is sitting with the infant Jesus in her lap ; Joseph
is on her left hand, sitting on the edge of a wheel-barrow, which
is overturned. Behind him are two oxen in their stalls : to the
left are several shepherds, looking at the infant over a barricade.
The whole subject receives light from a lamp placed over the head
of the Virgin. This piece is lightly etched. At the bottom is
written Rembrandt f
Heighth, 4 in. 1-I0th ; width, 5 in. 1-1 Oth.
There are two impressions.
First impression. It has several white spaces towards the top,
on the right; probably produced by failure in biting. This
impression was in the Denon collection.
Second impression. It is as described in detail.
This print has been retouched in the dark manner, to amuse the
over-curious in impressions. E

58 NEW TESTAMENT.
51. — THE ADORATION OF THE SHEPHERDS : A NIGHT-PIECE.
This piece is executed in Rembrandt's dark manner. The holy
family form a group in the right corner ; the Virgin, resting her
head on her right hand, is watching over the infant, which lies
sleeping before her. Joseph sits with a book open in his hands.
The cause of the light which falls upon this group is concealed from
view. On the left side two oxen are discovered; and, nearer the
middle, are the shepherds, one of whom is standing with a lantern
in his right hand.
Heighth, 5 in. 8-lOths; width ,7 in. 8-\0ths.
Of this print there are three impressions.
First impression. This is the darkest and most obscure, the
figures, except the man who carries the lantern, being scarcely
distinguishable. There is no distinguishing the stall in this
impression, but the background is perfectly uniform and dark.
Second impression. There appears above the head of Joseph a stall
formed with planks, placed horizontally, and fastened to upright
stakes or posts, the ends of which appear above the planks. St.
Joseph's face and bonnet are a little altered ; the latter is not quite
so high, and appears of a coarse fur.
Third impression. It is retouched at the bottom, and in the figure
of the man holding the lantern. St. Joseph's bonnet is again
altered. 52. — THE CIRCUMCISION.
The subject is treated in a very singular manner. The Virgin
sits near the middle of the piece, and is praying. Joseph sits near
her, and holds the child on his knee. There are several spectators,
who are very attentive to the ceremony. The rays which fall from
above, illuminate three-fourths of the print ; the rest, to the right,
is in chiaro-scuro. On the left stands a ladder, at the foot of which
lies a cask, and at the side hangs a net. Above the net, in the cor
ner, is written Rembrandt f 1654, and the same again below thenet.
Heighth, 3 in. 7-lOths ; width, 5 in. 7-lOths.

NEW TESTAMENT. 59
There are two impressions of this piece.
First impression. It has several white spaces, particularly in the
middle, towards the top, where the aqua-fortis has failed.
Second impression. It is rendered perfect in the places deficient in
the first. 53.  THE CIRCUMCISION.
This beautiful little piece is highly finished, in a very good taste,
and the chiaro-scuro has a great effect. Two pontiffs appear in the
middle of the print, and he that is on the left holds the infant on
his knees, while the other, who is habited in a cope, and sits to the
right in a folding chair, circumcises him. In the front, to the right,
the Virgin is represented kneeling ; and, on the opposite side, is
another person in the same attitude. The Virgin is covered with a
veil, and praying, with her hands lifted up ; over her, Joseph is
seen standing, in an inclined posture, with his hands joined, and
looking with great anxiety towards the child, whose head is encircled
with a glory. Higher on the left side appears an altar, upon which
is placed a smoking vase ; and at the side of it a Levite, in an erect
posture, who holds a crozier in his left hand.
Heighth, 3 in. 5-lOths ; width, 2 in. 5-10ths.
54.  THE PRESENTATION OF JESUS IN THE VAULTED
TEMPLE.
To the right appears Simeon, kneeling, with the infant Jesus in
his arms ; the Virgin is also kneeling before the prophet, and, over
her, Joseph is seen standing, holding a pair of doves. A ray of
light, proceeding from the left corner, falls on the child. Several
men and women stand behind, who appear attentive to the cere
mony. In the middle of the piece is Anna, the prophetess, with a
crutched stick in her hand ; and the holy dove appears hovering
over her head. In front, to the left, are two Jews standing convers
ing together : at their feet sits a rough dog. The back view is the
e 2

60 NEW TESTAMENT.
inner part of the temple, where many Jews are assembled. This
piece is scarce, but the effect is not considerable.
Heighth, 8 in. 4-lOths ; width, 11 in. 5-10ths.
There are four impressions.
First impression. It is extremely rare ; Simeon's head is un
covered ; his drapery is much lighter, as is likewise the Virgin's,
but the figure of Joseph is much darker than in the second im
pression, and his beard is larger.
Second impression. Simeon's head is covered with a calotte, or
leather cap, his robe is much more worked on, and the beard of
St. Joseph is shorter.
Third impression. The rays which descend from left to right, the
vault of the temple, and the pillars behind St. Joseph axe ex
pressed by a hard line.
Fourth impression. St. Joseph wears a turban.
55. — THE PRESENTATION, IN REMBRANDT'S DARK MANNER.
This subject is treated very singularly, and the piece is executed in
an equally singular style, the effect of which is very striking. On
the right side of the print, the High Priest appears sitting on a throne..
elevated on some steps ; the infant Jesus is presented by Simeon,
kneeling ; who, as well as the infant, has a glory round the head.
The Virgin and Joseph axe kneeling on the left side, and in the
middle is another priest, in a cope, standing, holding in his hand
a crozier, richly ornamented. On each side is a single spectator
of the ceremony, looking over the front of a gallery, which extends
from pillar to pillar. It is very scarce.
Heighth, 8 in. 3-10ths ; width, 6 in. 4-10ths.
In the early impressions of this piece, there is so much bur,
that the Virgin and Joseph axe but confusedly seen ; and the whole
of the print is much darker than in the ordinary impressions.
Those on India paper, with the bur, are greatly esteemed.

NEW TESTAMENT. 61
56. — THE PRESENTATION, WITH THE ANGEL.
This piece is lightly etched, and the background in general is too
faint, the aqua-fortis not having well succeeded. The whole subject
is towards the right of the print. The Virgin is near the middle,
and Joseph is on her right hand, both kneeling before Simeon, who
is sitting, and holds the infant in his arms. Above the Virgin is
seen Anna, the prophetess, with her hands joined together ; an angel
with expanded wings appears over her left shoulder, looking
full in her face, and with his left hand pointing towards the child
Jesus. In this group are several spectators ; and above, (behind
them) is an extensive flight of steps, leading to an inner part of the
temple, with many persons ascending them. To the left, appears
the hinder part of a cripple, with a wooden leg. In a margin, at
the bottom, is written Rt. 1630. It is scarce.
Heighth, 4 in. ; width, 3 in.
There are two impressions.
First impression. It is extremely rare, and is 4 in. 8-lOths. in
heighth, in consequence of having at the top a blank margin. Im
pressions in this state are in the British and Amsterdam Museums.
Second impression. The margin at the top is cut, reducing the
print to the size first described.

57.  THE FLIGHT INTO EGYPT : A SMALL PRINT. P
This piece is well designed and executed, but it is difficult to meet
with a good impression. The holy family are crossing towards the
left. Joseph has a staff in his left hand, and holds the bridle of the
ass in his right, which he pulls towards him, to make the beast
mount a little eminence. The effort which the ass makes to ascend
is admirably expressed. The Virgin sits on the ass, with the child
on her lap : the baggage is behind her ; in the front of which are
fastened a mallet and a saw. To the left, is the trunk of a large

62 NEW TESTAMENT.
tree, and some other trees are in the distance. In the slip at the
bottom, is written Rembrandt inventor et fecit, 1633.
Heighth, 3 in. 5-10ths ; width, 2 in. 4-10ths.
Of this there are two impressions.
First impression. This is lightly and delicately etched ; and the
ground, being not cleaned, appears tinted.
Second impression. It is more worked upon, and the outline is re
touched in a hard manner, so as to render the effect disagreeable.
58.  THE FLIGHT INTO EGYPT : A NIGHT-PIECE.
In this piece the holy family are likewise travelling to the left.
Joseph appears behind the ass's head, and carries a lantern in his
right hand, which illuminates the subject. The Virgin is riding on
the ass, with the infant covered up on her lap. A bottle hangs on
the ass's shoulder, and behind the Virgin is the luggage, in a covered
basket : to the right, a tower on a hill is perceived.
Heighth, 5 in. ; width, 4 in. 4-\0ths.
Of this print, Marcus had eight impressions, all varied in their
effects. Gersaint mentions three only, and the Supplement enu
merates six. There are, however, four only, essentially different.
First impression. It is extremely rare, and is little more than the
etching, without being worked upon by the graver. The group is
almost wholly enlightened, and the rays which proceed from the
lantern are strong and much diffused. The trees on the left, with
the tower on the hill, to the right, and the sky above it, are all
readily discriminated. The two hinder legs of the ass are parallel,
though the off fore leg is in motion.
Second impression. The light reflects upon the front of the figure
of Joseph, from the knees upwards ; likewise on the head, neck,
and legs of the ass, and on the right cheek of the Virgin, and
downwards to the shoulder of the ass. The bottle and luggage
are plainly seen, but the landscape and the sky are not so, parti
cularly the landscape. It is very scarce.

NEW TESTAMENT. 63
Third impression. This is still darker in the landscape, which is
more worked upon.
Fourth impression. It is darker than the third.
The impressions usually considered subsequent to these, and
varying in the chiaro-scuro, are produced only by the mode of
printing the plate.
There is an after impression, in which the moon is introduced,
but the plate was then in the hands of some print-dealer, who made
the alteration. 59. — THE FLIGHT INTO EGYPT.
The Virgin is seated on an ass, with the infant Jesus in her arms.
St. Joseph precedes, holding the ass by the bridle ; he is seen in
profile ; his garment is tucked up, and tied round with a girdle, at
which hangs a saw, his usual characteristic. This print in the
back-ground is scratchy and spotted ; it has little effect, and probably
on that account displeased Rembrandt, who cut the plate to the
size in which it is recorded by Gersaint, under a different class,
(No. 163) viz. 3 in. \-\0th by 1 in. 9-10ths; but when entire, as it
has been described, it measured 5 in. 3-lOths, by 3 in. 3-lOths.
There are five impressions.
First impression. It is that described in detail, and is extremely
rare.
Second impression. The plate is cut, and is circular at top, mea
suring 3 in. 1-I0th, by 1 in. 9-10ths. There remains the figure
of St. Joseph alone, whose right leg is shaded in front only.
Third impression. That part of the right leg of St. Joseph which
is clear in the second impression, is in this shaded slightly.
Fourth impression. The right leg of St. Joseph is covered with cross
strokes.
Fifth impression. The cap of St. Joseph is made flat ; the back
ground is covered with double strokes to the lower part, so as to
bring forward the ass's head, and the shoe on St. Joseph's left
foot is also crossed with a double stroke.

64 NEW TESTAMENT.

60. — THE FLIGHT INTO EGYPT : THE HOLY FAMILY
CROSSING A RILL.
The Virgin is represented holding the infant in her arms, and
sitting on the ass, which is crossing a rill of water, in which Joseph
is up to the knees, leading the ass with his right hand, and holding
his staff in the left. Their progress is to the right. The background
consists of rocks, with shrubs growing from them, without any
sky being seen. At the bottom, towards the left, is written Rem
brandt f 1654. Heighth, 3 in. 7-lOths ; width, 5 in. 7-lOths.
61.  THE FLIGHT INTO EGYPT : IN THE STYLE OF
ELSHETMER.
The landscape represents a valley, or dell, into which the Holy
Family are descending, from the right. On each side are hanging
woods, through a vista of which are seen a winding river, and a town,
with a spire-steeple in it. The view beyond these is terminated by
a chain of mountains. In front of the wood on the right, the Virgin
is sitting on the ass, with the child wrapped up in her lap. Joseph
has hold of the bridle, and guides the ass down the hill. This print
is scarce. Heighth, 8 in. 4-lOths ; width, 11 in. 2-10ths.
There are three impressions.
First impression. This is unique. The foliage on the right is not
so thick ; several trees and branches are wanting, and in those
which appear, the extremities are beautifully etched, but are
chiefly in outline. The bushy foliage in the centre, and to the
right, is differently disposed in the shadows, and the whole subject
is so exquisitely expressed in the chiaro-scuro, as to be equal to
the finest painted landscapes of the master. The impression in
question is on vellum, and is in the collection of the editor.
Second impression. The foliage is finished, but the effect of the
chiaro-scuro is not so striking. An impression on India-paper

NEW TESTAMENT. 65
in this state, probably matchless, formed part of the Denon Col
lection.
Third impression. The figures, and the ten-ace ground about them,
are burnished clear, and have lost much of their effect. This
impression, when good, is nevertheless very scarce.
Impressions are to be found, taken from the plate when the sky
had become corroded from neglect.
62.  THE REST IN EGYPT, IN A WOOD, BY NIGHT.
This is a beautiful little etching, finely executed, and has a good
effect. The Virgin is sitting on the ground in front, with the infant
on her lap, supported by her left hand ; she rests her right elbow
on a bank, with her hand to her forehead, under her hat. Joseph
is likewise sitting on more elevated ground, immediately behind
her, leaning his right elbow on the bank, with his left hand placed
on his knee. A bottle and part of the luggage are seen on the
ground, with a strap thrown over it, unbuckled. Above Joseph's
right shoulder, on the bough of a tree, hangs a lantern, which illu
minates the piece. To the right, the head and neck of the ass
appear. Heighth, 3 in. 6-10ths ; width, 2 in. 4-lOths.
Of this piece there are two impressions.
First impression. This is extremely rare. The ass is not introduced.
Second impression. Is that described in detail : the ass's head ap
pears, and the trees are more worked upon.
63.— THE REST IN EGYPT.
The Virgin and Joseph axe represented sitting on a bank beneath
an overhanging rock. Joseph throws his left leg over the right knee;
he holds an apple in his left hand, and in his right a knife, with
which he seems intending to cut it. Near his foot lies a saddle ;
The Virgin wilh her right arm supports the infant on her knees,
and with her left hand gently raises the linen that covers him.
Joseph looks earnestly at the child, with a smile on his countenance,

66 NEW TESTAMENT.
To the left is the stump of a tree, on the top of which a bird is perched,
and over it another bird is hovering, as if going to alight. At the
bottom to the left is written Rembrandt f. 1645. This piece, which
is almost in outline, is scarcely discernible, in consequence of the
defective biting. Heighth, 5 in. \-\0th ; width, 4 in. 5-lOths.
64. — JESUS FOUND BY HIS PARENTS, IN THEIR JOURNEY
TO JERUSALEM.
This piece is erroneously described in the various catalogues as
the Return from Egypt.
The Virgin and Joseph are travelling on foot to the right, leading
Jesus between them ; who appears to be of the age at which he is
represented to have been found by them disputing in the Temple.
A little dog is running before them. The background is in general
rocky, with some trees on the left side. To the right is a piece of
water, with a bridge of two arches over it, and some houses are on
both sides of the bridge. A great number of cattle are driven towards
the bridge, over which, in the farthest distance, is a castle on a
rock. At the bottom, to the right, is written Rembrandt f 1654.
It is scarce, and the early impressions have much bur.
Heighth, 3 in. 7-lOths ; width, 5 in. 7-lOths.
65.  THE VIRGIN AND THE INFANT JESUS IN THE CLOUDS.
The Virgin is kneeling on her left knee, and holds the infant on
her right, supporting him with her arms ; her hands are clasped
together. From the head of Jesus proceeds a large glory, and the
Virgin's head is thrown back in an attitude of devotion. In front,
before her left knee, appears the head of a child, reversed, which
had, perhaps, been left on the copper when Rembrandt began this
subject. A little below this head is with difficulty discovered Rt.f
1641 ; likewise lower down, and farther on the right, are the same
mark and date.
Heighth, 6 in. 6-]0ths : width, 4 in. 2-lOths.

NEW TESTAMENT. 67
In M. de Burgy's Catalogue, mention is made of two states, the
difference of which consists in the mouth of the Virgin, but it is too
trifling for further notice. Early impressions have some indications
of bur. 66.  THE HOLY FAMILY.
This piece is designed with much taste, and is lightly etched.
The Virgin is sitting near the foot of a bed, of which one of the
posts, with part of the curtain, is seen ; she holds the infant on her
knee, supporting it at the breast with her right arm, her left hand
being applied to the breast: her left shoe is off: she has a pleasing
countenance ; her head-dress, and indeed the whole of her person
and attire, are in a plain elegant style. Joseph is seen in profile to
the left, reading. Close by the left side of the Virgin is an open
basket, with linen, and beneath a step is written Rt.
Heighth, 3 in. 8-l0ths ; width, 2 in. 8-\0ths.
There are two impressions.
First impression. An open arcade is seen in the middle of the
background.
Second impression. The background is covered with strokes.
67. — THE HOLY FAMILY ; JOSEPH LOOKING IN AT THE
WINDOW.
This piece is etched in a dry, hard style, without effect. The
Virgin is sitting in front, holding the child on her lap ; her hands
join together, and she leans so forward, that her head touches that
of the child, as if she slept. A serpent is seen coming from under
her garment, emblematical of the seed of the woman bruising the
serpent's head. At her right side, on a covered step, is an elbow-
chair, with a cushion on it ; and above it is a canopy. On the step
lies a cat. Joseph looks into the room at them, through a window,
before the middle of which is a glory, proceeding from the heads
of the Virgin and child. To the right, is a stone chimney-piece,
with fuel on the hearth. In the middle, at the bottom, is written

68 NEW TESTAMENT.
Rembrandt f 1654. It is a very indifferent production, of th.
artist's later time.
Heighth, 3 in. 7-Wths ; width, 5 in. Q-iOths.
There are two impressions.
First impression. Several places near the top are white from de
fective biting. In the Denon Collection.
Second impression. These white spaces are filled up.
68. — JESUS DISPUTING WITH THE DOCTORS IN THE
TEMPLE. A SKETCH.
Jesus is sitting a little to the left of the print, near a group of
Doctors ; one of whom, in front of him, seems to be in disputation.
Another, sitting in the centre of the piece, has more the grotesque
appearance of a cobbler or blacksmith, with his leathern apron, than
of a Jewish Rabbi. To the right of him stands a tall figure, seen
in profile, behind whom is a little old man, stooping and leaning
on his stick. To the right, are four spectators, looking over a par
tition, covered with a loose cloth or drapery. At the top, above the
head of Jesus, is written Rembrandt f 1654. This piece is exe
cuted with little more than the single stroke.
Heighth, 3 in. 8-\0ths ; width, 5 in. 7-\0ths.
69.  THE SAME SUBJECT : A LARGER SKETCH.
In this piece are about twenty figures. Jesus stands to the right,
addressing himself to three doctors, with both hands a little raised.
One of them, on the right side, sits opposite to Jesus, on a stool
with a cushion on it. Another, on the left side, sits on the floor,
leaning on his right elbow. Six of the figures on the right appear
to be spectators, and are looking over a partition covered with dra
pery, in the manner of the last piece. To the left, at the bottom,
is written Rembrandt f 1652. There are usually defects in the
copper, at the top, caused by verdegris.
Heighth, 4 in. 5-lOths; width, 8 in. 3-\0ths.

NEW TESTAMENT. 69
In the er.rly impressions there are no defects in the copper visi
ble near the top of the plate, which appear in the usual impressions,
and there is bur on the high cap of the figure behind Jesus, and in
a few other places.
70.  THE SAME SUBJECT. A SMALL UPRIGHT.
This little piece is composed in a good style, and finely etched
with a tender point ; but the impressions are weak, the aqua-fortis
having failed to produce its effect. To the right of the print, the
young Jesus is standing on the uppermost of two circular steps, in
the attitude of a person who is reciting : he is addressing three doc
tors, who, with himself, form a kind of circle. Farther back, in the
Temple, are three other doctors, sitting behind a table covered with
tapestry. They appear to have recourse to a large book that is open,
in order to decide upon some controverted point. In the distance,
to the right, Joseph and Mary are entering at the door of the Tem
ple. This piece is scarce.
Heighth, 3 in. 5-10ths ; width, 2 in. 6-lOths.
There are three impressions.
First impression. It is extremely rare. Instead of the three doc
tors at table, there is only one ; and on the left, close to the edge,
are two other figures : these last figures are unshaded. The plate
measures 4 in. 4-10^s, by 3 in. 2-10ths, including a small mar
gin, in which is written Rt. 1636.
Second impression. It is similar ; except that the two figures near
the edge of the plate are shaded.
Third impression. It is that described in detail ; the plate is reduced
to the measure first stated, by which the two figures at the edge
are taken away ; and at the table are three scribes.
71.  CHRIST PREACHING. '"'
This print has been generally called " The Little Tomb," but the
tomb exists only in imagination. The print is said to be named
" the little La Tombe," from an artist (some say a lawyer) oi Rem-

70 NEW TESTAMENT.
brandt's acquaintance, whose portrait is to be found in the group,
but now not generally known. This circumstance, and the dimi
nutive stature of the artist, it is supposed, gave rise to the name of
the print.
It may not be amiss here to deprecate, once for all, the practice
so degrading to the arts, of nicknaming prints from casual circum
stances, of which The Hundred Guilder is a glaring instance.
Jesus Christ appears in the middle, standing on a piece of ele
vated stone work, with both his hands lifted up, preaching to the
people. They seem very attentive to his discourse, and the heads
in general are full of expression and character. Through an arch,
some buildings in a street are seen ; in the middle of the foreground
a boy is represented, lying down, and tracing out something with
his left forefinger ; a top with its string are lying by his side. To the
right of him a woman is sitting on the ground, seen from behind ;
she holds a child on her knees : on her right hand, a man sits on
the ground, leaning on his elbow, paying great attention to our
Saviour's discourse ; above him stands an old man with a great
beard, in profile, stooping. At the feet of Jesus sits a woman,
resting her head on her left hand ; and to the left of him sits a man
leaning, with his left hand up to his face, very expressive of atten
tion. On the left side, in front, stands a man in a turban. This
piece is well executed, and has a good effect.
Heighth, 6 in. 2- lOths ; width, 8 in. 2-10ths.
There are three impressions.
First impression. This is known to exist only in the Royal Collec
tion at Paris. The corner of the wall behind our Saviour is not
visible ; the man with a high turban, in the background to the
left, has his beard only shaded with a single stroke. The man
holding his thumb to his mouth, also on the same side, has only
two buttons slightly expressed on the upper part of his dress; the
child lying down in front has no top near him ; and the woman
seen from behind, near the child, has only slight lines on the
back.

NEW TESTAMENT. 71
Second impression. In this, which has a vigorous effect of bur, the
man with a turban, standing up on the left, has the sleeve of the
right arm very dark : the corner of the wall behind our Saviour
is added ; the man with two buttons on his dress has now five ;
the figure in the background to the left, with the great beard, is
more shaded, and the boy's top is added. A fine impression, in
this state, is not very rare.
Third impression. The bur is removed every where. The man on
the left, with the turban, has the sleeve white; and the impres
sion in general is hard and inharmonious. In this state, it is
very common, as the plate exists.
72. — THE TRIBUTE TO CjESAR.
This little piece is full of figures ; it is extremely well executed,
and produces a fine effect. Our Lord, round whose head is a bril
liant glory, appears in the midst of the Pharisees, answering their
questions concerning the payment of tribute to Caesar. He puts
his left hand upon one hand of the Pharisee, lifting up the right,
with which he points to Heaven, saying : " Render unto Cmsar the
things that are Ccesar s, and unto God the things that are God's."
They are struck by the force of this reply, and their countenances
are expressive of great disappointment. To the left is a building,
which appears to be a temple, out of which three figures are com
ing. In the left corner, at the bottom, is an arch, towards which
a man is descending a flight of steps. Over the arch, sit two per
sons, who are reading.
Heighth, 2 in. 9-lOths ; width, 4 in. 1-I0th.
Of this piece there are three impressions.
First impression. This is clearer than the others ; particularly in
the head of the sitting figure to the right, which is less wrought
upon. It is extremely rare.
Second impression. The man in the right corner, sitting on a
richly ornamented stool, is more shaded, both in the face and
on his clothes.

72 NEW TESTAMENT.
Third impression. This is retouched throughout, particularly on
the little archway in the left corner.
73. — JESUS CHRIST DRIVING THE MONEY-CHANGERS
OUT OF THE TEMPLE.
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 bead 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
of which 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 escape. To the right,
all are in hurry and confusion ; some are thrown down by the cattle,
which are running away. Behind them, on an elevation in the
Temple, is seen the high-priest, with many attendants. One of
them holds a crozier, and they appear to be sitting in judgment on
a person who is on his knees before them. At the bottom, to the
right, is written Rembrandt f. 1635.
Heighth, 5 in. 3-\0ths ; width, 6 in. 6-lOths.
There are two impressions.
First impression. The face of the man who is dragged on the
ground by the ox, is clear, and his mouth is small and less
worked on, than in the second impression.
Second impression. The face of the man dragged, and the sole of
his foot, are more shaded, and his mouth is larger ; the belly
also of the cow is more worked on .
74.  JESUS AND THE SAMARITAN WOMAN AT THE WELL :
AN ARCHED PLATE.
Our Lord is sitting behind Jacob's well, in the left part
of the print, leaning his right arm over an upright stone, placed
at the back of it, upon which is written Rembrandt f 1658.

NEW TESTAMENT. 73
His left hand rests upon his knee : the woman is standing
opposite to him, towards the middle of the print; she leans
on a bucket which stands on the edge of the well, her arm passing
under the handle of it. Her hands are placed before her, one upon
the other. Between our Saviour and the woman is a rock, and an
earthen pitcher stands on the lower steps of the well : some of the
disciples are approaching. In the background appears the city of
Sychar in Samaria, with its gardens, and travellers are passing to
and fro. Heighth, 4 in. 9-lOtks ; width, 6in. 2-lOths.
Of this piece there are four impressions.
First impression. This is extremely rare, and has neither name nor
date. The head of Jesus is wholly different from that in the other
impressions : the weeds which are before the well, to the left, are
not shadowed. The rock near which our Saviour rests on his
knee is very dark ; the background above the head is also shaded,
and there is a blank margin of three inches above the arch.
Second impression. The work is the same, but the plate is cut to
the size of the subject : the name and date are not inserted.
Third impression. The weeds at the side of the well are shaded ;
and the shadows near our Saviours head and left hand are re
moved : the name and date are added.
'74. — JESUS AND THE SAMARITAN WOMAN AT THE WELL: I
AN UPRIGHT PLATE.
In this piece, which is executed in a good taste and highly
finished, there is a large building to the left, in ruins, in which
several arches are seen in perspective, with a flight of stairs leading
to them. In the front appear two pieces of timber, which support
a pulley, from whence hangs a chain, at the end of which is fastened
the bucket that stands on the edge of the well : the woman holds
the chain with her right hand, a little above the bucket, and rests
the other on the side of the well. Our Saviour sits on the left,
and appears to be addressing her with great earnestness, with
F

74 NEW TESTAMENT.
his right hand raised opposite to his breast. In the distance,
to the right, is the city of Sychar, from whence the disciples of
Jesus are coming to him with provisions. At the top, on the same
side, is written Rembrandt f 1634. It measures 4 in. 8-\0ths, by
4 in. l-10th at top, and 4 in. 3-lOths at the bottom.
There are three impressions.
First impression. A part of the well near our Saviour's foot is
clearer than in the second impression, and the work on the left
side of the plate is not filled up to the extent of the copper. This
impression is in the editor's collection.
Second impression. The shadow near the foot of Jesus is blacker,
the plate is cut straiter on the top, and the work is brought to the
left edge.
Third impression. Wholly retouched.
76. — THE RESURRECTION OF LAZARUS.
This piece is a small print, well designed, and executed with a
fine point, though not very effective. -The event is represented in
a cavern, through an aperture in which, a tower on a hill is seen.
Christ stands on the left, in an attitude full of dignity and grace ;
and Lazarus is rising from a tomb on the right. The attention and
astonishment of the speciators are admirably expressed, particularly
in one of the sisters of Lazarus, who is kneeling in the left corner,
in a striking'attitude. Beneath her feet is written Rembrandt f.
1642 ; the last figure is reversed.
Heighth, 6 in. ; width, 4 in. 5-lOlhs.
77. — THE RESURRECTION OF LAZARUS : A LARGE PRINT.
This is a large arched piece, finely executed, and the chiaro-scuro
produces a great effect. Our Lord, who is placed a little to the left,
and turned to the right, is represented standing in a dignified atti
tude, on a stone which appeal's 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

NEW TESTAMENT. 75
whom, with uplifted hands, appear terrified at the prodigy. At the
feet of our Lord appears Lazarus, in the action of rising above
the tomb, his death-like countenance admirably expressive of his
late situation. On the right are several figures ; one of whom,
probably intended for his sister, stretches out her arms, and seems
in haste to receive him : beyond her, a man, his head covered with
a cap, starts back with terror and amazement. Above our Lord,
are some folds of drapery, forming 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. Ryn. f.
Heighth, 14 in. 5-10ths ; width, 10 in. 1-I0th.
Of this piece there are seven impressions.
First impression. This is extremely rare, if not presque unique.
The man to the right, in the attitude of terror, has his head un
covered. Before the tomb, near the right corner, is a woman
seen from behind, which Rembrandt effaced, and substituted
another in its stead. *The border is before most of the heavy
work, which gives it the blackness of a frame, and is much un
finished at bottom : the stones forming the grave of Lazarus
are scarcely more than traced. An impression in this state was
in the Denon collection. De Clausin mentions a similar im
pression in that of M. Verstol, (Qu. Baron Verstolk von Soelen ?)
at Amsterdam.
Second impression. The border is more finished, and the grave is
shaded ; in other respects this is similar to the first impression.
This is extremely rare.
Third impression. Also extremely rare. The figures on the right
are yet uncovered, as in the preceding. The figure inclining over
the grave, probably Lazarus' s sister, who holds a handkerchief
in the right hand, has a different character of countenance ; the
figure of a woman seen from behind, in the right corner, is re
moved, and a female figure in profile, kneeling, substituted.
Fourth impression. Differs from the third in having the little
f2

76 NEW TESTAMENT.
figures in the background, to the right of the frightened man, re
touched in a hard, dry manner.
Fifth impression. The frightened man on the right has a cap on ;
and the man further to the right, with a long beard, has a very
flat cap or calotte on his head. The head of the female regarding
Lazarus, is of a different character from the preceding.
Sixth impression. The old man with the great beard, who in the
fifth impression had on the flat calotte, now wears a cap like a
turban, and his features are different ; the head next to this
figure also wears a cap.
Seventh impression. Retouched : it may be distinguished from the
sixth, by the shade below the head of the old man with the long
beard, extending to the outline of the face of the next figure : in
the sixth there is a space between.
The good impressions of the sixth have a strong black mark under
the nose of the frightened female in the background to the right.
There is a good copy of this piece by Denon, but the countenance
oi Lazarus is deficient in expression.
78.  CHRIST HEALING THE SICK : CALLED " THE HUNDRED
GUILDER PIECE."
The piece generally known by this name represents our Lord
healing the sick. He is seen in front, standing a little to the left,
with an extensive glory proceeding from his head : his left elbow
rests upon some stone work, and his left hand is held up ; while
his right is stretched out towards the people to whom he is speak
ing. In front, near the middle, a woman appears on a mattress,
which lies on the ground, depressed with languor and disease ; above
her, an old woman raises her shrivelled arms in a supplicating pos
ture : another approaches our Saviour, carrying a child ; these,
with many other sick persons, implore his assistance. To the left
are many figures, spectators of the miracles ; some of them seem
to be disputing about the authority by which they are performed.
To the right are many sick persons : one in a wheelbarrow, with
two figures just above him, an old woman leading an old man,

NEW TESTAMENT. 77
are most admirably expressive of great age and decrepitude. To
the right of these, 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 is light on the
left. It is generally esteemed the chef-d'oeuvre of Rembrandt, being
highly finished, the characters full of expression, and the effect of
the chiaro-scuro exquisitely fine. A moderately good impression
is very scarce. It measures on the left side 1 1 in. and on the right
10 in. 9-lOths by 15 in. 3-iOths at the top, and 15 in. 2-lOths at
the bottom.
It is recorded that Rembrandt valued this production so highly,
that he sold impressions of it for one hundred guilders, (equal to
about eight guineas.)
In some instances, he exchanged his prints, we are told, for the
engravings of the early Italian Masters. This appears from the
beautiful first impression in the Museum at Amsterdam, which
on the back has an old Dutch pencil inscription to this purport :
" Given to me by my esteemed friend Rembrandt, for a print by
the hand of Marc Antonio :" and in another part of the print, is a
French inscription, stating that similar impressions were not pub
lished by Rembrandt for sale, but only printed as presents; so that
the impressions sold for one hundred guilders were most probably
in the second state.
There are three distinct impressions, exclusive of the retouched
plate.First impression. The neck of the ass in the right corner is not
shaded with diagonal lines ; the group on the left, the hands of
the figure on that side holding a stick behind him, the dog, the
dry branches in the middle in front on the ground, and the cord
of the mattress on which the sick female is stretched, are all power
fully filled with bur. This impression is most clear, brilliant,
and transparent, and of inestimable value : it is to be found in
the British Museum, in the Royal Collection at Paris, in the
Museum at Amsterdam, and in the Collections of Denon, Lord
Aylesford, and Mr. Esdaile.

78 NEW TESTAMENT.
Second impression. The neck of the ass is shaded ; work is added
to the stone recess beyond the camel ; the whole background
behind our Saviour, and on the right, is highly worked up : the
bur is removed where it appeared in patches in the first impres
sion, on the hands of the standing figure in the left corner, part
of the group above the dog, the dry branches, and the mattress.
This impression, especially when on India paper, is of a sur
prisingly velvet-like and brilliant effect.
Third impression. The background is more worked upon, so as to
conceal the outline of the vault above our Saviour's head. The
bur on the lighter parts being quite gone, the harmony is des
troyed, and the shadows are too black and confrasted.
Fourth impression. Entirely retouched by Captain Baillie, who
purchased the plate in Holland.
It was subsequently cut into four pieces, of different sizes.
The first portion contains the figure of the Saviour, surrounded
by several of the sick.
Ihe second portion is the right side, with the sick man on the
truck or wheelbarrow.
The third portion is the lower part of the left, with the standing
figure whose hands are behind bim.
The fourth portion is the upper part of the left, containing the
Jewish spectators.
Of the first portion there are impressions of the plate arched at
top ; the dog is effaced, and the feet of the sick man on the barrow
are covered with strokes.
79. — OUR LORD IN THE GARDEN OF OLIVES.
Our Lord is seen in front, to the right, praying : he kneels on a
bank or eminence, and is supported by an angel : on the left, lower
down, are the Apostles sleeping on the ground ; and behind, on the
same side, the door of the garden appears open, and the guards are
seen entering to apprehend Jesus. Above them, a tower in the city
appears. The moon is seen towards the top. Close in the right

NEW TESTAMENT. 79
corner is to be read, though with some difficulty, Rembrandt f 165.
There was not room to add the fourth figure.
Heighth, 4 in. 4-\0ths ; width, 3 in. 3-10ths.
There are impressions of this piece which have more or less of the
bur, but without any other variation than what the effect conse
quently produces, and this effect is very striking in an early im
pression. i
80.  OUR LORD BEFORE PILATE.
The front of the judgment hall is here represented, with the base
of a portico projecting, on which are Pilate and his attendants,
shewing Jesus to the people assembled before it. In two niches
above are the statues of Justice and of Mercy. Pilate is standing
with a wand in his right hand, and pointing with his left to Jesus,
who stands in front with his hands tied before him. On the ground,
in the left corner, is a man in a cap, with a large plume of feathers,
who appears to be haranguing the people, pointing with his left
hand towards our Saviour. In this piece there are many good
figures, but it is rather a sketch or a study than a finished print.
There axe five impressions.
First impression. The plate measures 15 in. by 17 in. 3-\0ths.
The building on the right is without shadow, and there is so much
bur in this impression, that some of the figures in the background
are scarcely seen. The China paper on which impressions in this
and the next state are found, not being procured in sheets large
enough to take the whole plate, Rembrandt was forced to paste
pieces of paper to the top of each sheet, to obtain the desired
size ; such impressions are extremely rare, as he was soon tired
of this method, and reduced the plate. An impression, in this
state, in the possession of M. Robert, at Paris, is described by
De Clausin as unique ; but the Denon Collection possesses a
similar one, also on China paper.
Second impression. The left of the print, particularly the door in

80 NEW TESTAMENT.
the background, and the figures at the windows, are much more
shaded with diagonal lines, drawn all over. The breeches of the
man standing on the left, on the base of the portico, are shaded
with diagonal lines, drawn over the vertical single strokes : the
features of the female at the window, on the left, are less distinct;
as are the figures of the Jew standing on the flight of stairs to the
right, and the figure seen at the window at the top, on the same
side. This is also extremely rare.
Third impression. A balustrade is introduced over the window on
the right ; which, with the window and figures below it, are
lightly shaded, and the shade extends over the right door : the
plate is reduced to 14 m. \-10th. by 17 im. 3-10ths. It is very rare.
Fourth impression. The same as the preceding, except that at the
top of a door on the right, is written Rembrandt f. 1655. This
impression is in the British Museum.
Fifth impression. All the figures which appeared before the base
of the portico are effaced.
Sixth impression. There appears a statue with a large beard, in
the middle of the base of the portico, with a niche on each side.
The door in the middle of the edifice, before which Jesus is ex
posed to the people, is arched, and there are some other little
ornaments below the cornice, at the top of the door, none of
which are in the preceding impressions. There are three men
wearing turbans seen on the threshold of the door on the left.
It is extremely rare.
Seventh impression. The statue is shaded with strokes nearly hori
zontal, so that the arms of the figure, and the beard, are scarcely
seen. It is very rare.
81.  OUR LORD CRUCIFIED BETWEEN THE TWO THIEVES.
This is the companion of Our Lord before Pilate, and, like the
last, is rather a sketch than a finished print. Our Lord is repre
sented in front, on the cross, a Httle to the right of the piece. On
each side, at equal distances, are likewise crucified the two thieves,
who are seen nearly in profile. To the left of our Saviour's cross

NEW TESTAMENT. 81
are three horses, two of which are mounted by persons with spears
in their hands. The person who had dismounted from the third
horse, kneels on the ground with his left knee, looking towards our
Saviour with extended arms, and his hands a little raised up. To
the left of this group of horses is one, mounted by a man with
a spear. At the foot of the cross stands St. John, weeping,
his head inclined towards the feet of his Master ; and near him are
the three Marys, on the ground, in attitudes of grief. In the fore
ground, in the middle of the piece, are two old men, walking in
haste towards the right, conversing together : and, on the left, two
persons are leading between them a venerable old man, who appears
deeply afflicted. There are many spectators, forming various groups
throughout the print. The greatest part of it is illuminated by
different rays proceeding from the top. At the bottom, a little to
the left, is written Rembrandt f 1653. It is scarce.
Heighth, 15 in. 2-\0ths ; width, 17 in. 3-\0ths.
Of this there are three impressions.
First impression. This is before the name and date : the head of
the afflicted old man, whom they are leading away, is almost an
outline. It is extremely rare.
Second impression. It is very rare. The name and date are added :
It is more wrought upon, particularly on the foreground, on a
sloping bank on the left, in the middle, under the two figures
walking, and the head of the afflicted old man, whom they are
leading away, is finished. The figures likewise on the left side,
in general, are much darker.
Third impression. The composition is almost entirely changed :
The three figures on the crosses alone remain the same : —
they are much shaded, and that on the right is almost en
veloped in darkness : the horses are almost all different, and
are in more obscurity and confusion. The horse on the left
is rearing on his hinder legs. The traces of the left-hand
person, walking towards the front, who was intended to be
erased, may be discovered on examination: the right-hand

82 NEW TESTAMENT.
person of the two, remains much the same, but darker, and
the name and date are invisible. Of this impression variations
have been noticed ; but the difference only consists in their being
more or less darkly printed, or the plate more or less worn. An
impression in this state is sometimes found with the following
address : Frans Carelse excudit. Such an impression is in the
British Museum. 82. — THE ECCE HOMO.
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 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 popu
lace. His eyes are raised to Heaven, his arms hang down
and his hands are manacled and joined together before him : on his
head is a crown of thorns. His body is naked, except a slight
covering thrown over the shoulder, 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. It measures,
including a margin of 4-10^/is, in which is written Rembrandt f
1636, 21 in. 6-lOths, by 17 in. 6-10ths.
There are three impresssions of it.
First impression. This may be regarded as presque unique. The
figures of Pilate and the principal persons, are merely traced;
the rest, though nearly finished, is less wrought upon than in
the other impressions ; and the canopy is larger, as may be per
ceived by the other impressions, wherein it is evident that it has

NEW TESTAMENT. 83
been shortened. Two impressions in this state, one of them
touched upon with bistre, are in the British Museum.
Second impression. It is extremely rare : the right cheek of the
head above that of the man holding the reed is only etched with
a single stroke ; but, in the finished impression, it is crossed with
diagonal lines, to give it more shade.
Third impression. The right cheek of the head above that of the
man holding the reed is crossed with diagonal lines. In most of
the finished impressions, after the date, there are inserted the
words cum primleg. in large letters, scarcely to be made out. In
the margin are several trials of the tool.
There is a copy of this piece by Savry ; the figures are in the
same direction as in the original.
83.' — THE DESCENT FROM THE CROSS.
This composition is intended as a companion of the Ecce Homo ; it is
illuminated by rays of light falling from the sky directly upon the gro up
which is busied in taking down the body of Jesus 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 oi 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 Magdalen, spreading a well
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 background :
under the right foot of the Jew standing on the left, is written Rem
brandt f and below the name, 1633. The subject is circular at the
top, within a square plate. This print, which is clearly a different

84 NEW TESTAMENT.
plate from the finished print of the same subject in the next article,
is but a first etching, without the smallest effect.
Probably, Rembrandt, having thus ascertained the propriety of
the composition, took a very few impressions with some oily
grey liquid at hand, for it does not appear to have been filled
with proper ink, and then proceeded to engrave the subject as we
usually find it ; and having done so, destroyed the copper of this
sketch ; as three impressions of it only are known — two in the
Royal Collection at Paris, the other in the British Museum.
Heighth, 20 in. 3-lOths ; width, 15 in. 9-lOths.
84.  THE DESCENT FROM THE CROSS.
This print is a repetition of the preceding subject; and
is the usual companion of No. 82; the general composition
is altogether similar to that in No. 83, but the disposition of
the figures, in respect to their relative distances from each other,
and from the edges of the plate on which it is engraved, differs in
many instances ; and there are likewise some variations in the po
sition of the group of spectators on the right, which may be parti
cularly noticed in the countenance of a man just seen above the
shoulder of another. The subject is a square, occupying the whole
plate ; whereas, in the preceding, it was bounded by an arch within
the square of the plate. In the margin, at bottom, is written Rem
brandt f. cum privil. 1633, and towards the right, Amstelodami
Hendricus Vlenburgensis excudebat.
Heighth, 20 in. 6-lOths ; width, 16 in. \-Y0th,
There are three impressions.
First impression. The legs of the men who are standing below,
supporting the body of our Lord, are only shaded with the single
stroke. Very rare.
Second impression. The legs of the men supporting our Saviour's
body, are shaded with cross strokes. This impression is not
common, but the work is so much less harmonious, and yet
stronger, than in the preceding impression, that it may have
been rebitten. This is the opinion of De Clausin.

NEW TESTAMENT. 85
Third impression. The address of Hendricus Vlenburgensis, is
added. There are impressions, much worn, with the address of
Justus Danckers.
There is likewise a reversed copy of this print.
85.  OUR LORD ON THE CROSS, BETWEEN THE TWO THIEVES: \
AN OVAL.
This piece is etched with a fine stroke, and lightly shaded. Our
Lord is on the middle cross, seen nearly in profile. The good thief
on the right is seen in front, and the other from behind ; and the
reed, (at the end of which is a sponge) rests against the cross of the
last. The Marys are lying on the ground, in great grief. To the
right, the fore part of a horse appears, and there are many spectators.
Heighth, 5 in. 4-\0ths ; width, 3 in. 9-iOths.
The early impressions of this print are full of bur, and have a
piquant effect. They are generally, however, found grey, raw,
and without effect, and sometimes scarcely more than an outline;
as the plate, which the editor understands to be made of brass,
is still in existence.
86.  THE CRUCIFIXION : A SMALL SQUARE PLATE.
The cross, on which is our Saviour, stands on the left, nearly in
profile. The mother of our Lord is on the ground to the right, in
a fine attitude, supported by one of the Marys, and the other is
seated at the foot of the cross, in great grief. In the front stands a
man richly habited, in a turban, seen from behind, and probably
designed for Joseph of Arimathea. In the background, some pub
lic buildings appear. This piece is well designed, and executed
with a fine point. At the top is written Rembrandt f
Heighth, 3 in. 7-10ths; width, 1 in. 6-lOths.
The first impressions from this plate are printed with a tinted
ground, and have a fine rich effect, in which the ordinary impres
sions are very deficient. These early impressions are extremely
rare.

86 NEW TESTAMENT.

87. — THE DESCENT FROM THE CROSS : A SKETCH.
This piece is executed with little more than an outline ; the body
of Jesus is seen nearly in front, in the middle of the print ; his left
arm is already freed from the cross, and hangs loose by his side;
and on the other side is a man standing upon a step-ladder, with a
pair of pincers, drawing the nail by which his right hand is fastened.
In the left corner the Virgin is fainting, and supported by one of
the Marys. Before her, on the ground, lie a scull and bones :
and, towards the right corner, is the crown of thorns. To the
left, near the cross, stands the other Mary, with her hair dishevelled,
weeping. On the other side, St. John holds up the sheet to receive
the body of our Lord. There are several spectators ; at the bottom,
towards the right, is written Rembrandt f. 1642.
Heighth, 5 in. 9-\0 ths; width, 4 in. 6-10 ths.
Of this there are impressions in which the group in the left cor
ner has some bur. It may also be found in a few other places of
the print, in this state, and the background is tinted.
88. — THE DESCENT FROM THE CROSS : A NIGHT-PIECE.
The scene is represented by torch light, on the summit of a
mount on the left. A man standing close to the cross, holds a
torch, which illuminates the subject : others are just receiving the
body from the cross. At the foot of the mount is a bier, with a
sheet lying in it, which a woman is spreading open, in order to re
ceive and bear off the body. To the right appears Joseph of Ari-
mathea, seen in part only in profile ; and in the background is the
city. On the sheet is written Rembrandt f. 1655.
Heighth, 8 in. 3-lOths ; ividth, 6 in. 4-10ths.
The early impressions of this print have much bur, and produce
a proportionate effect.

NEW TESTAMENT. 87

89. — THE FUNERAL OF JESUS.

On the right side of the print, the body of our Saviour is carried
on a bier by four men, towards a cavern, which is perceived on the
left. Several people attend the funeral, among whom the Virgin
Mary is seen weeping. The cavern is at the foot of a rock or
mountain, on a distant part of which, to the right, are seen several
persons. This piece is lightly etched, and the composition is good.
At the bottom is written in large letters, Rembrant, the d being
omitted. Heighth, 5 in. 2-]0ths ; width, 4 in. 2-10ths.
The early impressions have a little bur.
90.  THE VIRGIN MOURNING THE DEATH OF JESUS.
The figure of the Virgin is a half-length, turned to the right,
and placed before a piece of stone-work, on which lie the crown of
thorns and the nails. She seems to muse over these memorials of
our Lords Passion, with a fixed attention, and silent sorrow. This
piece is extremely rare.
Heighth, 4 in. 3-10ths; width, 3 in. 5-lOths.
There are two impressions of it.
First impression. There is some coarse shadowing below the arms
and under the chin.
Second impression. These hard strokes are scraped away, and
softened. 91. — JESUS CHRIST ENTOMBED.
In the lower part of the print, to the right, the disciples are en
tombing the body of Jesus Christ. To the left are the three Marys,
weeping, and above them stands a Jew, probably Joseph of Ari-
mathea, leaning on his stick ; and two persons are behind him. The
background consists of an arched vault ; in front of it is some stone
work, on which are placed two sculls, and behind them appears the

88 NEW TESTAMENT.
upper part of an arch, and a large arch reaches to the top of the
print. Heighth, 8 in. 3-lOths ; width, 6 in. 4-\0ths.
There are two impressions.
First impression. This is the pure etching ; every part is readily
distinguished, as it has been already described; a great portion of
it is only etched with the single stroke, and it does not produce
much effect : the space between the Virgin and the disciple whose
back is seen, is quite white.
Second impression. Entirely worked over, and consequently much
darker. The figures are illuminated by the reflection from a
torch supposed to be held over the body of Jesus, but unseen,
being intercepted by one of the disciples, who is seen from
behind. The light falls upon our Saviour, three of his disciples,
the Virgin, and Joseph oi Arimathea. The rest of the subject
is with difficulty made out.
All the other variations of this print, usually so called, are merely
produced by the different manner of printing.
92. — OUR LORD AND THE DISCIPLES AT EMMAUS.
This piece is etched in a harsh manner, with a coarse tool. Our
Lord is sitting behind a table, under a large canopy, and is seen in
front ; he holds a piece of bread in each hand, in the action of
blessing it, by which he is known to his disciples : a large glory
surrounds his head : on the table is a dish, with a joint of meat
upon it, and close by it stands a goblet, half filled with wine. The
disciple on the left has risen from his seat, and stands with his hands
lifted up and joined together. The other is sitting on the right,
with his arms half extended, in an attitude of astonishment. In
front, on the same side, is a cook going down some steps, with his
left hand upon the rail, and behind him is a dog. At the bottom,
to the left, is written Rembrandt f 1634.
Heighth, 8in. 2-]0ths; width, 6 in. 3-lOths.
Of this there are two impressions.

NEW TESTAMENT. 89
First impression. The rays round the head of Jesus are not easily
distinguished, the aqua-fortis having failed in that part: the
hat hanging on the chair behind the disciple, on the right, is so
imperfect, that the shape of it is scarcely to be made out ; and,
other parts of the print are defective : it is however rare.
Second impression. The rays and the hat are defined : there
is a shadow on the head of the disciple standing up, and on the
hanging of the canopy to the right. This impression, as it is
commonly found, is of little value; as, being without bur, it is very
poor. 93.  OUR LORD AND THE DISCIPLES AT EMMAUS : A ^T
SMALL PRINT.
The composition of this little print is fine, it is well executed, and
the chiaro-scuro produces a great effect. Our Lord is represented
sitting to the right, and a dog is standing by his side ; a luminous
glory encircles the head of the Saviour. Rembrandt has chosen
the same moment of time as in the last, that wherein he is
known to his disciples by the breaking of bread. One of the dis
ciples is sitting opposite to Jesus, in an elbow chair, his hands
raised and joined together. The other, seen in front, on the right
hand of his master, holds a shoulder of mutton by the knuckle in
his left hand, and is about to cut it with his right, when he is
stopped by this solemn act of our Saviour, on whom he gazes with
a mixture of wonder and awe. In the left corner, on the floor, lies
a knapsack, with a staff under the strap of it. In the middle of the
margin, at the bottom, is written Rembrandt, 1634.
Heighth, 4 in. ; width, 2 in. 9-lOths.
The early impressions have a little bur.
94. — JESUS CHRIST, IN THE MIDDLE OF HIS DISCIPLES. H
Our Lord stands near the middle of the piece, but rather inclined
to the right, his head encircled with a large glory. Thomas is
kneeling before him, and there are two others athis side ; and close

90 NEW TESTAMENT.
to the left, ill front, a person is sitting in an elbow-chair. The dis
ciples are expressing their surprise at the incredulity of Thomas,
whom our Saviour is in the act of reproving. This piece is slightly
etched, almost with the single stroke, and is very scarce. At the
bottom, near the middle, is written Rembrandt, 1650.
Heighth, 6 in. 4-\0ths ; width, 8 in. 2-\0ths.
This print is by Gersaint treated as " Christ healing the sick,"
and is so classed (No. 76) in his Catalogue. Yver, in his Supple
ment, considers this and No. 68 of Gersaint to be the same ;
Daulby has continued the error in his Catalogue, by not having
considered the subject of it, though he remarks upon Gersaint s im
perfect description. 95. — THE GOOD SAMARITAN.
In the front a horse is seen, standing in profile, which a boy
holds by the bridle. On the other side of the horse appears a man,
carrying 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 fea
ther looks at the transaction through a window. To the right,
is a well, from which a woman is drawing water, and in the
distance are seen several public buildings; and beyond these 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 Rem
brandt has finished with the greatest care, with a fine point and
light hand. In the middle of the margin, at the bottom, is written
Rembrandt inventor et fecit. 1633.
Heighth, 10 in. 2-lOths ; width, 8 in.
Of this print there are four different impressions.
First impression. In this, which is extremely rare, the tail of the

NEW TESTAMENT. 91
horse appears white, and the wall on the landing of the steps is
not shaded : the plate is a larger on the left, and a few trials of
the tool appear in a small margin there.
Second impression. In this, which is more scarce than the first,
the tail of the horse is shadowed, and the neck is more shadowed
than in the foregoing impression, but the wall remains white.
Third impression. The horse's tail and the wall are both shadowed.
Fourth impression. The name and date are added in the margin
at bottom.
There is a copy of this print which may deceive collectors, as it
is the same size and in the same direction as the original. The
horse's tail and the wall are shadowed. In the margin, to the right,
is written Rembrandt van Ryn, inventor ; and, to the left, S. Savri
excud. This margin is generally cut off.
96.  THE PRODIGAL SON.
The repenting prodigal, on his knees upon the steps of his father's
house, is embraced and raised by his father. His only covering is
a cloth tied round his middle. His mother appears opening a case
ment to look at him : to the" right, a servant is coming out of the
door with apparel to clothe him ; and behind him, the elder son is
seen, with a countenance expressive of disappointment at the return
of his brother. The countenances of the father and the prodigal
son are equally expressive, — one of compassion and forgiveness,
meeting that of remorse and penitence in the other. At a distance,
through an arch to the left, is seen a peasant with cattle, in allusion
to the parent's command to kill the fatted calf. Under the left foot
of the father is written Rembrandt f 1636.
Heighth, 6 in. \-\0th ; width, 5 in. 4-10ths.
97. — THE DECOLLATION OF ST. JOHN THE BAPTIST.
This piece is lightly etched, and in many parts the aqua
fortis has failed. St. John is kneeling in the middle of the
print, turned to the right, and is naked, except the camel's hair
garment, which is wrapped round his waist : his hands are joined
G 2

92 NEW TESTAMENT.
together. By his side, on the ground, lies a little cross, with
a streamer waving round it, the usual characteristic of the Bap
tist. The executioner stands on the left: his arms are raised
to give the fatal stroke. In the background appear a multi
tude of spectators, coming through an arched gateway ; and in the
front of them stand Herod and Mariamne, with a Moor, who holds
a charger, to receive the head. To the right is a building adorned
with columns, between which two persons are looking at the exe
cution. At the bottom, to the left, is written Rembrandt f 1640.
Heighth, 5 in.; width, 4 in. 1-1 Oth.
Impressions are occasionally found with a trifling bur in the sha
dows of the foreground.
98. — PETER AND JOHN AT THE BEAUTIFUL GATE OF THE
TEMPLE.
In this piece is a rich disposition of architecture, which fills the
left part of the print, and is seen through an arch supported on a
column. To the right, in the distance, appears a kind of amphi
theatre, with immense crowds of people surrounding a flight of
steps leading to an altar, in the middle of the print, on which a sa
crifice is burning ; and the high priest is seen under a canopy, with
attendants. At the gate of the Temple, which is on the left side,
stand two Jews ; and on the same side in front is a cripple, sitting
on a step ; he is seen from behind, and, holding a hat in his left
hand, appears to ask alms of St. Peter, who is standing before him,
wrapped in a cloak, having both his arms extended. St. John
appears at his side, in a similar habit, with his stockings fallen
down to his ancles. The countenances of the two Jews at the
gate are full of expression, and the whole has a fine effect. Upon
the steps on which the lame man is sitting, is written Rembrandt
f. 1659. Heighth, 7 in. \-\0th ; width, 8 in. 5-lOths.
Of this there are three impressions.

NEW TESTAMENT. 93
First impression. The cloak of St. Peter has few folds, and has
rather a stiff appearance ; his legs are heavy and ill-shaped : it
is very rare.
Second impression. The faces are much better characterized, and
executed with more spirit. St. Peter's cloak is better expressed
in the folds, and his legs are better designed.
Third impression. The whole of the ground to the right at bottom
is dark, whilst in the others only half of it is in shade.
99.' — PETER AND JOHN AT THE GATE OF THE TEMPLE :
A SKETCH.
On the landing of some steps on the right of the print, the beg
gar sits turned to the left, and lifts his right hand to ask alms of
the apostles, shewing at the same time his lame left hand. The
apostles seem to be standing against the wall of the entrance, and
are leaning over the cripple. They are both dressed in cloaks.
St. John is almost in shadow, and looks like a dirty beggar ; while
St. Peter, who is not much shaded, has a little better character.
The rest of the print is filled up with the arches of the Temple,
and with the outer entrance seen towards the bottom on the left ;
and at which appear two Jews ascending the stairs. Beyond these
figures are some sketchy buildings.
Heighth, 8 in. 3-lOths ; width, 6 in. \-\Qth.
100.  AN EVANGELIST WRITING.
On the left of the print, the Evangelist is seen sitting at a table,
on which are two large books, the uppermost spread open on the
lower. The Evangelist rests his right arm on the latter, and holds
a pen in the same hand. He is bare-headed, and his left hand
hangs down beside him. There is no shade on the right side of
the print. The whole subject is engraved in a bold coarse manner,
and but little finished, nor is there anything to designate the par
ticular Evangelist intended.
Heighth, 8 in. 8-\0ths : width, 7 in. 8-\0ths.
These two prints are of the utmost rarity.

94 NEW TESTAMENT.
De Clausin, in his Supplement, (page 14) states the last to
be a companion to No. 99, but does not describe the subject. They
are probably both by the same hand, but, in the opinion of the
Editor, not that of Rembrandt. The dimensions of the two are
considerably different. 101. — ST. PETER.
This print is very lightly etched, and nearly with the single
stroke. St. Peter is seen in front kneeling, clothed in a robe, and
holding a key in each hand. The right rests on a staff, and
the left is placed on a rock beside him. At the bottom to the right
is written Rembrandt f 1645. As the biting of this plate failed
entirely, the impressions are always extremely faint. It is one of
the three subjects classed by Gersaint and Daulby as No. 58 of
their Catalogues. Heighth, 5 in. \-\0th ; width, 4 in. &-\0ths.
102. — THE MARTYRDOM OF ST. STEPHEN.
This piece is very carefully executed and has a fine effect. The
principal part of the subject is disposed to the left. St. Stephen is
represented kneeling in the middle of the print, with a ray of glory
falling on his head ; he is habited in a tunic, and one of his feet
is bare, the slipper having fallen off. Over his head is seen a Jew,
who lifts a large stone with both hands, which he aims at the saint ;
another pulls him with his right hand by the tunic, and in the other
holds a stone, with which he is about to strike him on the head.
Near him, another Jew is taking up a stone for the like purpose.
In the distant prospect, to the right, are seen buildings in ruins.
In the left corner, in a small space left for the purpose, is written
Rembrandt f. 1635.
Heighth, 3 in. 7-lOths ; width, 3 in. 3-10ths.
103.— THE BAPTISM OF THE EUNUCH.
This piece is executed in a very good taste, nearly with a single
stroke. The eunuch of Candace, queen of the Ethiopians, is seen

NEW TESTAMENT. 95
about the middle of the print, kneeling, and turned to the right,
with a Moorish page standing behind him, holding his mantle and
cap. St. Philip, who has a venerable characteristic appearance, is
seen in front, administering baptism to him. To the left is a man
on horseback, who holds a pike, resting it on his left shoulder ; he
likewise carries a bow, with a quiver of arrows, and has a sword
hanging by his side. In the distance appears the chariot of the
eunuch, with an umbrella fixed over it. In the background, to the
right, are several trees, and above them is seen a hill, with build
ings on it. At the bottom, in the right corner, is written Rem
brandt f. 1641. Heighth, 7 in. \-\Oth; width, 8 in. 3-\0ths.
There are two impressions of this print.
First impression. The cascade in the background, to the right, is
almost white ; the background itself is dirty, and in several places
there is a sUght bur. This impression is very pleasing, and is
rare.
Second impression. The clear parts of the cascade are covered with
strokes, the background of the plate is cleaned, and the bur is
gone. 104.  THE DEATH OF THE VIRGIN.
The disposition of this subject is grand ; it is executed in a mas
terly manner, and produces a fine effect. The Virgin appears to
be expiring in a bed, the curtains of which being drawn up, dis
cover 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 her head rests,
and holds a handkerchief to her nose. To the left sits a Jewish
priest 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 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

96 NEW TESTAMENT.
stands a tall woman, with her hands raised and clasped together ;
and, behind her, St. John, with 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 to 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.
Heighth, 16 in. ; width, 12 in. 1-I0th.
There are two impressions of this piece.
First impression. In this, which is very scarce, the elbow-chair
which stands in the right corner is only shaded with the single
stroke ; the lighter parts have a little of the bur, and the darker
shadows on the left have a great deal more. In the margin, at
the bottom, are many little strokes, which were made by trying
different points.
Second impression. The elbow-chair is shaded with cross strokes,
the trials of the tool are effaced, and the margin is made plain.
It is considered that there is an impression in which the elbow
chair is shaded with cross strokes, and the margin cleaned, but
before trifling additions to the work at the foot of the nearest bed
post, and the chair in which the reading figure is seated. I have
examined three of the impressions so considered, in all of which I
could only discover the second impression, more worn.
This print has been entirely and skilfully retouched ; which may
be discovered by the too prominent obtrusion of the few dark sha
dows, and the absence of all strength and bur in the lighter. There
is also a copy of it reversed, engraved by M. Denon, and marked
DN. 1783, in the right-hand corner at bottom.

97

FOURTH CLASS.

PIOUS SUBJECTS.

105. — ST. JEROME SITTING AT THE FOOT OF A TREE.
This beautiful little print is extremely well etched, highly finished,
and has a fine effect. St. Jerome is placed high up in the middle
of the print, sitting on a bank at the foot of a large tree. Beneath
him, the lion is crossing from left to right, and in the right corner
lies a skull. St. Jerome is reading in a large book, which he rests
on his knees. With difficulty may be perceived at the bottom, to
the left, Rembrandt f. and opposite, to the right, 1 654. It is
scarce. Heighth, 4 in. 3-i.Oths; width, 3 in. 5-10ths.
Of this there is an exact copy reversed ; and on the right, under
the lion, is written Rembrandt.
106.  SAINT JEROME KNEELING: AN ARCHED PRINT.
This print is arched at top, and lightly etched with a fine point.
The saint is kneeling in the middle, turned to the left ; his hands
are raised and joined together, and he looks upwards, in the attitude
of praying ; before him a book lies open. The background is a
rocky scene, to the right of which is seen the fore part of a lion.
At the bottom, to the right, is written Rembrandt f 1632. The
background is generally weak, from the defective biting of the
aquafortis. Heighth, 4 in. 1-I0th; width, 3 in. 2-10ths.

98 PIOUS SUBJECTS.
There are two impressions.
First impression. The arch is not finished on the right side.
Second impression. The arch is finished on the right side with a
slight line ; the background is very feeble, with some hard strokes,
indicating an attempt to retouch the plate.
107. — ST. JEROME KNEELING.
The saint is here represented kneeling, with his hands joined
together, and turning towards the right : the lion stands on the
other side of him, in the same direction, occupying the breadth of
the print. On the left, opposite to his shoulder, lies a book shut,
and on it stands a jug; above which the background is a little
touched with the single stroke, and ill expressed ; the rest of it being
white. Towards the top, on the right, is to be read, with much
difficulty, Rembrandt f. 1634 or 1635, the last figure being nearly

illegible.

Heighth, 4 in. Y-\0th; width, 3 in. \-\0th.

108. — ST. JEROME SITTING BEFORE THE TRUNK OF AN
OLD TREE.
This piece is designed in an extremely fine taste, but the back
ground is only very slightly sketched. In the middle of the print
appears the trunk of a large old tree, which divides into two as it
rises towards the top, and throws out a branch towards the right ;
below it sits St. Jerome, with his hat lying on the ground by his
side : his head is remarkably fine ; he has spectacles on, and is
writing in a book placed on a board, on which likewise lies a skull.
On the other side of the tree appears the head of the lion, the cha
racteristic of this saint. In a scroll below the trunk of the tree is
written Rembrandt f. 1648.
Heighth, 7 in. ; width, 5 in. 2-\0ths.
There are two impressions.
First impression. It is extremely rare, and before the scroll and
name were inserted : the face of the lion is not worked upon

PIOUS SUBJECTS. 99
with dry point, neither are the weeds and plants at the foot of
the large tree : this is full of bur.
Second impression. The scroll, name, and date, are inserted ; the
character of the lion's face is altered, and lightly shaded with
dry-point, as are the plants at the foot of the tree. Fine impres
sions are full of bur.
109. — ST. JEROME : UNFINISHED.
It is much to be regretted, that the whole of this piece was not
finished. The disposition of the subject is rich, and that part which
is finished is done in a good style. The composition is much in
the manner of Albert Durer. St. Jerome is sitting 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 Saint Jerome is only traced, 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, are 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 comer of the print : over the water-fall is a wooden
bridge, with two figures at the end of it. This piece is scarce.
Heighth, 10 in. 2-lOths ; width, 8 in. 3-lOths.
There are two impressions.
First impression. In this, which is very rare, there is much of the
bur, particularly in the head of the Hon, in some foliage to the left
of it, as likewise in the two persons passing over the bridge.
The upright posts which support the bridge, are only slightly
etched, with but little shadow.
Second impression. The upright posts which support the bridge

U -•

100 PIOUS SUBJECTS.
are more worked upon and shaded, as are several minor parts
adjoining. This impression, when fine, is also full of bur.
110. — ST. JEROME: IN REMBRANDT'S DARK MANNER.
This piece represents St. Jerome, with an open book before him,
sitting in a room at a table, on which he rests his left elbow, while
the hand supports his head. Upon the table stands a crucifix, with
a skull at the foot of it. The lion is lying under the table, and is
not easily discovered. To the left is a winding staircase, which
leads to a room below that in which he is sitting. The light pro
ceeds from a window which is placed high up before him, and the
chiaro-scuro has a striking effect in a, hne impression. In the mar
gin, at the bottom, is written Rembrandt f 1642.
Heighth, 5 in. 9-10ths ; width, 6 in. 8-10^As.
Of this there are two impressions.
First impression. In this, which is very scarce, that part of the
casement which is to the right is less seen, being half concealed
behind a curtain, which falls down almost in a right line.
Second impression. More of the window is seen, the curtain being
drawn back at the bottom, forming a crescent. The effect of this
impression is not equal to that of the former. The plate after
wards fell into the hands of a printseller at Amsterdam, who re
touched it. 111.  ST. JEROME: AN OUTLINE.
This piece, an impression of which was in M. Houbraken's col
lection, and is now in the Royal Collection at Paris, may be re
garded as presque unique. It represents St. Jerome kneeling and
contemplating a skull that lies before him. The head of the saint,
and almost all the upper part of the subject, are only in outline.
Heighth, 15 in. l-10th; width, 13 in. 1-10M..
] 12. — ST. FRANCIS PRAYING.
St. Francis is represented upon his knees, praying, turned to the

PIOUS SUBJECTS. 101
left ; his hands are joined together, and placed on a book, which
lies open before him upon a rock, at the foot of a large tree. Before
him is a crucifix standing, near the background, which appears
rocky, interspersed with foliage. To the right another saint or
monk is discovered, (only sketched) who is also kneeling with a
book in his hands : this figure, which is seen behind and directed
towards the right, is placed under a thatched hovel. His right arm
comes from under it, and is supported on one of the rafters. On
an eminence on the same side stands a chapel. The scenery
throughout is weH adapted to the subject. In a small white space
which is inclosed with a single line within the print, at the right
corner below, is written, in large broad characters, Rembrandt f.
1657. The same is likewise written so as to come in contact with
the other, in small light characters. This piece is scarce.
Heighth, 7 in. \-\0th; width, 9 in. Q-\0ths.
There are two impressions.
First impression. This may be considered as presque unique, and
is in the British Museum. The background to the right is nearly
white ; no shadow appears between the saint and the great tree ;
the figure of the saint, also, is not shaded. It is very full of bur.
Second impression. The saint is shaded, as well as most of the
rest of the print, and much finished. The name, which in the
first is only slightly engraved, is marked in coarser characters
over the original writing. A fine impression has much of the
bur, and the edges of the plate are dirty.

FIFTH CLASS.

ALLEGORICAL, HISTORICAL, AND FANCY
SUBJECTS.

113.  YOUTH SURPRISED BY DEATH.
This piece is etched entirely with the dry point. It represents a
young man in profile to the left, with a young woman seen from
behind, gaily dressed in a hat and feather. They are contem
plating a monument, from beneath which, Death rises with his
scythe and hour-glass. In the margin, to the left, is written Rem
brandt f. 1639. This print is scarce.
Heighth, 4 in. 3-iOths; width, 3 in. l-10th.
An impression before the name, and with much more color than
the print is usually found with, is stated by De Clausin to have
been in F. Basan's sale at Paris, and he considers it to be unique.
114. — AN ALLEGORICAL PIECE : PROBABLY THE DEMOLITION
OF THE DUKE OF ALVA.
This print is extremely rare ; in Holland it is called the Phoenix.
It seems to represent the demolition of the statue of the Duke of
Alva, at Antwerp : about the year 1568, when the Duke, having
driven the Prince of Orange out of the Low Countries, and being
complimented by Pius V, as the champion of the catholic religion,
directed the cannon taken from the Prince to be melted, and a statue
of himself to be made of the metal, and set up in the citadel of An
twerp. He was represented trampling upon the states of the Low

ALLEGORICAL SUBJECTS, ETC. 103
Countries, the nobility and people, under the figure of a double-
headed hydra ; which so enraged the populace, that, on the expul
sion of the Spaniards in the year 1577, they overturned it into the
court, aud converted it to its former purpose, by casting it again
into cannon. On the pedestal was a fulsome eulogium on himself.
In the print, at the foot of a large pedestal, lies a colossal figure
of a man, well foreshortened, his head lying at the bottom of the
print, and his feet elevated above the body, so as to reach the bottom
of the tablet on the pedestal. At each corner of this pedestal is a
mask ; and on the upper part of it is an armorial shield, with a
ducal coronet. Above this, is distinctly seen the hinder part of
the hydra, the fore part of which is broken down. Upon it are
extended two bunches of corn, in the blade, fastened together
round the stalks. Two genii appear in the air, with their wings
extended, blowing trumpets, which each of them holds in one hand,
and with the other takes hold of the corn near the blade. A stork,
with expanded wings, fills up the lower part of a luminous
glory, from which the rays are diffused over the subject; particu
larly falling upon the heads of the populace, who are discovered at
the bottom of the print, and seen no lower than the breast; one on
the right side, and three on the left, one of whom holds up a child.
Above them, two houses are seen in perspective; and on the
right, the trees on the rampart. The stork is considered as
an emblem of democracy, and is held in great veneration in Hol
land ; it is also the armorial bearing of the Hague, and may in
the point in question allude to the Prince of Orange, the deliverer
of his country from the Spanish yoke. This print has probably
been intended for some historical work, in which that event is re
corded, but it was not made use of. At the bottom, towards the right
corner, is written Rembrandt f. 1648 ; but owing to a broad stroke
crossing the name, its orthography is not easily to be made out.
The design of the piece is incorrect, and the engraving careless ; the
early impressions are on India paper and full of bur.
Heighth, 7 in. l-10th ; width, 7 in. 2-lOths.

104 allegorical, historical,
115. — fortune: an allegorical piece.
This print is found at page 97 of a Dutch book printed at
Amsterdam in 1634, entitled E. Haerckmans Zeevaerls Lof,
(L'Eloge de la Marine.) There are many other prints in the
book, but only this by Rembrandt. To the right is a Dutch
vessel, crowded with people, in which stands the figure of
Fortune, as a naked woman seen from behind ; she hoists up the
sail with her left hand and expands it with the right. On the shore
is a man crowned with laurel, on a horse that has fallen down ; he
looks after Fortune with regret, as she has turned her back on him,
and is leaving him. Above him is seen a colossal term of Janus,
whose temple is on the left ; many persons are ascending a flight
of steps which lead to its portico. At the bottom of the steps, some
seem to be in attitudes of prayer, others of complaint. In the dis
tance, beyond the vessel, a fleet of ships is discovered, some of
which appear to be engaged in action. This piece is executed with
spirit, and a good impression is scarce. On the side of the vessel
is written Rembrandt f 1633, but the name is scarcely perceptible.
Heighth, 4 in. 4-i0ths ; width, 6 in. 5-10ths.
There are two impressions of this print.
First impression. The plate is nearly 4-lOths of an inch broader
on the right. This is extremely rare.
Second impression. The plate is reduced to the dimensions first
described. 116. — MEDEA : OR THE MARRIAGE OF JASON AND CREUSA.
This piece is extremely well executed, and produces a fine effect,
particularly in the double flight of steps which lead up to the tem
ple. It was designed and etched as a frontispiece to a Dutch
tragedy called Medea, which was written by Rembrandt's friend
and patron the Burgomaster Six, then secretary to the city of Am
sterdam. It represents the inside of a temple, adorned with many
columns, which support an arched roof. From side to side a cur-

AND FANCY PIECES. 105
tain-rod is sketched, supported in the middle by something sus
pended from the roof; the curtain is drawn to each side, and hangs
in festoons : the temple is crowded with figures. On the right ap
pears the statue of Juno, sitting under a canopy ; before the statue
is an altar, with the fire kindled upon it and a priest standing by
it. Jason and Creusa are kneeling before the altar. The ascent to
the body of the temple is by a double flight of steps, towards which
Medea is approaching from the right, in an attitude of sorrow ; her
right hand is raised, and in it she holds a handkerchief; her train
is supported by a page. In the margin, at bottom, are four Dutch
verses, beginning, " Creus # Jason Mer, %c." and to the right is
written Rembrandt f. 1648.
Heighth, 9 in. 5-lOths ; width, 7 in.
Of this piece there are four impressions.
First impression. This is extremely rare, and is before the name
of Rembrandt and the date. The head of Juno is covered with
a little cap or calotte. The robes of Medea and of her page are
shorter than in the subsequent impressions.
Second impression. On the head of Juno is a crown, instead of the
calotte ; the robes of Medea and her page are lengthened ; but
the name and date and the verses are still wanting.
Third impression. The curtain, the large column, and some of the
darker parts near the flight of steps, are a little more worked
upon, and this impression is strong and full of bur. The name
of Rembrandt and the Dutch verses are added in the margin.
Fourth impression. The margin containing the name and date is
cut off.

117. — THE STAR OF THE KINGS.
It is a custom among the populace in Holland, on the Feast of
the Three Kings, for parties to parade the streets, carrying a great
lantern, in the form of a star, fixed at the end of a pole. They are

106 ALLEGORICAL, HISTORICAL,
dressed in a ridiculous imitation of royalty, attended with suitable
music, and go from house to house to obtain money from the bur
ghers. This print is a night-piece. Towards the right the star is carried
by a boy. Six or seven other persons are discovered, one of whom
is in a high cap. On the left, several lights are perceived in the
houses. The early impressions of this print have a fine rich effect
from the bur : the later impressions, though black, are raw.
Heighth, 3 in. 7-\0ths ; width, 5 in. 7-\0ths.
118. — A LION HUNT.
Near the middle, inclining to the right, is a horse fallen down,
with his rider under him. Higher up appears another horse, cur
vetting, on which sits a Turk, throwing a javelin at a lion, run
ning towards the left, and attacked by three other horsemen ; one
of them with a sword, the other two with bows and arrows. In
front of this lion is another, lying on his back, wounded with an
arrow. To the right are four other horsemen, and behind them
appear some trees slightly sketched. At the top of the plate to the
right is written Rembrandt f 1641.
The early impressions, which are scarce, have a little of the bur.
Heighth, 8 in. 9-lOths ; width, 11 in. 7-\0ths.
119. — A LION HUNT.
A horse to the left appears to be rearing : it is mounted by a
Turk, who is throwing a javelin at a lion. A little beyond this
animal is a tigress, tearing a man, whom she has dragged from his
horse. The background is woody ; and at a distance on the right
are seen several horsemen : it is very lightly etched.
In the early impressions the plate is not cleaned, and there is a
little bur : these are rare.
Heighth, 6 in. 2-lOths; width, 4in. 8-lOths.
120. — A LION HUNT.
In this piece, apparently a companion to the last, a lion is seen

AND FANCY PIECES. 107
attacking a man, who is fallen down with his horse ; he is defend
ing himself with a javelin, while another horseman comes to his
assistance, and makes a stroke at the lion with his sword.
Heighth, 6 in. 2-lOths ; width, 3 in. 1-I0th.
There are impressions of each of the three preceding prints with a
very trifling degree less of work, but the variation is too slight to
require particular notice. 121. — A BATTLE. /
This little print is slightly etched, like the three preceding. To
the right is a group of Turks on horseback, with swords and jave
lins, appearing to attack a troop of banditti, seen at a little dis
tance to the left.
Heighth, 4 in. 3-lOths ; width, 3 in. 1-10^A.
Of this print there are three impressions.
First impression. A spotty, confused effect of landscape is seen in
the background. This is extremely rare.
Second impression. The spotty landscape is effaced, and the traces
of the pumice-stone are visible in a grey tint. This is very scarce.
Third impression. The background is cleaned.

122.  THREE ORIENTAL FIGURES.
To the left appears a house built in the Flemish manner, with a
porch or cove over the door, the lower part of which is shut, and a
man in a large cap and cloak is leaning over it. Before the door
stand three figures, two men and a woman, in oriental habits, with
a dog. At the top, to the right, is written, in reversed letters,
Rembrandt f 1641. This piece is etched with spirit.
Heighth, 5 in. 7-lOths ; width, 4 in. 5-10ths.
There are two impressions.
First impression. The tree near the house has less foliage. This
H 2

108 ALLEGORICAL, HISTORICAL,
is extremely rare : an impression, with a counterproof in the same
state, was in the Denon collection.
Second impression. The tree has more foliage.
123.  THE TRAVELLING MUSICIANS.
A blind boy, with a dog in a leash, accompanied by an old man,
stands near the middle of the print, playing upon the bag-pipes in
front of a cottage, which is on the right, with a door-hatch ; over
it are seen leaning a peasant and his wife ; she holds up a little
child, who seems to be much diverted with the music.
Heighth, 5 in. Q-\0ths ; width, 4 in. 6-10ths.
124. — THE SPANISH GIPSY.
This piece is executed in a masterly manner, though not elabo
rately finished, and is of the best time oi Rembrandt. The subject
is taken from a Spanish story, which also served as the foundation
for a Dutch tragedy. A scene in each act was illustrated by a
print, but this only was done by Rembrandt.
A gipsy having found means to steal a Spanish princess in her
infancy, made a constant companion of her whenever she went
abroad with the troop, but paid particular attention to her educa
tion ; concealing from her, however, her illustrious birth. While
passing through a wood, the young lady was accidentally seen by
a prince, who was on a hunting-party, and who being struck with
her beauty, fell passionately in love with her ; and having by some
circumstances discovered the secret of her birth, married her.
In the print, an old woman, dressed like a gipsy, is represented
passing through a wood, with the princess by her side : the old
woman carries a walking-stick in her left hand, and their course is
directed to the right. This piece is very scarce, and when met with
is often cropped. Heighth, 5 in. 2-lOths ; width, 4 in. 5-lOths.

AND FANCY PIECES. 109

125.  THE RAT-KILLER.

This piece represents an old man, holding in his left hand a pole,
with a cage on the top of it, containing live rats. One is also seen
sitting on the cage, and from the bottom is suspended another,
dead : 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 accom
panied 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, but who puts it aside with his hand, appearing to reject
it, turning away his head. By the side of the door appear
the trunk of a decayed tree and a broken cask. To the right, in
the distance, is a cottage, with trees above it. Near the bottom,
on the right, is written Rt. 1632. The last three figures are re
versed. Heighth, 5 in. 5-lOths ; width, 4 in. 9-lOths.
There are two impressions of this print.
First impression. It is very scarce. The trees above the head of
the rat-killer are not cross-etched.
Second impression. The trees above the rat-killer's head are covered
with diagonal lines.
126. — the rat killer: a similar subject to no. 125.
This piece is coarsely scratched and spotty, and appears to be the
study made by Rembrandt for the preceding piece ; or as Clausin
observes, being dissatisfied with this, he re-engraved the subject as
we see in the last article. The rat-killer is seen in profile to the
left of the print, and looking towards the right ; his arm is extended,
and he holds out one of his packets in his hand, offering it for
sale. By his side a long pole is fixed in the ground, and at the
top of it is a round cage, from which hang some dead rats.
Heighth, 4 in. 9-10ths ; width, 3 in. 2-lOths.

110 ALLEGORICAL, HISTORICAL,
127.  THE GOLDSMITH.
This little print was formerly very scarce, the plate having been
mislaid ; but being found again, impressions are become common,
though it is still difficult to meet with one really fine. It is well
etched, and as well finished. The Goldsmith is seen in front, holding
a group representing Charity with his left hand, and a hammer in his
right, with which he strikes upon the ground of the group. To the
left is a forge burning. In the corner at the bottom on that side
is to be distinguished, with great difficulty, Rembrandt 16.
Heighlk, 3 in. 1-I0th ; width, 2 in. 1-I0th.
128. — THE PANCAKE WOMAN.
This piece is etched with much spirit. There are many figures,
but the principal one is an old woman in profile, sitting in the mid
dle, and turned to the right, her right hand holding a frying-
pan over the fire, with cakes in it; in her left is a stick, with
which she turns them. Near the front is a child on the ground,
crying for fear of a dog, which tries to snatch the cake, held by
the child with both hands. In the distance to the left is a woman
with a child on her knee. In the middle of the margin at bottom
is written Rembrandt f 1635.
Heighth, 4 in. 2-lOths; width, 3 in. 1-I0th.
There are two impressions of this print.
First impression. It is a light etching, beautifully and tastefully
executed, in which state it is extremely rare. The woman's arm,
her hat, and her petticoat, are white ; the name and date are seen
as in the ordinary impressions. It was in the Denon Collection,
and is now in that of Lord Aylesford.
Second impression. Entirely worked over in the arms, hat, and
petticoat of the woman.
129. — THE SPORT OF KOLEF, OR GOLF.
To the right, in a box, such as is found in the public gardens in

AND FANCY PIECES. Ill
Holland, sits a man in a high-crowned hat, with his hands crossed,
and his left elbow supported on a table, on which is a beer jug.
His right leg lies extended on the bench on which he sits. Out of
doors, on the left, is a man striking a golf-ball with the instrument
used in this sport ; which is a similar game to that so much played
on Blackheath. Through an opening in the middle are seen two
men, one sitting and the other standing. This piece is very slightly
etched, and does not produce much effect. On the left, towards the
bottom, is written Rembrandt f 1654.
Heighth, 3 in. 8-\0ths ; width, 5 in. &-\0ths.
There are two impressions of this print.
First impression. There are three little white spaces near- the top
of the plate, where the biting has missed, and some bur in various
parts. This is rare and was in the Denon collection.
Second impression. The three white spaces are filled up.
130.— A JEWS' SYNAGOGUE.
This piece is very well executed. In front, to the left, stand two
old Jews, who are the principal figures. They are in earnest con
versation ; the left hand of one of them is supported on a walking
stick, and his right is placed on his breast ; his whole attitude is
expressive of attention, and the other seems to be addressing him
with much energy, his right hand being raised and in action. Far
ther back, on a step in the middle of the piece, sits a Jew, seen from
behind. Part of the Temple is discovered in perspective, and seve
ral Jews are walking and conversing together. On some stone-work
above the left shoulder of the Jew with the stick, is written Rem
brandt f. 1648. Heighth, 2 in. 8-\0ths ; width, 5 in. \-\0th.
There are three impressions of this print.
First impression. The right foot of the Jew near the front, turned
to the right and talking, is scarcely more than traced ; and his
mantle, particularly at bottom, is but little worked, and nearly

112 ALLEGORICAL, HISTORICAL,
white ; there is no shade on the ground to the feet of the Jews
seen from behind, and walking in the distance to the right.
Second impression. The mantle and foot of the Jew are worked
upon with dry-point, so as to take down the parts left light in the
preceding impression.
Third impression. The whole print is more worked upon, and full of
color, when fine; but the mantle of the Jew is partly made clear
again : the face of the Jew near the edge of the plate to the right,
is shortened, and his hat is more shaded underneath. The face
of that Jew in the distance, seen from behind, who is crossing to
the right of another, is partly turned, but in the preceding im
pressions is only a profile.
131.  THE SCHOOLMASTER.
This piece represents a school, in the door-wayr of which is a
hatch shut close ; on its outside appears a woman leaning, and over
it is seen the head of a child. The light is full on the woman's face
and shoulder, and produces a good effect. To the left is the school
master, in conversation with the woman, and five or six children are
about him. Near the top of the door, which is arched and half
open, is written Rembrandt f 1641.
Heighth, 3 in. 7-10ths; width, 2 in. 5-lOths.
132. — THE MOUNTEBANK.
He wears a cap, with a large ruff round his neck, and ruffles at
his hands. He has a basket before him, out of which he has taken
a packet, which he holds out with his left hand ; his right is placed
on his side, and below it hang a pouch and a sabre. His knees are
a little bent. Beneath his feet is written Rembrandt f 1635. This
piece is lightly etched, with great spirit.
Heighth, 3 in. 1-I0th ; width, 1 in. 4-10ths.
133.  THE DRAUGHTSMAN.
To the right is a young man in a cap, who holds an inkstand in
his left hand, and is drawing by candlelight, in a portfolio, after a

AND FANC\ PIECES. 113
bust which stands on a book to the left. Over the bust is a pedes
tal, and, beside it, a press or chest, on which lie several portfolios.
This piece has not much effect.
Heighth, 3 in. 7-Y0ths ; width, 2 in. 5-\0ths.
134. — PEASANTS TRAVELLING.
This piece is etched with spirit. A peasant in a high-crowned
hat, the brim of which projects over his eyes, is travelling to the
right ; he has a staff in his left hand, can-ies a knapsack, and leads
a little boy. A woman with a child on her back follows them.
In the distance, to the right, appears the tracing of a peasant's head
with a hat, not easy to make out. In early impressions the back
ground is dirty, particularly in those on China paper.
Heighth, 4 in. 5-lOlhs ; width, 3 in. 6-lOths.
135. — A JEW, WITH A HIGH CAP.
He is represented walking from the left to the right, his head is
covered with a very high cap ; he leans upon a walking-stick with
his right hand, and seems to point with his left. This piece is
spiritedly etched. Near the middle of the margin is written Rem
brandt f. 1639 .
Heighth, 3 in. 3-lOths ; width, 1 in. 7-lOths.
135*. — AN OLD MAN WITH A BOY.
The old man is sitting on a bank ; he has a long beard, and
wears a turban. Between his legs stands a little boy, leaning his
elbow on the right knee of the old man, and holding an apple in
his left hand, smiling while the old man caresses him.
Heighth, 4 in. 6-lOths ; width, 3 in. 5-10ths.
136. — THE PEASANT WITH HIS HANDS BEHIND HIM. /
The peasant is an half-length, turned towards the right, and seen
in profile : he wears a scanty doublet, and a sailor's fur cap upon

114 ALLEGORICAL, HISTORICAL,
his head ; his hands are placed behind him. Near the top, to the
left, is written Rembrandt, 1631.
Heighth, 2 in. 3-lOths ; width, 2 in.
Of this piece there are four impressions.
First impression. This is extremely scarce. It is a mere etching.
Second impression. The work on the elbow is crossed with other
lines.
Third impression. The shade on the hinder part of the figure, near
the hands, which in the preceding impressions is very narrow,
extends in this to the thigh ; and the nose, which in those im
pressions is pointed, in this is rounded.
Fourth impression. That part of the neck which is clear in all the
foregoing impressions, is now covered with a single diagonal line.
137.— A MAN PLAYING AT CARDS.
This piece is lightly etched, and but little shaded : the card-player
is seen in front ; he has the common cap on his head, his chin is
pointed, and his hair is long and straight; he leans on a table, and
holding the cards. The back-ground is shaded, and is darkest on
the right side towards the top. On the left, about half-way up,
is written Rembrandt f ; and, below it, 1641.
Heighth, 3 in. 6-lOths ; width, 3 in. 3-lOths.
There are two impressions.
First impression. Some white spaces are in the plate, to the right,
at the top, from the failure of biting, and the work is altogether
mellower than in the second impression.
Second impression. The defective spaces are filled in, but the work
is less agreeable. 138. — THE BLIND FIDDLER.
The fiddler is led by a dog ; he has a high fur cap on his head,
and a cloak over his shoulders ; and is turned towards the right,
playing on his instrument. In the back-ground, to the left, appeal's
an old woman, who is going into a cottage, behind which is a tree.
In the margin is written Rt. 1631. It is highly finished.
Heighth, 3 in. 1-lOrA; width, 2in. l-10th.

AND FANCY PIECES. 115
Of this there are three impressions.
First impression. The figure of the fiddler is less wrought upon
in the neck and drapery.
Second impression. The figure is more finished.
Third impression. It is retouched with the burin, and is highly
finished ; the spirit, however, is much diminished.
139. — THE MAN ON HORSEBACK.
He is mounted on a horse turned to the left, and seen almost
from behind ; on his left shoulder is a pike. Below the horse's
head appears part of another figure, seen also from behind, in a
cap and feather ; and above him, to the left, is an indistinct figure,
though strongly etched. This little piece is executed with spirit.
In the right-hand corner at the top, is written, in reversed letters,
Rt. Heighth, 3 in. 2-lOths ; width, 2 in. 2-\0ths.
In the early impressions the plate is irregular, being a little higher
on the right than on the left, and the edges are not cleaned.
140.  A POLANDER.
He is seen in profile, and his face is very expressive ; he has on
a very high cap, and a cloak which comes no lower than the waist ;
he is walking towards the right; his hands are a little raised and
joined together before. This piece is well etched, with a very fine
point, and is scarce. Heighth, 2 in.; width, 1 in. 9-10^s.
In the early impressions the plate is irregular and the edges
are dirty. 141. — ANOTHER POLANDER.
He has mustaches, and is seen in profile, turned to the left. In
the front of his cap is a feather, that falls back over the head. His
belt is thrown across his shoulder, and his sabre is by his side ;

116 ALLEGORICAL, HISTORICAL,
a short cloak hangs over his right shoulder, and he rests his hands
upon a stick. In the distance to the left, is a tree on rising ground.
This piece is highly finished.
Heighth, 3 in. 2-lOths ; width, 1 in. 7-10ths.
There are four impressions.
First impression. This is a very slight etching, and the sabre-belt
is scarcely defined, where the sword passes through.
Second impression. The belt is more defined ; the plate is irregular
and its edges are dirty.
Third impression. Worked upon throughout, and the contour of
the stick defined on one side by a double line, which in the pre
ceding impressions is single, and the plate is cut and cleaned.
Fourth impression. Retouched throughout with the burin, and the
shadows rendered black and disagreeable.

142. — ANOTHER POLANDER.
This little figure of a Polander is seen in profile, the body turned
to the right : he wears a turban, with a feather in it ; his right
hand rests on his hip, and he holds a cane in his left. At the bot
tom is written Rt. 1631. The edges of the plate are dirty. This
print is of the greatest rarity.
Heighth, 2 in. 7-lOths ; width, 1 in.
It has been extremely well copied by M. de Clausin.
143. — AN OLD MAN, SEEN FROM BEHIND.
The figure is a half-length, turned to the right, and seen from
behind, but the face is nearly in profile. He has on his head a
large fur cap, bound with a fillet, and an ear-piece, from which a
string falls upon the shoulder. His habit is fastened round the
waist with a girdle. His hands, which are merely sketches, are
raised and joined together, as if resting upon a stick. This piece

AND FANCY PIECES. 117
is well executed, and a good impression is scarce. It was originally
part of a leaf of studies described in that class.
Heighth, 2 in. 9-lOths ; width, 1 in. 7-10ths.
There are two impressions of it.
First impression. It is very scarce, and is the pure etching, with
out being shaded with double strokes in the clear part of the back.
Second impression. It is very much strengthened throughout
with the dry needle : in particular, the clear part of the back,
and the bottom of the dress, are shaded with a double stroke.
144.  TWO TRAVELLING PEASANTS.
Two peasants, a man and a woman, are represented travelling
on front from the left to the right. The woman has a child on her
back, and leans on a staff, the better to support her burden. The
man is on the further side of her ; his hat is flapped, and his stick
is under his arm. Their action is very well expressed. In the dis
tance appear some trees rudely sketched.
Heighth, 2 in. 5-lOths ; width, 1 in. 9-\0ths.
This piece has been well copied by M . S. Le Gros, an amateur
of Vienna. It may be distinguished by the outline of the woman's
petticoat tucked up in front being scarcely visible : in the original,
though broken, it is distinct.
145.  A PHILOSOPHER MEDITATING.
This print is a slight sketch, representing an old man with a large
beard, and is a half-length figure. He is turned to the right and
seen in profile. His hands are crossed ; in the right he holds a
pen, and his left rests on a book, placed on a table before which he
sits. At the side of it, in the right corner, is a globe scarcely de
fined, a small part of which only is visible. This is one of the
three prints classed by Gersaint and Daulby under the No. 58 of
their catalogues. It is not common.
Heighth, 3 in. 5-10ths ; width, 2 in.-5-lOths.

118 ALLEGORICAL, HISTORICAL,
146. — A MAN MEDITATING.
This piece is extremely well executed, in Rembrandt's dark man
ner. A man is represented sitting at a table, upon which lies an
open book ; and over it a lamp is fastened to a wall, throwing a
faint light upon the subject. He is seen nearly in front, and has
on such a cap as is common in Rembrandt's portraits ; his left elbow
rests upon the table, and his left hand is raised to his forehead, in
an attitude of study ; his right rests on the arm of the chair. On
the right side is a curtain. The effect of the chiaro-scuro is very good.
Heighth, 5 in. 3- lOths ; width, 5 in. 8-lOths.
Of this print there are four impressions.
First impression. It is very scarce. The light of the lamp is
large, and all the parts are somewhat indistinct.
Second impression. The rays of the lamp are less diffused, and the
subject is better defined.
Third impression. The book is covered with slight diagonal lines ;
the cap of the man is larger, and the work is raw and disagree
able.
Fourth impression. The rays of the lamp are again more diffused,
as in the first ; the curtain is likewise more worked upon, so that
the folds are hardly to be seen.
147. — AN OLD MAN STUDYING.
This piece is almost an outline, though very expressive. An
old man with a white beard is seen in front ; he is sitting, and his
body is turned to the right, from which side the light comes in.
He holds a pen in his right hand, and rests his left on the arm
chair in which he sits, while his right arm leans on a book open on
a table to the left, where are other books : his robe is only traced.
There are some strokes in different directions in the background on
the left. It is of extraordinary rarity, and is etched in the same
style as the unique St. Jerome, No. 111.
Heighth, 9 in. 4-lOths ; width, 7 in. 9-lOths.

AND FANCY PIECES. 119
148.  AN OLD MAN, WITHOUT A BEARD.
He leans his back against the left side of the print, as if supported
by something which does not appear. His body is a little bent,
and his legs are brought forward. He wears a cap, and is covered
with a cloak that hangs down to the ground. His left hand is
raised and pointed. The ground is white : at the top of the print,
on the left, is written Rt. 1631.
Heighth, 2 in. 5-10ths ; width, 1 in. 6-lOths.
There are seven impressions of this piece.
First impression. This is extremely rare, the figure is sketched
only with an outline, the background is slight, and the plate
is 3-in. by 2-in. ; it is also without the name and date.
Second impression. The dimensions and the figure are the same,
but the background towards the top is more worked upon.
Third impression. The plate is reduced ; the cloak is only shaded
in the first fold ; as is likewise the upper part of the thighs ; and
the background is white, as it is in all the following.
Fourth impression. The figure is more worked upon, and the
thighs are more shaded.
Fifth impression. There is still more shade, and the feet are better
expressed.
Sixth impression. The cloak has an additional fold, and is strongly
shaded, and there is more work both in the thighs and legs.
Seventh impression. The mantle is light only in front, and has but
two folds instead of three, that below the left hand being sup
pressed. 149. — AN OLD MAN WITH A BUSHY BEARD.
The figure is turned towards the right in a stooping posture, lean
ing against a bank placed on the left of the print. The face is a
three quarters ; the head is covered with a fur cap ; the hands are

120 ALLEGORICAL, HISTORICAL,
raised a little, and rest upon a stick which contributes to support the
figure. In the right corner, at the top, is written in reversed letters
Rt. Heighth, 4 m. 5-iOths ; width, 3 in. \-\0th.
150.  THE PERSIAN.
This piece is very highly finished, in a good taste, with an ex
ceedingly fine point. He is an old man, with a great beard, richly
habited, and seen in front. He wears a fur cap and feather, and is
covered with a short cloak, bordered with fur ; his habit is fringed,
and being open at the top, discovers a ribbon, at which hangs a
medal. The right hand, which holds his cane, comes out from
under his cloak : his countenance is austere. Near the middle, at
the bottom, appears Rt. 1632, but the last two figures are written
backwards. A fine impression is scarce.
Heighth, 4 in. 3-10ths; width, 3 in. l-10th.
There are two impressions of this print.
First impression. The plate is 4-lOths of an inch larger on the
right, and is less worked upon, having no richness of effect. Ex
tremely rare.
Second impression. The plate is reduced, and finished with a very
rich effect in impressions really fine, which may be known by
the dirty edges of the plate, and are very scarce.
Of this piece there is a good old copy reversed; it measures 4
in. 8-iOths by 3 in.
There is likewise another copy, not so well executed, which
measures 3 in. by 2 in. 8-10ths.
151. — TWO VENETIAN FIGURES.
They are seen in profile, walking side by side, from left to right ;
they are covered with long cloaks, and have high caps on their
heads, in the Venetian fashion : the etching is rather hard. This
piece is of the greatest rarity.
Heighth, 3 in. 7-\0ths ; width, 2 in. 3-lOths.

AND FANCY PIECES. 121
152 — A PHYSICIAN FEELING THE PULSE OF A PATl'ENT.
This print, which is very rare, represents a physician, seen half
length, feeling the pulse of a sick person, the head and half the
body of whom are seen from behind. The figure of the physician
is that in the print of the Death of the Virgin, but reversed.
Heighth, 2 in. 8-lOths ; width, 2 in. \-lOth.
153. — A SKATER. f
This piece represents a man skating. He has on his head a flat
bonnet ; and carries a staff on his right shoulder, which he holds
with both hands. He is skating from the right towards the left.
This piece is very lightly etched, but there is a little bur in the
right foot. Gersaint had never seen it, when he made his Cata
logue, and P.Yver thought it presque unique. It ought not, how-
ever, to be ranked as so very uncommon, though extremely rare.
It was in Sir Thomas Baring's sale, in May 1831.
Heighth, 2 in. 4-lOlhs; width, 7 in. 2-lOlhs-.
There is a deceptive copy of it.
154. — A HOG. '
The beast is lying in the foreground of the print, turned towards
the left; his legs are tied together, and he is fastened to a stake.
Over him appear five figures, all sketched in outline only « an old
man, with a basket on his arm ; a boy who is teazing theliog with
the grunting. of a bladder; two young children, looking at the hog
with much compassion, and a figure seen in profile above them ;
on the right corner at the bottom is written Rembrandt f 1643.
This piece is well etched, the animal especially, which is true to
nature. Heighth, 5-in. 8-10ths; width, 7 in. 2-lOths.
There are two impressions of it.
First impression. It is extremely rare : the plate is dirty, and irre
gular on the edges, and is 3-lOths of an inch larger at the top
on the left side. Itis very full of colour in this state.
Second impression . The plate is cut even, and the edges are regular.

122 ALLEGORICAL, HISTORICAL,
155. — THE LITTLE DOG SLEEPING.
The dog is represented lying asleep, on the right side of the
print, and is etched with a fine point : he has a collar round his
neck, with a strap fastened to it, and which is extended before the
dog. This piece is scarce, though not of great importance : it
is very feeble, the aqua-fortis having failed, particularly in the head
of the animal. Heighth, 1 in. 5-lOths ; width r 3 in. 2-lOths.
There are three impressions of it.
First impression. Perhaps unique : the plate measures 4 in. 2-lOths
by 2 in. 5-10ths, but the mark of the plate is only visible on the
top and right hand, the subject having been etched on the
corner of a large plate, the figure of the dog occupying the right
side of the print. This was in the Collection of the Duke of
Buckingham.
Second impression. Extremely rare. The plate is reduced : the
shadowing in the background does not extend to the left side by
about a quarter of an inch, and the plate measures 1 in. 7-8ths
by 3 in. 5-8ths.
Third impression. The plate is reduced to the size first described.
This print has been most deceptively copied by Folkema. In
the copy, the shade in the left corner at top extends to the ex
tremity of the plate : in the original, there is a small space
of white between the shadow and the edge ; the little tuft in
the right corner at bottom differs also from thatin the original.
156.  THE SHELL.
This is the representation of the shell called the Damier. The
background is deeply shaded ; to the left, in a margin, is written
Rembrandt f. 1650. Nothing can be better executed, and it is
scarce. Heighth, 3 in. 8-lOlhs ; width, 5 in. 2-\0ths ; including margin.
There arc two impressions of it.

AND FANCY PIECES. 123
First impression. The background is entirely white : this may be
regarded as of the greatest rarity, and its beauty equals its
rarity.
Second impression. The background is entirely shaded. This print
has been copied by Sir Abraham Hume, but the plate is much
larger.

i2

SIXTH CLASS.

BEGGARS.

157.  A BEGGAR SITTING IN AN ELBOW CHAIR.
He is seated in an elbow-chair, the back of which is seen : he is
turned towards the right of the print, from whence the light comes
in; his head is bald, his beard thin, his hands joined together and
placed before him. His garment is lightly worked upon ; the elbow
and the back of the chair are covered with strokes ; all the rest is
white. There is neither name nor date, but this piece is certainly
by Rembrandt, and is very rare.
Heighth, 5 in. 1-10^,* width, 3 in. 5-\0tks.

158. — BEGGARS, A MAN AND A WOMAN ; THE MAN CARRYING
A PEDLAR'S PACK.
He holds a long staff in his right-hand, which rests against his
shoulder, and carries a pedlar's pack. At his side is a beggar-
woman, seen in front, covered with a sort of shepherdess's hat,
and holding a child by the hand. The background is white ;
but at the top to the right is a sort of arcade or grotto, iU expressed,
with strokes harder than the rest of the print. There is no name ;
but this, as well as the last, is undoubtedly the work oiRembrandt,
and is exn-emely rare.
Heighth, 2 in. 6-lOths ; width, 2 in. 7-lOths.

BEGGARS. 125
159.  A BEGGAR STANDING, AND LEANING ON A STICK.
This figure is etched with little more than an outline ; he has on
a large fur cap, and his clothes are very ragged ; he leans with both
hands on a staff, and his body is a little bent forward. The back
ground is white, except a little bank on the left side, and there is
neither name nor date : it is scarce.
Heighth, 6 in. 2-lOths; width, 7 in. 4-10 ths.
There are two impressions of this print.
First impression. The plate is of an irregular shape, and the edges
are rough and dirty ; the background is also dirty, and there are
a few indications of bur.
Second impression. The plate is cut straight, and the background
and edges are cleaned.
160.  A BEGGAR, STANDING, SEEN IN PROFILE IN A CAP.
Pie is covered with rags, and girt round the waist. He is walk
ing towards the left, and has a staff in his right hand and a pouch
at his side. There is a light single stroke in the background, near
the top of the print, which touches his cap in two places, and
is carried behind him downwards, opposite to his waist. This
piece has neither name nor date ; it is well executed, and is very
scarce. Heighth, 3 in. 5-lOths ; width, 1 in. 8-lOths.
161. — TWO BEGGARS, A MAN AND A WOMAN, CONVERSING.
They both appear to be old, and are standing opposite to each
other, in conversation : the man, who is on the left, wears a cap, and
a pouch hangs before him ; his right hand is behind him, and he
leans on a stick with the left. The woman's hands are placed one on
the other, and supported also on a stick ; she wears a flat hat, her
head is a little inclined, and her back is prominent ; on her left arm

126 BEGGARS.
hangs a basket. This piece is well designed, and executed with a
light stroke. At the bottom on the left is written Rt. 1630.
Heighth, 3 in. \-\0th; width, 2 in. 6-lOths.
In the early impressions, the edges and background of the plate
are dirty.

162. — TWO BEGGARS, A MAN AND A WOMAN, COMING FROM
BEHIND A BANK.
This piece is well designed, and highly finished. The beggars
are coming from behind a rocky bank, which reaches to the top
corner of the print on the left side. The bank hides the lower part
of the man, who is the next to it, and his figure conceals the hinder
part of the woman from view. He is in a fur cap, under which is
a linen cloth, wrapped ronnd his head, with the ends lying on the
rightshoulder ; his mouth is open, and his beard is short and downy;
he leans with both hands on his staff. The woman, who is seen in
profile, has on a little flat hat, under which is a linen cap, falling
down her neck, and forming a kind of ruff; her hands are under her
apron. Heighth, 3 in. 9-\0ths ; width, 2 in. 6-lOths.
Of this piece there axe four impressions.
First impression. It is extremely rare, and measures 4 in. 4-l0ths,
by 3 in. 2-10ths. The bank is but slightly etched, and the
foliage scattered on it is readily discriminated : the whole subject
is light and spirited. In the right comer, at the bottom, is
written Rt. The edges of the plate in this state are dirty.
Second impression. The plate is of the same size as the first, and the
work is added to and strengthened in the parts which are but
slightly sketched and weak in that impression : it is very rare.
Third impression. The plate is reduced : the bank is smaller and
of a different form ; and it is also more shaded, as are the
woman's face, the upper part of her shoulder, and the fore part

BEGGARS. 127
of her waist. The monogram of Rembrandt is cut off, in
reducing the plate : it is scarce. In some of the impressions
in this third state, a deep shade is produced on the hillock, from
the method of printing with the bur on the plate.
Fourth impression. The man's shoulder is shaded with the double
stroke ; the slope of the rock appears again, of a different form.
The right side of the man, his left hand, and the cheek of the
woman, are covered with shadows, which appear harsh and in
distinct.

163. — A BEGGAR, IN THE MANNER OF CALLOT.
He is seen in profile, turned to the right, and is extremely ragged :
he has a high cap on his head, pointed in front at the top, and a
cloak over his shoulders, which falls down to his knee ; his right
hand comes out from under his cloak, and rests on a stick; his
knees are a little bent, and his shoulders are prominent. This piece
is very scarce. Heighth, 3 in. 8-lOths; width, 1 in. 7-i.Oths.
There are four impressions of it.
First impression. The plate is larger ; it measures 4 in. l-\Oth by
1 in. 7-10ths. The shadows are only expressed by single lines,
except on the right thigh.
Second impression. The plate is of the same size : the shadows are
expressed by lines crossing each other, particularly in the lower
part of the cloak, and the calf of the right leg.
Third impression. The plate is still of the same size : the hanging
sleeve, which is quite white in the preceding impressions, in this is
shaded with the single stroke.
Fourth impression. The sleeve is covered with a double stroke,
and is black and confused ; the cap, which is pointed in the pre
ceding impressions, is here made quite round, and the plate is
cut.

128 BEGGARS.

164. — A BEGGAR IN A SLASHED CLOAK : IN CALLOT S
MANNER.
He has on a very singular pointed cap ; his cloak is slashed or
torn at the bottom, rather than ragged ; he has a walking-stick, which
is perceived in the space between his legs. He is seen in profile,
walking from the right to the left. The background is more worked
on to the left than to the right : it consists of a bank, with a tree
growing out of it, near the top of the print. At the bottom, on the
left, is written Rt. 1631 : this piece is scarce.
Heighth, 3 in. 3-lOths ; width, 1 in.5-10ths.
There are three impressions of it.
First impression. It is very scarce ; the lower part of the face and
neck are light, as are the back of the right leg and the shoe.
Second impression. This is also very scarce ; the face is wholly
shadowed with diagonal lines, and the right leg and the shoe are
strongly shaded with the single stroke ; the cloak is likewise more
shaded towards the bottom.
Third impression. The face and the cap are more worked upon,
as is the right leg with the double stroke, but the face is rendered
so hard as to injure the countenance.
165.  A BEGGAR-WOMAN, IN CALLOT's MANNER.
The body is seen chiefly from behind, turned to the left, and
eaning forward. The face is in profile, and the left hand is raised
wards her mouth. She wears a little flat hat, tied under the chin,
nd behind her hangs a leathern bottle : her clothes are very ragged.
At the bottom is a vacant margin.
Heighth, 4 in. 1-I0th; width, 1 in. 8-\0ths.
There are two impressions of this print.
First impression. The plate is of an irregular form, and with ragged
edges. There are not any cross lines on the shade thrown by

BEGGARS. , 129
the figure, and there is no horizontal line at the bottom of the
plate. This is extremely rare.
Second impression. The plate is cut and the edges are smoothed ;
the figure and its shadow are more worked upon, and a line is
drawn horizontally at the bottom of the plate, which forms a
margin below. 166. — A BEGGAR STANDING.
He wears a great fur cap, he is seen nearly from behind, and
directed towards the left ; his body is bent, and his hands are sup
ported on a staff. Near the top, on the right, is written in small
and scarcely perceptible characters, Rt. This piece is very scarce,
but is wanting in spirit and character.
Heighth, I in. 7-lOths; width, 1 in.
167.  A BEGGAR-WOMAN, ASKING ALMS.
This figure is an old woman, rather stooping, turned to the right,
over her shoulder is a short cloak, and she wears a close cap ; her
right hand is extended, as if asking alms, and her left is supported
on a stick. Behind her is a bush, which reaches as high as her
elbow. At the bottom is written Rembrandt f. 1646. This piece
is delightfully etched with a light point.
Heighth, 3 in. 2-lOths ; width, 2 in. \-\0th.
In the early impressions the plate is not quite even, and the edges
are ragged and dirty. It has been copied by De Clausin.
168. — LAZARUS KLAP, OR THE DUMB BEGGAR.
The words Lazarus Klap, which express the name by which this
piece is known in Holland, may be rendered the Striking Beggar.
It represents a dumb man, with a little instrument in his hand,
consisting of several small flat pieces of wood, with.a handle to one
of them, which being shaken, strike against each other ; this in
strument is commonly used by the deaf and dumb poor in Holland,
to intimate their wants.

130 BEGGARS.
The beggar is seen in profile, with his face to the left, sitting on
a small hillock ; his staff is placed between his legs ; he wears a high
fur cap, and his body is covered with a large cloak, which has three
stripes along the bottom ; the left side of the figure in general is
shaded : at the top, to the left, is written Rt. 1631. This piece is
etched in a bold coarse style, and is very rare.
Heighth, 3 in. 4-lOths ; width, 2 in. 5-10ths.
There are four impressions of it.
First impression. It is extremely rare ; the plate measures 3 in.
7-\0ths. by 2 in. 5-lOths ; the head, and the edge of the cloak,
which is turned back on the shoulder, are nearly white.
Second impression. It is very scarce ; the face is darker about the
eye and ear ; the cloak is also darker.
Third impression. The face is covered with the double stroke, and
the neck left white ; a shadow representing a hole in the cloak
is effaced.
Fourth impression. The cloak is shaded where it is turned back
on the shoulder, and is darker in other places. The back of the
neck is also shaded, as is the mound of earth, and the plate is re
duced. It has been copied by Mr. Smith.
169. — THE RAGGED PEASANT, WITH HIS HANDS BEHIND HIM.
This figure is weU etched and seen nearly in front, his body being
turned a little to the left, and his face inclining to the right.
He has on his head a small cap, and under it a kind of night-cap,
to which hang two strings. His jacket, which is ragged, is fastened
at the top with a string, and a little lower down with a button, but
is open below ; he wears trowsers, and his hands, in which he holds
a stick, are behind him. On the right side are a few scratches, which
appear to be designed for the trunk of a tree.
Heighth, 3 in. 6-lOths ; width, 2 in. 6-\0ths.
There are three impressions.
First impression. The plate is larger; it measures 3 in. 6-10/As

BEGGARS. 131
by 2 in. 9-10lhs ; it is very lightly etched, the edges of the plate
are irregular, and the background spotty : it is extremely rare.
An impression was in Sir Thomas Baring's sale.
Second impression. The plate is reduced on the right side, so as
nearly to cut off the trunk of the tree, and the figure is more
worked upon ; the ground and the edges of the plate are still
dirty.
Third impression. The plate is reduced to the width first men
tioned, and the figure is more worked upon in the trowsers below
the left hip.
This print has been copied : the little diagonal strokes at the
bottom, on the right, are wanting in the copy.
170. — A BEGGAR WARMING HIS HANDS OVER A CHAFING-DISH. /
This figure has much the appearance of old age and distress ; he
wears a large cap with flaps on each side ; his face is nearly a profile,
turned to the right ; he is covered with a cloak, and holds a chafing-
dish on his knees, over which he warms his hands, with his fingers
spread out : his staff is passed through a frail, that lies by him on
the ground. This piece is lightly etched, with spirit.
Heighth, 3 in. ; width, 1 in. 8-\0ths.
There are two impressions of it.
First impression. It is scarce ; the frail is less worked upon, and
the ground towards the margin is unfinished, and the plate irre
gular.
Second impression. The frail is more worked upon, and the plate
is made even.
171.  A BEGGAR SITTING ON A HILLOCK, WITH HIS
MOUTH OPEN.
He is sitting on a hillock, on the left side of the print. His head,
which is nearly in front, is uncovered, and his hair is short and friz-

132 BEGGARS.
zled. His body is turned to the right ; his cloak, which is furred,
is very ragged, and fastened before with a button : he is asking
alms, with a countenance full of distress. His left hand comes
from under his cloak, and rests upon his right thigh, with the
palm of it open. The left leg is bent so as to discover the bottom
of the foot, and the toes of his right foot appear through the shoe.
Near- the middle of the margin is written Rt. 1630. This piece is
well executed, in a good style.
Heighth, 4 in. 6-lOths; width, 2 in. 7-l0ths.
There are two impressions of this print.
First impression. The shadow at the lower part of the back of the
figure, is clearer than in the next impression ; the background
is dirty, and the edges of the plate are ragged.
Second impression. The shadow at the back of the figure is worked
upon, and the edges of the plate are smoothed. In the lower
part of the work is written Rembrandt f. in addition to the mono
gram. An impression is said to exist in which the hand is covered
by the cloak.
There is a copy, in the same direction, so well executed, that
it is extremely difficult to distinguish it from the original.

172. — AN OLD BEGGAR WITH A LONG BEARD, AND A DOG
BY HIS SIDE.
The etching of this piece is coarse, and the shades are deep
and dark ; it is however of great rarity. An old beggar is sit
ting on a bank, on the right side of the print, and turned towards
the left ; his head, which is a three quarters, is uncovered, and the
hair frizzled ; he has a ruff round his neck, his cloak is large and
very much patched, the toes of his left foot appear through the shoe,
and the leg is wrapped with a linen roller. He is warming his
hands over an earthern pot, which is placed on his knees ; a little

BEGGARS. 133
rough dog sits on the ground by him on the left. In the right cor
ner at the bottom is written Rt. 1631.*
Heighth, 4 in. 3-lOths ; width, 3 in. 2-lOths.
173. — BEGGARS AT THE DOOR OF A HOUSE.
Three beggars are standing before a door which is on the left side
of the print. Over the hatch leans an elderly man, who is giving
them money ; he has a long white beard, wears a high cap, and
has his right hand in a sling. The bars of the windows are so strong,
as to give them the appearance of the windows of a prison rather
than of a house. One of the beggars is an old man in a broad-
brimmed hat ; another, who receives the money, is a young woman,
with a child at her back ; she has a stick in her left hand, and car
ries a basket on her left arm ; the third, who is in front, is a boy,
seen from behind, with a pitcher hanging at his waist. This piece
is well etched, and carefully finished. In the right corner at the
bottom is written Rembrandt f 1648. The early impressions have
much of the bur.
Heighth, 6 in. 5-10ths ; width, 5 in. 1-I0th.
There are two impressions of this print.
First impression. It is without the name and date, and is extremely
rare.
Second impression. It has the name and date.
174. — A BEGGAR, AND ITS COMPANION, IN TWO PIECES.
These pieces are etched with spirit. The first represents a beggar
turned to the left ; he has on a little cap, and his hair is very short.
His face is a three quarters, and his whole attitude is very expressive
of a person shrinking from intense cold ; his left hand is thrust into
the side of his habit, and the other is in his bosom ; a knife hangs
at his left side. In the distance to the left appears a small figure,
* This date is erroneously noticed in all the Catalogues as 1651.

134 BEGGARS.
with a pole on his right shoulder ; he appears to be skating, though
his legs are concealed from view by the foreground. Near the top
is written Tis vinnich kout (It is very cold.) A little below, is
written Rembrandf. 1634, the t being wanting.
Heighth, 4in. 3-lOths ; width, 1 in. 7-10ths.
175.
The other piece represents a person somewhat better habited. He
stands erect, his face is a three-quarters, his hair is short, and he has
a large cap on his head, and a cheerful smiling countenance. At
his girdle hang a pouch and a knife. In the distance to the right
is a man in a high-pointed cap, with his hands wrapped up before
him ; and, further off, is seen the roof of a cottage, with trees. At
the top of the print is written Dats niet, (that's nothing) in answer
to the words in the other piece. A little below is written Rembran
f. 163; the letters dt, and the fourth figure, are wanting, the
rest of the date being up to the edge of the plate.
Heighth, 4 in. 3-{0ths; width, 1 in. 5-lOths.
These two prints have been copied by De Clausin.
176. — A BEGGAR WITH A WOODEN LEG.
This piece is somewhat in Callot's manner. The beggar is seen
nearly in front, but rather turned to the right; his head is inclining,
and his mouth a little open. He wears a fur cap, and his forehead
is bound round with a linen cloth ; his left arm is in a sling, which
goes round his neck ; his left leg appears to be lame, and is supplied
by a wooden one ; he is covered with a ragged cloak, and leans on
a stick which he holds in his right hand : the background is clear.
Heighth, 4 in. 4-lOths ; width, 2 in. 6-lOths.
There are two impressions of this piece.
First impression. The plate is irregular in form, being 3-lOths of
an inch higher on the right than on the left. The figure is less

BEGGARS. 135
worked on in the face, and the nose is clear. It is extremely
rare.
Second impression. The face and nose are more shaded, the plate
is cut even, and the edges are smoothed.
177. — A PEASANT STANDING WITH HIS HANDS BEHIND HIM,
AND A BASKET AT HIS FEET.
This piece represents a peasant in a little cap, seen in profile, and
turned to the left ; his hands are behind him, and a basket is placed
on the ground near his right foot. The background to the left is
rocky, with some shrubs growing from it. This little print is spi
rited, very lightly etched, and is very scarce. It resembles the work
of Livens. Heighth, 2 in. 3-\0ths ; width, 1 in. 4-10ths.
178. — A FEMALE PEASANT STANDING: COMPANION TO THE LAST.
It represents a woman standing, seen in profile, and looking to
wards the right : she holds her right hand before her, her feet are
naked, and a bottle hangs at her girdle. This, like the last, resem
bles the work of Livens.
Heighth, 2 in. 1-lOths ; width, I in. 4-l0ths.
179. — A BEGGAR, A SKETCH.
The figure is an old man, seen in profile, and looking to the right.
In the right-hand corner of the plate is another head in profile,
covered with a cap that stands up before something like a mitre,
though it is square at the top. This print, which is a mere outHne,
is of extreme rarity.
Heighth, 3 in. 7-lOths ; width, 2 in. 9-10ths. j-
180. — TWO BEGGARS : A MAN AND A WOMAN.
They are seen in profile, walking side by side from left to right.
The woman's head is covered with a bonnet, which comes so for-

136 BEGGARS.
ward as to throw a shade on the whole of her face ; her hands are
under her apron. The head of the man is uncovered. This piece
is presque unique. Heighth, 4 in ; width, 3 in.
181.  A BEGGAR, IN CALLOT'S MANNER.
This piece is coarsely etched, in outline only. The beggar
is in profile, walking to the right, his head covered with a high
cap, and his arms wrapped up in his cloak, which is fringed at the
bottom ; his staff is perceived between his legs. On the left is an
old cottage, before which is a little figure of a woman, seen from
behind, asking alms of a person who appears over the hatch of a cot
tage-door : above the cottage are seen some trees. The background is
shaded with a few strokes to the left : it is very dirty, and the edges
of the plate are ragged. This piece is of the greatest rarity.
Heighth, 4 in. 6-lOths ; width, 2 in. 9-lOths.
182. — A SICK BEGGAR LYING ON THE GROUND, AND A
BEGGAR-WOMAN.
This sketch may be considered as presque unique ; it represents
a sick beggar, lying on the ground to the left, with his back sup
ported against a bank. On one side of him, at a little distance,
stands a woman with her hands joined together, leaning upon a
stick ; at her feet is a little dog. The edges of the plate are ragged

and irregular.

Heighth, 3 in. ; width, 2 in. 2-lOths.

137

SEVENTH CLASS.

FREE SUBJECTS AND ACADEMY FIGURES.

183.  LEDIKANT, OR THE FRENCH BED.
A young couple are discovered on a bed. It is singular that
Rembrandt has given the woman four arms, as if he had been
at a loss which of the two to efface. At the head of the bed
stands a covered table, with a drinking-glass and two plates of cakes
upon it, and on one of the bed-posts hangs the man's cap with a
feather in it. On this side of the room, at the foot of the bed, is a
pilaster, and to the left an arched recess, leading to a door. It is
a great rarity.
Of this print there are three impressions.
First impression. There is a margin at top, and the plate measures
6 in. by 8 in. 9-\0ths. At the bottom of the door leading from
the recess is written Rembrandt f. 1646.
Second impression. The margin is cut off; it is extremely rare, and
measures 5 in. by 8 in. 9-10ths. There is much of the bur in
this impression.
Third impression. It is very scarce : the recess and door, with the
name, are cut off: it measures 5 in. by 6 in. 9-10ths.
184. — THE FRIAR IN THE CORNFIELD.
A friar with a woman are discovered in some standing com. A
K

138 FREE SUBJECTS
jug stands on the ground by them, and in the distance on the left
a reaper is perceived at work. This piece is very scarce, and in the
early impressions has bur.
Heighth, 1 in. 9-lOths ; width, 2 in. 6-10ths.
It has been well copied. 185. — THE FLUTE-PLAYER.
A shepherd and shepherdess, with their flock of sheep, are seen
in a retired corner of a copse ; the background is filled up with
trees, and a piece of water occupies the front of the print. The
female sits on a bank on the left side, and is making a garland of
flowers ; she has on a very broad hat. The man is lying on the
ground before her, playing on the flute ; he is seen in front, lean
ing upon his elbows, but his eyes are turned sideways, to admire
the legs of the shepherdess, which the shortness of her petticoats
discover ; his hat lies on the ground by his left elbow, and on his
left shoulder an owl (with a string fastened to it) is perched. A
shepherd's crook leans against the trunk of a spreading old tree.
Near the bottom, a little to the right, is written Rembrandt f. 1640.
This piece is very well executed, and is in Holland called Uiles-
piegel, from the droll of that name, known as Owlglass in our an
cient stories of that famous jester, who is supposed to be alluded
to in the person of the flute player, over whose head the owl is
seen. Heighth, 4 in. 6-lOths; width, 5 in. 6-lOths.
There are four impressions.
First impression. In this, which is extremely rare, the name and
date are wanting ; a head, resembling that of Pan, is seen among
the boughs of the tree, near the top of the shepherd's crook, and
the background, above the hat of the shepherdess, does not ap
peal- detached from the surrounding foHage, which is covered
with work ; the corner to the left at top is slightly shaded ; and
that part of the rock behind the left shoulder of the shepherd is

AND ACADEMY FIGURES. 139
clear, up to the height of the. owl. This impression was in the
Denon collection.
Second impression. It is very scarce : the head is seen, but the
foliage above the hat is made dark on a lighter ground, and the
name and date are added.
Third impression. The head is not seen, but its place is filled up
with foliage : the background, behind the hat of the shepherdess,
is more worked upon ; some weeds in the left corner, at the
water's edge, are more finished, and the left arm of the shepherd
hangs down.
Fourth impression. The head among the trees is no longer seen ;
the trunk of the tree in front on the right, and its shadow, are
darker. The shadow behind the shepherdess, near the left edge
of the plate, which is only formed with the single stroke in the
preceding impressions, is covered with work ; the plants at the
bottom are still more finished, and of different form from those
in the foregoing impressions.
There is a very good old copy, reversed, with the name of
Rembrandt, but without the date.
186. — THE SHEPHERDS IN THE WOOD.
An old man is sitting on a bank at the foot of a large tree. He
is fast asleep, leaning his head upon his right hand. On the ground
at his feet sit a young man and woman ; he appears to have his
right hand under her clothes, while she turns her head to see whe
ther the old man is asleep, lest he should discover their situation.
In a dark recess to the left stand two cows. This piece is scarce,
and the early impressions, which are of a brilliant tone, have a
little bur. Heighth, 3 in. l-10th; width, 2 in. 2-lOths.
187. — A MAN MAKING WATER.
He is turned a little to the right ; he wears a cap turned up with
fur, and carries a large bundle at his back and a pouch at his right
side. At the bottom is written Rt. 1630. It is executed with a
K 2

I-

140 FREE SUBJECTS
light point, and is scarce : the edges of the plate are ragged in the
early impressions. Heighth, 3 in. 3-\0ths ; width, 2 in.
There is a copy of this piece reversed, by Van Vliet, another
copy by De Clausin, and one by an anonymous artist, measuring
2 in. 8-lOths by 2 in. 3-lOhs.
188.  A WOMAN CROUCHING UNDER A TREE: A COMPANION
TO THE LAST.
This piece represents a woman crouching under the trunk of a
large old tree, which with a bush by its side take up nearly the left
part of the print. Her hat lies close to her head on the sides, but
the fore part comes forward so as to cast a shade on her face and
neck. She turns up her head to the left. On the bottom is written
J?^. 1631. It is extremely rare.
Heighth, 3 in. 2-lOths ; width, 2 in. 5-10ths.
Of this there is likewise a copy by Van Vliet, reversed, and a
copy by De Clausin.
189. — A PAINTER DRAWING FROM A MODEL.
This piece is called in Holland the Statue of Pygmalion, but it is
evidently the figure of a naked woman, standing upon a stool :
which a man, who is sitting in an elbow-chair to the left, is drawing
after. It is probable that Rembrandt designed it for his own study,
and that he is the painter who is making a drawing of the woman ;
for the room is hung round with turbans, arms, &c. answering to
the description of Rembrandt's study, given by his biographers.
Both the painter and the woman, with the greatest part of the
plate, are only sketched. There is an easel with a picture on it. The
parts which are finished are highly so, and consist of the upper por
tion of the easel, which appears above the picture ; the background ;
the top of a bough resembling that of a palm tree ; and a bust

AND ACADEMY FIGURES. 141
placed on a pedestal, with some drapery hanging behind it. It is
not known why Rembrandt left this plate unfinished.
Heighth, 9 in. \-\0th ; width, 7 in. 2-10ths.
There are two impressions of it.
First impression. The easel is entirely white, and the outlines are
full of bur. It is extremely rare.
Second impression. The easel is shaded, as is the drapery on the
side of the model ; the bur is removed.
190.  AN ACADEMICAL FIGURE OF A MAN, CALLED IN
HOLLAND THE PRODIGAL SON.
He is sitting down, and seen in front, naked, except a cloth tied
round his waist ; his legs are extended, and his feet placed on a
stone raised a little from the ground at each end ; his hands are
joined, and he appears to be ruminating on his misfortunes. To
the left at bottom is written Rembrandt f 1646. There is a
little bur in the background of the early impressions.
Heighth, 6 in. 5-lOths ; width, 3 in. 8-10ths.
191.  ACADEMICAL FIGURES OF TWO MEN.
The subjects in the front and in the background have no relation
to each other. In front to the left are two academical figures.
One is sitting, with his left knee bent and his right leg extended ;
the other is standing with his right arm leaning on a pillow, and his
left hanging down : they are both of them naked, except having
a cloth tied round their waists. In the background are sketched a
chimney-piece and an old woman playing with a child in a go-cart.
Heighth, 7 in. 6-lOths ; width, 5 in.
There are two impressions of it.
First impression. The shadows are clearer than in the second im
pression, particularly that thrown by the sitting figure.
Second impression. The shadows in question are more worked
upon.

142 FREE SUBJECTS
192. — THE BATHERS.
This piece is very slightly sketched. In front is a piece of water,
and a wood in the background. In the middle of the print is a
man who has been bathing, and is coming out of the water. To
the left of him, on the ground, sits a naked man, with his hands
and knees raised up to his chin. In the distance to the right is a
man in the water up to his knees ; his clothes lie on a bank near
him : to his left appears a naked man standing in the wood. To
wards the bottom on the left is written Rembrandt f. 1631.
Heighth, 4 in. 2-\.0ths ; width, 5 in. 1-I0th.
The later impressions of this print are taken from the plate when
corroded on the left side at the top.
193. — ACADEMICAL FIGURE OF A MAN SITTING ON THE
GROUND.
A man is sitting towards the right, naked, except a cloth tied round
his waist : he supports himself on his left hand, while his right rests
on his knee, which is bent, his left leg being extended before him.
The body is turned to the left. The background is shaded behind
the figure. At the bottom to the left is written Rembrandt f. 1646.
The early impressions have bur and are rare.
Heighth, 3 in. 8-\0ths ; width, 6 in. 6-lOths.
194.  A WOMAN SITTING BEFORE A DUTCH STOVE.
She is seated in a chair and turned to the right ; her body is
naked to the waist ; her right-hand rests on her linen, which lies
on a toilet by her side, and her left leg is naked and resting across her
slipper. Before her is a Dutch stove, ornamented with pillars at
the corners, with figures in ovals in the pannels, and with a rich
broad border along the top. In the pipe or chimney is a key ;
and on that part of the pipe which is turned to the wall is written
Rembrandt f 1651. In the wall opposite to her is a broad niche.
This piece is very well executed and is scarce.
Heighth, 9 in.; width, 7 in. 4-\0ths.

AND ACADEMY FIGURES. 143
There axe five impressions of this print.
First impression. It is presque unique : the background, instead of
being hatched with lines, as in the subsequent impressions, is,
without hatchings, dirty, and only covered with a kind of grain,
something like aquatinta. The niche is hardly marked, and not
to be seen on the left side of the print : the upper and naked part
of the body, and the right foot, as likewise the top part of the
petticoat, are shaded only wilh single lines : she has on a cap,
and there is no key in the pipe of the stove.
Second impression. The background is worked upon, and filled
with hatchings, and the niche is more distinct ; the rest is the
same as in the first impression. This is very rare.
Third impression. It is in a finished state : the upper part of
the body is shadowed with cross lines, so is the right foot, but
the top part of the petticoat remains with single lines. The cap
is still there, and the pipe of the stove is without the key. Scarce.
Fourth impression. The top part of the petticoat is crossed lined.
She is still in a cap ; the background is altered, and the key,
for the first time seen in this impression, has not been taken out
and put in again, as Bartsch, in copying Gersaint, supposes, and
as will be seen on comparing the keys of the different impressions,
which are all exactly alike ; therefore this impression, which
Daulby calls the fourth, is really the fourth; but not (as he
states) the last, which is the
Fifth impression. She is without a cap, her hair is tied up close
behind, and the key remains.
These five impressions are quoted in their order from those in
the collection of Lord Aylesford, formerly that of Ploos van
Amstel. 195. — A NAKED WOMAN SITTING ON A HILLOCK. U
This woman is iU- designed, fat, and clumsy, her face is a full
front, and the body is turned to the right ; her hair hangs on
both shoulders ; she is sitting on a hillock ; her left arm is raised

144 FREE SUBJECTS.
up, and leans upon her linen, and her right hand rests upon the
clothes on which she sits. Of this piece a good impression is seldom
to be procured. Heighth, 7 in. ; width, 6 in. 4-\0ths.
196.  A WOMAN PREPARING TO DRESS AFTER BATHING.
She is sitting naked and seen in front, but her head, which in
clines to the right, is in profile. She wears a night-cap; her right-
hand, in which she holds some apparel, rests on her thigh ; her
left hand is extended to a chair, which stands by her, and on it lies
a beaver hat, with a high crown, and a band round it. On the left
side at the top, in a pannel, is written Rembrandt f. 1658. This
piece is scarce. Heighth, 6 in. 3-\0ths ; width, 5 in.
There are two impressions.
First impression. It is veiy scarce ; the night cap is much higher
than in the second impression, and the effect is vigorous from
bur.
Second impression. The night-cap is flat, and the effect is meagre
for want of bur.
197. — A WOMAN WITH HER FEET IN THE WATER AFTER
BATHING.
She is sitting on a bank, turned to the left, and more than ankle-
deep in the water ; she places her hands on a cloth, or probably her
chemise, which lies on a pillow near her : her head is much inclined,
and seen in profile, and she has a cap on ; the background is rocky,
with some foliage. Behind her appears the upper frame of a gar
den chair. On the left corner at top, but scarcely perceptible, is
written Rembrandt f 1658.
Heighth, 6 in. 3-\0ths ; width, 3 in. \-\Oth.
The latter impressions of this print were taken off after the plate
had been cleaned and retouched.

AND ACADEMY FIGURES. 145
198. — DIANA BATHING.
She is sitting on a bank, near the trunk of a large tree, with her
legs in the water ; her body is inclined, and turned to the left ; her
face is seen nearly in front ; her arms rest on a richly embroidered
garment, and her hands are stretched towards a quiver near her.
Her linen is in part under her, and a sleeve nearly touches the
stream. The background is dark and woody : to the right, near the
bottom, is written Rt.fi This piece is well finished ; the chiaro
scuro is good, and a fine impression is scarce.
Heighth, 7 in. ; width, 6 in. 3-\0ths.
199.  THE WOMAN WITH THE ARROW.
She is seen from behind, sitting on a bed, naked ; her legs are
crossed, and her left foot is raised so as to discover the bottom of it ;
her left hand rests upon the bed, and in her right, which is ex
tended, she holds an arrow a little from the barb ; on the wrist is
a bracelet. She appears to be saying something to a person lying
in the bed, whose head is perceived in the shade, just to the left of
her arm. She has a close netted cap on her head : on each side a
curtain is drawn up in festoons. Her linen lies on the bed behind
her, one of the sleeves hanging down and resting upon the ground.
This piece is scarcer than any other of Rembrandt's academical
figures. At the bottom to the left is written Rembrandt f 1661.
Heighth, 8 in. ; width, 4 in. 9-\0ths.
There are two impressions of this print.
First impression. The name and date are faintly engraved : in the
lower part of the plate, above the date, towards the right, are
some clear spaces. This impression, which is in the Dutch
Museum, is full of bur.
Second impression. The name is strengthened, but not the date,
and the clear spaces are worked upon.

146 FREE SUBJECTS
200. — ANTIOPE, AND JUPITER AS A SATYR.
She is lying naked on her right side, asleep ; her head lies high
up to the left ; her arms are thrown over her head, and her hands
meet together. Jupiter, as a satyr, stands behind the bed ; he has
drawn the covering off her, and holds it in his hands, gazing eagerly
upon her. The curtain is drawn up near the satyr's head. Beneath
the right knee, on the bed-clothes, is written Rembrandt f 1659.
This piece is etched with spirit, and is scarce.
Heighth, 5 in. 5-]0ths : width, 8 in.
There are two impressions of it.
First impression. This is very scarce. It is less shaded, particularly
in the figure of the satyr : the plate is full of bur ; it is without
inscription, and the edges of the plate are ragged.
Second impression. The bur is worn away ; the figure of the satyr
is more shaded ; and on the right at top is written Jupyn als hy
onsluit, &c. 201. — DANAE AND JUPITER.
Danae is lying asleep on a bed, her head towards the right of
the print; she lies ou her left side, her right arm extended and
resting on her body ; the other arm is stretched out sideways, the
hand hanging over the side of the bed ; she is covered from the
feet to a little above the knees. The whole figure is well propor
tioned, which is seldom the case in Rembrandt's female subjects.
Behind the bed stands a satyr gazing upon her : he rests his right
hand on the bed, and with the left holds back the curtains. In the
middle of the bed's head is written Rt. This piece is executed with
a fine point. Heighth, 3 in. 3-lOths ; width, 4 in. 4-lOths.
There are three impressions of it.
First impression. It is extremely rare ; the covering of the bed
does not reach up to the knees of the woman ; the plate is of an
irregular form, and it is before the monogram.

AND ACADEMY FIGURES. 147
Second impression. The monogram is added ; in other respects
the work is the same.
Third impression. The covering of the bed reaches to the thighs
of Danae ; the edges of the plate are smoothed.
202. — A NAKED WOMAN SEEN FROM BEHIND.
This figure, as well as the last, is well designed, and executed in
a good style, in Rembrandt's dark manner. She is naked, lying in a
bed, and takes up nearly the whole of the print. Her knees are
bent, particularly the right, which is drawn up so much, that the
foot lies under the calf of the left leg. The background is very dark.
In the left corner, at the bottom, is written Rembrandt f 1658.
Heighth, 3 in. 2-lOths ; width, 6 in. 2-lOths.
Of this there are two impressions.
First impression. It is very scarce ; the back of the woman is
lighter than in the second impression.
Second impression. The woman's back is more shaded.

148

EIGHTH CLASS.

LANDSCAPES.

203.  A LANDSCAPE, TERMINATING WITH THE SEA, AND
RUINS ON THE SHORE.
To the left upon an eminence is a cow, and at some distance a
man with a load at his back : below this figure is another man, of
whom only the upper part is discovered. At the foot of the emi
nence is a third figure, walking, covered with a long garment. In
the distance is the sea, and some ruins are also visible ; towards the
middle are three small towers, at equal distances, the centre one
a little higher than the others. This piece is of great rarity.
Heighth, 2 in. 4-lOths ; width, 4 in. 7-10ths.
There are two impressions.
First impression. The ground on the left side is only slightly en
graved, and the figure and the cow are merely in outline. The
corner is less worked upon than in the second state. This impres
sion is in the Dutch Museum.
Second impression. The ground on the left side is covered. with
crossed lines ; the figure and the cow are more finished, as is the
right corner of the print.
204. — A LANDSCAPE, WITH A HOUSE AND A LARGE TREE
BY IT.
To the left is a house, with a casement open, through which ap
pears the upper part of a figure. A great tree grows up by tbe side

LANDSCAPES. 149
of the house, and near the middle of the print is a clump of trees,
at the foot of which runs a river, and on the right are some moun
tains. This piece is very scarce.
Heighth, 1 in. 5-lOths ; width, 3 in. 2-10ths.
205. — six's bridge. ;
This plate is said to have been produced by the following inci
dent. Rembrandt lived in great intimacy with the Burgomaster
Six, and was frequently at his country seat. One day when they
were there together, the servant came to acquaint them that dinner
was ready ; but as they were sitting down to table, they perceived
that mustard was wanting : the Burgomaster immediately ordered
his servant to go into the village and buy some. Rembrandt, who
knew the sluggishness of the Dutch servants, offered the Burgo
master a wager, that he would etch a plate before his man returned
with the mustard. Six accepted the wager, and Rembrandt, who
had always plates at hand ready varnished, immediately took up
one, and scratched upon it the landscape which appeared from the
window of the parlour in which they were sitting. The plate was
finished before the servant came back, and Rembrandt won his
wager. The etching is slight, which may be accounted for by the
circumstances that produced it.
In the middle of the piece is a wooden bridge, such as is usually
seen in Holland over canals. Two men are standing upon the right
side of it, leaning against the rails, and conversing together; below
them appears the canal, on which is a vessel that extends to the
right side of the print. In the distance is a village, in which is a
church with a spire steeple, which is seen under the boughs of two
trees that are growing on the left side of the bridge. At the end
of the village to the right a vessel is sailing. At the bottom of the
right corner is written Rembrandt f 1645. The name and date are
engraved in dry-point, and have some of the bur in the early im
pressions. This piece is scarce.
Heighth, 5 in. \-l0th; width, Sin. 8-lOths.
There are two impressions of it.

150 LANDSCAPES.
First impression. The hats of che two figures leaning against the
rails of the bridge are flat and without shadow. An impression
was in Sir Thomas Baring's sale.
Second impression. The hats of the figures leaning against the
rails of the bridge are higher, and shaded with dry point.
This print has been copied by De Clausin.
206.  VIEW OF OMVAL NEAR AMSTERDAM.
This subject is well chosen and finely executed. On the fore
ground to the left is a clump of trees ; one of them is a venerable
trunk, which appears to be nearly dead. On a bank amongst these
trees a young couple are sitting. The youth is placing 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 peo
ple, sailing on the river Amstel. 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
f. 1645, the d being omitted. This piece is scarce.
Heighth, 7 in. 3-lOths ; width, 8 in. 9-10ths.
In the early impressions the name of Rembrandt is scarcely
visible, being covered with bur.
There are impressions of this plate, when worn, on which an
eight of clubs is engraved at the top on the right.
207.  A VIEW OF AMSTERDAM.
This piece is executed in a good style, with a very fine point.
The foreground is a marsh, and 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
attracts the eye. To the left lie the shipping. This piece is scarce.
Heighth, 4 in. 4-lOths ; width, 6 in.

LANDSCAPES. 151
208. — THE SPORTSMAN.
The composition of this landscape, which is spiritedly etched,
and finished with dry point, is in a grand style, and it is executed
in a slight but spirited manner. In a broad highway in the middle
of the print, a sportsman approaches, with a staff on his left shoul
der, leading a brace of greyhounds in a leash. Close to the right
is a large tree, on which two birds are alighting. On an eminence
to the left are two figures, one standing, the other sitting on the
ground. In the left corner are two ducks swimming. The distance,
which is not very remote, is terminated by mountains, on the side
of which, to the left, are some magnificent buildings. At the foot
of the mountains is a village, in which is a large church with a spire
steeple. Heighth, 5 in. \-\0th ; width, 6 in. 3-lOths.
There are two impressions of this piece.
First impression. It is extremely rare : a house and a barn are
seen beyond the two figures on the eminence to the left. This
impression is full of bur.
Second impression. The house and barn near the two figures on
the eminence are effaced.
209.  THE THREE TREES.
This is a very fine landscape, known by the above 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-fuU of
peasants, part of which is intercepted by the trunk of the right-hand
tree, and some houses are likewise interrupted by the n-unk 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, anda 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. In the right-hand corner at
the bottom, in the dark foliage under the bank, two persons, sitting,

152 LANDSCAPES.
are very indistinctly seen. 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 one of the best and most finished of all the
landscapes of Rembrandt ; it is executed in a good style, and pro
duces considerable effect. A fine impression is very scarce, and
may be known by the bur in the sky.
Heighth, 8 in. 4-lOths ; width, 11 in.
There is said to be an impression before the figure sitting on the
brow of the bank on the right.
It has been several times copied.
210.  A PEASANT CARRYING MILK-PAILS.
He is seen to the right, carrying two milk-pails with a yoke, and
a dog running by him ; near the middle is a road, and, fronting it,
a cottage and a Dutch barn. On the left are some cottages, nearly
surrounded with trees, and, close to them, a canal with a boat upon
it, fastened to a bank. To the left, above the cottages, some moun
tains are discovered in the distance. To the right the sea is seen,
with several ships sailing. This landscape is highly finished, in
fine taste, and is scarce.
Heighth, 2 in. 6 10ths ; width, 6 in. 9-10/As.
There are two impressions of it.
First impression. It is extremely rare; the mountains on the left
side are not introduced, and the canal is less shaded : it is full
of bur.
Second impression. The mountains are introduced, and the canal
is more shaded.
211. — A LANDSCAPE, WITH TWO HOUSES, LIGHTLY ETCHED,
AND WASHED WITH INDIAN INK.
In the front to the left is a canal, seen in perspective, and in the
distance the sea ; near the middle, on the border of this canal, are

LANDSCAPES. 153
two houses surrounded with trees, the roofs of wliich are pretty
high, and on the top of the front of each is a large pole, which
forms a kind of pyramid. Close to the right is a foot-path, at the
end of which is a small figure seen from behind, and by the side
of it are some trees and a church steeple seen above them.
Heighth, 2 in. 2-\0ths ; width, 6 in. 8-lOths.
This landscape is extremely rare, and the impressions of it, as
well as of the following, are washed with Indian ink, so that they
may readily be mistaken for drawings. It is reported in HoUand,
that Rembrandt considered it easy to impose his prints upon the
connoisseurs for drawings : he succeeded so well, that these pieces
were generally esteemed and purchased as such, till their being
found in several coUections gave occasion to suspect them. They
must indeed have been etched with an extremely light stroke, or
the traces of the point would have appeared through the washing.
In the coUection of M. Van Leyden, there was an impression of
the print just described, not washed with Indian ink, which is now
in the Dutch Museum.

212. — THE COACH LANDSCAPE.
This landscape is likewise washed with Indian ink. It is nearly
as rare as the preceding, and yet more like a drawing. The name
is derived from a coach which is seen traveUing along a road to the
left; on the same side are two large cottages, with trees ; a woman
is standing in the door of the cottage nearest to the coach. To the
right is a winding canal, and above it are some ruins, with a
cupola rising above a wood. In the distance is a town, with several
churches in it, and four windmiUs.
Heighth, 2 in. 5-lOths ; width, 6 in. 9-lOths.
There are two impressions of this print in the editor's coUection,
formerly belonging to Baron Denon, totally differing in the effects
of the chiaro scuro. One of these is on China paper, and appears

154 LANDSCAPES.
to be a very early state of the plate, while the etching was strong
and vigorous; the houses to the left are clear. The other seems
to be taken from the plate when burnished, to soften the work,
with a view to wash the impression with Indian ink. It is relieved
with white, producing a magical effect, and the houses to the left
are in shadow.
This print has been deceptively copied.
213. — A LANDSCAPE, WITH A TERRACE.
In the front is a terrace, and in the middle of it a path which
turns a little to the right, and appears to descend to the end of the
terrace ; farther off to the left is a mountain, very steep, at the foot
of which is a river seen in front, and a covered vessel crossing it.
In the distance is a town, with some slight sketches of trees. This
piece may be considered as presque unique. Like the last, it is
washed with Indian ink.
Heighth, 6 in. 4-lOths ; width, 7 in. 4-lOths.
214. — A VILLAGE NEAR THE HIGH ROAD, ARCHED.
This piece is carefully executed, and the effect is extremely
pleasing. It represents a view of a viUage near a high-road. The
principal cottages are three on the right side, seen in perspective ;
their ridges are very high and sharp. There is a thick clump of
trees behind the first cottage ; and in front, to the right, is a great
tree. Before the second cottage is an old woman, probably a
schoolmistress with several children about her. Other cottages,
with trees, are distinguished in the distance. The plate is arched
at the top. Towards the bottom, in the left corner, is written Rem
brandt f. 1650. Heighth, 6 in. 4-i0ths : width, 8 in.
Of this piece there are four impressions.
First impression. The great tree on the right has very little foliage. This
impression,which is presque unique, is in theCambridge collection.

LANDSCAPES. 155
Second impression. The shading before the door of the first cottage
is only with a single stroke, and the roof of the nearest cottage
is not so much shaded as in the next impression. In every part
of the road are spaces quite white : the great tree has more foliage,
but the dry point with which it is added, is in heavy patches, as
it is in some remoter parts of the subjects over the houses. It
is extremely rare.
Third impression. The road is Hghtly shaded with dry point in
all those parts which in the preceding impressions are clear ; the
patches are softened, but the door of the cottage is still only
shaded with the single stroke.
Fourth impression. The door of the first cottage is shaded with
cross strokes : the roof of the third also is more shaded.
All the impressions, even those in the fourth state, when fine, are
full of bur.
215. — A VILLAGE WITH A SQUARE TOWER, ARCHED.
This piece, which is well etched, and finished beautifully with
dry point, is arched at the corners like the preceding. It is a view
of the village of Raerep, or Ransdorp, in Waterland, the birth
place of Saskia van Uylenburgh, the wife of Rembrandt, and
is executed in a good style. In the middle, on an eminence above
the cottages, is a square tower ; the road to it is planted on each
side with trees, and is carried over an arch, through which the light
appears. In the left corner is a piece of water, with some railing
continued from it over a bank, to the right side of the print. On
the bank sits a figure. In the right corner, at the bottom, is written
Rembrandt f 1650. It is scarce.
Heighth, 3 in. 5-lOths ; width, 6 in. 2-10ths.
Of this there are two impressions.
First impression. It is extremely rare : all the trees on the right
side towards the top, are less wrought upon ; there is a tree on
the right side below the tower, at the angle ; the roof in front of
the tower, towards the left, is quite white, and the ground above
l 2

156 LANDSCAPES.
Rembrandt's name is clear. This impression, when on China
paper, is exquisite, and full of bur.
Second impression. The tops of the trees in the distance on the
right, are worked over ; the tower is more worked upon, and
is prolonged, so as to efface the little tree at its angle on the right;
the roof of a house, white in the preceding impression, in this is
lightly shaded, with single lines of dry point. This impression,
when fine, is full of bur, and the background is dirty ; but its
effect is less rich and spirited.
216. — A LANDSCAPE, WITH A MAN SKETCHING THE SCENE.
This piece represents a farm-house, with a large barn, in front
of which are three trees. At the corner of the barn stands a cart,
and behind a tree to the right is another. Nearer, in front, are some
cattle feeding ; and on a bank in the right corner, sits a man, in a
high-crowned hat, drawing. This is a good subject, and is well
etched, with a light stroke.
Heighth, 5 in.; width, 8 in. 2-Y0ths.
217.  THE SHEPHERD AND HIS FAMILY.
In the foreground is a well-composed group, consisting of a
shepherd, seen in profile, with a crook in his hand, — a woman
seated near him with a child on her knee, — and a flock of sheep
grazing by them. In the right corner is a piece of water, with a large
tree on the other side of it. The background, which is woody, and
gradually rising, terminates on a high hill or mountain, on which
are some large buildings. On the left, near the top, is written
Rembrandt f. 1644. The plate not having been cleaned, the print
is full of scratches, and there is an outline of a circle taking in the
breadth of the print. A fine impression is scarce.
Heighth, 3 in. 8-10ths ; width, 2 in. 6-\0ths.
218. — the canal: a landscape, of an irregular form.
In the middle of this print are some houses surrounded with
trees, and in front of them is a canal, which leads to the right of

LANDSCAPES. 157
the houses, and turning under a wooden bridge, is again seen at
the right corner, where, on the border of it, stands a high tree.
The road goes over the canal ; and in the distance is a vUlage, with
a church. On the left is a vessel under sail, seen behind two small
trees. This landscape is very scarce, and is entirely executed with
the dry needle. It is of an irregular form, and measures at the
right end, 3 in. 2-lOths high, and at the left, 3 in. by 8 in.
3-lOths wide.
The early impressions of this piece are fuU of the bur, and the
shades resemble the effect of Indian ink. In the ordinary im
pressions the bur is wanting, and the tone is very grey and feeble.
It has been copied by Wilson.
219.  A LANDSCAPE, WITH A VISTA.
This landscape is executed in a very singular style. On the leftside
are two large trees, etched with a coarse broad stroke, in the manner
of a sketch. A thick wood occupies three-fourths of the plate from
left to right. A little to the right of the large trees a vista is opened
through the wood ; and in front of this wood, near the middle, is a
house, with a flat roof. The front, from the left corner at the
bottom, to the extremity on the right, is entirely white ; and the
distance on the right is only sketched with the single stroke. On
the same side, near the bottom, is written Rembrandt f 1652. Its
effect is chiefly attributable to the piquant effect of the bur. It is
very scarce. Heighth, 4 in. 9-lOths ; width, 8 in. 3-lOths.
Of this piece there are three impressions.
First impression. It is extremely rare, and is an imperfect sketch,
in which only the house and the tops of some trees on the
left are discovered. It is without name and date, and measures
6 in. l-10th, by 8 in. 3-lOths.
Second impression. It is very scarce. Being finished in the dark

i-;

158 LANDSCAPES.
manner, it is splendid in effect. Its dimensions are the same,
and it is without the name and date.
Third impression. It is more finished, is full of bur, and the
name and date are added.
220.— THE LANDSCAPE, WITH A RUINED TOWER, AND A CLEAR
FOREGROUND.
On the right is a village, interspersed with wood. Near the
middle of the piece is a gateway on a bridge, supported behind
with two buttresses ; and nearly in front of it, the figure of a
woman. To the right of a large thatched building appear several
irregular roofs, and from among them rises a tower, which in the
second impression appears to be in a ruinous state. The sky on
the left is cloudy, and clear on the right. The front of the print
is white. It is scarce.
Heighth, 4 in.S-lOth; widths, 12 in. 5-10ths.
Of this piece there are three impressions.
First impression. It is extremely rare. The thatched building is
but little shaded ; the space between the gate and its buttresses
is clear, and the tower is covered with a dome or cupola, ter
minating in a point.
Second impression. The space between the gate and its buttresses
is shaded with cross strokes.
Third impression. The dome of the tower is effaced, and the
tower appears in ruins ; a hard black line in the sky, to the left,
is effaced, and the space left white.
221. — AN ARCHED LANDSCAPE WITH A FLOCK OF SHEEP.
This landscape is designed in a good taste ; it is highly finished,
and arched at the top. On the left is a road leading to a village,
along which a man is driving a flock of sheep ; a little farther on
to the left, are a woman and two children, and behind them is a
distance, which has the appearance of the. sea. On the right are a

LANDSCAPES. 159
house and a Dutch hay-barn, inclosed with paling, with clumps
of trees on each side. Below the barn is a meadow, in which a
horse is seen rolling on his back ; on the right are a few sheep
grazing ; and higher up are two cows, one standing, and the other
lying down. A town is perceived in the right distance. In the
road, below the flock of sheep, is written Rembrandt f. 1636. This
piece is scarce, and the early impressions have much bur.
Heighth, 3 in. 2-lOths ; width, 6 in. 9-lOths.
There are three impressions of it.
First impression. It is extremely rare : there is no distance
marked behind the figures on the left ; the viUage in the back
ground on the right, is clear, as is the barn.
Second impression. This differs only from the first, in the addition
of a small branch, which protrudes from the foliage on the right
of the hay-barn. It is also extremely rare.
Third impression. The distance behind the man and the two
chUdren is added : the village in the background on the right, is
shaded, and the barn more worked upon.
It has been stated by Gersaint, Daulby, and Bartsch, that the
name and date are not found in the impressions without the dis
tance ; but this is erroneous, as the name and date appear in every
state of the plate. I
222.  A LARGE LANDSCAPE, WITH A COTTAGE AND A DUTCH
HAY-BARN.
In the middle is a cottage, with some trees growing by the side
of it; and at the end a Dutch hay-barn, with a waggon standing
in it. A peasant in the cottage is opening the door-hatch, and a
woman is seen at the window. In front of the cottage is a wooden
step, or platform, projecting into a piece of water. On it are two
children, one of whom, in a reclining posture, is fishing. To the.
right is a woman going over a wooden bridge, and a dog foUowing
her. On the same side, in the distance, is a country-seat, sur
rounded with trees, and below it a piece of water, which communi-

160 LANDSCAPES.
cates wich that in front. In the left distance is a large town. In
the right corner, at the bottom, is written Rembrandt f. 1641.
This piece is designed in the finest style, and is as well finished as
it is designed. It is scarce — particularly a fine impression, in
which the bur may be remarked, more especially in the shade
thrown by the bushes near the cottage, and in the date following
Rembrandt's name. Heighth, bin.; width, 12 in. 7-lOths.
223. — A LARGE LANDSCAPE, WITH A MILL-SAIL SEEN ABOVE
A COTTAGE.
On 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 pos
ture, before him. In front of the cottage, a wooden platform pro
jects into a canal or river, that runs nearly across the print, and
meandering, loses itself in the distance on the right, which is ter
minated with a view of the viUage, 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, and is the companion to the
last, though very inferior in effect.
Heighth, 4 in. 9-lOths ; width, 12 in. 7-lOths.
224.  AN ARCHED LANDSCAPE WITH AN OBELISK.
To the left is a pedestal supporting an obelisk, the upper part of
which is cut off by the top of the print ; behind it appears a Dutch
barn, and to the right is a village. The front cottage is large, and
is thatched ; at the side of it are some low bushy trees, and in
front of it stands a wheelbarrow ; under the penthouse is a cask on
a stillage : on the right, in the foreground, a dog is drinking at a
piece of water. This print is well executed, and is scarce.
Heighth, 3 in. 3-10 1 hs ; width, 6 in. 3-lOths.

LANDSCAPES. 161
There are two impressions of it.
-jAFirst impression. It has so much of the bur as to produce a rather
violent effect. The roof of one of the houses in the background
on the right, is clear. This is very rare.
Second impression. Much of the bur is removed, by which the
subject is rendered more pleasing, and the roof of the house in
the background, on the right, is shaded.
225.  A VILLAGE, WITH A CANAL, AND A VESSEL UNDER SAIL.
This is a very pleasing landscape, finely executed with a light
point. On the left are several cottages, and a woman is seen
walking towards them, foUowed by a dog. To the right is a canal,
with a vessel under sail. Beyond the canal is a vUlage, with a spire
steeple, rising above some trees ; to the right of it is a bridge, with
several arches ; and farther on is a high square building. A man,
on horseback, is travelling towards the bridge. This piece is scarce,
but the impressions are very feeble in the background, which is
dirty in the early impressions.
Heighth, 5 in. 5-lOths ; width, 8 in. 3-10ths.
226.  A LANDSCAPE, WITH A CLUMP OF TREES, NEAR THE
ROAD-SIDE.
In this piece the background is dirty, and the left side is much
less finished than the right. A clump of trees appears on the side
of a road. Another high-road is seen in front, near the middle of
the print, which winds a little as it is earned back. The .distance
is so faint, that scarcely any object in it is distinguishable ; but on
the left, several small figures are discovered before the high road.
Heighth, 2 in. 9-lOths ; width, 8 in. l-10th.
227.  AN ORCHARD, WITH A BARN.
This piece is executed in a good style. To the left is a thatched
cottage. In the middle is a plantation of trees, in the manner of
an orchard, and amongst them a building is discernible. To the
right, in the distance, is a vista, with a man on horseback riding

162 LANDSCAPES.
through it. In the road leading to it, is another man travelling,
seen from behind, with a staff on his shoulder. This landscape is
very scarce. Heighth, 3 in. 5-lOths ; width, 6 in. 3-10/As.
There are three impressions of it.
First impression. This is before the plate; was cut at each end : it
is extremely rare, and measures 3 in. 5-lOths, by 8 in. l-10th:
the trees towards the centre of the background are lightly and
clearly worked on, and the general shadows are brilliant. Ex
tremely rare.
Second impression. The trees in the background are more worked
on, and the shadows are less brilliant. This is also extremely
rare.
Third impression. The plate is reduced to the dimensions first
described, and the effect is much less piquant.
228. — A GROTTO WITH A BROOK.
This piece, which is not finished, represents a brook, that loses
itself in a grotto at the foot of a mount. On the right, by the side
of the grotto, is a trunk of a tree, and on a board that crosses it is
written Rembrandt 1645. To the left are some trees, but the tops
are not seen, the biting not having succeeded; the background is
likewise spotty. This piece is very scarce.
Heighth, 5 in.; width, 5 in. 2-lOths.
There are two impressions of it.
First impression. Extremely rare, the inside of the grotto is very
dark; on the right side of it the forepart of a boat is seen.
This impression has a good effect.
Second impression. The interior of the grotto is scraped light,
the boat is scarcely perceptible, and the effect is wholly spoiled.

LANDSCAPES. 163
229. — A COTTAGE WITH WHITE PALES.
This landscape is very well executed. In the middle of the print
is a cottage, and at each end of it a tree. This cottage is surrounded
with white pales, except on the back which leads to a large piece of
water, on which two ducks are swimming. To the right of the
cottage is a waggon, and on an eminence above it are two dogs.
In the left distance is a windmiU. At the bottom on the same side
is written Rembrandt f (the last letter hardly visible) and under
this the date 1632.
Heighth, 5 in. i-\0th; width, 6 in. 3-\0ths.
Of this piece there are two impressions.
First impression. Extremely rare. The continuation of the dyke
on the left, sloping down on that side, is white, with the excep
tion of a very few strokes, and it is before the name and date.
Second impression. The dyke is shaded with dry point, the bur
of which appears in early impressions, and the name and date
are added.
This print has been copied by De Clausin.
230. — Rembrandt's mill.
This piece is said to represent the house in which Rembrandt
was born, together with his father's mill, which is placed on the left
of the house, There is a wooden stage round it. Two doors are
in sight, and are considerably above the stage ; a ladder is placed to
each of them, and a man, with a sack of corn on his back, is just going
to ascend that on the right. The house is in a square form, and the
roof is nearly flat; the sides of the upper story, which is in the roof,
slope a little, and are covered with tiles in the Dutch manner, and
on each side is a dormer window. Beyond the mill another house
js seen. In the right hand corner at the bottom is written Rem
brandt f 1641. This is a rich composition, is very well executed,
and is scarce. The early impressions are brilliant with bur, in the

h

164 landscapes.
name and date, and the background is very dirty, particularly in
the sky. Heighth, 2 in. 7-lOths ; width, 8 in. 2-lOths.
231. — the goldweigher's field.
This print is a representation of the villa of Utenbogardus the
banker, whose portrait is among the hestoi Rembrandt's works. Near
the middle is a mansion, with an extensive wood to the right of it, in
which are discovered some pavilions. To the right is a large church,
on the steeple of which a weathercock is fixed at a considerable height.
The church is nearly surrounded with trees; to the right of these
are three houses built together, and farther on, other houses in the
village are seen. In a field in front of the three houses are several
figures with cattle. On the left side is an octagon summer house, with
windows on each side ; it is entirely surrounded with a square piece
of water, on which ducks are swimming. In the distance a large
town is seen, with a cathedral and other churches in it. In the left
comer at the bottom is written Rembrandt, 1651. This piece.
which is engraved entirely with the dry needle, exhibits a multipli
city of objects, with inteUigence and spirit. It is scarce. The early
impressions are full of bur, and in these the background near the
horizon is dirty : they are sometimes, though rarely, found on
China paper. Heighth, 4 in. 8-10ths ; width, 12 in. 5-lOths.
232.  A LANDSCAPE WITH A CANAL AND SWANS.
This landscape and that which foUows would make one entire
subject, if the corner of the wooden bridge, which is cut off
in one of them was introduced into the other. A canal reaches
from side to side of the print ; on the left are two swans swimming,
and on the other side of it on the right sit two persons angling. In
the front of the canal, a foreground extends from the right to the
middle of the piece. In the distance is a village, in which is a
church with a low tower steeple, and further in the background is

LANDSCAPES. 165
a mountain. At the bottom near the water-weeds is written Rem
brandt f 1650.
Heighth, 3 in. 2-lOths ; width, 4 in. 2-lOths.
There are two impressions of this print.
First impression. The trees in the background are shaded with
the single stroke, and that part of the meadow behind the cows
is clear : extremely rare.
Second impression. The trees in the background are shaded with
cross strokes, and the meadow behind the cows with slight single
lines. 233.  A LANDSCAPE, WITH A CANAL AND A LARGE BOAT.
This is probably a companion to the last. In front is a canal,
similar to that in the preceding print, with a large boat fastened to
the bank, and occupying nearly the whole length. On the right is
a great tree rising to the top of the plate ; on the left a wooden
bridge crosses the canal, and above this a continuation of the
mountain is introduced a little way into the print ; over the foot of
it in the distance a spire-steeple is seen, and in the middle of the
print is a large square tower. Towards the left at the bottom is
written Rembrandt f 1650, but the d and the 6 are reversed.
This piece is scarce, particularly with the bur, which is veiy fuU
and piquant in the early impressions, but even in those ordinarily
good, there is a considerable effect from the powerful use of the
dry point. Heighth, 3 in. 2-lOths ; width, 4 in. 2-10ths.
234.  A LANDSCAPE WITH A COW DRINKING.
In front, a canal or river crosses the print, at which, to the right,
a cow is drinking : a little on the left a boat is fastened to the bank,
and in it is a man stooping down. Above are seen cottages with trees
before them, and quite to the left is a rocky mountain. This piece
is lightly etched, and highly finished, and is scarce.
Heighth, 4 in. 1-I0th; width, 5 in. 1-10/A.
There are two impressions of it.

166 LANDSCAPES.
First impression. The space of ground to the right of the drinking
cow is quite white, and the mountains are distinctly visible :
the houses and foliage below them, as well as the man and the
boat, are briUiant and piquant with bur. Extremely rare.
Second impression. The fine rich effect of the bur is diminished ;
the space of ground to the right of the drinking cow is shaded,
and the mountains are much less visible.
235. — A LANDSCAPE, WITH A SQUARE TOWER, DATED 1653.
This landscape, which is of extreme rarity, represents a village
with a large square tower. At the bottom is written Rembrandt,
1653. This print is said to have been in the collection of Mr.
Barnard. Heighth, 3 in. 9-10ths ; width, 6 in. 1-10/A.
From the observations made by De Clausin andBartsch,who do not
appear to have seen this print, the Editor does not feel altogether
satisfied that the circumstances of its different date and dimensions,
preclude its being the same as the No. 215 oi De Clausin, and the
No. 210 of Gersaint, which P. Yver considered to be the case, since
the variation in dimension is very trifling, and, as well as the date,
may be erroneously stated, although its being described in Mr.
Barnard's catalogue is a strong presumption of its being a dif
ferent subject.
236.  A LANDSCAPE : A CANAL, WITH A LITTLE BOAT.
In the middle is a large thatched cottage, with a mountain to
the right, — to the left is a river, with a boat on it, only half of
which appears. In the right corner are two high trees, with some
others, smaUer. This landscape is extremely rare ; but has not the
light and spirited manner of the master, particularly in the trees.
Heighth, 3 in. 6-lOths ; width, 7 in. 2-10ths.*
* The dimensions of this piece as to its height, differ most materially
from those in Bartsch and De Claimn's catalogues, in which they are
nearly double, — making the plate appear to he almost square.

LANDSCAPES. 167
There are two impressions of this print.
First impression. It is 3-10/As of an inch longer, and is less finished
in the summit of the mountain to the right, and partly behind
the cottage, as well as above the boat, on the left.
Second impression. Reduced 3-\0ths of an inch in length ; more
finished in the top of the mountain to the right, and partly be
hind the cottage, as well as above the boat on the left.
237. — A LANDSCAPE, WITH A SMALL FIGURE OF A MAN.
A little to the right is a small figure of a man ; in the dis
tance, a church-steeple, and two windmills. This landscape is of
extreme rarity. Heighth, I in.; width, 8 in.
238.  A LANDSCAPE, WITH A GREAT TREE IN THE MIDDLE.
In this piece is a large tree, the foliage of which is scratched in
a coarse, negligent manner, and is very black : before the tree, a
little to the right, are two figures, a man and a woman, imperfectly
sketched, walking side by side ; in the background, to the left, a
house is discovered, through some trees. The lower part of this
piece is not finished. It is, like the preceding, of extreme rarity.
Heighth. 6 in. 4-lOths ; width, 5 in. 1-I0th.
239.  A LANDSCAPE, WITH A FISHERMAN IN A BOAT.
In front is the river Amstel, with two vessels under saU ; and on
the left is the stern of another vessel, on which a man sits fishing.
In the background, on the other side of the river, is a viUage, in
the middle of which is a very high windmill ; and on the right is
seen the point of a church steeple. In this piece, which is entirely
executed with the dry point, the sky is foul, and looks as if it had
been smeared with Indian ink.
Heighth, 4 in. 4-lOths ; width, 5 in. 5-10ths.

168 LANDSCAPES.
240.  A LANDSCAPE, WITH A CANAL.
This landscape is hastUy etched, and slightly washed, to imitate
a drawing, producing a striking effect. A canal crosses diagonally
from the right corner in front, to the left in the distance ; at the
side of this canal, and near the middle of the plate, is a figm-e sitting
down, and seen from behind, apparently fishing. By the side of
this figure is a space, of about an inch over, that seems to have
been effaced, the aquafortis not having succeeded in that place.
Beyond the canal, in the middle of the piece, is a church with a
steeple, and to the right, a clump of trees ; in the distance, on the
same side, is a viUage, with a pointed steeple.
Heighth, 3 in. 2-lOths ; width, 7 in. 2-\0ths.
241.  THE LOW HOUSE ON THE BANKS OF A CANAL.
In the middle of the landscape is a low house, built on the banks
of a canal. Above the roof is seen the gable of another house behind
it, ending in a point. On one side of these houses, on the right, are
several trees, and a fence of planks. A road, which begins in the
middle of the print, goes off in the distance to the right, and passes
in front of the trees. On the left, in the distance, are two smaU
windmills, and a steeple. This print, which is also washed to
imitate a drawing, is extremely rare.
Heighth, 3 in. 2-lOths on the right, 3 in. 1-I0th on the left,
by 8 in. 2-lOths.
242.  A LANDSCAPE, WITH A WOODEN BRIDGE.
Towards the middle is a country-seat, of two stories high, with
three chimneys, and three dormer windows in the roof. To the
right is a windmill, raised very high, and near it is a vessel under
weigh. In the left corner is a thatched cottage, of which only the
half is seen, with a clump of trees. A gateway, supported by
two leaning posts is fixed on a wooden bridge, over a marsh, which
commences at the left corner, and terminates at some distance from
the house. Above the end of it are seen some vessels under sail,

LANDSCAPES. 169
and in the left distance another windmill. On the right side is a
canal, three sides of which are fenced off with upright posts and
planks. This piece, which is also washed to imitate a drawing, is
weU executed ; it is interesting, and extremely rare, but it is not
established as the work of Rembrandt.
Heighth, 2 in. 6-lOths ; width, 8in. 3-\0ths.
It has been copied by F. Basan.
243.  A LANDSCAPE, WITH A CANAL AND A PALISADE.
Towards the right of the piece a canal is seen in perspective, and
near the middle a large tree, exceeding the others in height, is re
flected in the water. Near this tree, in the middle of the print,
is a large thatched cottage, before which are some trees not
shaded. Towards the left is a Dutch barn, and in the corner on
that side in the distance, are a town and two windmills. Quite to the
right is a palisade, which separates the fields from the high road,
at the end of which road are some houses and trees indistinctly
expressed : there is likewise a windmill near the canal. The
background is white at the top, and on the right is written 1659.
This landscape, which is also washed with China ink, heightened
with bistre, is one of the rarest of the class, though like the last it
is liable to doubt. Heighth, 2 in. 6-lOths ; width, 8 in.
It has been also copied by F. Basan.
244.  A COTTAGE, AND A BARN FILLED WITH HAY.
This piece does not produce a good effect, the aqua fortis having
failed. Towards the middle is a Dutch barn filled with hay,
adjoining to a cottage, before the door of which are a barrier
and a clump of trees, and farther < ff four higher trees; the rest
to the right of the print has failed for a quarter of an inch. In
front is a canal, towards the middle of which grow several reeds, and
a little boat is seen fastened to a stake fixed in the water. This piece
M

170 LANDSCAPES.
is extremely rare. It appears to have been etched with an intention
of washing it in a manner similar to several of the preceding, as the
background is lightly tinted.
Heighth, 3 in. 9-lOths ; width, 6 in. l-10th.
245.  A COTTAGE WITH A SQUARE CHIMNEY, AND A FISHERMAN
IN A BOAT.
In front is seen a canal, in the comer of which to the right is a
fishing boat fastened to a stake ; the fisherman is in a stooping attitude
in the boat. Behind, is a large cottage with a square chimney in the
middle of the roof, and this cottage has a door hatch, the upper
part of which is open ; beyond, appears the top of a Dutch barn,
and by its side are some trees with thick foliage. In the back
ground to the left are another cottage and a Dutch barn with many
trees, and in the distance, with some difficulty, two windmills are
perceived, between which is the point of a steeple. The background
is white, except on the left at the top, -where it is filled up with
hatchings. This print is of extraordinary rarity, but it does not
seem to bear satisfactory evidence of Rembrandt's hand.
Heighth, 2 in. 9-10ths; width, 7 in.
246.— THE HOUSE WITH THREE CHIMNEYS.
On the right is a large wooden house with three chimneys. One
is at the top near the gable end, the other two are at the side and in a
very ruinous state. Beside thehouse, towards thebackground,aresome
huts surrounded with trees, at the foot of which runs a rivulet, with
a wooden bridge over it on the right : in the distance is a steeple.
A flock of birds in two lines is seen flying about the middle of the
print, except which the sky is clear : in the corner to the left at
the top, are a few scratches of foliage with part of a chimney, done
with the dry needle. It is extremely rare, but is considered doubtful.
Heighth, 3 in. 6-lOths ; width, 6 in. 4-lOths.
This print has been copied, but the dry point scratches are
wanting in the copy.

LANDSCAPES. 171
247.  THE HAY WAGGON.
On the left is a peasant drawing water from a well, behind which
is a high forest tree. On one side of the well are a hiU and a
Dutch barn, and before the hill two trunks of trees and a waggon
loaded with hay, from which the print in HoUand is caUed " De
Hooy Wagentje:" the back ground is white. This piece is
equaUy doubtful with the two preceding : De Clausin thinks it by
the same artist who executed No. 245 of this Catalogue.
Heighth, 3 in. \-\0th; width, 4 in.
248. — THE CASTLE.
A castle or fortress is seen, which has eight pointed towers. In
the background are some mountains, and on the left is a tree which
reaches to the top of the print. It is very scarce, but is also
probably not the work of. Rembrandt.
Heighth, 3 in. \-\0th ; width, 4 in.
249. — THE BULL.
In the middle, in front, is a bull tied by the horns with a long
rope, which comes from the left. There is a large trunk of a tree
with other trees close behind, which constitute the background. On
the left is a sort of stile, and on the right a cottage at a little dis
tance. At the bottom, in the corner on the same side, is written
Rembrandt f. 164 ; the figures are so small as to be scarcely visible,
and the last figure is lost in the line at the edge of the print. It is
etched in a coarse manner, and is extremely rare.
Heighth, 3 in. ; width, 4 in. 3-10ths.
250.  THE VILLAGE STREET.
In this landscape, which, according to Bartsch, is of the greatest
rarity, are seen on the right two houses of several stories and
pointed gables in a row. Above the roof of one of these is a round
tower, and behind that, the roof of a third house, higher than the
m 2

172 LANDSCAPES.
others. On the side of the first house, is a tuft of trees, and in front
of the door are two other trees. Towards the middle of the print
are cottages, forming the end of a street in perspective, leading to the
right in the distance, and another very broad street is seen to the
left, in the middle of two rows of houses, with trees hardly made
out. This curious print is in the Imperial coUection at Vienna.
Heighth, 3 in. 3-l0ths (about) ; by width, 6 in. 2-\0ths.
251. — A LANDSCAPE, WITH FIVE COTTAGES, VERY UNFINISHED.
This landscape, which according to Bartsch is also of extreme
rarity, shews part of a vUlage with five cottages, one of which only,
that to the right, is shaded and finished ; the rest are mere outlines.
In front of this finished house, is a door with a little figure appearing
within it ; beside the door is a window, and a little further to the
right, a fence. On that side at top is the date 1659, the last two
figures reversed. At the bottom, a little towards the left, is a mono
gram, said by Bartsch to be composed of the initials forming Paul
van Ryn, but which, there is little or no doubt, are those oi De
Kbning, the letters P. D. and K. interlaced, being very evident.
Heighth, 3 in. 6-lOths ; width, 2 in. 6-10ths.
This piece has been copied by F. Basan.
252.  A LANDSCAPE, VIEW OF A CANAL, WITH A MAN FISHING,
AND A PEASANT WITH MILKPAILS.
This landscape is of the greatest rarity. It represents a very wide
canal, occupying the whole length of the plate, and going off in the
distance to the left. On the bank, a part of which is seen in the
foreground, and on which reeds are growing, are two men, one of
them angling, and a little to the left is a peasant seen from behind,
carrying two milk-pails. On the other side on the bank is a group
of houses ; and, beyond the largest, a vessel under sail. On the
other part of this bank, houses and trees continue in the distance.
Heighth, 3 in. 3-\0ths ; width, 8 in. \-10th.

LANDSCAPES. , 173
Of this print there is a copy, two impressions of which, differ"
ently printed, are in the Royal Collection at Paris, where they were
considered as original ; the editor has also possessed two impres
sions of this copy. From the description of the print itself, wliich
the editor has never seen, and which, in De C laus ins catalogue,
as in the present work, is borrowed from Bartsch, (No. 256)
the situation of every object is the reverse of that in the presumed
copy, which, in fact, is a miserable performance.
253. — A LANDSCAPE, WITH A FISHERMAN IN A BOAT.
In the middle of the subject is a farm-house, the front gable-end
of which is turned towards the right : it is sheltered by round-headed
trees. Quite to the left is the upper part of a sort of castle, with a
little turret at each extremity. In the comer of a canal, at the
bottom on the right, is a boat surrounded with large thick reeds.
In this boat are three figures, one angling : some ill-defined houses
form the horizon on that side. The shade in the foreground is very
deep, reaching to the heighth of a dyke which extends along the
leff. This print is in the Museum at Amsterdam, and is probably
unique : it is washed with Indian ink and bistre, heightened with
a few touches of white.
Heighth, 3 in. 2-lOths ; width, 7 in. l-\0th.
254.  A VILLAGE SEPARATED BY A DIKE.
This landscape represents a village, on each side of a large dike :
towards the middle of this dike, which leads into the sea, is a shep
herd with a flock of sheep. On the left are some houses partly
buried in the trees : more distant on the same side, near the edge
of the plate, is a pointed church steeple, and in the extreme distance
are several smaU vessels under sail. The rest of the viUage to the
right is composed of some little farm-houses, surrounded by round-
headed trees, and, nearer in the foreground, is another farm-house,
larger and higher than all the rest, before which to the right is a
tree rising a little above it. Further towards the same side, are

174 LANDSCAPES.
many small cottages and farm buildings, forming the continuation
of the viUage ; in the horizon is the spire of a steeple, and against
the edge of the plate, on the same side, are two veiy high trees.
Near the foot of the tree to the right of the principal farm-house,
may be distinctly read through the light work, letters which
De Clausin considers to be P. D. W. R. ; not, however, agreeing
with any monogram used by Rembrandt, but which the editor is
induced to consider, as in another instance, to be P. D. K., the ini
tials of De Koning.
This print is in the Museum at Amsterdam, and is perhaps
unique ; it is etched in a light and spirited manner.
Heighth, 3 in. ; width, 7 in. 2-10ths.
255. — LANDSCAPE, WITH TWO FISHERMEN.
Several houses are seen surrounded by trees on the side of a road
which goes off towards the left, and there is a little wooden bridge over
a canal coming from the right : under the trees nearest to the house
which occupies the middle, are some peasants ; and immediately in
front, are two men fishing. This print is possibly by Rembrandt ;
it was in the Denon collection, and is of the greatest rarity.
Heighth, 7 in. 2-lOths ; width, 3 in. 2-lOths.
256. — TWO DECAYED THATCHED COTTAGES.
Two thatched cottages are seen in perspective : that on the right
is the largest : near the door is an open window, with two children
standing before it ; the chimney projects on the outside. These
cottages take up nearly the whole of the print ; but on the left side,
in the distance, a viUage is seen, with a church steeple. Near the
middle of the foreground a road commences, which is carried back
before the cottages. Their appearance is very picturesque, being
decayed by time, and the thatch interspersed with moss and weeds.
Between them are some low trees or shrubs. This piece was in the
collection of the late Earl of Bute, and was considered as unique.
Heighth, 4 m. 4-lOths ; width, 7 in. 1-I0th.

LANDSCAPES. 175
257. — AN OLD BARN.
In the middle of the print is an old barn, covered with thatch,
which, like that in the last piece, is interspersed with moss and
weeds. On the right side some bushy trees grow up to it. A cart
is reared against the back of the bam, and a piece of wood lies on
the ground near it : on the left side is a man carrying two milk-
pails with a yoke. This piece was likewise in the collection of the
late Earl of Bute, and is also supposed to be unique. It is one of
those pieces which Rembrandt washed with Indian ink.
Heighth, 2 in. 9-10ths ; width, 4 in. 5-lOths.

Of the various Landscapes described in this catalogue, there is
reason to believe that several are not the work of Rembrandt ; but
they form that class of subjects with respect to which there is occa
sionally much contrariety of opinion. That called by Bartsch and
De Clausin, Le Paysage d la Barriere blanche, has been omitted,
as decidedly by De Kbning, the editor being in possession of
a first impression of it, marked in chalk P. de Kbning f. 1659, un
doubtedly the writing of that artist, who was a pupil of Rembrandt.
The Canal, with a little boat, No. 236 ; A Landscape with a wooden
bridge, No. 242 ; A Landscape with a canal and palisade, No.
243 ; A Cottage with a square chimney, No. 245 ; The House with
three Chimneys, No. 246 ; The Hay Waggon, No. 247 ; The Castle
No. 248 ; The Landscape with five cottages, unfinished, No. 251 ;
A Village separated by a dike, No. 254 ; The decayed Cottages,
No. 256 ; and, An old Barn, No. 257, are also doubtful. Two of
these are dated in 1659, the same year in which De Kbning 's Paysage
d la Barriere blanche was etched, after Rembrandt's insolvency,
and during his subsequent absence from Amsterdam, in which year
there is no print by his hand, except Peter and John at the gate
of the Temple : two others are probably marked with De Kbning' s
initials ; giving room to suppose that this artist executed at least
four of those on which doubts arise.

176

NINTH CLASS.

PORTRAITS OF MEN.

258. — A MAN IN AN ARBOUR.
He is sitting at a table in an arbour ; his face is seen in front,
but his body is inclined to the left ; his beard is short, and his head
is covered with the Mezetin cap : he rests his left hand on the
table, and appears to be pointing at some object with his right.
This piece is etched with spirit, and is scarce. Under a stroke near
the top on the left is written Rembrandt f. 1642.
Heighth, 2 in. 8-10ths ; width, 2 in. 2-lOths.
259. — A YOUNG MAN, SEEN TO THE KNEES, SITTING
IN A CHAIR.
The head of this young man is seen nearly in front, but inclined
a little towards the right, and covered with a bonnet. The body is
turned to the left and dressed in a flowered jacket; his right hand
rests on his thigh, and his left is on his breast. This figure has
much the appearance of a Scotch Highlander. The background
is shaded nearly as high as the top of the chair, and on the left
the shadow extends up to the date, which is 1650.
This piece is extremely rare, and has been always classed with
Rembrandt's works ; but it is one of those which, in the opinion
of persons most conversant with his etchings, is not by his hand.
Heighth, 3 in.; width, 2 in. 7-lOths.

PORTRAITS OF MEN. 177

260. — AN OLD MAN WITH A LARGE BEARD, LIFTING HIS HAND
TO HIS CAP : AN UNFINISHED PIECE.
The face is a three-quarters, and the head is covered with the
usual cap,, placed on one side ; his left hand is raised to it, in the
attitude of a person who is saluting another. The cap is highly
finished ; there is no other drapery made out, except the shirt
sleeve, and some fur which covers the elbow : the whole is etched
with the dry needle.
Heighth, 5 in. 4-\0ths ; width, 4 in. 5-10ths.
There are three impressions of this print.
First impression. It is extremely rare; and is 1-1 Oth of an inch
larger on the right side : it is printed with bur in all the outlines
indicating the dress ; and the background and edges of the plate
are very dirty.
Second impression. The bur is removed from the outlines of the
dress and the background : the plate is cleaned and reduced to
the size first described, and the edges are smoothed.
Third impression. The plate, which was purchased by M. Trible
oi Berlin, is finished by George Frederick Schmidt, after the
design of Le Sueur. It represents the old man standing, seen
to the knees, dressed in a long pelisse, which is open in front,
with a scarf, and a medallion attached to a gold chain, hanging
round his neck. His right hand is placed on a sheet of paper lying
on a table, where books and a bust of Homer are seen. Behind
the table is a casement, from which the light comes in : the
background is a library. Fifty impressions only were taken of
the finished plate, which is consequently extremely scarce. It
bears neither name nor date, but was executed in 1770.
261. — BUST OF AN OLD MAN WITH A LONG BEARD.
The head is uncovered, and the hair stands up a little on the
crown ; the forehead is wrinkled. The face is a three-quarters,
turned to the right, on which side the light comes in. The breast

178 PORTRAITS OF MEN.
is likewise Hght ; the attitude is that of a man sitting and looking
downwards. The background is shaded on the left as high as the
shoulder, and on the right side, about an inch from the bottom, is
.written Rt. The execution of this piece is spirited and brilhant.
Heighth, 4 in. 7-lOths ; width, 4 in. 2-lOths.
There are three impressions of it.
First impression. It is very rare : it measures 4 in. 7-lOths by
4 in. 6-lOths ; and was taken before the plate was cleaned. It
is spotty in several places as high as the neck of the old man,
and the date 1631 appears after the monogram Rt.
Second impression. The plate is reduced and worked upon, by
which the shadows are rendered much less agreeable, and the
date 1631 is cut off, the monogram only remaining.
There is a copy in the same direction as the original.
262. — BUST OF AN OLD MAN WITH A LONG BEARD.
This is the same head as the preceding, in a reversed direction,
etched in a hard manner. It was in the Denon CoUection, where
it was considered as the work of Rembrandt ; but the editor is in
clined to doubt its originality.
Heighth, 2 in. l-\0th ; width, 2 in. 3-lOths.
263. — A MAN WITH A CRUCIFIX AND CHAIN.
The head is a three-quarters, directed towards the left, and
covered with a calotte or leathern cap ; the hair flows loose. Round
the neck is a chain, from which hangs a crucifix. He holds a pen
in his right hand, and a paper lies before him, on which he is pre
paring to write, whUe his left hand rests on a book. His dress is rich,
with a fine fur cloak thrown over his right arm. This piece is finely
executed; the face and hair, in particular, are very delicately
touched, nearly without shade : the background is dark. To the left,
in a broad margin of nearly an inch, is written Rembrandt f. 1641.
Heighth, 6 in; ividth, 4 in.
There axe four impressions.

PORTRAITS OF MEN. 179
First impression. The shirt-collar does not appear. This is ex
tremely rare.
Second impression. The shirt-coUar is added ; but the background
is not finished to the top of the plate. This is scarce.
Third impression. The face is feeble, and lightly retouched in the
upper outline of the eyes, under the nose, and in the mouth. The
bust is more worked upon in the shaded parts, as is the back
ground, and the effect is rich and piquant.
Fourth impression. The background is finished to the top of the
plate, but the shadows have lost their brilliant effect, and are flat.

264.  AN OLD MAN, WITH A LARGE WHITE BEARD, AND
A FUR CAP.
This is a half-length figure of an old man, seen nearly in front,
with a fur cap on his head, and his beard white and long ; he is
sitting in an arm-chair, on which his right elbow rests, so as to
throw the hand across his breast in a loose hanging posture : he is
wrapped in a great gown or cloak. On the left side is written Rt. f.
The background is shaded as high as his right elbow.
Heighth, 5 in. 9-lOths; width, 5 in. \-10th.
There are two impressions.
First impression. All the shadows, particularly those in the face
and cap, are clear and are lightly executed, and the monogram
is delicately engraved. This is very scarce.
Second impression. The shadows are worked over, and the mono
gram is strongly marked : this impression is much less agree
able. 265. — PORTRAIT OF A MAN WITH A SHORT BEARD.
This is a half-length ; the body is directed towards the right, but
the face is turned so as to be seen in front; the beard is short and
rough, the head is covered with a fur cap, and the body with an
embroidered cloak. The background is shaded on the left side, as

180 PORTRAITS OF MEN.
high as the shoulder. On the same side, towards the top, is written
Rt. 1631, though this is barely legible.
Heighth, 5 in. 7-lQths ; width, 4 in. 9-10ths.
There are four impressions.
First impression. Itis presque unique, and measures 6 in. 6-\0ths,
by 5 in. 1-1 Oth. The hand, wliich looks like a left hand to a
right arm, is seen, and the monogram and date are wanting. As
P. Yver only mentions it from hearsay, it may be taken for
granted that it did not then exist in Holland in this state.
Second impression. In this, which is extremely rare, the hand and
the dimensions are the same, but the monogram and date are
added, with a little bur in the early impressions.
Third impression. The shadows are more worked upon, and the
character of the face is altered. The hand and arm are both taken
out, and something is substituted for the latter difficult to be un
derstood.
Fourth impression. The plate is reduced to 4 in. 9-lOths in width.
This print has been copied by De Clausin.
266. — PORTRAIT OF JAN ANTONIDES VANDER LINDEN.
This portrait is a half-length, well executed, and produces a fine
effect. Linden was a professor in the University of Leyden, and
is represented in his robe, standing in a garden before a ballustrade.
He has a neckband broad and plain, and the cuff at his wrist is
turned up in the same manner : he holds a book, which is shut
between the fingers of his left hand. His face is a three-quarters,
inclining to the left, his hair is curled, and his head uncovered.
The background consists of trees, except on the left, where, above
the balustrade, an arch or doorway in a wall is seen, and above the
wall the sky is visible. It measures, including a margin of 2 in. —
Heighth, 6 in. 9-lOths ; width, 4 in. l-10th.
There are three impressions.
First impression. In this, which is of the greatest rarity, the clear

PORTRAITS OF MEN. 181
parts of the arm are only shaded with the single stroke ; the ex
tremities of the foliage just at the top of the head are merely
traced in outline ; the wall where the door is seen is only shaded
with simple perpendicular lines, and the balusters are very indis
tinct. An impression was in the Denon coUection.
Second impression. The clear parts of the arm are covered with
cross lines ; the extremities of the foHage are shaded with fine
single strokes ; the wall where the door is seen is shaded with
horizontal over the perpendicular lines. The two balusters which
are indistinct in the first impression, are here more defined by
triple lines in their centres.
Third impression. The balusters are distinctly defined by strong
outlines.
267.— AN OLD MAN IN A FUR CAP, DIVIDED IN THE MIDDLE
This portrait is lightly etched with great spirit. The face is a
three-quarters, turned to the right ; the beard is large, round, and
bushy, and the head is covered with a high fur cap, the top of which
is fringed and divided in the middle : this cap falls over his left eye,
and discovers on the other side, part of a calotte under it ; the whole
of his right ear is visible, with the hair about it frizzled; the
body is seen in front, and covered in part with a cloak, being
open before ; his right hand is placed on a broad girdle, that goes
round the waist. There is a narrow margin, separated from the
lower part of the portrait by some horizontal lines : the background
is lightly shaded on the right, as high as the shoulder. In the top
corner is written Rembrandt f 1640. A fine impression is rare, in
which there is bur in the shadows, as also in the horizontal lines
making the margin.
Heighth, 3 in. 8-lOths ; width, 5 in. 5-lOths.
268.- — JANUS silvius. I
This is a portrait of a minister of Amsterdam. The face is a
three quarters turned to the left ; the beard is rather long, but not
bushy. On the head is a calotte, and round the neck a ruff. He

H

182 PORTRAITS OF MEN.
is sitting at a table drest in a garment bordered with fur, and a book
lies open before him, on which he rests his hands, one above the
other. In the backgiound is a large column, and to the right of
it an arch. On the left, above the book, is written Rembrandt,
1636.* This piece is laboriously finished.
There is a copy of it reversed, with four Latin verses, beginning
" Silvius en Janus, Ifc.''
Heighth 6 in. 5-\0 ths ; width 5 in. 5-lOths.
There are two impressions.
First impression. Very rare. It is clear and harmonious, though
rich in the shadows. In the Denon collection was an impression
in this state, touched with bistre and heightened with white.
Second impression. The shadows are harshly worked up, and the
harmony is destroyed.
269.  AN OLD MAN SITTING AT A TABLE.
This portrait is that of an old man bare-headed, with a long
beard, looking straight forward, and sitting at a table; his right
hand has a pen in it, and rests upon a book. This print is unfi
nished, particularly on the right side of it, which is only an outline.
It may be considered as presque unique, and was in the
collection of Houbraken, who parted with it to an English amateur,
with some other rarities. It was originaUy in the Burgomaster
Six's coUection. Heighth 8 in. 7-lOths; width 7 in. 4-lOths.
270. — A YOUNG MAN MUSING.
This is a finished piece, executed in a good taste, and has a fine
effect. A young man is represented sitting to the right ; his face,
which is a three quarters, and his body, are turned to the left, to
wards a table on which lie some books; his hair is short and straight,
his head is covered with the mezetin cap, and the body with a loose
night-gown turned up with fur ; round his neck is a worked scarf,
* Daidby quotes the date as 1643 ; Bartsch as 1633.

PORTRAITS OF MEN. 183
which hangs very low before. The countenance is tranquil, and
the attitude that of study. At the top, on the left, is written Rem
brandt f. 1637. The back-ground is shaded on both sides, nearly
as high as the shoulder.
Heighth 3 in. 8-lOths; width, 3 in. 2-lOths.
271. — MANASSEH BEN ISRAEL.
This person is the Jew mentioned in No. 40. He is seen in
front, his beard is light and even at the bottom, his mustachios are
rather long, and his hair short and straight ; on his head isa hat with
a broad brim, which turns up before, so as to hide the top of the
crown ; a very broad cape or neck-band covers his shoulders, and
his cloak is open before. On the right is written Rembrandt f
1636. The back ground is shaded a little above the shoulder on
the left. The plate is square at the top, but finished in an arch
below, which comes within 7-lOths of an inch of the bottom.
Height 5 in. 9-lOths; width, 4 in. 2-10ths.
There are two impressions of it.
First impression. The shadows of the beard are clear on the chin.
Second impression. This is more worked upon, and in the shadows
of the beard are more lines. At the bottom of the plate, about the
centre, is the mark of the vice, proving that Rembrandt revar-
nished this plate in order to rebite it.
This print has been copied by De Clausin.
272.  DOCTOR FAUSTUS.
The doctor is standing in his laboratory on the left side, behind
a table, on which he places his right-hand, while the left rests on
the 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 seen 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, and rays proceed from them. At the right.comer,
at the bottom, is seen half of a globe. Behind him is part of a

184 PORTRAITS OF MEN.
curtain, 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 chiaro-scuro has a consi
derable effect. Heighth, 8 in. 3-\0ths; width, 6 in. 3-lOths.
There axe five impressions.
First impression. The rays from the magic characters extend to
the top of the casement ; the plate is full of bur, principaUy seen
in the curtain behind the doctor, and on his right shoulder, and
the globe is not cross hatched. These impressions, which are
very rare, are usually on China paper.
Second impression. The rays extend only to the division which
crosses the middle of the casement, and much of the bur is
removed.
Third impression. More worked upon, particularly on the right
shoulder.
Fourth and fifth impressions. These are successively more worked
upon in the shoulder. 273. — RENIER ANSLOO.
Ansloo was an Anabaptist Minister : he is represented sitting in
an elbow chair, behind a covered table, in 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 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 the artist's best
and most finished portraits, and is very scarce.
Heighth, 7 in. 3-\0ihs ; width, 6 in. 2-lOlhs.

PORTRAITS OF MEN. 185
There are two impressions.
First impression. It is extremely rare : there is a white margin at
bottom, the work not having been carried down so low as in the
ordinary impression. This plate is in existence, and the addi
tional work has been burnished or wiped out, or the space covered,
in order to imitate the first impression. The difference is not
easily to be distinguished, as the plate looks well, and is fre
quently printed on the thick Indian paper.
Second impression. The work is prolonged to the lower edge of
the plate.
The best copies of Rembrandt's pieces are said to have been
made by Solomon Savfy ; and there is a fine copy of this por
trait by him, in the same direction as the original, but it is
larger, measuring 7 in. 7-\0ths by 7, and when entire, higher,
for the margin is generally cut off, to favour the deceit ; having
some Dutch verses in it, beginning " Siet Ansloos Beeltnis," and
ending " steeds verlaten." 274. — CLEMENT DE JONGE. hi
This is the portrait of a printseller; he is represented 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,
wears a cloak which is open before, and 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 back
ground is etched on the left side as high as the hat, and on the
right as high as the elbow. In the right comer, at the bottom, in
all the impressions, is written Rembrandt f. 1651.
Heighth, 8 in. 2-lOths ; width, 6 in. 4-10ths.
There axe five impressions ; the three last are arched within the
plate.
)„ "iJAirst impression. It is extremely rare. The upper bar of the chair
i is left white ; the background, seen under the bar, is shaded, but
the piece in general is less worked upon. The face appears more
N

186 PORTRAITS OF MEN.
expressive, than when more finished : the upper part of the
background is white.
Second impression. This is still scarcer ; the bar of the chair is
etched with the single stroke, and the portrait is slightly worked
upon. The background remains white, as in the first impres
sion.
Third impression. This is scarce. An arch is introduced within
the square, with a few single etchings under the right side of it.
The face and hat are more worked upon.
Fourth impressiou. There is more shade under the right of the
arch introduced, and some etching across the line of the arch on
the left side : a buckle is added to the hat-band.
Fifth impression. The background under the bar of the chair is
scraped so as to appear white : the body and cloak are shaded
with cross lines. In the early impressions of the print in this
state, the effect is brilliant, and the edges of the plate are dirty.
275.  ABRAHAM FRANSZ.
He is represented sitting in an elbow-chair under a window on
the right, holding up a print which he is viewing with great atten
tion. His hair is dark, and he has mustaches : he is dressed in a
richly flowered coat, with a cape, and with tassels hanging from
it. Before him is a large table, on which a portfolio lies open ; and
on the left is a skull, with two vases, and a small sitting Chi
nese figure. On the wall in front hangs an arched picture of
the crucifixion, with folding doors open, and subjects painted in
the inside of them. On each side of the crucifixion hangs another
arched picture ; that on the left side is a landscape ; the subject of
the other is concealed from view by the arm and head of Fransz.
This piece is full of work, and is well finished, and the chiaro scuro
in some of the impressions has a fine effect. It is scarce.
Heighth, 6 in. 2-lOths ; width, 8 in. 2-lOths.
There are six impressions.

PORTRAITS OF MEN. 187
First impression. There is a window curtain, which is thrown back
with its end over one of the folding doors of the picture, and
sunbeams are visible before the curtain. There is no landscape
seen through the window. He is not sitting on a chair as in the
other impressions, but, it may be supposed, on a stool or bench,
his left leg stretched out towards the right corner of the print :
his hair is light.
Second impression. The curtain remains, but there are no sun
beams, or landscape. The stool is altered to an elbow-chair.
Third impression. The curtain is taken away. Two vases are seen
imperfectly on the table near the Chinese figure. The hair stiU
remains light, and the trees are not yet introduced. The right-
hand has still the effect of holding- the print, but in the remaining
impressions it has a different one. The three first impressions
are aU of them extremely rare.
Fourth impression. This is very scarce. His hair is dark ; his
right-hand seems to rest upon the top of the print, rather than
to be holding it up as in the former impressions. There are trees
seen through the window. The hat which lies on a stool under
the window, is more distinctly seen than in any of the other im
pressions. The shadow on the background above the table, is
not massy as in the last and future impressions, but is etched
with little more shade than in the other parts below the pictures,
and the background above them is likewise lighter.
Fifth impression, The shade above the table is very dark, as is
likewise the background in the upper part ; the trees are covered
with horizontal lines, and the print in general is more worked
upon.
Sixth impression. The print is still more highly finished, or pro
bably retouched. 276. — OLD HAARING.
He was an auctioneer, and burgomaster of Amsterdam, and
called old to distinguish the portrait from that of his son, re
presented in the print next described. He is represented sitting
n2

188 PORTRAITS OF MEN.
in a chair, and is seen in front ; his elbows are supported on
the arms of the chair, while his left-hand hangs down, and his
right is raised, and disposed as if he held a pinch of snuff between
his fingers and thumb. His hair is white, and his head is covered
with the calotte. Two tassels hang from a broad band or cape, and
the linen at his sleeves is turned up in the like manner as the cape ;
both of his knees, and the upper part of the legs, are seen. Above
him is a casement, with a curtain drawn to the left side of it, which
cuts off the top corner of the window. There is the finest possible
expression in the face of this portrait, the composition and execu
tion of which are in the most masterly style. It is very scarce.
Heighth, 7 in. 7-lOths ; width, 5 in. 8-\0ths.
There are three impressions.
First impression. It is of the greatest rarity, and is a mere slight
etching.
Second impression. This is equally rare. The window is quite
square, and without the division in the middle, and the window
itself is less worked. The curtain is narrower at the top than the
bottom, and hangs down in large folds : the clothes are darker
than in the former impression.
Third impression. The curtain is increased at the top, with addi
tional drapery, which seems to be done with the design of break
ing the square form of the window, of which it cuts offa part from
the top diagonally. The piUar which divides the window in two
is now inserted, and the drapery is lighter and more pleasing.
The early impressions in this state are brilliant with bur, and
the effect is magical. 277. — YOUNG HAARING.
He was the son of the burgomaster. This piece is executed in
Rembrandt's dark manner, and the chiaro scuro has a strong effect.
The Hght comes through the window, and falls full on his left cheek

PORTRAITS OF MEN. 189
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 reversed.
Heighth, 7 in. 7-\0ths ; width, 5 in. 8-lOths.
There are four impressions.
First impression. It is extremely rare : the curtain and rod are not
introduced, nor are the cuffs of his sleeves, and the whole is less
worked upon, the head and the left-hand being almost the only
parts of the figure perfectly visible in this state : it bears strongly
the appearance of mezzotinto. The name and date are likewise
wanting.
Second impression. The curtain and rod, and the cuffs of the sleeves,
are introduced. This impression has a fine effect when printed
full of the bur, but it is very scarce. In the ordinary impressions
of this state, where the curtain and the figure are very percept
ible, the harmony is lost.
Third impression. The plate is in general worn lighter, and on the
left side hangs an arched landscape, the subject of which is a
fisherman standing by his boat with a mast and saU across his
shoulders ; on the right is a large tree, and on the left, beyond
the water, a windmill with a house. The plate has probably fallen
into the hands of some print-dealer or artist, after it has been
much worn, who has made this alteration.
Fourth impression. The plate reduced to 4 in. 7-\0ths by 4 in. ;
the bust only remaining. 278.  JOHN LUTMA.
This person was a noted goldsmith of Groningen. His portrait is
one of Rembrandt's best prints : the expression of the face is parti
cularly spirited. He is sitting in an elbow-chair, with his arms rest-

190 PORTRAITS OF MEN.
ing 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 busby. At his left elbow is a table, on which lies a scallop-
shell 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 ap
parently not by Rembrandt) " Johannes Lutma, aurifex, natus
Groningse.'- To the right is a window, in the right corner of which
stands a water-bottle. In the top corner of the window on the left
is written Rembrandt f 1656.
Heighth, 7 in. 8- lOths ; width, 5 in. 9-lOths.
There are four impressions of this piece.
First impression. This is extremely rare : the window and bottle
are not introduced, and the rest is in a very unfinished state, the
aquafortis having failed.
Second impression. It is very scarce. The window and bottle are
still wanting, as are the names of Lutma and Rembrandt, and
the date, but the rest of the piece is highly worked on.
Third impression. The window and bottle are added, as are like
wise the names of Rembrandt and Lutma, and the inscription. In
this state it is still very beautiful ; but fine impressions on China
paper are scarce.
Fourth impression. The plate is reduced in size, being only 7 in
&-\0ths high, including a margin of a quarter of an inch. This
was in M. Van Leyden s collection, and is said to be presque
unique, though of little real value, the plate, we presume, being
immediately destroyed. 279.— JOHN ASSELYN.
John Asselyn was a painter; the name of Crabbetje was given
him by the Bentivogli Society at Rome, on account, it is said, of
a crookedness in his fingers. He is represented a half-length, stand
ing, turned a little to the left ; his hair falls upon his neck ; on his
head is a high-crowned hat, turned up on the left side, and round
his neck is a band, with tassels hanging from it. He wears a cloak*

PORTRAITS OF MEN. 191
tied round the waist with a sash ; his left-hand, from which hangs
a glove, is placed on his hip, and his right-hand has a glove on,
and rests upon a table on which lies his pallet with several port
folios ; he has ruffles at his hands. In the right corner at the
bottom is written Rembrandt, with the date, which cannot be made
out. It measures, including a margin 1 in. 1-I0th broad —
Heighth, 8 in. 5-lOths ; width, 6 in. 7-lOths.
There are three impressions.
First impression. It is extremely rare : there is an easel standing
behind him, with a large picture on it, on which is painted some
architecture ; and there are a few slight etchings in the back
ground, to the left of the easel and above it. This impression
has a fine effect.
Second impression. The easel and picture are effaced, but there are
traces of it very visible in the background, and above the arm
and shoulder.
Third impression. The background is cleaned ; a little bur remains
in the early impressions. «-."•
280. — EPHRAIM BONUS.
This person was a Jewish physician. He is represented coming
down a staircase, as if deliberating on the case of a patient, 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 fore-finger of his right-
hand is a diamond ring. He has a band round his neck, and a
cuff at his sleeve. This piece is probably the finest of Rem
brandt's portraits ; the face is full of expression, and the chiaro scuro
has a masterly effect. Towards the bottom, at the right corner, is
to be read (though with difficulty) Rembrandt f 1647. It is scarce,
and measures, including a margin of 1 in. 7-10ths, —
Heighth, 9 iu. 5-lOlhs. ; width, 7 in.

192 PORTRAITS OF MEN.
There are two impressions.
First impression. This is of extraordinary rarity. The hand is
clumsy, and the fingers are but little etched ; the stone of the ring
is dark ; the lower part of the fold of the cloak is white, and the
balustrade is very unfinished.
Second impression. The hand is more worked upon, and its form
more naturaUy expressed ; the ring is made white ; the light on
the lower part of the fold of the cloak is worked over, and the
balustrade is finished. Fine impressions in this state, with bur
on the balustrade, are very uncommon.

281.  WTENBOGARDUS, OR UYTENBOGAERT, A DUTCH
MINISTER.
This minister was of the sect of the Remonstrants, and lived un
der the government of Prince Maurice, whom he always opposed,
and for some time successfully, but was at length obUged to fly
from the prince's resentment. This subject 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 is an open book,
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 back
ground. 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 four Latin lines by Grotius, commencing,
" Quern pia mirari plebes,'1 and ending, " Wtenbogardus sic tutus,
Haga redit. H. Grotius''
Heighth, 8 in. 8-lOths ; width, 7 in. 3-lOths.
There are four impressions.

PORTRAITS OF MEN. 193
First impression. This is of the greatest rarity. The curtain on the
right is wanting ; the plate is less worked upon in general, and
the ruff is merely in outline : the Latin verses are not inserted.
The plate is rectangular, measuring 9 in. 9-lOths by 7 in. 2-lOths.
This impression is in the Museum at Amsterdam.
Second impression. EquaUy rare. The ruff is more worked upon
throughout ; the face a little more so, rendering the expression
admirable ; in other respects the plate appears to be the same.
Third impression. The curtain is added ; the whole portrait worked
upon and finished, and the position and character of the head
altered to a disadvantage. The books are different in form, and
the plate is reduced to an octagon, but with angles or ears at the
corners on the right and left sides ; the Latin verses are added.
This is very scarce, and a beautiful print.
Fourth impression. The angles or ears in the octagon are sup
pressed ; and much of the brilliancy is gone.
This plate has been barbarously retouched.
282. — JOHN CORNELIUS SYLVIUS.
John Cornelius Sylvius, was a minister of great learning. This
portrait is in an oval, round which is written " Spes mea Christus,"
which was his motto, and "Johannes Cornelii Sylvius, Amstelo-
damo — bat : fundus S. S. Minist : annos 45 et 6 menses," &c. At
the bottom, in a broad margin, are some Latin verses, beginning :
" Cujus adorandum docuit Facundia Christum," &c.
This is one of Rembrandt's best portraits. It is very scarce, espe
cially a good impression of it ; as the etching being tender, 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 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,

194 PORTRAITS OF MEN.
and is addressing his audience with his right-hand, which projects
in front, and casts a shadow that extends beyond the oval, as like
wise does the book, and the effect produced is very striking.
Behind him is a pillar, and on the left side a curtain which is drawn
up, and which likewise casts a little shade beyond the oval. A
square is discovered without the oval. On the pillar, near the top,
is written Rembrandt, 1645. The plate measures 1 1 in. by 7 in.
5-]Qths; but the oval only 7 in. 5-lOths by 6 in. 3-10ths.
An impression of this print in Lord Aylesford's collection is pro
bably the finest existing. It belonged to Silvius himself, and from
his family passed to M. B. de Bosch, at whose sale it was bought by
Josi. No variation of it is known.

283. — UYTENBOGAERT : CALLED "THE GOLDWEIGHER.''
The composition, effect, and execution of this piece are excellent.
He was receiver-general to the States of Holland, and is represented
sitting in the counting-house. His face is seen nearly in front, with
mustaches ; his hair is short, and 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 ac
count 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, and who 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 a wall
is a large arched picture, which represents the history of the brazen
serpent, and to the right of it hangs a sword. This piece is very

PORTRAITS OF MEN. 195
scarce, and measures 10 m. by 8 in. including a margin of 6-\0lhs
of an inch, in which is written Rembrandt f 1639.
There are three impressions of it.
First impression. It is extremely rare ; the face is blank, except
two or three strokes for the features.*
Second impression. Very rare ; the Receiver's head is finished, and
the money in the cask more expressed. In this state the whole
effect is brilliant.
Third impression. Entirely retouched ; by which all the beauty
and vigour of tone are gone, and the print is heavy and muddy :
there is additional work in the picture hanging up; forming rays
proceeding from the brazen serpent, which are very different from
any thing in the preceding impression. In this state it is mostly
met with on thick spurious India paper.
There is a copy by Van Bruges, which is reversed.
There is likewise an excellent copy by Captain Baillie, in the
same direction as the original, but the head is rather more up
right. 284.  PORTRAIT OF COPPENOL : A SMALL PLATE.
Lieven van Coppenol was a writing-master in Holland, and this
print is called the Little Coppenol, to distinguish it from a larger
portrait of him, which will be described in the next number. He
is represented half-length, sitting at a table, which is in the left
corner of the print ; his body is in profile, but his face is seen nearly

* In the Denon collection was an impression in the first state, in which
Rembrandt has drawn in the head in a most masterly manner ; but the
features are not those of the finished portrait; and he has worked over
the whole print with bistre, giving to it the fine mellow effect of a paint
ing. This impression is now in the possession of the editor. It is not
unlikely that Rembrandt perhaps waited for the actual portrait of the
Receiver, so as to cause the vacancy for the face ; and in the meantime,
in the impression here noticed, supplied a countenance, to please him
self with the perfect effect.

196 PORTRAITS OF MEN.
in front, being turned to speak to a boy who stands behind him,
with his hat in his hand, for whose instruction he is striking an
oval. His hair is very short, and he wears a calotte ; he has no
beard, but short mustaches ; his coat is turned up with cuffs ; on
the table lie several sheets of writing-paper, and Coppenol rests his
left-hand upon one of them. Above the table is a window, the up
per corner only of which is seen ; from this window the light pro
ceeds, and not from a candle that stands at the bottom of it. To
the right of the window hang two wooden squares, and a pair of
compasses. This piece produces a strong effect, and is scarce. The
size, including a margin of an inch, is
Heighth, 10 in. 2-10ths; width, 7 in. 5-10ths.
There are five impressions of this print.
First impression. This is of the greatest rarity. It is before the
mathematical instruments were introduced ; and the candle and
candlestick are less worked than in the other impressions ; the
lower part or plate of the candlestick being only outlined, without
any shade on the under side ; and the feather of the pen is white
and shorter, without a stroke of shade. This impression has the
semi-oval, which in Holland is called the ox's eye, but it is not
very distinct.*
Second impression. It is extremely rare. The mathematical instru
ments are introduced, hanging up near the window.
Third impression. The ox's eye is not seen. On the wall is a large
picture, with folding-doors. The subject is the crucifixion, with
with the Maries weeping at the foot of the cross. Within the
left folding door are seen some houses, but the subject on the
other is not readily to be made out. It is very scarce.
Fourth impression. It is scarce. There is neither the picture nor

* The editor possesses a first impression on China paper, doubtless
printed by Rembrandt himself; the ink is purposely left as a tint on por
tions of the spaces which would otherwise he clear, and the boy's face is
in shadow : the effect is one of Rembrandt's finest.

PORTRAITS OF MEN. 197
the ox's eye, but that part of the print is rudely scratched, leaving
traces of the alteration.
Fifth impression. The ox's eye is again introduced ; the wall
where the picture hung is finished in a dark shade, and the figures
are likewise more finished.

285. — PORTRAIT OF COPPENOL : A LARGE PLATE.
This portrait is called The Great Coppenol, to distinguish it from
the preceding. It is a masterly performance ; the countenance is
most 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,
the head covered with the calotte ; his hair is short and white, and
he wears small mustaches, but no beard. He has a large plain band
round his neck ; his habit is a kind of cassock, with small buttons
close together, and with open cuffs at the 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 in little more than the head. This reduced plate is
still in existence, and there are good impressions of it ; so
that many were not taken off when the plate was entire, for the
head is delicately etched. Coppenol wrote some verses under several
impressions of the entire print, as likewise under the smaUer por
traits of himself. They are, generally speaking, fine bold displays
of penmanship. Heighth, \3in. 5-lOths ; widths, 11 in. 6-10ths.
There axe four impressions of it.
First impression. This may be regarded as presque unique ; the
background is white, except a column reaching to the top of the
plate, on the left side, and which column is only shaded with
single strokes to the middle of its height : the right sleeve is
white.
Second impression. Of extraordinary rarity. The background is still

198 PORTRAITS OF MEN.
white, but the sleeve, clear in the preceding impression, in this
is shaded with light single lines, and the shadow of the column
extends beyond three-fourths of its height. These impressions
are found in the Royal Collection at Paris.
Third impression. Very scarce. The background is covered with
etchings : the column is not seen ; but a large curtain is intro
duced, which reaches nearly to the extremity on both sides ; and
the habit, particularly on the left arm, is more shaded.
Fourth impression. This is scarce : the background is darker, the
curtain has more folds, and, in general, the sleeves and the fore
part of the habit are more shadowed.
Fifth impression. The plate is reduced to 6 in. by 5 in. 2-lOths.
including a margin of half an inch, leaving only the bust.
This print has been copied in France.
286. — PORTRAIT OF VAN TOLLING.
This person, who was a Dutch advocate, is seated behind a table,
in an elbow-chair, in the right corner of which is a grotesque head.*
The frame is studded with nails of different sizes. His face
is seen nearly in front. He wears a hat with a high crown and
a broad brim. The bottom of the crown is tied round with a cord ;
his hair is very short, he has a long square beard, and hair
on his upper lip. Both his arms are supported on the elbows
of his chair. In his right-hand, which he turns towards his body,
is a pair of spectacles ; while his left-hand is shut, and rests on the
corner of a large book lying before him, placed on another book and
some loose paper. He has a large plain neck-band, and wears a
gown turned up with fur in front. In the right corner are three
bottles, in one of which is a receiver. These bottles are a symbol
of chemistry, in which Van Tolling is said to have been a proficient.
The background is shaded a little above the bottles, and on the left

* This chair appears to have been the one in which persons usually
sat to Rembrandt for their portraits, as it appears also in the prints of
Lutma, and the old Haaring.

PORTRAITS OF MEN. 199
side the shade rises higher than the top of the chair. This is a very
fine portrait, and is of the greatest rarity. It measures, including
a margin of half an inch,
Heighth, 7 in. 7-lOths ; width, 5 in. 8-lOths.
There are two impressions.
First impression. The beard is divided in the middle, and is full
of bur, as is also the habit, which has large patches of it in a
great many places. In this state it is found in the British Mu
seum, and in the collection of Mr. Rudge.
Second impression. The beard is square, part of the patch of bur
which divided it in the middle not being seen : the bur is removed,
or does not appear in the same patches and quantity, and there
seems to be some additional work on the breast, crossing the
other work with light strokes. In this state it is found in the
Van Leyden collection, in the Museum at Amsterdam, and in
the collection of the editor : that in the editor's possession, is
the only impression known on China paper.
It is proper to add, that there is some doubt which of the two
is the first state of this portrait.
287.— THE BURGOMASTER SIX.
This celebrated portrait is one oi Rembrandt's best performances,
the chiaro scuro being as finely preserved as in his best paintings.
The burgomaster is represented full-length, standing, and leaning
with his back against a window, the lower casement of which is open.
— He is reading a pamphlet, which he holds doubled in his
hands. As the whole piece is Uluminated from the window, all the
light thrown upon the face is by reflection from the book, and
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 fuU and bushy, waving gently and gracefully to his shoul
ders ; 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

200 PORTRAITS OF MEN.
the window-frame, and part on a table, on which are 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. Below
the window the floor is raised a step, and the waU 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 M, and a little farther on 29.
This print is extremely rare.
Heighth, 9 in. 6-i.Oths ; width, 7 in. 6-10ths.
There are three impressions of it.
First impression. Is is of the very greatest rarity : the name and
age of the Burgomaster and of Rembrandt axe wanting ; a stone
sill appears to the window, extending half-way up the arm of the
Burgomaster. Superb impressions in this state are in the Mu
seum at Amsterdam and in the Royal Collection at Paris.
Second impression. It is of very great rarity. The window-sill is
suppressed, some traces of which are visible near the arm of the
Burgomaster ; the name of Rembrandt is added in the margin
in the right corner, with the date 1647, the two middle figures
reversed. This impression, when in good condition, on China
paper, is as beautiful in effect as the first.
Third impression. The name and age of the Burgomaster are added
in the margin at the left corner ; the middle figures of the date
are effaced, and inserted in their right direction. The hat, stick,
matting, and various parts of the background are more worked on.
Impressions in this state are extremely rare, and as beautiful as
those in the second state ; in these, the name and age of the
Burgomaster are fuU of bur.
As Six was the particular friend of Rembrandt, it is not sur
prising that he exerted all his abUities in finishing this plate, which

PORTRAITS OF MEN. 201
was the property of the Burgomaster himself, but whether as a pur
chase or a present is uncertain.
Gersaint relates, that in one of his journeys to Holland, he hap
pened to be at Amsterdam when Six's Cabinet was selling. It
consisted of a large collection of prints, and some paintings by the
best masters. He purchased several prints, and among others three
or four portraits of the owner ; for as there were twenty-five of
them, they sold for no more than from fifteen to eighteen florins
ach. In 1750, it was purchased in Holland, for an English ama-
-ir, for 150 florins. At Mr. Batt's sale, in 1756, it was sold for
'34. 13s. It is difficult to say what a first or a second impression
v/ould now fetch, so great is the rarity of each.
It is said, that when Beringhen made his collection, he could not
procure this print, at any expence ; and therefore consoled himself
with a copy, now with the rest of the collection, in the King of
France's Cabinet ; and it is so well executed as to have deceived
several amateurs.
To account for this, it must be supposed that the plate was at
that time mislaid, as impressions in the ordinary state are not of
such rarity as Gersaint's statement presumes ; and the plate does
or did lately exist, as appears from the impressions occasionaUy
found, — shadows or skeletons of its former beauty.
Such impressions, and indeed good ones also, have been washed
np and worked over, the name and age of Six erased, and the mid
dle figures in the date removed, to imitate the second impressions.
It has been copied by Basan and others, without a particle of
the spirit or qualities of the original.

202

TENTH CLASS.

FANCY HEADS OF MEN.

THREE ORIENTAL HEADS.
288.— First Head.
These heads are executed in the style of Castiglione. The head
of the first, which is said to be the portrait of Cats, tutor to Wil
liam II, Prince of Orange, is a full front, shewing both ears; the
body is turned a little to the left. On the head is a calotte ; there
is no hair but a single tuft seen, which comes from under it down
the middle of the forehead ; he has mustaches, and the eyes are full
and staring. He wears a robe turned up with fur, and adorned
with a chain, at which hangs a medaUion. The background is
shaded with loose irregular hatchings on the left to the top, and
on the right as high as the ear. This piece is etched strongly
and with spirit. Above the head is written Rembrandt, and some
singular characters, with the date 1635 underneath, are added :
These characters are said to form the word Venetiis ; but the editor
cannot satisfy himself that such is the case.
Heighth, 5 in. 9-l0ths ; width, 4 in. 9-10ths.
289. — Second Head.
This is a profile turned to the left ; on the head is a rich turban,
with fur at the top ; the robe is also turned up with fur. The mus-

FANCY HEADS OF MEN. 203
taches are bristly ; the background on the right is shaded with ir
regular hatchings nearly to the top. Above the head is written
Rembrandt, in characters similar to those in the former piece,
with the word fecit in the same style added. The d in Rem
brandt is reversed. This piece is likewise a strong and spirited
etching. Heighth, 5 in. 9-lOths ; width, 4 in. 9-lOths.
290. —Third Head.
This is an old man seen iu profile, turned to the right. He wears
an embroidered turban, the ends of which hang down behind, and
are fringed : in front is a feather. He has mustaches on his upper
lip, and his beard is long and black ; the whole of the figure is
etched in a particularly vigorous style. The background is almost
covered with loose hatchings, executed in a very singular manner.
Near the top on the left is written Rembrandt, (the d reversed)
with similar characters to those noticed in the preceding ; the letter
f is under them, and the date 1635 beneath. This piece is ex
tremely rare. Heighth, 6 in. 2-lOths ; width 5 in. 3-10ths.
There are copies of these three heads, executed by Livens, who
put his mark to them. They are the heads from which it has been
inferred that Rembrandt was at Venice, and executed them there
in the year 1635 ; but there is no proof of his ever having been in
Italy, whatever may have been his motive for marking these heads
in the manner he has done.
There is a copy of the third head, executed by Basan, and in
tended to deceive the unwary ; and as the original is extremely
rare, there is not a ready means of detection. A marked difference
however, may be seen in the first letter of the characters said to
signify Venetiis, which in the original is like an inverted g, with a
long tail ; but in the copy is more like a p, and the tail is in part
disconnected. (i 2

204 FANCY HEADS OF MEN.
291.  A YOUNG MAN IN A MEZETIN CAP.
This is a bust ; the hair is dark, and reaches to the shoulders;
the beard is that of a Jew; the face is nearly a profile, turned
to the left, and the body is habited in a dark robe. In the
background, there are a few single strokes on the right side, as
high as the shoulder ; and on the left opposite to the mouth is
written Rt. Heighth, 6 in. 2-lOths ; width, 5 in. 3-lOths.
There are two impressions of this piece.
First impression. Of the greatest rarity. It is less worked upon,
and there is much less hair down the side of the face, than in the
finished impression. The effect is brilliant and beautiful. It is
before the monogram.
Second impression. More finished ; the quantity of hair consider
ably increased, and the monogram added. The early impres
sions, with bur, have a very piquant effect.
It has been copied in the reverse direction by Livens.
292. — THE BUST OF AN OLD MAN WITH A LARGE BEARD.
He is seen nearly in front, turning a little to the left, with his
head inclining, and his eyes almost shut, as if going to sleep.
His beard is long and square : he has on a fur cap bound round
with a scarf, that falls down behind his shoulders. His cloak is
fastened over the breast with a clasp, but the cape is" open. The
background is shaded on the left, half-way up, and with a iew
single strokes on the right side, opposite to the neck. Towards the
top left corner is written Rembrandt.
Heighth, 4 in. 4-lOths ; width, 4 in. 1-I0th.
293.  THE BUST OF AN OLD MAN, BALD-HEADED, WITH
A LONG BEARD.
The fore-part of the head is bald, but on the crown the hair stands
up and is frizzled ; the beard is long and white ; the face is seen

FANCY HEADS OF MEN. 205
in front, but entirely in shadow, except a small space on the left
side of the forehead, and on the nose : he is in a stooping attitude,
his body turned a little to the right, and covered with a gown
turned up with fur ; his right shoulder is not worked upon.
Heighth, 2 in. 8-\0ths ; width, 2 in. 5-\0ths.
294.  PROFILE OF A BALD-HEADED MAN.
He is turned to the right, and is bald before, with short hair
behind, and mustaches on the upper lip and chin ; the eyes are
turned a little downward. He is dressed in a fur gown. The back
ground is almost light near the bottom, but deeply shaded towards
the upper part. Low down on the right side is written Rt. 1630.
Heighth, 2 in. 7-lOths ; width, 2 in. 3-10ths.
Of this piece there are three impressions.
First impression. Extremely rare. He is covered with a robe bor
dered with ermine, and round his neck hangs a chain, with the
insignia of some order to it. The ground is white, except a
few strokes on the left, opposite the shoulder. In the middle
of the margin is written Rt. 1630, and a little on one side Rt. 163,
the cypher wanting. This measures 4 in. 7-10ths. by 3 in.
8-lOths. The effect is admirable.
Second impression. It is extremely rare ; it contains only the head
and the upper part of the shoulder, the body having been effaced.
The background is white. Towards the middle at the bottom is
written Rt. It is the same size as the preceding, and in both
states the edges of the plate are ragged and dirty.
Third impression. The size of the plate is reduced to 2 in. 7-\0ths,
by 2 in. 3-lOths* 295.  PROFILE OF A BALD-HEADED MAN. H
This head, which is presumptively the same as the preceding,
is seen in profile, turned to the right, but is more stooping ; the
* Daidby mentions a fourth impression, two-tenths of an inch less
wide, but this wants confirmation.

206 FANCY HEADS OF MEN.
character, however, is evidently the same : the background is lightly
shaded on the right side, as high as the chair, and in the left corner
at the top is written Rt. 1630.
Heighth, 2 in. 2-\0ths ; width, 1 in. 7-10ths.
Of this there are two impressions.
First impression. It is before the name and date, and is very
scarce.
Second impression. The name and date are added.

296. — AN OLD MAN WITH A BALD HEAD.
This is a small bust. The face is a three-quarters, turned to
wards the left, and looking downward ; the head is bald before, and
the beard grizzly ; the light comes in at the right side, and the back
ground is a little shaded on the left at the bottom. This piece is
executed with a light stroke. It is scarce, and a good impression
is very seldom to be found : it measures 1 in. 7-lOths square.
297. — AN OLD MAN WITH A BEARD.
This print is excessively rare : it is a bust, very well executed.
The face is a three-quarters, turned to the left ; the hair is curled,
and a little bushy. The figure is covered with a cloak, which is
light, as well as the side of the head, to the right. Near the top on
the left is written Rt. 1631.
Heighth, 2 in. l-lOth; width, 1 in. 8-10ths.
298.  BUST OF A BALD OLD MAN, WITH HIS MOUTH OPEN.
The head is entirely bald, and leans forward ; the mouth is open,
the beard is bristly, the body is turned a little to the right, from
whence the light comes in full upon the head, the nose, and the
left shoulder : the background is quite white. In the left corner
near the top is written Rt. 1631. This piece is not well executed,
but it has a strong effect, and is scarce.
Heighth, 2 in. 7-lOths ; width, 2 in. 2-lOths.
There are two impressions of it.

FANCY HEADS OF MEN. 207
ression. This produces a most agreeable effect, and is
irce ; the whole is little wrought upon, particularly on the
ulder, where the folds of the cloak are very lightly shaded
lgle strokes, above the margin.
ipression. The shade is cross-hatched, and the whole is
Diked ; the teeth are obliterated, and the ear is more defined.

BUST OF AN OLD MAN WITHOUT A BEARD, IN A VERY
HIGH FUR CAP.
;tle bust is seen nearly in front, stooping, but rather in-
the right, from whence the light comes in ; the figure
)lly clear on the right side, and lightly shaded on the left.
;ad is a very high fur cap, square at the top, and covering
rows. He has no beard. His habit is double-breasted,
nth a button on the left side. The background is white.
Heighth, 1 in. 7-\0ths ; width, 1 in. 2-lOths.
-BUST OF A MAN WITH A BEARD FROM EAR TO EAR.
ze is a three-quarters, turned to the left, and shadowed on
side : he has a Jewish beard, very much curled ; his
open and he appears to be crying out. On the head is a
his shoulders are covered with a worked cloak. This is
e pieces from the leaf of sketches, No. 360, and is very
[t is etched in a hard manner, with a strong point.
Heighth, 1 in. 6-lOths; width, 1 in. 4-10ths.
axe three impressions of it.
ression. It is extremely rare : the cloak is not shadowed
e margin on the right side, and on the left there is a little
eft on the breast.
ipression. The cloak is shaded towards the breast.
pression. That part of the breast seen between the open-
the cloak, which in the preceding is etched with the single
is here cross-hatched.

208 FANCY HEADS OF MEN.
301. — AN OLD MAN WITH A SHORT BEARD.
This is a small head of an old man, the beard of wliich is short
and frizzled. It is of extraordinary rarity, and measures an inch
square.

302. — THE SLAVE WITH THE GREAT CAP.
This is another small bust ; the face is a three-quarters, turned
to the right over the shoulder, and shaded on the same side. The
cap is very high, the contour waving, and it is turned up round
the head : it reaches the extremity of the plate on the right side :
the shoulders and breast are only traced. It is scarce, and mea
sures J in.5-l0ths by 9-lOths at top, and nearly 9-1 Olhs at the
bottom. Of this piece there are two impressions.
First impression. It is very scarce ; the shadow on the right side
of the cap does not reach to the top.
Second impression. The shadow reaches to the top ; the face and
neck are likewise more shaded, and that part of the cap which
is turned up is shaded, while in the first impression it is light.

303. — A TURKISH SLAVE.
This is another smaU bust, representing probably a Turkish slave
in profile, placed on the left side of the plate and turned to the
right. It is very lightly etched, and shadowed only down the back.
On the head is a cap, larger at the top than at the bottom ; he has
mustaches, and wears a ruff longer before than at the side. The
background is white. This piece is one from the leaf of sketches,
No. 360, and is rare.
Heighth, 1 in. 5-lOths ; width, 9-lOths.
There are two impressions of it.

FANCY HEADS OF MEN. 209
First impression. This is very rare ; only the top of the cloak is
shadowed, and the plate is not cleaned.
Second impression. The shadows of the back are brought down
and cover all the body, and the plate is cleaned. n 2l|
304. — BUST OF A MAN SEEN IN FRONT IN A CAP.
The head is nearly in front, covered with a low cap ; both ears
are seen, particularly the left : he has thin mustaches ; his cloak
is bordered with fur, and open before ; the light comes full on the
upper part of his left cheek, his forehead and nose, and catches on
the breast. The background is shaded, though but lightly, about
the head. This piece is well executed, with a strong effect.
Heighth 3 in. ; width, 2 in. 4-10ths.
There are four impressions of it.
First impression. This may be regarded as presque unique ; it is
in the Museum at Amsterdam. On the left side, from the top
to the bottom, is a piece of architecture, coming forwarder than
the figure, of which only the head is in a finished state, and the
body but lightly etched : the background is white. There is a
margin, but without the name and date. It measures 3 in. 8-\0ths
by 2 in. 9-lOths wide.
Second impression. Of very great rarity. The architecture remains,
and the bust is in a finished state ; a shadow in front of the figure
reaches from the top of the stomach to the lower part of the bust ;
the background remains white. In the margin is written Rt.
1630.
Third impression. The background remains white ; the bust is
finished in a light manner, but the architecture is cut off, the
plate being reduced on the left and at bottom. It is extremely
rare, and measures 3 in. l-10th by 2 in. 2-lOths.
Fourth impression. The figure is more wrought, and the back
ground is shaded. The plate is reduced to 3 m.by 2 in. 4-\0ths.

210 FANCY HEADS OF MEN.
305. — BUST OF A MAN WITH CURLING HAIR, AND HIS
UNDERLIP THRUST OUT.
The head is uncovered ; the hair is curled, and stands up on the
crown ; the under-lip is thrust out ; the body inclines a little to the
right, but the head is rather turned to the left over his right shoul
der ; his forehead is wrinkled. His habit, which is open before, is
only sketched, except a little shade on the top of his right shoulder,
opposite to which are a few slight scratches in the background :
the light comes in from the right.
Heighth, 2 in. 5-lOths : width, 2 in. 4-10ths.
There are two impressions.
First impression. The face and hair are covered with bur, pro
ducing dark effects in all their parts. The top left corner of the
background is dirty.
Second impression. The head and hair are made clearer, and the
background is cleaned.
306. — PROFILE OF A BALD OLD MAN, WITH A SHORT
BEARD.
This is a fine head, very lightly etched, and seen in profile, turned
to the right; it is bald before, but with a tuft of hair behind that curls
up ; his neck is wrapped round with the fur cape of his garment ;
his beard is not long, but is bristly from the ear to the chin ; his
mouth is a little open ; the body, from the cape downward, is only
sketched. There are some irregular strokes as a design for the
background, besides a few opposite to the breast.
Heighth, 2 in. 6-lOths ; width, 2 in. 2-lOths.
There are two impressions of it.
First impression. Very scarce. It is somewhat larger, and is taken
off before the edges were polished. The effect is better than in
the second impression.
Second impression. The edges of the plate are polished, by which
it is slightly reduced.

FANCY HEADS OF MEN. 211
307.  BUST OF A MAN IN A FUR CAP, STOOPING.
This is a bust of a man without a beard, turned to the left ; the
head, which is a three-quarters, is much inclined, and covered with
a small fur cap, rounded at top ; his cloak is turned up with fur,
and open before, discovering a vest underneath, coming up to his
throat. The background about the head is light, but there are some
loose hatchings in the top right comer : on the left side from the
top downward, opposite the mouth, and from thence to the arm is
a deep shade. Near the top, on the left, is written Rembrandt 1631.
Heighth, 2 in. 9-lOths ; width, 2 in. 3-lOths.
There are three impressions of it.
First impression. It is scarce, and is not much worked upon, par
ticularly in the head and cap.
Second impression. The cap, face, and dress, are all more worked
upon.
Third impression. Still more finished, but heavily.
308. — PROFILE OF A BALD-HEADED MAN, COARSELY
ETCHED.
This bust is executed in a hard, coarse manner, and is the same
head as the last, in a reversed direction. It is seen in profile, turned
to the left, and bald past the crown, but there are some straight
short hairs behind. The light comes from the left. The background
is deeply shaded with irregular cross-hatchings, on the right side
from the top downward, opposite to the neck, and on the left below
the chin : he has no beard. This is one of the scarcest pieces in
this class. Heighth, 2 in. 9-\0ths ; width, 2 in. 7-lOths.
There are two impressions of it.
First impression. Extremely rare. It has a margin at the top and
one at the bottom, each six-tenths of an inch. Gersaint and
Bartsch were ignorant of this impression. Daulby notices it,

212 FANCY HEADS OF MEN.
but without remarking the subsequent reduction of the plate.
De Clausin mentions the two impressions in his supplement,
page 33, stating the first to be in the Museum at Amsterdam.
Second impression. Both margins cut off, by wliich the plate is
reduced to its ordinary size.
309. — BUST OF A MAN IN THE ACTION OF GRIMACE.
This head is seen nearly in profile, turned to the left and covered
with a calotte ; it is shaded on the same side ; the beard is short,
thick, and frizzled. His lips project very forward, as if making a
grimace. He is covered with a habit, turned up with fur, and fas
tened with a button at the top, and round the neck is a cravat.
The background is slightly shadowed on the left, gradually dimi
nishing towards the top. This piece is lightly etched, and is scarce.
Heighth, 3 in. ; width, 2 in. 5-lOths.
310. — AN OLD MAN WITH A LARGE WHITE BEARD.
This is a three-quarters and turned to the right; the head is a
little inclined, and is bald before, with thin hair standing up on the
crown. The body is covered with a gown that appears to be made
of a stuff with a high nap ; the light falls full on the forehead, nose,
and beard, which is white, very long, and broad. The background
is shaded a little on the left above the shoulder. In the left corner
at the top is written Rt. 1630. This piece is boldly executed, with
a good effect, and fine impressions are scarce.
Heighth, 3 in. 8-lOths ; width, 3 in. 2-lOths.
311. — A YOUNG MAN, A HALF LENGTH.
This piece is very well executed, with a light point. The head
is nearly a profile, turned to the left ; the hair is rather short, thick,
and a little frizzled. He wears a close habit, bound round with a
girdle, with full sleeves, and a very broad worked cape. Near the
top is written Rembrandt f. 1 64. ; the last figure of the date is
wanting, and in the name is an / instead of the letter /-. There are

FANCY HEADS OF MEN. 213
a few irregular hatchings in the background, which is very dirty in
the early impressions. Heighth, 3 in. 7-\0ths ; width, 2 in. 6-lOths.
312.  A MAN WITH A BROAD BRIMMED HAT AND A RUFF.
This bust is placed on the left, and turned to the right. On the
head, which is a three-quarters, is a hat with a broad brim turned
up before : round the neck is a large ruff, the habit is buttoned,
and he has mustaches. The light falls nearly in front. His mouth
is a little open, and the teeth are seen. At the top to the left is
written Rt. 1630. Good impressions are not common.
Heighth, 3 in. 1-I0th ; width, 2 in. 5-10ths.
313.  BUST OF AN OLD MAN WITH A LARGE BEARD, AND
FUR CAP.
This is a fine head, very lightly executed, and a good impression
is very scarce. The head is a little turned to the left, and covered
with a fur cap ; the light falls full on the right side ; the beard is
very broad, white, and long. At the bottom, on the left side, there
is a Hght shade in the background.
Heighth, 2 in. 4-10 ths ; width, 2 in. 1-I0th.
There are two impressions.
First impression. The edges of the plate are irregular and dirty.
The work on the bust, in front, does not reach quite to the lower
edge of the plate : in this state the effect is sUvery.
Second impression. The edges of the plate are smoothed, and the
work on the bust is carried to the bottom.
314.  AN OLD MAN WITH A SQUARE BEARD, IN A RICH
VELVET CAP.
This piece is one of the most finished of Rembrandt's heads.
It is a three-quarters turned to the right, and covered with a
velvet mezetin cap, ornamented with a rich band that goes over
die top of it, and fastened in front with a clasp. His garment,

214 FANCY HEADS OF MEN.
which is turned up with fur, forms many folds on the top of the
shoulder : his left hand is seen, and appears to rest on the head
of his cane. His beard is long and very bushy, and reaches up
to the ears. The light comes in on the right side. In the top
left corner is written Rembrandt f 1637.
Heighth, 3 in. 7-IOths ; width, 3 in. 2-lOlhs.
315. — AN OLD MAN WITH A SQUARE BEARD AND A CAP.
This piece is coarsely etched in Rembrandt's first manner, and
is particularly rare. The head is a three quarters turned to the
right, and shadowed on the opposite side : it is covered with a
very singular coarse cap ; the eyes are turned downwards, and the
habit is bordered with fur. The background is only slightly
shaded above the right shoulder. At the top is written Rt.
Heighth, 3 in. ; width, 2 in. 2-10th.
Of this there are two impressions.
First impression. It is presque unique, and is little more than a
sketch. It measures 3-in. 4-lOths by 2-in. 9-10ths.
Second impression. The plate is reduced, and finished as described.
The monogram Rt. is often difficult to be seen.
316. — BUST OF AN OLD MAN, WITH AVERY LARGE AND
POINTED BEARD.
The body is a little turned to the right, but the face, which is a
three-quarters, is inclined to the left, which is the shaded side ;
the beard is very long and broad, but finishes in a point; the
forepart of the head is bald, but on the crown the hair stands up
frizzled ; the eyes look downwards ; and the shoulders are covered
with a plain cloak. There is a little shade in the background, on the
left side over the shoulder. In the corner above it is written
Rt. 1631. It is lightly etched.
Heighth, 2 in. 6-lOths ; width, 2 in. 6-lOths.
Of this piece there are two impressions.

FANCY HEADS OF MEN. 215
First impression. This is very scarce. There is neither name
nor date ; it is also less wrought, particularly in the shade of
the face, the right shoulder, and the shade of the background
above it, and in the hair about the left ear.
Second impression. More worked upon, and the name and date
added. There is a copy of this print reversed, which is weU executed.
317.  PROFILE OF A MAN WITH A SHORT THICK BEARD.
This piece is etched with a broad stroke, and the shadows are
deep ; it is a bust turned to the right, from whence comes the
light, and the face is near that edge of the plate : he wears a cap,
his hair is very short, and his beard also short, thick, and pointed.
There is a little shade in the background behind him, and his
habit is turned back, and forms a sort of cape over the shoulders.
Near the top, on the left, is written Rt. 1631. This print is ex
tremely rare. Heighth, 1 in. 9-lOths ; width, 1 in. 5-lOths.
318.  A PHILOSOPHER, WITH AN HOUR-GLASS.
This piece is a wood-cut. The philosopher is seen sitting in
front, resting his left arm and hand on a table ; his garment is
bordered with fur. The head is nearly a profile, turned to the
right, covered with a large high fur cap, wider at the top than at
the bottom : it has a flap covering the ear, with a string and tassel
hanging from it. His beard is white, long, broad, and jaggy. On
the right side is an hour-glass, with a skull ; a curtain hangs
down behind him, and the back-ground is shaded with the single
stroke at the top from the curtain to the right side. Near the top,
to the left, is written Rt. 1630. This piece is very scarce. It is
considered by De Clausin as the work of Livens.
Heighth, 2 in. 2-lOths ; width, 2 in.
There are three impressions of it.

216 FANCY HEADS OF MEN.
First impression. It is extremely rare; the work appears coarse
and heavy, and six slight strokes are perceptible on the skull.
Second impression. The beard is worked with fewer strokes ; some
of the work of the back-ground has given way, as also a portion
of that on the skull, and three of the six light strokes.
Third impression. It has the name and date added.
319.  A MAN WITH MUSTACHES IN A HIGH CAP, SITTING.
This is a three-quarters portrait of a man sitting, and the upper
part of the chair is seen. The face is a three-quarters turned to
the right, with mustaches ; on the head is a very large high cap,
which finishes at the bottom with a kind of bandage ; he has a
cloak on, turned up with white fur. In the background, above
the chair, is a light shade, which gradually diminishes towards the
top ; above it, near the corner, is written Rt. 1630. This piece is
well executed. It measures 4 in. by 3 in. 4-lOths at the top, and
is a little wider at the bottom, and rather longer on the right side
than on the left.
Of this piece there are two impressions.
First impression. It is extremely rare. It measures 4 in. 2-lOths
by nearly 3 in. 5-lOths at the top, and fuU 3 in. 5-lOths at the
bottom.
Second impression. The plate is reduced at the top and on the
right side. 320. — BUST OF A MAN IN A CAP.
The head is seen in front, covered with a cap that is waved at
the top and sides ; the hair is very short and much frizzled : he is
dressed in a cloak which turns back in front, and is jagged on the
edges ; the background is shaded on the left side as high as the
cheek. The right side of the bust is clear, but the cap, face, and
cloak are very deeply shaded on the left : the whole is coarsely
etched, and is scarce. Heighth, 2 in.; width, 1 in.8-l0ths.

FANCY HEADS OF MEN. 217
There are three impressions of this print.
First impression. It is presque unique ; the shadows are not so
deep as in the succeeding impressions, the whole being less
wrought. On the left, opposite to the cap, is written Rt. 1631.
It measures 2 in. 5-lOths by 2 in. 3-lOths.
Second impression. This is extremely rare ; the shadows are very
dark in the figure, and that in the background is somewhat
deeper.
Third impression. This is very scarce : the mark Rt. is cut off,
and the plate is diminished every way. It is more finished in
the jagged edges of the cloak.
321. — A MAN'S HEAD WITH THE CAP AND CHIN STAY.
This is a profile turned to the left and shadowed on the same
side. The cap is somewhat pointed before, and has ear-pieces that
are fastened under the chin with a stay ; the shoulders are covered
with a cloak that has a very broad cape, and on the neck is a ruff;
the beard is short and bristly ; in the background, opposite to the
breast, are a few single strokes. The etching of this piece is coarse
and hard, but spirited. It is extremely rare.
Heighth, 2 in. l-10th ; width, 1 in. 5-10ths.
322.  BUST OF A MAN BALD-HEADED.
The face is a three-quarters, turned to the right, on which side
the light comes in ; the head is bald, except a few short hairs that
are perceived above the ear ; he wears a cloak faced with broad fur.
All the right side of the background is shaded, and the bottom of
the left. At the top left corner is written Rt. 1631. A good im
pression of this piece has a fine effect.
Heighth, 2 in. 6-lOths ; width, 2 in. 3-lOths.
There are two impressions.
First impression. This is very scarce ; the head and the cloak, to
wards the shoulder, are lightly worked on, and the neck still less.
Second impression. The right cheek is covered with a black sha-
p

218 FANCY HEADS OF MEN.
dow, of equal depth, up to the light parts, rendering the effect
harsh and disagreeable : probably this print is not the work of
Rembrandt. 323.  AN OLD MAN WITH A VERY LARGE BEARD.
This bust is a little turned to the right, from whence the Hght
comes in, falling upon the forehead and the top of the left shoulder;
the head is inclined, bald a little in front, but covered with frizzled
hair on the crown, and the beard is very long and broad. There is
a little shade in the background above the right shoulder. It is
lightly etched. Near the top on the left is written Rt. 1630.
Heighth, 3 in. 6-\0ths.; width, 3 in.
There are two impressions.
First impression. This is veiy scarce ; the name and date are
wanting.
Second impression. The name and date are added.
324.  A GROTESQUE HEAD IN A HIGH FUR CAP.
This is a profile, turned to the right and shaded on the left : the
nose is turned up, and flat at the end : the head is covered with a
high fur cap, waved at the top and on both sides, and bound round
with a crossed bandage. It is arched at the top, the arch springing
from the bottom of the plate, and the background is white. It is
scarce. Heighth, \in. 5-l0ths.; width, 1 in.
There are three impressions.
First impression. It is the pure etching, and is very scarce.
Second impression. This is worked upon with the burin; the
bandage of the cap is covered, and behind the ear the strokes
are crossed.
Third impression. More worked upon, principally on the right
shoulder.

FANCY HEADS OF MEN. 219
325. — ANOTHER GROTESQUE HEAD WITH THE MOUTH OPEN.
This little head, though coarsely etched, is full of spirit. It ap
pears to be that of a beggar, covered with a small cap, ending in a
point ; the eyes are shut, and the mouth is open, like that of a man
in pain crying out very loud. The face is a three-quarters, turned
to the right, from whence the light comes in ; the beard reaches
from ear to car, and is bristly : the habit, which is only sketched
before, is fastened with a button on the left side, and turned back
at the neck. It is scarce.
Heighth, 1 in. 4-10ths; width, 1 in. 1-I0th.
There are two impressions.
First impression. This is very scarce ; there are not any cross
hatchings at the bottom of the right shoulder : the edges of the
plate are ragged and dirty.
Second impression. At the bottom of the right shoulder the lines
are crossed, and the plate is smoothed.
326. — BUST OF A YOUNG MAN: IN AN OCTAGON.
This is the bust of a young man, finished to the neck, the rest
of the plate being white. He is inclosed in an oblong octagon, and
wears a hat, such as is worn by the ministers of Holland, the etch
ing of which is more finished than the portrait, which is worked
with small points. His hair hangs loose on his left shoulder, where
it appears fainter than on the right. Towards the left top of the
print are some strokes. This piece is presque unique. P. Yver
had only seen it in M. van Leyden s collection, now in the Museum
at Amsterdam. It is doubtful whether this head be not by Livens.
Heighth, 4 in. 3-i.Oths; width, 3 in. 5-10ths.
There are two impressions.
First impression. The work is light and agreeable throughout.
Second impression. This is rebitten in ahard and discordant manner.
P2

i,

220 FANCY HEADS OF MEN.
327. — BUST OF A YOUNG MAN LIGHTLY SKETCHED.
Like the preceding, he wears a hat such as is worn by the eccle
siastics, and the head and hat are the most expressed of the subject,
though lightly. He is placed on the right, and turned to the left
of the print. Heighth, 3 in. 6-lOths ; width, 2 in. 6-lOths.

328. — BUST OF A YOUNG MAN IN A MEZETIN CAP WITH
A FEATHER.
He is seen partly as through a window or frame which borders
the print. He is directed to the left, and the light comes in
from the right : he wears the Mezetin cap, with two feathers, and
is dressed in a robe fastened with two clasps. On the left shoulder
is an epaulette. The background is entirely worked upon. At the
bottom, in the right comer, something appears like drapery or a
cushion. It is very probably not the work of Rembrandt : De
Clausin considers it to be by Boh It measures, including a bor
der, — Heighth, 2 in. 8-10ths ; width, 2 in.
329. — BUST OF AN OLD MAN WITH AN AQUILINE NOSE.
The face is a three-quarters, directed towards the right, from
whence comes the light. He wears a high fur cap, of which the
border is nearly white, and the top of it projects, and reaches nearly
to the right top corner of the print. His nose is aquiline, and he
has mustaches. He is in a fur cloak, which, being open before,
discovers his shirt and a sort of vest and a girdle. The background
is white. This is part of the leaf of sketches, No. 360.
Heighth, 1 in. 4-lOths ; width, 1 in. l-10th.
There are three impressions.
First impression. The end of the cap is clear, as is the top of the
fur behind the ear.

PORTRAITS OF WOMEN. 221
Second impression. The end of the cap is filled in, and the fur at
the top behind the ear is shaded.
Third impression. The whole is more worked on, the cloak in par
ticular. *
These three impressions, alluded to in Marcus's sale catalogue,
page 220, (Nos. 435,436,437) are in the Museum at Amsterdam.
330.  BUST OF AN OLD MAN SEEN NEARLY IN PROFILE.
He is turned towards the right, from whence comes the light.
He is partly bald, and very sharp in the upper part of his face ;
his hair behind is bristly. His beard is long, and his countenance
attentive, which is well expressed by his mouth being a little open.
He is covered with a robe. The background is white. This piece is
very scarce, and, as weU as the last, is part of the leaf of sketches,
No. 360. Heighth, 1 in. 4-lOths ; width, 1 in. 1-I0th.
331. — BUST OF A MAN IN A RUFF, WITH FEATHERS IN
HIS CAP.
This little bust is a fuU face, and the light comes from the right.
He wears a bordered cap, drawn down to his eyes, and orna
mented on the left side with two feathers. Round his neck is a
ruff, and he has a beard with mustaches. The background is
clear, except on the left side, where is a light shade towards the
top of the shoulder. This piece is etched with a light point, and
the impressions are weak. It is not common.
Heighth, 1 in. 2-lOths ; width, 1 in.
There are two impressions of it.
First impression. It is presque unique ; the bust is only an outline.
This is in the Museum at Amsterdam.
Second impression. The bust is engraved, though lightly.
332. — BUST OF AN OLD MAN WITH A WHITE BEARD AND A
CAP WITH A BORDER.
He wears a cap with a border, and has a white beard. The body,

222 FANCY HEADS OF MEN.
which is covered with a cloak turned up with fur, is placed on the
left and directed towards the right, from whence the light comes
in. The background is entirely white. This portrait is weU finished,
has a great effect, and is. rarely to be met with.
Heighth, 2 in. ; width, 1 in. 7-\0ths.
333.  THE WHITE NEGRO, OR MORISCO.
A man, whose features are those of a negro, although he is not
represented as black, is seen nearly in profile, turned towards the
right. On his head is a turban with a feather. In his right hand
he holds a cane, the top of which is to all appearance a hammer ;
and in his other hand he holds a medal, attached to a gold chain
round his neck. This piece, which is perhaps of Rembrandt's ear
liest time, is very weakly etched, the turban excepted, which seems
to have been rebitten. It has neither name nor date ; and is called
" The Moor with the Hammer.''
Heighth, 4 in. ; width, 4 in. 9-\0ths.
334. — AN OLD MAN WITH A POINTED BEARD.
This head is seen nearly in full face. The beard is pointed, and
both ears are seen. He is looking a little to the left, and is drest
in a robe, one end of the white cape of which is visible. In the back
ground are various hatchings on the left side, increasing from the
bottom towards the top. This piece is very rare.
Heighth, 2 in. 5-lOths ; width, 2 in. 1-I0th.
335.  HEAD OF AN OLD MAN WITH A SINGULAR CAP.
This is the head of an old man, who wears a singular misshapen
cap. On his shoulders is a cloak, open before, shewing a chain
with a medal depending from it. In the background, on the right,
a column is expressed, and on the left are some uninteUigible
scratchings. This print was in the Denon collection. Its origin
ality, however, is doubtful.
Heighth, 3 in. 8-lOths; width, 2 in. 3-lOths.

FANCY HEADS OF MEN. 223

336. — HEAD OF A MAN WITH CURLY HAIR AND THIN
MUSTACHES.
He is turned to the left, and is seen nearly in Ml face, having
thin mustaches, and long curling hair, which faUs loose on the right
shoulder : the left cheek and shoulder, and the background on the
left side, as far as the eyes, are partially light, but all the rest is in
deep shadow. This print, probably unique, is in the collection of
Lord Aylesford. The features bear some resemblance to Rem
brandt. Heighth, 2 in. 5-lOths ; width, 2 in. 4-\0ths.

224

ELEVENTH CLASS.

PORTRAITS OF WOMEN.

337.  THE GREAT JEWISH BRIDE.
This fine portrait is most 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, about 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 stone-work, and on
the left side is an arch. On the cloth which covers the table is the
letter R reversed. Heighth, 8 in. 7-10ths; width, 6 in. 6-lOths.
There are four impressions.
First impression. Extremely rare. The lower part of the plate, for
the space of two inches and three quarters on the right side, and
three inches and a half on the left, is white, being entirely un-
worked upon, except where the ends of the hair reach into it. The
face, hair, and background, appear to be in the state in which they
first came off the plate ; the reflection from the figure on the back-

PORTRAITS OF WOMEN. 225
ground is higher than on the finished plate, being on a level with
the top of the head ; the stone-work to the right of the arch is dif
ferent. The head and hair in this state have an admirable effect*
Second impression. This is considerably more rare than the pre
ceding : the architecture in the background has no division indi
cating stone work : the hands and the toilet gown are white. In
this state the print may be said to shew its utmost perfection.
Third impression. The hands and the toilet gown are lightly
shaded throughout, and some other places on the shadows are
more worked upon, but the architecture is stiU without divisions
indicating stone work. Such an impression is in the coUection
of the Duke of Bedford.
Fourth impression. The architecture in the background is divided
with horizontal lines indicating stone-work.
A pretended study for this print has been inserted by Bartsch
in his catalogue, and is noticed in Yver's Supplement, but it is
assuredly not by Rembrandt. 338. — SAINT CATHARINE.
This figure, which is improperly called the Little Jewish Bride,
is a half-length standing. Her face, which is a three quarters
turned to the right is pleasing ; her hair is long, covering her back
and shoulders, and her head is bound round with a string of
pearls. She is in a robe with wide sleeves ; the gown is fastened
close under the chin : her hands are joined together. At the
bottom, to the right, is seen part of a wheel, such as is gene
rally assigned to the representations of Saint Catharine, and at
the top, on the same side, is written backward, Rembrandt f 1638.
This piece is finely etched with a light point.
Heighth, 4 in. 4-\0ths ; width, 3 in. \-\0th.

* Impressions of this exist, taken in a very grey tint, spotty and con
fused, and producing very little effect : two such the editor has seen.

H

226 PORTRAITS OF WOMEN.
339. — PORTRAIT OF AN OLD WOMAN SITTING, LOOKING TO
THE RIGHT.
This portrait is probably intended to represent Rembrandt's
mother. The body is directed to the right ; her face is a three-
quarters, very finely finished: the countenance is remarkably
placid. She is sitting in an elbow chair at a round table, only
part of which is seen ; her hands are crossed and placed before
her ; she wears a close cap ; over her head is a loose black veil,
and on her shoulders a mantelet of fur. The background is
shaded on the left from the bottom, as high as her elbow, and im
mediately above it is written Rt. f
Heighth, 5 in. 3-\0ths; width, 5 in. l-\Qth.
There are four impressions.
First impression. It is of the greatest rarity. The shade below
the arm-chair is formed only by two light cross strokes. The
oblique Unes drawn from left to right crossing those of the back
ground in the shadow thrown by the figures do not reach so
so high as these last : the monogram is lightly marked in.
This impression is in the Museum at Amsterdam.
Second impression. The shade below the arm-chair is more
worked on, and the lines crossing the shadow shown by the figure,
extend as high as the lines of the shadow itself.
Third impression. The nose is outlined with a second stroke in
its whole length ; a black spot at the end of it is effaced, and the
monogram strenghened.
Fourth impression. The plate is cut and made oval.
340.  PORTRAIT OF AN OLD WOMAN SITTING, LOOKING
TO THE LEFT.
Her face is a three-quarters ; she wears a cap similar to the last,
but across the forehead is a bandage of network, and over the head
a black veil ; she has a small ruff round her neck, which is open
before: her mantelet is of fur. She is likewise sitting in an
elbow chair with her hands crossed, and part of a covered round

PORTRAITS OF WOMEN. 227
table is perceived before her. Behind her chair is a light shade,
and on the left towards the top is written Rembrandt f
Heighth, 5 in. 8-\0ths ; width, 4 in. 6-\0ths.
341. — A YOUNG WOMAN READING.
She is seen half-length, sitting, and leaning on a table covered
with a flowered cloth. She is reading with great attention in a book
that lies open before her, on which she rests her left hand; part of
her right hand is hid under her gown at her breast. She is
in profile turned to the left, on which side the light comes in;
round her cap is wound a kind of flowered scarf tied behind, the
two ends hanging over the left shoulder. This piece is full of ex
pression, has a fine effect, and a good impression is scarce. Near
the top is written Rembrandt f 1634.
Heighth, 4 in. 8-Y0ths ; width, 4 in.
There are three impressions of it.
First impression. It is extremely rare ; the print is every where
clear, especiaUy in the face and neck. The nose is shorter than
in the common impression. The upper part of the sleeve is less
defined and appears narrow ; and the black line which bounds
the print on the left side is not straight, nor does it intersect the
hatchings at the bottom as in the others.
Second impression. It is scarce — the nose is not altered ; a line is
drawn on the left side of the print from the top to the bottom,
through the hatchings of the table covering. The upper part of
the sleeve is wider and more defined.
Third impression. The nose is longer than in the others.
342.  A YOUNG WOMAN WITH A HEAD-DRESS OF PEARLS.* t
She has an agreeable face seen nearly in profile, turned to the
right ; she has two rows of pearls round her neck, and pearls at

* Immediately preceding this No. was introduced in the former Ca
talogue, " An Old Woman Meditating after Reading" said to hepresque
unique. It is however only a trick, being the head of the Old Woman,

228 PORTRAITS OF WOMEN.
her ears : the back part of her hair is bound with strings of
pearls. The hair hangs over her forehead, down the sides of her
face and behind her, in a frizzled state. Her handkerchief, which
is laced, is open before ; she has full sleeves, tied round the middle
of her arm, and her waist is very short. The background is
shaded about half way up. Above her head is written Rembrandt
f. 1634. Height, 3 in. 4-lOths ; width, 2 in. 6-lOths.
343. — AN OLD WOMAN WITH HER HAND ON HER BREAST.
She is a half length seen in profile, sitting in an elbow chair, on
which she rests her right hand, and places her left upon her breast ;
she is turned to the right, from whence the light comes in : her head
is bound round with a flowered scarf, which hangs over her right
shoulder and behind her as low as her elbow. The background is
shaded on the left as high as her shoulder. Low down on the
right is written Rt. 1631. This print is scarce; it is finely and
spiritedly etched, but always weak.
Heighth, 5 in. 7-lOths; width, 5 in. 1-lOrA.
There are two impressions of it.
First impression. This is extremely rare ; the shadowing in the
background on the left goes higher than the top of the head :
there is also a bag or net at the back part of the head to hold the
hair, and the scarf which hangs behind from the head is not
flowered.
Second impression. The shadow is effaced to the height of the
shoulder ; the hair is more taken up, and the scarf is flowered.
This impression appears to have been rebitten ; the rest of the
face is more effective, but the countenance weaker than in the first.

No. 346, introduced on the shoulders of the last described print, The
Young Woman Reading. This impression is in the Royal Library at
Paris, and as De Clausin observes, must have deceived Gersaint (whom
Bartsch has followed) into the belief of its being a distinct print, and a
companion to the last.

portraits of women. 229
344. — Rembrandt's mother.
She is turned a little to the right, her eyes looking 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. Heighth, 3 in. 6-\0ths ; width, 2 in. 6-lOths.
There are two impressions.
First impression. Itis very scarce ; and is less wrought upon than the
next impression, particularly in the background about the head.
Second impression. More worked on, chiefly in the background.
345.  AN OLD WOMAN SLEEPING.
This piece is one of Rembrandt's best productions. In point of
composition, expression, finishing, and effect, it is carried to great
perfection. The head is seen in front, supported on the left hand,
both arms resting upon an open book ; a pair of spectacles hang
on the forefinger of the right hand. The cap is very singular,
lying upon the head in three tiers of wreaths, with a pointed
finishing at the top ; the shoulders are covered with fur. The
light comes in on the left side, and the background is darkly shaded
on the left, though lighter on the right : it is scarce.
Heighth, 2 in. 7-lOths; width, 2 in. 1-I0th.
There is a very good copy of the same size, and in the same
direction. 346. — HEAD OF AN OLD WOMAN, ETCHED NO LOWER THAN
THE CHIN.
This head resembles Rembrandt's mother, is finely character
ized, and executed in a good taste : it is a three-quarters turned to
the right, shadowed on the left side, and covered with a hood.
The background is slightly etched above the shoulder on the left,

ii

N

230 PORTRAITS OF WOMEN.
with the single stroke. Above the head is written Rembrandt f.
1633. It is scarce.
Heighth, 1 in. 7- lOths ; width, 1 in. 6-10ths.
There are two impressions of it. *
First impression. This is extremely rare ; the plate is a quarter
of an inch larger at the bottom, which makes the shape more
agreeable, by the subject not ending abruptly at the chin.
Second impression. As first described.
347.  ANOTHER HEAD OF AN OLD WOMAN, ETCHED NO LOWER
THAN THE CHIN.
This is another head resembUng Rembrant's mother, not so old
as the last. On the head, which is seen in front, is a kind of
hood. The mouth is a little drawn up ; the light comes in on the
right side, but a great part of the face is darkly shaded, particu
larly the forehead and left cheek. There are a few scratches at the
bottom of the background on the left side. A little above them is
written Rt. 1628, the 2 reversed. This piece is scarce.
Heighth, 2 in. 5-lOths ; width, 2 in. 5-10ths.
In the collection at Amsterdam, is an impression of this print,
which was regarded as presque unique ; the face only is finished,
and the hood sketched with a pencil.
348. — BUST OF AN OLD WOMAN, LIGHTLY ETCHED.
In this piece there is likewise a resemblance of Rembrandt's mo
ther. The head is a three quarters turned to the right, and sha
dowed on the left side : it is covered with a light thin veU that falls
upon each shoulder ; the garment is turned up with fur, and open
before. It is lightly etched, with spirit. In the top corner on the
right is written Rt. 1628 ; the 2 reversed.
Heighth, 2 in. 6-10 ths ; width, 2 in. 5-lOths.
The two preceding prints are the earliest dated of our artist's
etchings.

PORTRAITS OF WOMEN. 231
349. — AN OLD WOMAN IN A BLACK VEIL.
This bust produces a strong effect. The head is a three quarters
turned to the right, and the piece is deeply shadowed on that side,
the'light coming fuU upon the other. The head dress is covered
with a black veil, that falls upon the shoulder ; the garment is turned
up before with fur, and the dress of the head and neck is some
what like that of a nun. The background is clear, except a very
smaU part on the right opposite to the chin. In the top left cornel
is written Rt. 1631. This piece is scarce.
Heighth, 2 in. 3-lOths ; width, 2 in. 1-I0th.
There are four impressions.
First impression. This may be regarded as presque unique, and
is no more than a sketch. The head, as well as the veil and
bust, is but feebly sketched, and the fur and fold of the garment
are not at all expressed.
Second impression. This is extremely rare ; that part of the veil
which hangs over the right shoulder is shadowed only in the
half-tint : the garment, the fur, and the piece in general, are
less wrought upon than in the two succeeding impressions.
Third impression. This is very scarce ; the veil instead of being
in the half tint, is cross-hatched and darker, and the fold of the
garment, and the fur, are more wrought upon than in the former.
Fourth impression. The whole is in general more finished, parti
cularly the linen under the chin, and the stomacher, and this is
scarce. 350. — A WOMAN WITH A BASKET.
This is a half-length, etched with Httle more than the single stroke ;
the head of the woman is nearly a profile, turned to the left ; her
hands meet before, but are not joined ; her basket hangs under her
right arm, and at her left side is a kind of pouch or pocket ; her
hair is turned up behind, but faUs a little over the ear ; on her head
is a small flat hat ; she has a tippet over her shoulders, and a lappet

232 PORTRAITS OF WOMEN.
under the chin. The light comes in on the right side, and the
background is shaded on the left, half-way up.
Heighth, 3 in. 4-lOths ; width, 2 in. 4-lOths.
351. — A MORISCO.
The face of this woman is that of a Moor, though the com
plexion is fair. She is sitting at a table, turned to the left, which
is the light side; the face is nearly a profile, the head-dress
a kind of scarf falling down the back, with a feather in it. The
background is shaded lightly on the right side and along the top.
This piece is etched in a dry manner.
Heighth, 3 in. 8-]0ths. ; width, 3 in.
There are two impressions.
First impression. It measures 4 in. 5-lOths by 3 in. 4-lOths. ; and
is very scarce.
Second impression. The dimensions are reduced to the size first
described. 352. — BUST OF A WOMAN, THE LOWER PART OVAL.
This bust is but lightly etched ; the face is a three-quarters, turned
to the right, and shaded on the same side ; the head is covered with
linen in the manner of a turban, and a lappet hangs under the
chin. The garment is laced with fur ; the background is lightly
shaded on the right side, and on the left are two straight fines from
the top to the shoulder, crossing each other. The lower part of the
bust is finished in an irregular oval, with a blank of half an inch
from the bottom of it to the edge of the plate.
Heighth, 2 in. 8-lOths ; width, 2 in. 2-10ths.
There are two impressions.
First impression. This may be regarded as unique. It measures
2 in. 9-lOths square.
Second impression. The dimensions are reduced to the size first
described.

WOMEN. 233
353. — A WOMAN IN A LARGE HOOD.
This is a three-quarter length, lightly etched ; the body is seen
nearly in front ; the head is inclining, and turned a little to the
right ; it is covered with a large hood, negligently put on, the ends
of which hang low down over each shoulder : the rest is only
lightly sketched, but it appears as if her hands were placed before
her under her apron. The background is lightly shaded.
Height, 3 in. 5-\0lhs ; width, 2 in.
354. — AN OLD WOMAN'S HEAD.
The etching of this piece is coarse and hard, but spirited. It
appears as if the top of the plate had been cut off. The face is
turned a little to the right, and shaded on the same side, on which
also the background is deeply shadowed. On the left at the
top is written Rt. It is extremely rare.
Height, I in. 5-lOths ; width, 1 in. 7-lOths.
There are two impressions.
First impression. Not much shaded, especially on the left cheek,
eye, and forehead.
Second impression. More shaded in those parts.
355.  A WOMAN READING.
She is half length, sitting, and covered with a toilet cloth, lean
ing her head upon one hand, and with the other turning over the
leaves of a book. This piece is lightly etched, and may be re
garded as presque unique.
356. — AN OLD WOMAN READING.
This piece is a very great rarity, and is well etched with a Hght
point. It represents an old woman half length, and seen a little
in profile. She has on a large hat, and wears spectacles. She is
placed to the left and turned towards the right of the print, holding
with both hands a book open, in which she appears to be reading
with great attention. The background is white, except some few
strokes near the upper part of the face.
Heighth,3 in. ; width, 2 in. 6-iOths. a

h

234

TWELFTH CLASS.

STUDIES OF HEADS, AND SKETCHES.

'357. — THE HEAD OF REMBRANDT, AND OTHER STUDIES.
Towards the top is the head of Rembrandt, seen nearly in
front ; the cap is unfinished. On the left is a rude sketch, that
cannot fully be made out. Upon turning the print, an old man
and an old woman are discovered, each leaning on a stick ; they
appear to have been in conversation, and are parting different
ways, the man towards the left and the woman to the right. Above
them is the head of an old woman covered with a veil, and under
these the head of an old man reversed.
Heighth, 4 in. ; width, 4 in. 1-10/A.
There are two impressions.
First impression. The plate is larger at the top, and there- are
several very blotchy defects from neglect in the biting : the edges
of the plate are dirty and irregular. It is exceedingly rare.
Second impression. The plate is cut at the top, close to the head
of Rembrandt, and the blotches are removed.
358. — PART OF A HORSE, AND OTHER SKETCHES.
In this piece there are several sketches in different directions.
Towards the top the hinder part of a horse is sketched ; higher,
quite in the left corner, is the profile of a head, and to the right
another is seen in front, the lower part of it unfinished. There is
likewise a kind of coppice surrounded with a wall, a rather large

STUDIES OF HEADS, AND SKETCHES. 235
tree, and some others less. This is one of the rarities that
Houbraken parted with to an English amateur. It is extremely
rare. Heighth, 4 in. 3-\0ths. ; width, 5 in. 5-\0ths.
359. — Rembrandt's wife, and five other heads.
These six heads are etched with spirit. Above the middle of the
print is the head of Rembrandt's wife, turned a little to the left,
dressed in a veil thrown back. Higher up on the left is a Turk's
head in a turban, seen nearly in profile, turned towards the right.
Opposite to this, on the right side, is a woman's head, etched with
the single stroke, seen in front in a veil ; she leans upon her left
elbow, and holds her hand up to her mouth. Near the bottom, in
the middle, is a woman's face in profile, turned to the right, and
looking downwards. On the left is a young woman's head in front,
covered with a large flat hat loosely tied under the chin ; and on
the right side is the head of another young woman, uncovered, and
turned a little to the right, from whence the light comes in. Near
the bottom, towards the left, is written Rembrandt f. 1636.
Heighth, 6 in. ; width, 5 in.
360. — a sheet of sketches. h
This plate of sketches, when entire, may be regarded as presque
unique. It contains five heads, one of which has on a square cap,
and is placed on the right ; another has on a fur cap, and is seen
to the left. This plate measures 3 in.9-V0ths ; width,4in.7-\0ths,
but it has since been cut into five : and several of the heads, parti
cularly the two just mentioned, are to be found separate, but they
have all been retouched. When entire (as it is in the collection
made by Beringhen) there is the appearance of there having been
a sixth head near the top of the plate, seen in front ; but Rembrandt
effaced this head with a burnisher, the marks of which are visible.
The letters Rt. are written backwards.
The five pieces into which this plate has been cut, are described
in this Catalogue under the following numbers : 34, 143, 300, 303,
and 329.

236 STUDIES of heads, and sketches.
It is probable that almost all the impressions that had been taken
off from the entire plate, were cut in pieces either by the artist
himself or by the collectors, and that this is particularly the case
with those that are less finished, as the heads were more worked on
after the plate was divided.
361. — THREE HEADS OF WOMEN.
Towards the top is a woman's head seen in front, and covered
with a veil ; her right hand is extended and placed to her face, the
thumb near the bottom of the cheek, and the fingers up to the
forehead. A little lower to the right, is another head ; the face
is almost a profile turned to the right, the head-dress unfinished.
The third head is to the left, nearly a full front, and is sketched
only with a single faint stroke. The background is shaded on the
right towards the bottom. This piece is scarce.
Heighth, 5 in. ; width, 4 in.
There is another impression, presque unique, in the French
Museum, in which only the uppermost head appears, the two
others having been added afterwards.
362. — THREE HEADS OF WOMEN, ONE ASLEEP.
High up on the left is a woman sleeping, with her head resting
on her left hand. To the right of her is another woman's head
seen nearly in profile, turned to the left, and covered with a dark
veil, drawn together at the back of the head. Low down in the
middle is a third female head, seen likewise nearly in profile,
turned to the left, and looking downwards. A veil which covers
her head is only sketched with a single light stroke. At the lop
is written Rembrandt f 1637.
Heighth, 5 in. 5-lOths ; width, 3 in. 7-lOths.
363. — (TWO WOMEN IN SEPARATE BEDS, AND OTHER SKETCHES.
Near the middle of this piece is a woman lying in bed, her
arms covered ; her left is extended downwards, and she takes

STUDIES OF HEADS, AND SKETCHES. 237
hold of the upper part of it with her right hand ; part of a curtain
is sketched hanging down near the head. Below her arm is a
woman's head, lightly sketched with a single stroke. To the left
are two busts of old men ; the foremost has a large beard, and
wears a high cap turned up with fur ; the other is behind him,
and is without a beard, in a common slouched hat; their heads are
about three-quarters, turned to the right. Above the last are an
old man and an old woman, lightly etched ; they are walking to
the right, each supported on a staff; the lower part not made
out. On turning the print sideways to the left, the upper part of
a very old woman is discovered on the left, near the top, in a fur
hat, holding the edge of her cloak with her left hand. Lower
down is a woman sleeping in a bed with her arms uncovered, and
lying upon her breast. Above her is a large broad shade, circum
scribed with a faint expression of a curtain drawn to the feet of the
bed. This piece is lightly etched, with much spirit.
364. — Rembrandt's head, and other sketches.
A little to the right of the middle of the print is a head of Rem
brandt, seen in front, with his hair frizzled — the light coming in
on the left side. On the left of the head is part of the figure of an
old man, seen in profile, turned to the left ; he wears a high cap,
which is much narrower at the top than at the bottom ; his cloak
is buttoned over his breast, and at the button-hole is fastened a
hat, which he holds up with both hands joined together, as if to
receive alms in it. On turning the print sideways to the right, a
woman is seen standing on the left side, in profile, turned that
way, and covered with a gown or cloak with hanging sleeves ; she
holds a basket with both hands, and before her stands a child seen
from behind. Above the child, at the top of the plate, is a man's
head, very feebly expressed. Towards the left corner, at the bottom,
is written Rt. 1650, but it is not to be read without difficulty.
This piece is scarce.
Heighth, 4 in. 4-lOths ; width, 3 in. 6-10ths.

238 studies of heads, and sketches.

365. — THE SKETCH OF A DOG.
This contains only the sketch of a dog, placed low down on the
left, and turned to the right, of which no more than the head is
finished. It is extremely rare.
Heighth, 4 in. 6-\0ths; width, 6 in.
366. — SKETCH OF A TREE, AND OTHER SUBJECTS.
Near the middle of this piece, which is very scarce, stands a tall
tree, reaching nearly to the top ; to the left of, and between it and
the stump of another tree, stands a little figure. On turning the
print sideways to the right is discovered part of a man's head, with
a cap, which is highly finished ; the face is only so about
the right eye ; the hair reaches to the left corner of the print, and
the left eye has been taken out with a burnisher, but part of the
eye-brow remains, and as the plate is now cut, it could not have
contained more than the upper half of his face. Above the cap
an eye appears, and to the right of it a small sketch of hair.
Heighth, 3 in. \-l0th; width, 2 in. 6-lOths.
367.  TWO SMALL FIGURES.
This is a small print, to the right of which two little figures are
traced ; one of them, more finished than the other, has a high cap
on his head, and is seen as low as the knee. The other is but very
imperfectly sketched. The plate is divided in two by a line.
Upon the left are several small trees, the subject of which cannot
well be determined. This print is in the French Museum and is
extremely rare. Heighth, in. 7-lOihs ; width, 3 in.
368.— THREE PROFILES OF OLD MEN.
This is a sheet of sketches, containing three heads of old men
seen in profile, and turned to the right ; they appear to be three
attempts at the same character ; the most perfect is that at the top
of the plate on the left ; under it is another slightly sketched, and

STUDIES OF HEADS, AND SKETCHES. 239
afterwards obliterated by zigzag scratches ; to the right of this
sketch is the same head in a calotte. This piece is likewise in the
French Museum, and is also extremely rare.
Heighth, 4 in.; width, 3 in. 2-lOths.
369.  HEAD OF A WOMAN. A STUDY.
This sketch is in the corner to the right, and is lightly etched.
The figure is in a cap, and the body is turned towards the right
side. This piece is regarded as presque unique.
Heighth, 2 in. 5-lOths ; width, 2 in. 2-[0ths.

PRINTS omitted in this Catalogue, which were in the Catalogue of Gersaint, in Z>' Yvers' Supplement, and
Davlby's translation, and in the Catalogues of Bartsch and De Claussin.

SUBJECTS.

Portrait of Rembrandt 
Ditto ditto 
Ditto ditto 
Ditto ditto 
Ditto ditto 
Sacrifice of Gideon 
Circumcision 
Rest in Egypt 
Christ appearing to his Disciples 
"Beheading of St. John the Baptist 
St. Peter delivered from Prison 
St. Jerome 
The Hour of Death 
The Corn-cutter 
Cupid reposing 
The Onion Woman 
An old Man with a Girdle ani Turban 
An Astrologer 
A Landscape 
A Landscape with a white Fence 
An old Man with a great Beard and Calotte
A Man painting 
Sketches, in various directions, (part of) 
Portrait of an Officer 
Fancy Head of a Man 
Study for the Little Jew Bride 
Hagar dismissed by Abraham 
The same subject 
An Astrologer 
A Philosopher 

Nos. in
Gersaint.

1
10
11
12 17
38 48
59 7G9396
105
108 125130133136147
230234272307 308309
310 312
D'Yver. 1415
6061

Nos. in
Bartsch.

59

108127132134 137

212 295328

31 32
145 146

Nos. in
De Claussin

OBSERVATIONS.

Mezzotinto by Van Gole.
Does not exist.
Possibly 32 in De Claussin's and this Catalogue.
Does not exist.
Does not exist.
B> Ferdinand Bol.
Not by Rembrandt.
Not by Rembrandt.
A repetition.
Not by Rembrandt.
Not by Rembrandt.
A repetition.
By Ferdinand Bol.
By Ferdinand Bol.
Not by Rembrandt.
By Livens.
Not by Rembrandt.
By Ferdinand Bol.
A repetition.
By P. de Keening.
By Ferdinand Bol.
Not by Rembrandt.
A repetition.
By Ferdinand Bol.
Not by Rembrandt.
Not by Rembrandt.
Not by Rembrandt.
Not by Rembrandt.
By Ferdinand Bol.
By Ferdinand Bol.

242

TABLES

OF THE NUMBERS IN THE VARIOUS CATALOGUES, COMPARED
WITH THOSE IN THE PRESENT CATALOGUE.

TABLE I.

In which the Numbers of Gersaint and Daulby are in succession in the first
column, introducing the Numbers of D'Yver's Supplement.

PORTRAITS OF REMBRANDT.

Numbers of Gersain

Numbers of

Numbers of

Numbers of this

Yver, Daulby.

Bartsch.

De Claussin.

Catalogue.

1

omitted

omitted

omitted

2

1

1

1

3

2

2

2

4

3

3

3

5

4

4

4

6

5

5

5

7

6

6

6

8

7

7

7"

9

8

8

8

10

omitted

omitted

omitted

11

omitted

32

32

12

omitted

omitted

omitted

13

9

9

9

14

10

10

10

15

11

11

11

16

12

12

12

17

omitted

omitted

omitted

18

13

13

13

19

14

14

14

20

15

15

15

21 D'Yver's Sup. 9

16

16

16

22

17

17

17

23

18

18

18

24

19

19

19

25

20

20

20

26

21

21

21

27

22

22

22

28

23

23

23

D'Yver's Sup. 11

24

24

24

12,13

25

25

25

D'Yver's Sup. 133

338

30

30

131

336

31

31

D'Yver's Sup. 127

332

324

34

243

SUBJECTS OF THE OLD TESTAMENT.

Numbers of Gersaint,

Numbers of

Numbers of

Numbers of this

Yver, Daulby.

Bartsch.

De Claussin.

Catalogue.

29

28

34

35

30

29

35

36

31

30

37

37

D'Yver's Sup. 14

31

omitted

omitted

15

32

omitted

omitted

32

34

39

38

33

35

36

39

34

36

40

40

35

38

42

42

36

39

43

43

37

37

41

41

38

omitted

omitted

omitted

39

40

44

44

40

41

45

45

41

42

46

46

42

43

47

48

SUBJECTS OF THE NEW TESTAMENT.

43

44

48

49

44

45

49

50

45

46

50

51

46

47

51

52

47

48

52

53

48

omitted

omitted

omitted

49

49

53 .

54

50

50

54

55

51

51

55

56

52

52

56

57

53

53

57

58

54

60

64

64

55

55

59

60

56

56

60

61

57

57

61

62

58

58, 96, 147

62, 99, 144

63, 101, 145

59

59

63

omitted

60

61

65

65

61

62

66

66

62

63

67

67

63

64

68

68

64

65,

69

69

65

66

70

70

66

67

71

71

67

68

72

72

68

89

93

94

69

69

73

73

70

91

95

96

71

70

74

74

72

71

75

75

73

72

76

76

244
SUBJECTS OF THE NEW TESTAMENT.

Numbers of Gersaint,

Numbers of

Numbers of

Numbers of this

Yver, Daulby.

Bartsch.

De Claussin.

Catalogue.

74

73

77

77

75

74

78

78

76

same as 68

77

90

94

95

78

75

79

79

79

76

80

80

80

78

81

81

81

79

84

85

82

80

85

86

83

77

82

82

84

81

83

84

85

82

86

87

86

83

87

88

87

86

90

91

88

84

88

89

89

85

89

90

90

87

91

92

91

88

92

93

92

92

96

97

93

93

omitted

omitted

94

94 & 95

97,98

98,99

95

98

101

103

96

omitted

omitted

omitted

97

99

102

104

98

97

100

102

99

106

109

111

PIOUS SU

BJECTS.

100
100
103
105
101
101
104
106
102
103
106
108
103
102
105
107
104
104
107
109
105
same as 104
106
105
108
110
107
107
110
112
108
108
omitted
omitted
109
109
111
113
110
148
145
146
245

ALLEGORICAL, HISTORICAL, AND FANCY SUBJECTS.

Numbers of Gersaint,

Numbers of

Numbers of

Numbers of

Yver, Daulby.

Bartsch.

De Claussin.

this Catalogue.

Ill

110

112

114

112

113

115

117

113

114,115,116,117

116,117,118,119

118,119,120,121

114

118

120

122

115

119

121

123

116

120

122

124

117

121

123

125

118

122

124

126

119

123

125

127

120

124

126

128

121

125

127

129

122

126

128

130

123

111

113

115

124

112

114

116

125

127

omitted

omitted

126

128

129

131

127

129

130

132

128

130

131

133

129

131

132

134

130

132

omitted

omitted

131

133

133

135

132

33

38

135*

133

134

134

omitted

134

135

135

136

135

136

136

137

136

137

omitted

omitted

137

138

137

238

138

139

138

139

139

140

139

140

140

141

140

141

141

143

142

143

142

144

143

144

Supp. 60

145

omitted

omitted

61

146

omitted

omitted

53

149

146

147

143

150

147

148

144

151

148

149

145

152

149

150

146

153

150

47

147

omitted

omitted

omitted

148

154

151

151

149

142

141

142

150

155

152

152

151

156

153

153

152

157

154

154

153

158

155

155

154

159

156

156

Supp. 62

160 *

157

157

63

161

158

158

246
BEGGARS.

Numbers of Gersaint,

Numbers of

Numbers of

Numbers of

Yver, Daulby.

Bartsch.

De Claussin.

this Catalogue.

155

162

159

159

156

163

160

160

157

164

161

161

158

165

162

162

159

166

163

163

160

167

164

164

161

168

165

165

162

169

166

166

163 Supp. 26

54

58

59

164

170

167

167

165

171

168

168

166

172

169

169

167

173

170

170

168

174

171

171

169

175

172

172

170

176

173

173

171

177, 178

174,175

174, 175

172

179

176

176

173

180

177

177

Supp. 75

181

178

178

174

182

179

179

175

183

180

180

176

184

181

181

177

185

182

182

FREE SUBJECTS.

178

186

183

183

179

187

184

184

180

188

185

185

181

189

186

186

182

190

187

187

183

191

188

188

ACADEMICAL SUBJECTS.

184

192

189

189

185

193

190

190

186

194

191

191

187

195

192

192

188

196

193

193

189

197

194

194

190

198

195

195

191

199

196

196

192

200

197

197

193

201

198 *

198

194

202

199

199

195

203

200

200

196

204

201

201

197

205

202

202

247

LANDSCAPES.
Numbers of Gersaint,
Numbers of
Numbers of
Numbers of
Yver, Daulby.
Bartsch.
De Claussin.
this Catalogue.
198
206
203
203
199
207
204
204
200
208
205
205
201
209
206
206
202
210
207
207
203
211
208
208
204
212
209
209
205
213
210
210
206
214
211
211
207
215
212
212
208
216
213
213
209
217
214
214
210
218
215
215
211
219
216
216
212
220
217
217
213
221
218
218
214
222
219
219
215
223
220
220
216
224
221
221
217
225
222
222
218
227
224
224
219
228
225
225
220
229
226
226
221
230
227
227
222
226
223
223
223
231
228
228
224
232
229
229
225
233
230
230
226
234
231
231
227
235, 236
232, 233
232,233
228
237
234
234
229
238
235
235
230
omitted
omitted
omitted
231
239
237
237
232
240
236
236
233
241
238
238
234
242
239
omitted
235
243
240
239
236
244
241
240
236 rep.
-245
242
241
Supplement, 83
246
243
242
Ditto 84
247
244
243
Ditto 86
248
245
244
Ditto 87
249
246
245
Ditto 88
250
247
246
Ditto 89
251
248
247
Ditto 90
252
249
248
Ditto 91
253
250
249
New article
254
251
250
Ditto
255
252
251
Ditto
256
253
252
Ditto
New article
New article
253
Ditto
Ditto
Ditto
254
Ditto
Ditto
Ditto
255
Ditto
Ditto
Ditto
256
Ditto
Ditto
Ditto
257
248

PORTRAITS

OF MEN.

Numbers of Gersaint,

Numbers of

Numbers oi

Numbers of

Yver, Daulby.

Bartsch.

De Claussin.

this Catalogue.

237

257

954

258

238

253

255

259

239

259

256

260

240

260

257

261

New article

New article

New article

262

241

261

258

263

242

262

259

264

243

263

260

265

244

264

261

266

245

265

262

267

246

266

263

268

247

267

264

269

248

268

265

270

249

269

266

271

250

270

267

272

251

271

268

273

252

272

269

274

253

273

270

275

254

274

271

276

255

275

272

277

256

276

273

278

257

277

274

279

258

278

275

280

259

279

276

281

260

280

277

282

261

281

278

2S3

262

282

279

284

263

283

280

285

264

284

281

286

265

285

282

287

FANCY HEAL

S OF MEN.

266
286,287,288
283, 284, 285
288,289,290
267
289
286
291
268
290
287
292
269
291
288
293
270
292, 294
289, 291
294, 295
271
omitted
84 Supp.
334
272
295
omitted
omitted
273
296
292
296
274
297
293
297
275
298
294
298
276
299
295
299
277 Supp. 112
300,301
296, 297
300, 301
278
302
298
302
279
303
299
303
280
304
300
304
281
305
301
305
282
306
302
306
249
FANCY HEADS OF MEN.

fci.J&J

Numbers of Gersaint,

Numbers of

Numbers of

Numbers of

Yver, Daulby.

Bartsch.

De Claussin.

this Catalogue.

283

307

303

307

284

293

290

308

285

308

304

309

286

309

305

310

287

310

306

311

288

311

307

312

289

312

308

313

290

313

309

314

291

314

310

315

292

315

311

316

293

26

26

26

294

316

29

29

295

317

312

317

296

318

313

318

297

319

28

28

298

320

33

33

299

321

314

319

300

322

315

320

301

323

316

321

302

324

317

322

303

350

340

345

304

325

318

323

305

326

319

324

306

327

320

325

307

328

omitted

omitted

308

omitted

omitted

omitted

309

omitted

omitted

omitted

310

omitted

omitted

omitted

Supplement 124

329

321

326

125

330

322

327

126

331

323

328

127

332

324

336

128

333

325

329

129

334

326

330

130

335

327

331

131

336

31

31

132

337

328

332

133

338

30

30

Supplement, 127

336

7X05050505050505050505050505

?/20505O505O5O5O5OSO505O505G505O505OS^05

3
c

C *.,U050SO5OSO5O5CO&5O50St0
?S HO(000«5aOi*M«HOC0

iS 00<lOJCnKOJ<0>-'OCCOD»JOjCn*.05 10^3 <-•

•S. ""^"os

?3 >3
CD CD
CD O
g oo
CD
M I-H
-« a
OS,
3
O
So
,_.
to
*.
W
h^
H
rt-
0505050505050505050505050505
I-H
0505O5O5O5O5050505O5O5O5O5O5O505O5O5O5O5
¦^^j^vimm-^ojojojojojcjoj
H
OJOjOJCnCncnCncncnCncn.£.>&.rf».rf».>&.4i.>f».i***'.
Cjii^OSti^OOCOOOMOJCni^OS
02
(0,-iOCOOO»JOJW*tOl-iCDOO»aOJ Cn_0S IO i— o
SS
3
r 05
2 B
O
O
^
CD
>n
*¦
cn CD
^-y-*/
W
ga
• o
O
05 05 05 05 05 05 05050505050505
CC?
0505050505050505050505050505050505050505
OJOJOJOJOJ OJ Cn o* Cj< Cn W 0< Cji
0< O-Qi4.4-^^4-*.4->i-C0CCWWOJ«WCC0J
fa
SB
Cn •*> 05 CO i— O CO 00 »J OJ Cn >^ 05
SI
fc0i—©CO00*3OjCn05CO>-4COa0'^OJ Cn^CO CO l-1 O
a
05
0505
fc
C J§
a
s »
H
PS,
W CO
0505050505 05 05050505050505
05050505050505050505050505050 0505050 05
OJOJOJOJOJ OJ OJ OJ OJ OJ Cn U\ Cn
Oi^O'OO^O'rf.+.^^^^i.p 4k 05 05 3 05
OJCni<J.05t3i-'OCOOO»JOJifc-05ts5. ~>_COO0P.»J
I*
CD 00 v( 03 Cn *- OS tO i-1 © CO 00 vj
to g £
p. g (S.
pa g,
rt o^
pa CD
O cn
I2-
CD
Oto H
W !>i— i
HCO CO
O o
O gH 2!
251

TABLE II.

In which the Numbers of this Catalogue are in succession in the first column.

PORTRAITS OF REMBRANDT.

Numbers of this

Numbers of

Numbers of

Numbers of Gersaint.

Catalogue.

De Claussin.

Bartsch.^

Yver, Daulby.

1

1

1

2

2

2

2

3

3

3

3

4

4

4

4

5

5

5

5

6

6

6

6

7

7

7

7

8

8

8

8

9

9

9

9

13

10

10

10

14

11

11

11

15

12

12

12

16

13

13

13

18

14

14

14

19

15

15

15

20

16

16

16

21 Sup. 9

17

17

17

22

18

18

18

23

19

19

19

24

20

20

20

25

21

21

21

26

22

22

22

27

23

23

23

28

24

24

24

Sup. 11

25

25

25

12,13

26

26

26

293

27

27

27

New article

28

28

319

297

29

29

316

294

30

30

338

Sup. 133

31

31

336

131

32

32

11

33

33

320

298

34

324

332

Sup. 127

252

SUBJECTS OF THE OLD TESTAMENT.

Numbers of this

Numbers of

Numbers of

Numbers of Gersaint,

Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

35

34

28

29

36

35

29

30

37

37

30

31

38

39

34

32

39

36

35

33

40

40

36

34

41

41

37

37

42

42

38

35

43

43

39

36

44

44

40

39

45

45

41

40

46

46

42

41

47

150

153

146

48

47

43

42

SUBJECTS OF THE NEW TESTAMENT.

49

48

44

43

50

49

45

44

51

50

46

45

52

51

47

46

53

52

48

47

54

53

49

49

55

54

50

50

56

55

51

51

57

56

52

52

58

57

53

53

59

58

54

163 (And Sup. 26)

60

59

55

55

61

60

56

56

62

61

57

57

63

62

58

58

64

64

60

54

65

65

61

60

66

66

62

61

67

67

63

62

68

68

64

63

69

69

65

64

70

70

66

65

71

71

67

66

72

72

68

67

73

73

69

69

74

74

70

71

75

75

71

72

76

76

72

73

77

77

73

74

78

78

74

75

79

79

n

78

253

SUBJECTS OF THE NEW TESTAMENT.

Numbers of this

Numbers of

Numbers of

lumbers of Gersaint,

Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

80

80

76

79

81

81

78

80

82

82

77

83

83

New article

New article

New article

84

83

81

84

85

84

79

81

86

85

80

82

87

86

82

85

88

87

83

86

89

88

84

88

90

89

85

89

91

90

86

87

92

91

87

90

93

92

88

91

94

93

89

68

95

94

90

77

96

95

91

70

97

96

92

92

98

97

94

94

99

98

95

58

100

New article

New article

New article

101

99

96

58

102

100

97

98

103

101

98

95

104

102

99

97

105

103

100

100

106

104

101

101

107

105

102

103

108

106

103

102

109

107

104

104

110

108

105

105

111

109

106

99

112

110

107

107

113

111

109

109

ALLEGOR1

CAL, HISTORICAL, AND FANCY SUBJECTS.

114

112

110

111

115

113

111

123

116

114

112

124

117

115

113

112

118

116

114

113

119

117

115

113

120

118

116

113

121

119

117

113

122

120

118

114

123

121

119

115

124

122

120

116

125

123

121

117

126

124

122

118

254
ALLEGORICAL, HISTORICAL, AND FANCY SUBJECTS.

Numbers of

Numbers of

Numbers of

Numbers of Gersaint,

this Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

127

125

123

119

128

126

124

120

129

127

125

121

130

128

126

122

131

129

128

126

132

130

129

127

133

131

130

128

134

132

131

129

135

133

133

131

135*

38

33

132

136

135

135

134

137

136

136

135

138

137

138

137

139

138

139

138

140

139

140

139

141

140

141

140

142

140

141

140

143

142

143

141

144

143

144

142

145

143

144

142

146

143

144

142

147

146

149

Supp. 53

148

147

150

143

149

148

151

144

150

149

152

145

151

151

154

148

152

152

155

150

153

153

156

151

154

154

157

152

155

155

158

153

156

156

159

154

157

157

160

Supp. 62

158

158

161

63

BEG

rGARS.

159

159

162

155

160

160

163

156

161

161

164

157

162

162

165

158

163

163

166

159

164

164

167

160

165

165

168

161

166

166

169

162

167

167

170

164

168

168

171

165

169

169

172

166

170

170

173

167

171

171 .

174

168

172

172

175

169

255
BEGGARS.

Numbers of

Numbers of

Numbers of

lumbers of Gersaint,

this Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

173

173

176

170

174

174

177

171

175

175

178

171

176

176

179

172

177

177

180

173

178

178

181

Supp. 75

179

179

182

174

180

180

183

175

181

181

184

176

182

182

185

177

FREE SUBJECTS.

183

183

186

178

184

184

187

179

185

185

188

180

186

186

189

181

187

187

190

182

188

188

191

183

ACADEMICAL SUBJECTS.

189

189

192

184

190

190

193

185

191

191

194

186

192

192

195

187

193

193

196

188

194

194

197

189

195

195

198

190

196

196

199

191

197

197

200

192

198

198

201

193

199

199

202

194

200

200

203

195

201

201

204

196

202

202

205

197

LANDSCAPES.

203

203

206

198

204

204

207

199

-205

205

208

200

206

206

209

201

207

207

210

202

208

208

211

203

209

209

212

204

210

210

213

205

211

211

214

206

256

LANDSCAPES.
Numbers of this
Numbers of
Numbers of
Numbers of Gersaint,
Catalogue.
De Claussin.
Bartsch.
Yver, Daulby.
212
212
215
207
213
213
216
208
214
214
217
209
215
215
218
210
216
216
219
211
217
217
220
212
218
218
221
213
219
219
222
214
220
220
223
215
221
220
224
216
222
222
225
217
223
222
225
222
224
224
227
218
225
225
228
219
226
226
229
220
227
227
230
221
228
228
231
223
229
229
232
224
230
230
233
225
231
231
234
226
232
232
235
227
233
233
236
227
234
234
237
228
235
235
238
229
236
236
240
232
237
237
239
231
238
238
241
233
239
240
243
235
240
241
244
236
241
242
245
236
242
243
246
Supplement, 83
243
244
247
Ditto 84
244
245
248
Ditto 86
245
246
249
Ditto 87
246
247
250
Ditto 88
247
248
251
Ditto 89
248
249
252
Ditto 90
249
250
253
Ditto 91
250
251
254
New article
251
252
255
Ditto
252
253
256
Ditto
253
New article
New article
Ditto
254
Ditto
Ditto
Ditto
255
Ditto
Ditto
Ditto
256
Ditto
Ditto
Ditto
257
Ditto
Ditto
Ditto
257
PORTRAITS OF MEN.'

Numbers of this

Numbers of

Numbers of

Numbers of Gersaint.

Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

258

254

257

237

259

255

258

238

260

256

259

239

261

257

260

240

262

New article

New article

New article

263

258

261

241

264

259

262

242

265

260

263

243

266 „

261

264

244

267

262

265

245

268

263

266

246

269

264

267

247

270

265

268

248

271

266

269

249

272

267

270

250

273

268

271

251

274

269

272

252

275

270

273

253

276

271

274

254

277

272

275

255

278

273

276

256

279

274

277

257

280

275

278

258

281

276

279

259

282

277

280

260

283

278

281

261

284

279

282

262

285

280

283

263

286

281

284

264

287

282

285

265

FANCY HEADS OF MEN.

288 .

283

286

266

289

284

287

266

290

285

288

266

291

286

289

267

292

287

290

268

293

288

291

269

294

289

292

270

295

291

294

270

296

292

296

273

297

"293

297

274

298

294

298

275

299

295

299

276

300

296

300

277

301

297

301

Supp. 112

302

298

302

278

303

299

303

279

304

300

304

280 T

0505050SOSOS0505050SOSOSOSOS

O505O505O50505M05O5O505O5O505O5O5O5O5O505O5O5O5O5O505O50505O5O5

OCDOOv|OJCn*.OStO^©COOO*I

(10&JCJCOCO«Mt5MMWt5WWW(OM^^^-J^MI-HJH-J00000
^W^wS"oCDOOVI03CSSi03W^OCDOO<iaCn^05CO^OCDOOVIOJCn|

m p
OSo "¦

OC! O
3 "»
CD
0505050505050505050505050505
0S05O5OS05OSO5OSOSO5OS0S05O3O5OSOSOSW05OSOSOSOSOStOOSO5OS
CjCn05t0i-'OCO00»ICn*.0St0O
«MM»UWtO«MHHMHH-iH^HHOOOOOO©000
«DC»^03Cn05COH-iOCOOD<I03Cn^.05COI--'OCOOO<I03Cnrfi.005tOH-
£3
o
CD c
OB
H
£ CD
p -t
cn cn
W
s-°
H
CO
3 >->
0S05050SO5O5OSO503OSOSO5OSOS
0505050505050505050505050505050505050505050505050510050505
O(O«CnCr(C"0'^>-i^rf-^-4-^>4-
O
MUM«lCSUUt5kJ(OIOKlia(0»3"H.MHHMi-^OOCOOOOCD^ICnA05P-'OCD^IOJCn*.05(Oi-'OOvICn*.05>Or-'OC00005^0jCn
03C«i(J.tOH-OCOOO<im*.05cOO
>*J
izS
tdP-
3
El eg CD
o
g
tr* ot
Si
.
* o Ms
0SO30S050S0S0S0SOS05O5O50S05
H* M 05 05 05 05 OS OS CO tO tO tO CO tO tO CO tO tO tO tO tO tO tO
-*H COOOOOOCOCOCOCOCDCOOOOOOOOOOOOOOOOOOO
Sic
KjB
WMWW^OMHHHHMHH
OSeOP-'OCOOSaO»J03>tk0505*Ol->
2 ?H03CnrfktOl-'OCOOJCntOi-iOCOOO>JOjOi>|kOStS>-'
t> "R'K B-" B-" {* fV 2 »
2 2.
S& — S. OOOOOOP
•§ »Oa CD
)— 'J? tO ?— » — * )-J H- » f-< >— if-*
H-S vj 05 OS to h? tO tO tO
tor ?- CO © CO 00 OJ Cn *-
-• CD
dS, "^ M
*-< OT
• g *
p*
hed>¦SiO K|W> aCO
'o ws;
259

PORTRAITS OF WOMEN.

Numbers of

Numbers of

Numbers of

Numbers of Gersaint,

this Catalogue.

De Claussin.

Bartsch.

Yver, Daulby.

351

347

357

324

352

348

358

325

353

349

359

326

354

350

360

327

355

351

361

328

356

352

362

Supp. 140

STUDIES OF HEADS AND SKETCHES.

357

353

363

329

358

354

364

330

359

355

365

331

360

356

366

332

361

357

367

333

362

358

368

334

363

359

369

335

364

360

370 )
370 noteS

336)337 5

365

361

371

338

366

362

372

339

367

363

373

340

368

364

374

341

369

365

375

Supplement, 141

A CHRONOLOGICAL ARRANGEMENT OF SUCH OF
REMBRANDT'S PRINTS AS ARE DATED.

1628 Portrait of Rembrandt's mother, 347. Ditto, 348.
1629 His own Portrait, No. 30.
1630 His own Portrait, No. 10, 13, 24, 29, 33. Presenta
tion, 56. Beggars, man and woman, J 61. A beggar
sitting on a hillock, 171. A man making water, 187.
Old man with a bald head, 294. Profile of a bald-
headed man, 295. Bust of a man seen in front in a cap,
304. An old man with a large white beard, 310. Man
with a broad-brimmed hat, 312. Philosopher with an
hourglass, woodcut, 318. A man with mustaches, sitting.
319. Old man with a very large beard, 322.
1631 His own Portrait, No. 7, 14, 15, 16, 25. Peasant with
his hands behind him, 136. Blind fiddler, 138. Po-
lander, 142. Blind fiddler, 148. A beggar, in Callot's
manner, 164. Lazarus Klap, 168. An old beggar with
a long beard, 172. A woman crouching under a tree,
188. The bathers, 192. Bust of an old man with a
long beard, 261. Man with a short beard, 265. Old
man with a beard, 297. Old man with open mouth,
298. Bust of a man in a fur cap, stooping, 307. An
old man with a very large and pointed beard, 316.
Profile of a man with a short thick beard, 317. Bust of
a man in a cap, 320. Bust of a man bald-headed, 322.
An old woman with her hand on her breast, 343. Rem
brandt's mother, 344. An old woman in a black veil, 349.
1632 St. Jerome, 106. Rat killer, 125. Persian, 150. Cot
tage with white pales, 229.
1633 His own Portrait, No. 17, 20. Flight into Egypt, 57.
Descent from the Cross, 83, 84. Good Samaritan, 95.
Fortune, 1 15. Rembrandt's mother, 346.

262
1634 His own Portrait, No. 18, 23. Joseph and Potiphar's
wife, 43. Angel appearing to the Shepherds, 49. Jesus
and the woman of Samaria, 75. Our Lord and the
Disciples at Emmaus, 92, 93. Young woman reading,
341. Young woman with head dress of pearls, 342.
Two beggars, companions 174, 175.
1635 Jesus driving the money-changers out of the Temple, 73.
Martyrdom of Stephen, 102. St. Jerome, 107. Pan
cake woman, 128. Mountebank, 132. Utenbogaert,
the Minister, 28 1 . Three oriental heads, 288, 289, 290.
1636. His own Portrait, with his wife, No. 19. Jesus dis
puting with the Doctors, 70. Ecce Homo, 82. Pro
digal son, 96. Arched landscape with a flock of sheep,
221. Janus Silvius, 268. Manasseh Ben Israel, 271.
Six heads, studies, 359.
1637 Abraham and Hagar, 37. A young woman musing, 270.
An old man with a square beard, 314. Three heads,
studies, 362.
1638 His own Portrait in a cap and feather, No. 20. Adam
and Eve, 25. Joseph telling his dream, 41. St. Cathe
rine, 338.
1639 His own Portrait, No. 21. Death of the Virgin, 104.
Youth surprised by death, 113. Jew with a high cap,
135. Gold-weigher, 283.
1640 Decollation of St. John, 97. The flute player, 185. An
old man with a fur cap, divided in the middle, 267.
1641 The angel ascending from Tobit, 48. Virgin and Child
in the clouds, 65. Baptism of the Eunuch, 103. Lion
hunt, lis. Three oriental figures, 122. Schoolmaster,
131. Man playing cards. Large landscapes, 222, 223.
Rembrandt's mill, 230. Man with a crucifix and chain,
263. Renier Ansloo, 273.
1642 Resurrection of Lazarus, the small print, 376. Descent
from the Cross, 87. St. Jerome, 110. Man in an
arbour, 258.
1643 Hog, 154. The three trees, 209.
1644 Landscape, shepherd and his family, 217.
1645 His own Portrait, No. 32. Abraham and Isaac, 38.
Rest, in Egypt, 63. St. Peter, 101. Six's bridge, 205.
Omval, 206. Grotto with brook, 228. John Cornelius
Silvius, 282.
1646 A beggar woman asking alms, 167. Ledikant, 183. Aca
demical figure, 190. Academical figure, 193.
1647 Ephraim Bonus, 280. Burgomaster Six, 287.

263
1648 His own Portrait, No. 22. St. Jerome, 108. Alle
gory, 114. Medea, 116. Synagogue, 130. Beggars
at the door of a house, 173.
16491650 Jesus and his disciples, 94. Shell, 156. A village near
the high road, arched, 214. Village with a square
tower, arched, 215. Landscape with canal and swans,
232. Landscape with canal and boat, 233. Young
man sitting in a chair, 259. Study, 364.
1651 Tobit blind, 46. A woman sitting before a Dutch stove,
194. Gold-weigher's field, 231. Clement de Jonge, 274.
1652 David on his knees, 45. Jesus disputing with the Doc
tors, 69. Landscape with a vista, 219.
1653 Crucifixion, 81. Landscape with a square tower, 235.
1654 Circumcision, 52. Flight into Egypt, 60. Jesus found
by his parents, 64. Holy Family, 67. Jesus disputing
with the Doctors, 68. St. Jerome, 105. Kolef, 129.
1655 Abraham's sacrifice, 39. Prints for the Spanish Book, 40.
Our Lord before Pilate, 80. Descent from the Cross,
88. Young Haaring, 277.
1 656 Abraham entertaining the angels, 36. Janus Lutma, 278.
1657 St. Francis, 112.
1658 Jesus and the woman of Samaria, 74. A woman prepar
ing to dress after bathing, 106. A woman with her feet
in the water, 197. A naked woman seen from behind,
202.
1659 Peter and John at the gate of the Temple, 98. Antiope
and Jupiter as a satyr, 200.
1660
1661 The woman with the arrow, 199.

REMARKS.
From the foregoing table it will appear, that having commenced
the display of his talent with a filial tribute in 1628, by etching
his mother's portrait twice, he gave his own likeness to the world
in the following year, and continued this favourite whim through
a series of years till 1648, when the vanity appears to have left
him : he had then engraved his own portrait at least thirty-four
times during the years 1629, 1630, 1631, 1633, 1634, 1636,
1639, 1645, and 1648.

264
His mother's portrait in 1628, and his own in 1629, are his
only dated prints of those years.
In 1630 and 1631 he appears to have etched a vast number of
slight and chiefly single subjects, which are all executed in an easy
and spirited manner, peculiar to these years.
In 1632 his four dated performances are far more finished.
This year produced his first dated landscape, — " The cottage with
white pales."
In 1633 his dated prints are yet more important, especially
" The Descent from the Cross," and " The good Samaritan."
In 1634, with other far less important works, is "The angel
appearing to the shepherds," a print of surpassing excellence, not
withstanding its glaring defects.
In 1635 his dated works shew care and beauty, but no very
great increase of merit.
In 1636, his most pleasing dated production, is the landscape
with the flock of sheep.
In 1637 and 1638, his dated prints are all finely finished.
In 1639, two of his works are of a higher degree of importance.
— " The death of the Virgin," and " The Goldweigher."
In 1640, he did not execute much of importance bearing a date.
The " old man with a divided cap," a fine print, is of this year.
In 1641 and 1642, except his large Landscape, No. 222, his
dated productions are of less consequence than those of many
preceding years.
In 1643, two prints only appear dated, " The Hog," and " The
Three Trees ;" — the subjects are greatly contrasted, but both are
very fine.
In 1 644, nothing but one unimportant landscape appears dated.
In 1645, he seems to have commenced his masterly portraits
with that of J. C. Silvius. The " Janus Silvius," of 1636, is of a
very different order of art.
1646. This year does not, in its dates, indicate much of im
portance. 1647. In this year are found two of his very finest works —
" Ephraim Bonus," and " The Burgomaster Six." Perhaps, also
the " Hundred Guilder," and the print called the " Little La
Tombe," were executed in this year, or about this time.
1648. The prints in this year, though of far legs consequence,
partake of the same character.
1649. This year is a blank as to dates.

265
1650. This year shews chiefly landscapes, which are of great
beauty, and a minor subject of much merit, " The Damier shell."
1651. As regards dated works, this year does not seem alto
gether of so high a character.
1652-53-54. These years seem to give evidence of somewhat
less finish, though the vigour continues.
1655-56-57. In these years are some bold works, of piquant
effect ; such as " Abraham's sacrifice," " Abraham entertaining the
angels" — " Our Lord before Pilate," and " St. Francis," all of the
same character. In 1656 is the admirable Portrait of Lutma.
I think that Asselyn and the old Haaring also are of this year,
and perhaps Van Tolling.
1658-59. He continues to charm and astonish by increased
boldness and effect, but it is visibly at a sacrifice of much of his
former care.
1661. Having done nothing dated in 1660, he closes, in 1661,
with a magical touch of chiaro scuro, in his " Woman with the
arrow." It might be practicable to assign dates to many of his other
works. I forbear conjecture, however, on these, which I leave to
better informed admirers of his talent. I think that I can (perhaps
fancifully) see his rise from the pleasing to the astonishing, and
from thence to the sublime, always more striking, though more
careless, and not so generally pleasing ; forming, perhaps, in
accordance with the dates of his etchings, their outset, progress,
and decline.

266

Descriptive CATALOGUES of the PRINTS or REMBRANDT,
According to their Dates of Publication.
Catalogue raisonne de' toutes les pieces qui foment l'oeuvi-e de Rem
brandt, compost par feu M. Gersaint, et mis au jour, avec les aug
mentations necessaires, par les Sieurs Helle et Glomy : Paris, 1751.
The same Catalogue translated into English, published by T. Jefferys :
London, 1752.
Supplement au Catalogue raisonne de MM. Gersaint, Helle et Glomy,
par Pierre Yver : Amsterdam, 1756.
A descriptive Catalogue of the Works of Rembrandt, &c, compiled
from the original etchings and from the Catalogues of De Burgy,
Gersaint, Helle, and Glomy, Marcus and Yver, by Daniel Daulby :
Liverpool, 1796.
Catalogue raisonne de toutes les estampes qui forment I'oeuvre de
Rembrandt, &c, compose par les Sieurs Gersaint, Helle, et P.
Yver, nouvelle Edition, entierement refondue, corrigee, et conside"ra-
n y blement augmentee, par Adam Bartsch : Vienne, 17fe7.
' h Catalogue raisonne de toutes les estampes qui forment I'oeuvre de
Rembrandt, &c, compose par les Sieurs Gersaint, Helle, Glomy, et
P. Yvor, nouvelle edition, corrigee, et considerablement augmentee,
par M. le Chev. de Claussin : Paris, 1824.
Supplement au meme Catalogue, par le meme : Paris, 1828.

ERRATA AND ADDENDA.

Page 32, No. 12. '' Portrait of Rembrandt." First state — there isa space of
an inch below the oval. Heighth 3 in. 5-10ths; width,
2 in. l-10th.
 33, — 16. " Portrait of Rembrandt." The cloak is faced with fur
on the right, not on the left :
There are two impressions.
The first is much less worked upon than the second. It
is in Lord Aylesford's collection.
The second is worked upon especially in the cloak, and
the name is rendered almost illegible.
 159, — 221. " Landscape with a flock of sheep." The added branch
protrudes on the left of the barn.
 161 — 224. " Landscape with an obelisk." First state — Mr. Carew's
impression was much less worked upon.
 185 > — 274. "Clement de Jonge." The space below the upper bar
186 ) of the chair is meant, instead of the bar itself as
white in the first, and etched with the single stroke
in the second impression. The observation of bril
liancy annexed to the fifth impression, is intended to
apply to the third.
 • 222 — 333. " The Moor with the hammer" is by De Hae, whose
name in an impression lately sold was distinct.