Rembrandt: His Life, His Work, His Time  

unic of golden brown over a white chemisette, and a necklace of

pearls ; a medallion with a large pearl attached hangs on her breast. Her head is slightly bent, and is crowned by a golden diaclem, round which is coiled a mass of bright brown hair. The regular features

o o

the pure oval of the face, the rich hair, recall one of the fair Venetians immortalised by Titian. In the execution, which is more

THE JEWISH BRIDE (UOAZ AND lU'TH?)

About 1665 (Ryksmuseum, Amsterdam).

discreet and supple than is usual at this period, we note further reminiscences of the painter of Cadore, for whom, judging by the examples of his works collected by the master, Rembrandt seems to have had a deep admiration. But the harmony of the amber tones, and the luminous brilliance of the carnations against the dark background are very characteristic of Rembrandt, and justify Burger's criticism : " It is painted with gold." The work is more summary, but the expressive quality, on the other hand, is of a higher order in the Workers in the Vineyard, a picture in

172

REMBRANDT

the Wallace collection, probably painted at about the same period. Here the figures, like that of the Liicretia, are life-size, and three-quarters' length. Seated at a table, his purse beside him, the gray-haired master of the vineyard is paying his labourers. He wears a high turban, and a red robe, opening over a white shirt with an ornamental pattern. Resting one hand on the table, he points with the other to the account on a sheet of paper before him, to which he calls the attention of one among the three labourers, another of whom wears a military dress, and a helmet with white plumes. The harmony, a deliberately austere scheme of reds, toned whites, and gray or yellowish browns, has peculiar distinction. But the main beauty of the composition lies in the nobility of the conception, in the air of authority on the benevolent face of the master, outraged at the unjust claims by which his bounty is rewarded.

To this same period, about the year 1665, we may probably assign a picture of the Van der Hoop collection, in the Ryksmuseum, the traditional title of which, 77/6' Jewish Bride, seems to us as purely arbitrary as that of The Night Watch. The theme, though simple in treatment, is very enigmatical. The elderly man who lays one hand on the young woman's shoulder, the other on her breast, in a some- what compromising attitude, looks too reverend a personage for a gallant, too serious and respectable for a seducer ; his air of gravity, and the deferential expression of the young woman, seem rather to proclaim him a father or guardian, from whom she is about to part. We can detect nothing in the appearance of either model to help us to their identification with any of the master's friends or relatives. The subject, which may possibly, as has been suggested, be the court- ship of Boaz and Ruth, is, however, unimportant, as compared with the great technical interest of the work. Note especially the natural grace of the young woman, the beauty of her hands, the magnificent harmony of her flesh-tones, and the rich crimson of her gown, a harmony brought into vivid relief by the dark green of the background, and the iron-grays skilfully distributed among the more brilliant tints.

In this year 1665, the prolonged disputes arising out of Rembrandt's relations with his creditors were finally brought to an end. The most

THE MAJORITY OF TITUS 173

formidable creditor, Van Hertsbeek, had, as we know, appealed in vain against the judgment of the provincial court of December 22, 1662, ordering him to restore the 4200 florins he had obtained from the insolvent estate. The decree was confirmed by the Great Council on January 27, 1665, and on June 20 following Van Hertsbeek was ordered to pay over the money to Louis Crayers, advocate, and agent for Titus.

To avoid further difficulties, Rembrandt made up his mind to establish Titus' position, by demanding an abridgment of his minority by a year. Jointly with his son, he presented a petition to the magistrates of the town, asking them to support the request before the Grand Council. 1 In this document Titus sets forth that " as a citizen of Amsterdam, his situation as a minor is a drawback to him in his business, and might become very prejudicial." He solicits permission " to manage his own affairs and administer his own property." The faithful Abraham Fransz who was probably Titus' friend and counsel- lor in his business as a dealer "in engravings, pictures, and curiosities of all sorts "-further certifies that the young man is perfectly qualified for the dispensation "by reason alike of his business capabilities, and his exemplary conduct," an opinion in which Fransz is supported by two witnesses. The request having been favourably received by the magistrates, the desired indulgence was granted on June 19 following, and on November 5 Titus was awarded the sum of 6952 florins " being the balance, as well of the produce of the sale at his father's house, in the Breestraat near St. Anthony's Lock, in 1658, as also of the former inheritance." Although the sum fell far short of what he had originally claimed, the conclusion of the litigation was an infinite relief to Rembrandt. After a sojourn of some three years in the house on the Rozengracht, his life had become more or less nomadic. He seems however to have been on excellent terms with his late landlord, one Van Leest, for on January 26, 1663, Rembrandt acted as his witness to an inventory of his deceased son's property. But in 1664 Rembrandt gave up his house, and installed himself on a neighbouring quay, the Lauriergracht, where he remained only a year.

1 Vosmaer, p. 374 and 449.

'7!

REMBRANDT

Pen drawing (I)ukt: uf Devonshire's Collcction\

In 1665 we find him back again on the Rozengracht, and there he remained until his death. These successive changes seem to point to

money-difficulties, and it is probable that Titus' tardy inheritance re- lieved the old painter's distress at a most op- portune moment.

Notwithstanding the neglect which had over- taken the master, a pupil came to him at this period, whose talent and aptitude must have cheered the forsaken artist in his solitude. This, his latest scholar,

Aert de Gelder, was born October 26, 1645, at Dordrecht, the

city which had furnished

Rembrandt with so many

disciples. DC Gelder

had been a pupil of one

of these, Samuel van

Hoogstraaten, until the

departure of the latter

for England, in 1662.

As Mr. G. Veth has

already remarked, 1 it is

probable that De Gel- der passed directly from

Hoogstraaten's studio to

Rembrandt ; for Houbra-

ken, who knew him

personally, only mentions these two as his masters. He belonged to a 1 Anteekeningen omtrent eetiige Dordretsche Schilders ; Oud-Holland, vi. p. 184.

THE NATIVITY.

About 1652 (B. 45).

AERT DE GELDER

'75

good family, and was, in all probability the son of J. Gclcler Aertsz, accountant to the East India Company at Dordrecht in 1650. An enthusiastic worshipper of Rembrandt, De Gelder soon adopted all

I'KX DRAWING HKHiHTKNKD WITH SEI'IA.

Duke of Devonshire's Collection.)

his tastes. He imitated his execution, painted kindred subjects, and, like Rembrandt, adorned the walls of his studio with a mass of ornaments, embroideries, foreign shoes and weapons. It was not only

his habit to lay on his colours with a palette- knife, as was the prac- tice of his master ; he even kneaded the paste with his finger and thumb, "despising," as Houbra- ken says, " no technical device to obtain a desired end, and often producing truly surprising effects from a distance."

Among De Gelder's best works we may men- tion the Synagogue, a picture of sixteen figures, painted in 1671, the chiaroscuro of which is so delicately studied that, in Burger's words, it is hard to believe it anything but a sketch by Rembrandt;

PEN DRAWING WASHED WITH SEFIA.

(Duke of Devonshire's Collection.)

(This drawing, the one above it, and the head-piece of Chapter I., Vol. I., are studies of the same landscape.)

1? 6 REMBRANDT

the Painter engaged on the portrait of an old Lady (1685) in the Stadel Institute at Frankfort, perhaps his masterpiece ; the Ecce Homo at Dresden (1671), a work evidently inspired by Rem- brandt's large plate of 1655 (B. 76); and a second picture in the same gallery, the charming Contract, attributed to C. Paudiss, but undoubtedly by De Gelder. The type of the woman and her heacl-dress are almost identical with those of a Bathsheba at David's Diath-bcd belonging to Madame Lacroix. The analogies of the execution are further very marked. Madame Lacroix's example was a famous work even in the painter's life-time, and was formerly in the celebrated Van der Linden Van Slingelandt collection, sold at Dordrecht in i/Ss. 1 \Yc may close the list with the two pictures in the Prague Museum, the Vcrhimnns and Pomona, engraved by Lepicie as a work of Rembrandt's, but restored to its true author by Lebrun ; and the Ruth and Boaz, the composition of which, being closely allied to that of the: Jewish Bride in the Ryksmuseum, confirms the hypothesis that this was the subject treated by Rembrandt.

In these various works, the disciple approaches the master so closely that it is easy to explain occasional mistakes of attribution. To Aert de Gelder, we think, must be assigned the so-called Lc Pecq Rem- brandt, a picture which gave rise to the most passionate controversy, both in France and abroad, at the beginning of 1890. Public interest in the question was so great that we may be pardoned for devoting some few lines to this Abraham entertaining the Angels, which bears Rembrandt's signature, and the date 1656. I was one of the first to whom M. Bourgeois submitted the picture after its purchase at a public sale held at Le Pecq, near Saint Germain. I saw it under unfavourable conditions, and by gas-light. But my immediate im- pression was that the work was not by Rembrandt. During my fifteen years' study of the master, and more particularly during the three years I have devoted exclusively to his works, I have often been called upon to pronounce on the authenticity of pictures attributed to him. There have been occasions when I have hesitated

1 The Bathsheba then fetched 200 florins. The collection included five other works by Aert de Gelder, among them two allegorical figures, Liberty and Concord.

THE LE PECQ PICTURE , 77

between Rembrandt and his pupils ; but in this case my decision was made at a glance. Two days later the opening of the Winter Exhibition necessitated my presence in London, and before leaving I was only able to express my opinion as to the so-called Rembrandt to one or two friends. At the time I was far from foreseeing the

o

violent discussions of which I subsequently caught the echoes in numerous European, and even American newspapers. But while in London my opinion was fully confirmed by Dr. Bode, who arrived two days after me, and who had examined the picture on his way through Paris. He negatived the attribution on grounds identical with those already advanced by me. I afterwards saw the picture in a strong light, and examined it carefully, with the result that my first impressions were in every respect justified. As far as my knowledge goes, Rembrandt treated the subject three times: in the etching of 1656 (B. 29), and in two pictures, one the "little gem" of 1646 (No. 2 in Smith's Catalogue), the other the large canvas of the same year in the Hermitage. Both in the etching and the pictures, the master has adhered scrupulously to the text, representing Abraham as a white-bearded old man, and Sara, as holding somewhat aloof, and laughing at the suggestion that she shall yet bear a son in her old age. In the Le Pecq picture Sara is not present. The figure of Abraham, though in the fore- ground, is veiled in a strong shadow, and is barely recognisable. His attitude and his brown hair are very uncharacteristic of the patriarch as elsewhere conceived by Rembrandt. The types also differ widely from those affected by the master. The heads of the angels are poorly drawn, and expressionless ; the Eternal Father in the centre is a venerable figure ; but his refined and delicate features have none of the power and majesty with which Rembrandt would have endowed them. The weakness and incorrectness in the modelling of the hands are flagrant ; not that the master himself was always beyond reproach in this respect. But his very errors have a brilliance totally wanting here. In spite of De Gelder's simulated audacity, in spite of his loaded impasto, and free use of the palette-knife, his execution is essentially timid. We recognise VOL. II. N

I 7 8

REMBRANDT

the uncertainty of handling, the spurious vigour of one whose excite- ment is calculated and deliberate, rather than the assurance of touch, the freedom, the feverish impatience of an artist sure of himself, as was Rembrandt, in works where he too had recourse to the palette- knife, as for instance the Syndics, the JcivisJi Bride, and the Family Portrait in the Brunswick Gallery. At this period nothing could have been more alien to his manner than the somewhat insipid refinement, and elaborate care that marks his pupil's conception of

God the Father the best, and indeed the only good figure of the composition. In the presence of this work, we cannot but concur in Smith's appreciation of Aert de Gekler's powers : " Many of this artist's productions, when viewed at a moderate distance, have a deceptive resemblance to Rembrandt's, but when examined more closely, they will be found exceedingly thin and meagre in colour, and slight in the execution." : To be brief, we consider the work, though inferior to the Frankfort picture, and in- jured by an early restoration, which has reduced the impasto, and given it a certain rawness and monotony,

to be nevertheless one of De Gekler's best productions. But for the reasons we have stated, as for many others we might point out, we cannot admit it to a place in Rembrandt's ceuvre.

At about the same time that De Gelder came, an apt and docile pupil, to cheer Rembrandt's solitude, the master had the further satisfaction of increased intimacy with one who had long been among his friends. This was Vondel's pupil, Jeremias de Decker, whose portrait, painted by Rembrandt in 1666, is now in the Hermitage.

1 Catalogue Raisonne, vii. p. 249.

PEN AND SKl'lA SKETCH.

(Lord Warwick's Collection.)

DE GKLDKR'S ART

Decker professed the warmest admiration for the master, and had sung his praises in a sonnet inspired by his picture : The Magdalene

THE STANDAKD-UEAKEK.

About 1662 1664 (Lord Warwick's Collection).

at the Feet of CJirist^ He extols his friend's " respect for the

1 Rembrandt twice treated the subject, once in the picture in Buckingham Palace, dated 1638, and again in that in the Brunswick Gallery, dated 1651. It is not known to which l)e Decker referred ; probably, however, to the later picture, as the first edition of the poet's works appeared at Amsterdam in 1656.

X 2

jgo REMBRANDT

sacred text. " Have pen and pencil ever been so intimately allied ?" he asks. " Did ever colours approach reality so nearly?" Speaking of the touching figure of the Magdalene, he dwells on the poetic charm of her attitude and expression. " She believes and doubts by turns ; she hesitates between hope and fear. The towering rocks of the sepulchre give a mysterious majesty to the scene. Friend Rembrandt, I saw the work grow beneath thine active hand ; my pen does homage to thy brush, my ink to thy pigments." The fine quality of the Hermitage portrait proclaims Rembrandt's evident pleasure in the rendering of his model. He is turned almost full face to the spectator, and wears a broad-brimmed hat, which throws a strong shadow across the upper part of the face, concentrating the light on the nose and the left cheek. The black costume is relieved by a flat white collar. The somewhat blunt features express vigour and resolution ; the keen eyes are full of sincerity. The work is marked by no special display of techni- cal mastery. Its characteristics are rather the noble breadth and simplicity that give the painter of the Syndics a place apart among artists. Such an interpretation of his personality moved the poet to express his gratitude in verse. In a poem written immediately after the completion of the portrait he died the same year Decker lauds the generosity of the Apelles, whose work was undertaken, not in the hope of profit, but " for the love of his friend and of the Muses." He wishes that he were able, in like masterly fashion, to reproduce the artist with the pen not his features, but his cultured mind and ingenious art, which he (Decker) would fain manifest to all the world, to the confusion of Envy, that evil beast. But what, he asks, can verse such as his own avail the painter, whose glory has spread wherever the ships of free Holland have sailed ? Though his pen can add nothing to the fame of Van Ryn, he begs him to accept the verses as a humble tribute from one who will ever be his obliged and grateful friend.

Such appreciation must have sounded strangely in Rembrandt's unaccustomed ears. His friends were few, and more than ever his work had become his main solace. Most of the pictures

PORTRAITS OF THIS PERIOD 181

painted at this period are portraits, or rather studies, for, judging by their attitudes and costume, the persons represented were chiefly those about him. The Portrait of a Young Woman, in the National Gallery, signed and dated 1666, no doubt belongs to this category. She is painted nearly full face, in a black costume, with pearls in her ears, and rings on her fingers. Her hands are crossed on her breast, and in one she holds a handkerchief. Her features are commonplace enough, but her smiling lips and the sweet expression of her eyes denote a kindly nature, and in his rendering of her characteristic type Rembrandt combines an absolute sincerity with that consum- mate mastery of material to which he had now attained. Mr. Charles Morrison's Portrait of a Young Girl is even more attractive, though it has lost something of its first freshness. It must have been painted at about the same time, but only the first three figures of the date (166) are now legible. As Dr. Bode remarks, 1 there is no justification for the title, Raiibrandfs Daughter, by which it is commonly known. Cornelia was only eleven or twelve years old at the time, and the girl in the portrait is apparently from eighteen to twenty. The graceful figure is seated in an elbow-chair, on the arm of which she rests her right hand. She is wrapped in a white fur, which, while it serves to supplement her scanty draperies, leaves her chemise and part of her breast uncovered. The deep violet crimson of the table-cover beside her, and the dull red of the curtain behind set off her brilliant carnations, and the beauty of her youthful contours is fully displayed by the truth of the attitude, and the delicacy of the chiaroscuro.

In addition to these youthful models, Rembrandt found around him a few of those old men he loved to paint, because they fell in submissively with his fancies, and allowed him to pose and accoutre them as he pleased. Foremost among these was the Standard- Bearer now at Warwick Castle, an elderly man who stands facing the spectator, in a broad brimmed hat with white plumes, and a brown costume relieved by a dark green_scarf and gold baldrick. In his left hand he grasps a red and yellow standard. His features

1 Bode, Studioi, p. 551.

l32

REMBRANDT

are delicate and refined, and, as Dr. Bode remarks, there is a curious incongruity between his placid expression and his martial

trappings.

Lord Northbrook's Portrait of an old Man leaning on a Stick seems to us not altogether above suspicion. It is signed and dated 1667, but the weakness and timidity of the handling make this date an incredible one. The Duke of Devonshire's Old Man at Chiswick is a more important work, and worthier of the master ; but the finest of this series is the Old Man in the Dresden Gallery

(No. 1570 in the Catalogue), which must have been painted at this period. Though Rembrandt has laid his palette with a certain re- ticence, the effect is marvellously rich and vigorous. The somewhat strong shadows enhance the brilliance of

the high lights, which are very carefully studied, the touches being juxtaposed, but without fusion, a device by which the play of the impasto takes on a vibrating quality of extraordinary depth and harmony. The more loaded passages such as the brocaded drapery, and the clasp which fastens the mantle are rather modelled than painted, and from a short distance are almost illusory in their rendering of the glimmer of gold and the glint of precious stones.

To this period 1666 to 1668 we think must be assigned a pair of bust portraits of a husband and wife, purchased in 1889 by Messrs. Rodolphe and Maurice Kann, from the Comte d'Ouhremont at Brussels. They are marked by the freedom of touch, the vigour almost verging on violence, which distinguish the works already

SCK'IKl UiAL SL'BJKCT.

Pen and Sepia (Lord Warwick's Collection).

PORTRAITS OF THIS PERIOD

183

enumerated. The husband, a man of energetic appearance, with a florid complexion, brown moustaches, and grizzled hair rising in a mass above his forehead, wears a yellowish doublet with a small flat collar, and over it a full gown of deep red. Round his neck is a gold chain, and in his left hand (the only hand visible) he holds a magnifying glass. The strong but transparent shadows

About 1668 1669 (Brunswick Mil-cam).

are so disposed as to give great effect to the harmony. The thin face of the model has great nobility, and the expression of the eyes denotes a singular power of concentration. Though the like- ness was evidently striking, we divine a something above and beyond reality, due to the genius of the artist. The splendour and harmony of the colour is no less remarkable in the wife's portrait. In her crimson dress, the diadem of gold and pearls that crowns her red hair, her ornaments of gold and gems, and her pearl earrings, the lady is rather striking than beautiful. Like several other of Rembrandt's sitters, she holds a pink in her right

,84 REMBRANDT

hand. Her small mouth, her thin straight nose, her large, inquiring eyes, make up a singular, but very original and life-like type. The general effect is extraordinarily rich and glowing ; the olive-green curtain against which the head is relieved brings out the magnifi- cent reds of the clress, which are tempered here and there by gold. The handling, though broad and free as a whole, is varied by passages of great delicacy, and the neutral half-tones are exquisitely delicate.

In appearance the couple seem to us not unlike the husband and wife whom Rembrandt painted with their three young children in the large Family Group of the Brunswick Gallery, one of the most marvellous creations of his closing years.

The light is concentrated on the five figures of the group, the father, mother, and three children, and these figures, with their sparkling eyes, their brilliant complexions, the almost supernatural vivacity of their bearing, look like apparitions emerging from the gloom around them. In the vigorous contrasts necessary for such an effect as Rembrandt has here conceived, there was scope for the most intense blacks, and the most brilliant high tones, and for an infinity of delicately modulated gradations between the two extremes. A like luxuriance characterises the colour. The general harmony wavers between red and yellow, but red predominates, a red of regal magnificence, now frank and vivid, now veiled and subdued, its glowing, velvety transparence accentuated by sudden touches of pure colour which give increased resonance to the tonality. The effect is that of an open casket, its golden ornaments and precious stones displayed on a lining of purple. Forms stand out in bold relief, or melt into obscurity in the iridescent radiance, now merely indicated by the brown outline of the sketch, now worked up and modelled with equal ease and audacity.

These manifold contrasts are further heightened by that of touch, which is by turns fiery and restrained, light and loaded, mellow and unctuous, as the master's instrument is by turns the brush itself, its butt-end, or the palette knife. On one portion of the picture the colour is spread smoothly on an even ground, so thinly that the texture of

THE DARMSTADT "FLAGELLATION" 185

the canvas appears, while close beside we have the rough impasto piled up in heavy, serrated masses, in which the various objects seem rather to be modelled than painted.

There is a sort of frenzy in these caprices of treatment. We know no work by the master with such violent contrasts, such flagrant incoher- ences. And yet, all the inequalities of touch, the clangour of tones, the complexities of light, take on order and harmony when seen from a distance. We have but to step back a few paces and the structure becomes logical and vigorous, the values balance them- selves, the colours sing in radiant melody. We turn to the neigh- bouring canvases, and all seem dull, lifeless, and insignificant. Involuntarily, our gaze is once more riveted on the stupendous creation, which combines the vague poetry of dreams with a manifestation of intense reality.

The date of the Flagellation in the Darmstadt Museum has long been a subject of debate. The third figure is so indistinct that it may be read either as an 8 or a 6. If, as Dr. Bode and Mr. Hofmann, the Director of the Gallery, think, the figures should be read 1668, we must acknowledge the execution, masterly as it is, to point rather to an earlier period. The anomaly is perhaps to be explained by the fact that Rembrandt's inventory of 1656 mentions two Flagellations, one by his own hand, the other a copy. It is very possible that one of the two remained on his hands and that he completed and signed it in 1668. A drawing of a naked figure with uplifted arms, in the Louvre, seems to confirm this hypothesis. It is a study for the figure of Christ, drawn with the pen and heightened with bistre, and its careful execution and somewhat dry precision undoubtedly indicate a period prior to 1660. Be this as it may, Rembrandt's conception is deeply impressive. In a dungeon lighted from above, two rustics of a brutal type are engaged in torturing the Saviour. One of them, a ruffian with red hair and moustaches, dressed in a shirt and a pair of red breeches, fetters the feet of the victim ; the other, who wears a cap, and a loose yellow jacket with sleeves of grayish blue, strains at a rope passed over a pulley, to which the

i86

REMBRANDT

victim's hands are fastened. A stick, a bundle of rods, and various weapons are scattered here and there. The abruptness of the lines and colours, and the violence of the action, accentuate the whiteness of the long thin body, the quivering pallor of which breaks through the shadows like a sob of agony. The improbabilities and exaggera- tion of the episode, which is not to be found in the sacred books, are obvious. But we forget them as our eyes are drawn to the touching face of the victim, with its expression of patient suffering. It seems as if Rembrandt, retracing the horrible drama, had sought courage in his own distress from the Great Exemplar.

No such discussions as have risen concerning the date of this picture are possible in the case of the Return of the Prodigal in the Hermi- tage, unquestionably a work of Rembrandt's latest period. Yet Vos-

maer, misled by the "Van Ryn " of the signature, which occurs in no other example of the period, and further by the etching of the same subject dated 1636 (B. 91), assigns the picture to this date. But he had never seen it himself, and merely describes the composition, ignoring the character of the execution. Had he spoken from personal observation, he could never have referred such a work to the master's

1NTKKIOK OK T H K \VKS TKU K KUK.

(Facsimile of a contemporary Print.)

THE RETURN OF THE PRODIGAL

187

youth a work M. Paul Mantz happily describes as a "heroic painting, in which art finds most eloquent and moving expression." " Never," he

THE FLAGELLATION.

1668 (Darmstadt Museum).

adds, " did Rembrandt show greater power ; never was his speech more persuasive The free use of red tones, the vigorous execution,

KKMBRANDT S SKIN ATI" KK.

x88 REMBRANDT

the ' fine frenzy ' of the brushing, forbid the ascription of this master- piece to a period of comparatively timid and tentative work. . . . Here Rembrandt shows all the formidable strength of the unchained lion." 1 Dr. Bode is equally positive on this head, and rightly, in our opinion, assigns the work to 1668 1669. The master, careless of technical perfection, displays something

3-t" J?\j7T/ i * t ' ie same fi erce :mc ' terrible energy that marks the latest works of Titian. But the rough rind conceals a precious fruit. 2 In addition to the etching of 1636 Rembrandt had produced

many sketches of this subject, which was one entirely suited to his genius. But never before had he risen to such a height of pathetic eloquence in its treatment. What force and originality of invention marks his conception of the father, who clasps his dearly loved child to his heart ! The son he has so long mourned is restored to him. Clothed in miserable rags that barely cover his meagre body, he kneels before the old man who alone has recognised him in the misery to which his long absence has brought him. The servants look on in wonder at a scene incomprehensible to them. But the father and son, heedless of spectators, give way to their emotion, the one full of repentant shame, and the other of joy. Enraptured at the return of the son he had given up for lost, the father lays his hands on the young man's shoulders, and draws him to himself with tender words of comfort. Before this noble work we forget the roughness and harshness of the touch, in admiration of the sentimental and ex- pressive power. The absolute simplicity of the harmony, which is composed of browns, reels, and yellowish-whites, contributes to the intimate pathos of the scene, probably the last composition ever painted by the old master.

The few pictures painted after the Return of the Prodigal are all portraits of Rembrandt himself. In his declining years, as in the outset of his career, he took pleasure in tracing his own likeness. Perhaps no

1 Le Musce de t Ermitage ; text by Paul Mantz. Ad. Rraun and Co. 3 Bode, Studien, p. 527.

LAST PORTRAITS OF THE MASTER 189

other model now remained to him. His face changed considerably in these closing years, and the ravages of premature old age are very pro- nounced in two portraits, one in the Uffizi, the other at Vienna, both painted about 1666 1668. In both he almost faces the spectator, and wears his working dress, the reddish-brown tunic and cap he rarely laid aside towards the end of his life. His features are worn, his skin puffy and faded, his forehead seamed with many wrinkles. And yet, on his lips, and in his small sunken eyes, there is an unmistakable expression of serenity and contentment, an expression which is even more strongly marked in the famous portrait formerly in the Double col- lection, and now the property of Mr. Carstanjen of Berlin. This extraordinary work, perhaps the last Rembrandt painted, is modelled with prodigious vigour and freedom. With superb audacity, the master shows us once more the familiar features, on which age and sorrow have worked their will. They are distorted, disfigured, almost unrecognisable. But the free spirit is still unbroken. The eyes that meet ours are still keen and piercing ; they have even the old twinkle of good-humoured irony, and the toothless mouth relaxes in frank laughter. What was the secret of this gaiety? In spite of his poverty, he had still a corner in which to paint. Beside him stand an easel and an antique bust, perhaps some relic of his former wealth. He holds his maulstick in his hand, and pauses for a moment in his work. He is happy because he can give himself up to his art.

But his troubles were not yet ended : the short term of life remaining to him held sorrows in store. The marriage of his son must, however, have given him pleasure. Titus' wife was his cousin, Magdalena van Loo, the daughter of Dr. Albertus van Loo and Cornelia van Uylenborch, Saskia's niece. The young couple settled on the Singel, in a house known as The Golden Scales, near the Apple- Market, and Rembrandt remained on the Rozengracht with Hendrickje's daughter, Cornelia. 1 His sedentary and retired life sufficiently explains the complete oblivion into which he had sunk.

1 Scheltema, Rembrandt, p. 68.

i go

REMBRANDT

So entirely was he forgotten by his contemporaries, that the most absurd fables relating to him were credited almost before his death. Baldinucci, whose information on many points was so exact, believed that Rembrandt quitted Holland to settle in Stockholm, as painter in ordinary to the King of Sweden, in whose service he was supposed to have died in 1670. Other writers, as we have already said, relate that he ended his days in England, at Hull or Yarmouth. 1

In happier days, he had found it difficult to carry out his numerous

commissions ; but towards the end of his life he could not sell his pictures, even at nominal prices. His great-nephew, Wy- brandt dc Geest, grandson of Rembrandt's brother- in-law of the same name, has left some pitiable details on this score : " But a short time ago," he says in his book, 2 " the ignorance of reputed con- noisseurs was so gross

with regard to the admirable works of the mighty Rembrandt, that it was possible to buy one of his portraits for sixpence, as many well- known amateurs and dealers can attest. After a while, however, the price rose to eleven florins, and now one of these powerful works commands several hundred florins."

The embarrassments inevitable under such conditions were aggravated by crushing bereavements. Titus died in the year of his marriage. He was buried in the Wester Kerk, September 4, 1668, and in March of the following year his young wife bore a

1 Burnet, Rembrandt and his Works, p. 6; and Wilson, Descriptive Catalogue, p. 13.

2 Le Cabinet des Statues, published 1702.

THE TRIALS OK HIS LAST DAYS

191

daughter, who was baptised on the 22nd of the month, in the pres- ence of her grandfather and her guardian, Frans Bylert, receiving the name of Titia, in memory, no doubt, both of her father and her great-aunt. The death of Titus was the occasion of further formalities. His partnership with Hendrickje had never been legally dissolved, and it therefore became necessary to define the position of the two little girls, and to establish their respective claims. At the time of Rembrandt's bankruptcy, in 1656, Hendrickje had rescued a small quantity of plate and linen, valued at about 600 florins, by swearing

THE COTTAGE WITH WHITE I'Al.EJ

1642 (I!. 232).

that the various items were her personal property. She may, perhaps, have also saved a small sum which at her death had passed to Cornelia. But adversity had more than once overtaken the household, obliging Rembrandt to encroach on the little store. Broken down by poverty, and crushed by bereavements, the old master was not long parted from his son. His death, of which no mention is to be found in any contemporary document extant, is briefly noted in the death-register of the Wester Kerk as follows : " Tuesday, October 8, 1669; Rembrandt van Ryn, painter, on the Roozegraft, opposite the Doolhof. Leaves two children."

Rembrandt was buried in the Wester Kerk, near the foot of the

I9 2 REMBRANDT

staircase below the last pillar, to the left, towards the edge of the engraving reproduced. A year or two ago, when the pavement of the church was re-laid, several graves were discovered, one of which, judging by the arrangement of those opened in this part of the church in 1669, was probably Rembrandt's; but no remains were to be found in the half open coffin. 1 The burial expenses amounted to thirteen florins, a sum sufficient to allow of a decent ceremonial in those clays. Titus' widow, no doubt, shared the cost with Cornelia, for in the inventory drawn up shortly afterwards it is expressly stated that the great artist " left nothing of personal property but some linen and woollen garments, and his painting materials."

An evil fate seemed to pursue the family. A few days after Rembrandt's burial, on October 21, 1669, Titus' widow passed away. The task of regulating the accounts of the succession was undertaken by Frans van Bylert, acting for Titia, and by Christian Dusart and the ever faithful Abraham Fransz, on behalf of Cornelia. Again it became necessary to invoke the testimony of neighbours and inmates of the household, in order to assess the claims of the two minors. An inquiry was held, and the requisite depositions were made before the authorities on March 16 and 18, and on April 25, 1670.

Once more we shall note the name of Titia van Ryn some sixteen years later, on the occasion of her marriage with Frans Bylert, the younger, the son of her guardian, June 16, 1686, at the church of Slooten. At this date she was barely seventeen. Bylert was a jeweller, established at Amsterdam on the Kloveniers-Burgwal. Titia seems to have died before her husband, on November 22, 1725, and it is probable that several children were born of the union, who all died young, and who are inscribed on the death registers of the Wester Kerk under the family name of Van Ryn, in 1688, 1695, ^98 and 1 728.2 Cornelia married one Suythoff, whom she followed to the East Indies. Two

1 Communicated by Mr. N. de Roever, Municipal Archivist of Amsterdam. - Scheltema, Rembrandt, p. 69.

DEATH OF REMBRANDT 193

grandsons of the great painter's figure on the baptismal registers of the Dutch settlement of Batavia as the fruit of this marriage. The elder, baptised December 5, 1673, received the name im- mortalised by his grandfather, Rembrandt; the second, baptised July 14, 16/8, was named Hendrick, no doubt in memory of his grandmother.

The silence preserved by all Rembrandt's contemporaries touching his death shows how complete was the isolation in which the last years of his life were spent. He, once the most famous painter of his age, and destined to be his country's greatest glory, passed away without notice from men of letters or brother- artists. We may gather some idea of the neglect that had overtaken him from the strictures of one who had taken his place in public favour some forty years after his death. Gerard de Lairesse, then at the height of his reputation, thus sums up the genius of the master, whom he probably knew personally during his youth at Amsterdam. 1 " In his efforts to attain a mellow manner, Rem- brandt merely achieved an effect of rottenness. The vulgar and prosaic aspects of a subject were the only ones he was capable of noting, and with his red and yellow tones, he set the fatal example of shadows so hot that they seem aglow, and colours which appear to lie like liquid mud on the canvas." Lairesse admits however that, in respect of intensity of colour, " Rembrandt was no whit inferior to Titian, while the vigour and sincerity of his art preserves it from utter worthlessness." He thinks it his duty, however, "to warn young students against the teaching of such few adherents as Rembrandt still possesses, who maintain that he has surpassed the most famous masters in vigour of colour, and beauty of illumination, in richness of harmony and sublimity of ideas." He concludes, with a sincerity truly praiseworthy in the author of so many cold and laboured allegories, by avowing that : " he himself had inclined for a time to this style of painting," hastening to add, however, that he had

1 Groot Schilderbock, 1714. VOL. II. O

I 9 4 REMBRANDT

" long abjured his errors, and abandoned a manner founded on a delusion."

Great, no doubt, would have been the amazement of this exponent of academic doctrines could it have been revealed to him that a just reaction in connoisseurship would finally result in the total eclipse of his own fame and that of his rival, Van cler Werff, before the glory of the great master he contemned.

J'HN DRAWING AKTEK I.KUNAKUU DA VlNXl's " I AST SITTER. "

(Uerlin Print Ruuiii.)

CHAPTER VI 1 1

THE MAN AM) HIS WORK HIS DESULTORY I.IKE, AM) THE CONSTANT DISCIPLINE

TO WHICH HIS 1'OWERS WERE SUIiJECTEI) HIS DRAWINGS HIS ETCHINGS HIS

PICTURES -THE CHARACTER AND ORIGINALITY OF HIS GENIUS.

P

KH.MI1KANUT WITH FRIZZLED HA1K.

About 1631 (B. 356).

OSTERITY has taken upon itself to avenge the oblivion into which Rem- brandt fell. And yet we should be wrong to bear too hardly upon his contem- poraries for their want of appreciation. Rem- brandt's art was too original, too diametrically opposed to received ideas, for things to be otherwise. The average man could not un- derstand it, and the touch of moroseness in the artist's self-contained personality was

not calculated to attract his affection. He scandalised his fellow-townsmen by some of his proceedings, and in none did he lay himself out to please them. Always in extremes, his temper- ament offers many contradictions. From one point of view he was a dreamer, incapable of managing his affairs, or even of arranging his daily life. On the other hand, in all that touched his work, he showed a tenacity and a sense of system which are rare even

o 2

, 9 6 RKiM BRANDT

with the best regulated artists. He created his own methods of study from the very foundation. Simple in his habits and of an extreme frugality, he yet shrank from no expenditure when it was a case of satisfying an artistic caprice. Good-humoured, kindly, and ready to do a service as he was, he nevertheless lived apart, in a solitude which had something forbidding about it. He took an interest in all things, and yet, although his move- ments were perfectly free, he never left his native country. Gifted with a fine imagination, he yet clung to the skirts of nature ; eager for every novelty, it was yet in the humblest and most beaten tracks of life that he sought and found the sub- jects he dressed in unexpected poetry. His sense of beauty was perfect, and he spares us no extreme of ugliness. On a single canvas he will mix up the highest aspirations with the commonest trivialities, the most absolute want of taste with a refinement of delicacy almost excessive.

As we might expect with so complex a temperament, Rem- brandt's life, like his painting, was full of lights and shadows. He underwent every vicissitude of fortune, and experienced all the joys and all the trials of existence. After a youth passed in hard work, and warmed by family affection, he left his native city to find him- self alone and famous at Amsterdam. After having, by his genius, won the first place among the painters of his native country, he did not hesitate to compromise his reputation with the Night Watch, a challenge to public opinion, and a wound to the self-love of those who took care to make him suffer for his exploit. With a little tact he might have replaced the applause of the crowd by the patronage of the upper class. But he neither cared for the great, nor possessed social skill. He lays his character bare in the remark quoted by his biographers : "When I want to give my wits a rest, I do not look for honours, but for liberty." In fact, he took care to remain his own master and to spend his time in the way that seemed best to himself. Tender and passionate, he loved his own hearth above all places. And

INCONSISTENCIES OF REMBRANDT'S LIFE 197

yet what inconsistencies we find in that home-life to which he clung so fondly ! He marries a girl who is at once rich and well born, whom he adores, and of whose perfection he is so jealous that he cannot bear the least criticism of her conduct, or of her powers as a housekeeper. After her death he seems inconsolable, and yet only a few years pass before he exposes himself to public reprobation by living openly with her maid. By good luck, the servant now his mistress is tender, faithful, and full of devotion to himself. She becomes the providence of his evil days, and helps him through the miseries which fall thick and fast upon him. Hendrickje behaved as well to the son of Saskia as she did to her own daughter by the same father, and the two children grew up side by side, objects of an equal love and solicitude.

Happy once more and at peace, in the house he had bought without having the means to pay for it, in the house he had filled with all that could delight his eyes and develope his powers, with curiosities of every kind as well as with pictures, engravings, and drawings of every time and school, the master again devoted himself to work with all the ardour of youth. But the time was at hand when all this comfort had to be abandoned for one of those obscure lodgings into which a bankrupt is hunted by his creditors. There, surrounded by all the squalid accompaniments of insolvency, harassed by men of law, tutored by his servant and mistress, Hendrickje, and his boy, Titus, we see him driven, with all his horror of affairs, into the most distressful kinds of business. And yet, in spite of all this, in spite of the equivocal situation in which he finds himself, the friends he had won among the honest and god-fearing gentry of Holland do not desert him. Finally, after he is stripped of everything he once thought indispensable to the practice of his art, we shall see him, in the naked and lamentable apartment which formed his last studio, producing not a few of his most famous masterpieces.

The want of order and conduct which are so striking in the life of Rembrandt, make the unity of his artistic career seem all the more

198

REMBRANDT

extraordinary. The strong will so conspicuous by its absence from the management of his affairs was nevertheless his master-quality. But he kept it all for his art. His love of work equalled his sincerity. He allowed no interference with his liberty, neither as a man nor as an artist. In spite of the vagaries and the harkings back on himself that we find in his work, one thing remains unchanged through every vicissitude, I mean that constant love of nature which was the

foundation of his origi- nality from the first moment to the last. Compare one of the laboriously finished works of his early years with some audaciously handled picture from the last stage in his development, and you will say that an impassable abyss yawns between the -two you will scarcely believe they can be the work of the same hand, so numerous and deeply seated are the points of difference. And yet, if you look closely into their consti- tution, you will see at

last that there is no mistake in the reasoning which puts one name at the foot of both.

Between the timidities of his prudent, though ardent youth, and the audacities of his old age, there was a whole life of labour. Review his various phases with care, and all his transformations fall into their frame ; his genius appears as a perfectly regular and natural whole. As soon as he had mastered the elements of his trade, he felt that

YUl'NC WOMAN AS1.KKI' AT A WINlHiU.

Pen drawing heightened with Sepia (Heselline Collection).

DEVELOPMENT OF HIS TALENT

199

masters had no more to teach him. He set to work to experiment with systems of study, and to discover a method for himself. He was fond of solitude, for it was in solitude that he could work most freely, and could try his own powers with least chance of error. What could Italy have done for him ? He found it difficult enough to shake off the influence of his first teachers as it was. It was only by slow

JUI! AND HIS KKltNDS.

Pen study wilh Bistre (Stockholm Print Room).

degrees that he detached himself from the sham picturesque, from the style at once common and pretentious, from the general false taste of those Italianisers who held so great a place in the Dutch school when he began to paint. The opportunities for self-improvement which led others into distant countries he saw all round him. Was not the sincere and continuous study of such nature as lay to his hand better than the superficial and incomplete note-taking of a foreign tour ? Was not man himself the best and most interesting, as well as

2 oo REMBRANDT

the most convenient object of study ? Does not each one of us find an endless field for inquiry and comprehension in his own person ? The trouble that most of us take to avoid self-examination, to amuse ourselves and to get away from our own thoughts, Rembrandt lavished on observation of his own personality. He could find no better model than his own countenance and his own person. With no other sitter could he vary and multiply his studies with such complete freedom, with no other could he train eye and hand so entirely in his own fashion. Through all his changes of fortune he never ceased to multiply his own image, to reproduce it in every pose, in every sort of costume, under all lights, and at all ages. And in every study he learnt something new. Each head he painted added to his power of distinguishing the vital traits, of keeping, under the superficial changes of varying expression, the persistent character of his sitter, and of grasping an emotion in its depth, or a fleeting sentiment in its rapid passage across the countenance.

With powers ripened by labours such as these, the young artist found the most indulgent of models at his own fireside. His

o

relations and friends lent themselves with a touching goodwill to his artistic caprices, and he made the best use of their devotion. When he left Leyden, the precocious reputation which had preceded him to Amsterdam drew the best society of the Dutch metro- polis to his studio. Young and old, magistrates and viveurs, patricians and parvenus, dignified matrons and elegant young women, all sat to him, and from each he drew some addition to his stock of knowledge. At first he laid himself out to please every one who came to him, but before long he began to show his preference for those from whom he could win improvement. His pleasure in the society of surgeons and physicians soon declared itself. He discussed their occupations with them, more especially anatomy, of which he himself was a devoted student. He carried on debates, too, with ministers of religion, but in a more than tolerant spirit. Above all dogmatic prejudice, he was able to appreciate the fundamental honesty which lay alike beneath the

Portrait of a Woman, seated.

Pen and Sepia.

(IIKSKI.TINK OH.I.FC no\.t

HIS LOVE FOR HIS ART 201

opinions of the orthodox clergy, of the Mennonites, and of the Jewish Rabbis. From each of these he drew light on those sacred writings to which he turned almost exclusively for the subjects of his pictures. On the other hand he does not seem to have been frequented by men of letters, and we search in vain among his portraits for those of Vondel, Hooft, Cats, Van Baerle and others of their class. Their culture was too much affected by convention, their writings too full of academical subtlety for his ingenuous spirit. He preferred a less artificial air, a freer, healthier, and franker outlook upon life. Old men, especially, he liked for the ease with which their faces could be read, and for the clearness with which their moral habits were stamped upon their features. The higher classes of society were open to him, as we have said, but he preferred the lower. Some of his panegyrists have thought it necessary to explain away this preference by throwing doubts on the plain evidence of contemporaries. But their interpre- tations are clearly forced, and there is no doubt that Rembrandt was powerfully attracted by the ease with which the human emo- tions could be followed in the looks and gestures of such uncultivated children of nature as sailors, workmen, peasants and the beggars of the towns.

As for artists, he confined himself practically to landscape-painters. Not only did he buy their works, but among them we find his dearest friends, such as Roghman, Van de Cappelle, Berchem and Asselyn. From these he had something to learn, and they were all united by a common love of nature. As for painters in other genres, we find none except some of his own pupils, such as Eeckhout and Aert de Gelder, among his intimates. They were too inferior to himself, and their ideas were too different from his, for much community. When he wanted to commune with his peers he turned to his portfolios, to the drawings of every time and school therein collected. Neither his preferences nor his methods of work were logically deduced from any well-reasoned principle, but they were governed by an unfailing instinct. Art for him was a living thing,

REMBRANDT

to which he had given himself up once for all. His whole heart was in it, and its ways were made clear to him by the light of his own devotion. Moreover, he did not know what it was to be idle ; and his chief recreation was such as he obtained from a change of work.

Scarcely any artist has produced more than Rembrandt, and we know of none who has made so many drawings. Even in the

activity of Rubens there were moments of relaxa- tion, even periods of absolute repose. His foreign journeys, the honours heaped upon him, the princely visits he received, the diplo- matic missions on which he was sent, were so many occasions of holi- day. Nothing of the sort happened to Rembrandt. He lived in retirement, and suffered no break in his constant labour.

Neither in his youth at Leyclen, nor in the full tide of his success at Amsterdam, nor even in the. first flush of his passion for Saskia, did he interrupt his work. In the evil days of his maturity, when he was hunted a pauper from his familiar studio, he took his easel with him and went on bravely with his work. He never seems to have cared for amusements. His one care was to prevent his time from being broken in upon. His chief pleasure, after a day spent in painting, was to pass the evening with his pen or his graver. He drew every thing he saw, and the vast number of his designs is the best proof we could have of his fertility of fancy, as well of his excellent employment of his time.

Pen drawing (licrlin Print Room).

REMBRANDT'S DRAWINGS

203

Rembrandt's drawings are interesting for the revelations they give not only of his talent, but of his methods, and even of his domestic arrangements. Their chronology is a little difficult. Unlike his etchings and pictures, they arc scarcely ever either dated or signed, while the evidence embodied in their manner is not always decisive. At each period in his career, just as we find every kind of process, so do we find drawings of every sort, from the rapid scribble, carrying the mere sug- gestion of a design, to the conception in which every line is pondered and set down with re- straint and care. No doubt, like every other original master, he con- sistently enlarged his manner. It is only at the outset that we en- counter the finish, the care for elegance and delicacy of execution, which distinguish such drawings as the S/.

Jerome of the Louvre, the studies in red chalk of the Berlin Museum and the Stadel Institute, and Mr. Heseltine's drawing for the Philosopher Meditating. Seductive as this manner is, he soon abandoned it. His drawings were not made to please other people, but to develope his own powers and to express his own thoughts. He cared nothing for neatness in the result. He used his tools as he saw fit at the moment, and public approbation

Pen and Sepia (Albertina, Vienna).

204 REMBRANDT

was the least of his cares. Side by side with the most conclusive proofs of his ability, we find sketches that are almost childish in their naivete, sketches full of the sincerity of the man who seeks to give its full significance to his work, no matter how many hesitations or tergiversations take place on the way. The man himself, with all his originality, with all his fire and spon- taneity, appears in these paper confessions. If, in the numer- ous inequalities which mark his talent, we are left sometimes in doubt whether we have to clo with himself or with one of his countless pupils or imitators, no doubt whatever is possible with reo-ard to his better works. There we recognise the hand and thought of the great master without question ; we no longer think of the attribution. It imposes itself upon us and we are left to ex- haust our powers of enjoyment in one of those moments of communion with a great spirit which is the keenest pleasure that Art can offer.

The drawings of Rembrandt may be classed under two heads :

his studies from nature and his studies from the masters. The

first bear witness to his intellectual curiosity, to his insatiable

desire for a knowledge of all that nature has to tell. He reproduces

the every-clay events of his own house, he draws from his wife,

from his children, from his neighbours, from the old women who

gossip about his doorstep, from the people who spend their lives

in hanging about the pavement, from some young Dutchwoman

drawn to the window by the life of the street, from an old woman

absorbed in a book, from another who nocls over her volume

and they all vibrate with life, with life seized as it passes, and set

down in a stroke or two of the point or brush. Side by side with

these memoranda from nature, we find others made from memory

of some scene at which the artist has assisted. At Stockholm, for

instance, there is a sketch of a man who has fainted : the crowd

presses about him as crowds are wont to do, each member giving

help or proffering an opinion, the man himself full of the sudden

pathos of failing life. Mr. Salting has a drawing of children staring,

The Woman at the I

Pen nnd \Vnsh.

I II! SM I ]M- l ,.[ I 1-1 TION.)

Printed by Draeger & Lesieur, Paris

HIS COMPOSITION 205

wonderingly, at a Star of BetlileJiem carried through the street by a group of their companions. Rembrandt loved to make hasty but vivid notes of such episodes as these. They trained his already great faculty for observation, and their results appear in the treat- ment of crowds, and of the emotions by which they are swayed. We have already talked of his lite-studies, of his drawings from animals, of those landscape studies which, in their scrupulous fidelity, display so marked a contrast with most of his pictures in the same genre. They are studies pure and simple, aiming at nothing but truth and its consequent instruction ; there is no attempt to be poetical, or to embellish reality ; and yet, in spite of this, the slightest sketches of Rembrandt bear the mark of his genius, so concise is their expression and so instinctively just is their choice of means.

His originality is, of course, still more striking in his compositions. The care he gave to this side of his art and the numerous studies he made in order to develope it, show what importance it had in his eyes. To the spirit of independence, which was one of the distinctive marks of his nature, he joined a full determination to profit by what his predecessors had clone we have already seen with what intelligence he studied and copied some of the best of those Italian engravings on which he had lavished his money. We shall find it no less interesting to examine his method of conception, and to make ourselves familiar with his first attack, so to speak, upon a subject. As we might have guessed, he is first attracted by opportunities for the treatment of chiaroscuro. It was by management of light and shadow that he first conquered his great position, and though others before him may have handled similar problems and arrived at conclusions no less veracious than his, he alone had elaborated chiaroscuro into an instrument of composition powerful enough and delicate enough for the most various ends. It was by chiaroscuro that he gave significance to his ideas, that he won subordination, that he called up in the beholder those emotions of cheerfulness or melancholy, of calm or passion, on which he relied for the success of his conceptions. Rembrandt, in fact, was a

LKMBRANDT

consummate and unapproachable master in tracking light through its infinite modifications, through all its changes of relation to the objects on which it falls, and through the alterations it may cause in the character of a subject.

The fact, however, must not be lost sight of, that when Rembrandt

underlined the essential factors of his subject in this way, he committed himself to giving a maxi- mum of expressive value to those particular figures on which he concentrated the spectator's attention, and that something more than a mere question of illumination then came in. If he had been a mediocre draughtsman his method would have been ruinous to himself. He has been belauded for the skill and origi- nality he shows in his management of light, and he certainly deserves the title of luminariste given to him by Fromentin, for his power of " paint- ing with light and nothing else." 1 Nevertheless it is inaccurate to add that he " draws only with light." 2 No doubt, with palette on thumb, he is quite right to make paint c'o all it can. But if his character

1 Les Ma'ttres cTautrefois, p. 359.

2 Of course. For what is his etching but draughtsmanship, and where indeed in draughtsmanship is line more expressive than there ? F. W.

I'KX DRAWINt;.

(Seymour Hnden Collection.)

HIS DRAUGHTSMANSHIP

207

as a draughtsman is less solidly established than his rank as painter, his knowledge and originality in that direction are quite as incontest- able. At a very early period in his career he was able to express him- self with pen or pencil alone. He studied movements and attitudes both from himself and from models, and he never ceased to perfect his skill, to exercise his memory and his observation on the effects of varied emotions on the human countenance. He trained himself until the

reproduction on paper of the children of his own fancy offered no sort of difficulty, until he could set them down in a few vital lines, and with as much vivacity as if he had seen them with his outward eyes. Sometimes, to pass the time, he would allow his pen to wander aimlessly over the page, and then, suddenly, his thought would con- dense itself, his will awake, and in a few minutes a figure palpitating with life would share the sheet with tentative and unmeaning scribbles.

20 8 - REMBRANDT

And feats like this were neither accidental nor involuntary ; with Rembrandt vitality and truth were the rewards of sincere and unflagging labour. He never hesitated to correct, with the most ruthless strokes, a drawing that any one else would have thought perfect as it stood. Until his idea was expressed, until a figure had exactly the turn, and an eye the look he wanted, his hand was pitiless. In all such matters he was as exacting as Leonardo, or Poussin, or any other among those acknowledged masters of form who knew no weariness in their search for the line the attitude or the gesture which said what they wished to say with the greatest precision. Other draughtsmen may have given more cor- rectness, more taste, beauty, and grace, to their designs, but none have expressed their ideas with a fuller measure of clarity and force.

Miscellaneous beyond precedent in the methods employed, Rembrandt's drawings are quite as various in their degrees of finish. Side by side with mere thumbnail notes, we find designs in which every detail is carefully elaborated. Some are restrained, deliberate, and traced with extreme certainty and exactness ; others are vehe- ment, tumultuous, irresponsible. Among the latter we often find the whole history of an idea, from its first inception to its complete definite expression. Some compositions which seemed final, Rem- brandt has a habit of remodelling in parts, or even of entirely recasting. Houbraken says that no other master has given so many different treatments to a single theme. The progress of his talent and the gradual expansion of his intellect may be traced in drawings of this class. At the beginning he thinks only of the picturesque. Later on this preoccupation yields to a desire to give human sentiment its fullest possible expression. For some of his best pictures, the Syndics for example, he has, so far as we know, left no preparatory designs. On the other hand, whole series of drawings exist which seem to lead up to some picture never painted, or to some plate never etched. Careful in all that concerned the material conditions of his art, untiring in his search for the best panels, the best colours, and the

HIS METHOD OF WORK 209

finest kinds of paper, Rembrandt was not particular what he used when fired by an inspiration. He took the first rag of paper that came to hand to jot down his idea. The Print Room at Munich has a Christ disputing with the Doctors and a sketch for the Stockholm Claudius Civilis on the back of a torn invitation to a funeral. Again in the Teyler Museum at Haarlem we find a drawing, dated 1634, for a Jesus among his Disciples, in which the work has been corrected so often that the paper would not hang together, and the master has pasted another sheet upon it, cutting out the latter so as to preserve those parts of the first sketch which he was unwilling to lose. But this is an exception ; when in full career his passion for production did not lend itself to such a slow contrivance. Under the stress of inspiration he addresses his world without reserve, and admits it to his confidence with a most absolute sincerity.

Similar qualities exist in the master's etchings, which indeed have a very strong analogy with his drawings. Among them also we find both simple sketches, hot from nature, and elaborate compositions, prepared with care and carried to the extreme limits of finish.

Many others had been tempted before the time of Rembrandt by the advantages of engraving, by its directness of expression as well as its power of bringing a master's work before a large number of people at once. Speaking generally, there is always a great difference between the work of the professional engraver, translating the ideas of other men, and that of an original master interpreting his own. But before the time of Rembrandt the difference was even greater still. Remarkable as are the plates of a Mantegna or a Diirer for their concise and nervous eloquence, they deal rather with contour and character than with colour and chiaroscuro. Lucas van Leyden was almost alone in attempting to treat "values" and aerial perspective with the burin. He was followed by the Count Palatine Goudt, and by Jan van de Velde, who set themselves to obtain a greater force of contrast, but did so by processes in which

VOL. II. p

REMBRANDT

the sense of spontaneity disappears more or less in that of difficulty vanquished.

Rembrandt, who lived among the finest creations of his pre- decessors, laid his hand on all their methods. He thoroughly understood his mi'ticr. It was in no spirit of idle parade that he used every process in turn. " His aim," as Bartsch very justly

remarks, " was not so much to engrave as to paint on copper." Some of his etchings are stand- ing puzzles for the most experienced specialists. They even talk of trade secrets which he carefully kept to himself. Des- camps, with his mania for apocryphal tales, goes so far as to say that "jealous of his secret, he would never engrave before any one." The truth is, of course, that Rembrandt's only secret was his wonderful talent. Bartsch, who studied him deeply, was the first to

recognise the truth of this, and since his time both etchers and critics who understand the process of etching have been compelled to allow that Bartsch was right. The subtle art which knew how to bend everything to its will, which understood when to make use of this process, when of that, and when to combine the two, had its foundation simply in Rembrandt's complete mastery of his tools, and of himself. His variety equals his grandeur. Here, in the light, the delicate, long-drawn line seems absorbed

Pen drnwing heightened \v!tli Sepia (Dresden Print Room).

REMBRANDT'S ETCHINGS ,

by the light itself; close by, half tones of an infinite softness and subtlety are heightened by a few firmly placed strokes of the

KKMBK'ANI>T I.KAX1XG ON A STOSK SILL.

1639 (B, 21).

burin or the dry point, which no one could use like Rembrandt. In his most successful plates the intensest darks are never opaque.

p 2

2I2 REMBRANDT

We can look into them, and in their mysterious velvety depths we shall still find modelling. And as if the various capacities of point and acid were not enough, Rembrandt supplements them with all the resources of the printer. It is well known that he printed his own etchings, and that he modified his proceedings according to changes in the plate or in the paper he was using. He would ink and wipe as he pleased, insisting on this and gently passing over that, so that each impression became a living thing, animated by his immediate will, and burning with that passion for perfection which he brought into all that he did.

No doubt his desire for variety led him now and then to make dangerous experiments, and his etchings, as we have seen, do not always gain by their successive modifications. In some the first state is the best ; others arc improved up to a certain " state," while after- wards every change is rather for the worse ; others again, which begin by being insignificant enough, are gradually built up into something better and more important. In any case, before the monument of artistic wealth which makes up the engraved work of Rembrandt, the intelligent amateur cannot avoid being captured by the passion with which so many generations of artists and collectors have burned. "His manner," as Mons. Delaborde says, "is, so to speak, im- material. Sometimes he appears to attack the copper anyhow ; sometimes he caresses it with the most exquisite delicacy, with the most magical dexterity." .... He makes use of the tools and processes of the ordinary engraver, but he adapts them to his own thought, to the expression of his own ideas. Without troubling himself over much about finish or super-refinement, he elabo- rates a style that is always expressive, from the most varied elements, from elements in which the familiar and the stately, the common and the heroic, all play their part ; and yet, from the mixture of such diverse ingredients, he educes a whole quite admirable in its harmony."

Photography has enabled a considerable public to become familiar

An Old Man Seated in an Arm Chair.

Pen and Sepia. (BRITISH MUSEUM.)

Printed by Draeger & Lesieur Paris

REMBRANDT'S PAINTINCS 213

with Rembrandt's etchings. What used to be the delight of the cultivated few has gradually taken its place among the pleasures of the crowd. Little by little, thanks to the excellence and the cheapness of the reproductions, the world at large will become familiar with the grasp and fertility of the great Dutch master. It will appreciate landscapes like the Six's Bridge, the Oii>a/, and the Three Tiees, or simple studies, like the Hog and the Shell ; or scenes from everyday life, like the Beggars at the Door of a House ; or portraits like those of Clement dc Jonghe, Jan Lutma, Jan Uytenbogaerd, and Old H Raring ; or compositions like the Tobit, and the Death of the Virgin, the Christ teaching, and the great Hundred Guilder Print. The original impressions themselves must be studied in the great collections, in the British Museum, the Louvre, or the Ryksmuseum at Amsterdam. In these \ve find the choicest proofs, often with the master's own writing or corrections still upon them. Every such sheet has its own history, its own peculiar charm, and, as it were, its own titledceds to existence. While looking into it we gradually penetrate the mind of its creator, and enroll ourselves among the intimates of the unsurpass- able master.

But immense though our interest may be in the drawings and etchings of Rembrandt, it is after all, we think, in his paintings that his originality declares itself most completely. Just as Beethoven (with whom Rembrandt had not a few points in common), while he contrived to display his genius in simple Sonatas, cannot be entirely appreciated until we know hir, Symphonies, so Rembrandt only gives the full stature of his genius in his pictures. The painter took the same path to perfection as the draughtsman and the etcher ; his development, his progress towards artistic simplicity, was the same as theirs. From the extreme precision and finish of his youth to the breadth and largeness of his maturity it was a steady march. He advanced from the particular to the general, and so, when he wished to summarise, he had the right to. He had learnt things in detail, and so he knew what was essential and what was not. In his first

214

REMBRANDT

productions his studies, of course, excepted his touch is fused, deli- cate and subtle ; in his later works it is broader, freer, more decisive ; and it ends with the somewhat forbidding abruptness of his old age. In this connection some of his own remarks are significant " Hang these pictures in a very strong light," he says, in his youth, when speaking

of his Passion series. So far from being nervous as to the result, he feels sure his work will only profit by being severely seen. It might, in fact, have been put beside that of the most famous finishers, even beside the pictures of his pupil, Gerard Don. As age came upon him he kept the critics more at arm's length. " The smell of paint is not good for the health," we hear him saying to some one who came too close to his easel. At the same time as a broader treat- ment led him to enlarge his figures, it also caused him to diminish their number, for he felt that

to multiply the points of interest, as he used to do, was hurtful to the unity of the final result. His aim was to deepen and clarify the effects. Among all possible movements and gestures he sought for those which best agreed with the character of his subject, and established the closest and most definite relations between the various figures. So too, in his portraits, he attached gradually

r A MKAn (RRMBRANIVT'S iu;o 1650 (The Hague Museum).

HIS LATEST MANNER

215

less and less importance to costume and to various colour. He suppressed strong contrasts and so led the eye more surely to the true centre of interest, the head. He recognised that all the features are not of equal moment. He insists upon those which give individuality to a countenance, upon the mouth and, still more, upon the eyes, which he endows with a singular vivacity. As for colour,

. -

, "

SKKTCHKS OF A IlKCtJAK.

(British Museum.)

after having first experimented with a sort of monochrome made up of reddish tones, and afterwards with a richer and more varied palette, he came to see that harmony, as he understood it, was to be obtained by the utmost possible enforcement of certain dominant tones golden and tawny browns, and especially reds and by their juxtaposition to broken tints of iron-gray and neutral brown. His chiaroscuro, too, was modified as his powers grew. The sharp transitions of his

2 ,6 REMBRANDT

early work disappeared to make way for quieter contrasts, with which he obtained effects quite as powerful and more subtle and various.

His originality of interpretation was always controlled by study of nature. Nature made him what he was. and to her he turned un- ceasingly. One of his principles was that " Nature alone should be followed." Tradition had little power over him, and yet he never deliberately threw off its yoke. On the contrary he was always keen to know what men had done before his time, and to profit by their teaching. But when a subject had to be treated, he did not trouble himself too much about what others had said. He thought about it for himself; he entered into it ; he, as it were, lived it over again, and then set himself to reproduce it in his own way, giving special force to those aspects which had stirred his own emotions.

Rembrandt developed the rich gifts which nature had showered upon him by a patient scheme of culture, thoroughly reasoned out. The facile successes to be won by saying again what had already been well said, had no attraction for him. He preferred the slower process of research, and its demands upon the individual. He never ceased to learn, to renew his own powers, and to give to each work all the perfection of which it was capable. If, at the close of his life, he gave rein to his genius, he had earned the right to do so, by continuous study. If he then let rules go by the board, he had justified the proceeding by his long previous submission. Here we have a lesson which should be taken to heart : namely, that even over the genius of a Rembrandt, logic has its rights.

But logic cannot explain genius, more especially such a genius as that of Rembrandt, perhaps the most personal that has ever existed. He will prove a dangerous guide to rash imitators of his manner ; we should not even venture to assert that he was a good master for his pupils, or that his influence over them was wholly beneficial. A temperament so strong as his was sure to dominate theirs, and in spite of the material precautions he took to isolate them and to preserve their mutual independence, they nearly all

RUBENS AND REMBRANDT 217

so far submitted to his ascendency as to lose their individuality in his. Protected against the effect they might have had on each other, they had no defence against their master. The best of them, in their best works, came near to his level, and near to his style ; and their highest honour is to be sometimes confused with Rembrandt himself. But as a rule they only succeed in imitating his habits of composition and the more fantastic elements in his work. The resemblance is all on the outside. They borrow his subjects, his costumes, his methods of getting effect ; but the grand originality of the master only serves to enhance the docility of their submission.

Rembrandt, in fact, belongs to the breed of artists which can have no posterity. His place is with the Michelangelos, the Shakespeares, and the Beethovens. An artistic Prometheus, he stole the celestial fire and with it put life into what was inert, and expressed the immaterial and evasive sides of nature in his breathing forms. Bold spirits are attracted by the infinite. The ideal they pursue flies continually before them. They give themselves over body and soul to the sublime pursuit, and as the sentiment by which they are spurred exists in embryo in every human soul, they call up in every one of us some echo of the thoughts which agitate themselves. It is scarcely necessary to say that their works are unequal, extravagant sometimes, often contemptuous of tradition. But they atone for this by their grandeur of expression. They indulge in no empty formula;. The purest side of their being appears in their work. They understand all human sentiments, but they rarely taste the joys of earth. They live apart, enamoured rather of independence than of honours or applause. Their thoughts are given to solitary labour, to the noble torment of limitless aspirations, to the perplexities and disappointments which attend the seeking after perfection. They are pathetic even in their moments of discouragement ; even their despair has dignity. They lament the inability of art to express the thoughts which haunt them, and yet, happily for us with our relish for masterpieces, their art is their world. In it they discover beauties undreamt of before, and in the very act of

218

REMBRANDT

appropriating the inventions of their forerunners, they invent in their turn. Even when their talent has raised them high above their contemporaries, they seem to contemn their own powers and their own knowledge. They cannot stop, and a superiority painfully won becomes merely a stepping-stone to greater heights. The roads which have led to perfection fail to satisfy their ambitions ; they cannot traverse them more than once, and so they are tempted to adventures which attract mainly by their temerity. They have to

their hands an instrument of their own creation, they are intimately acquainted with its powers, and from it they burn to draw sounds never heard be- fore. The consequence is that chords of the most confused, disorganised, and wildest kind inter- rupt the sublimest melo- dies. Who is to under- stand them ? As to that, however, they have little concern, and in the ab- sence of a fit audience, they produce only for

themselves, seeking that self-approbation which they never reach. In their decline we find them still more self-contained; we see them drunk with their own thoughts, which are not always comprehensible ; we see them despising correctness and doing violence to those forms of their own creating which no longer lend themselves to the desired end. Is this madness, or sublimity? They become more and more foreign to their own time ; but enlightened by that flame of genius which, before it expires, blazes up to throw a last dazzling ray upon their talent, they go steadily

KX DRAWINt;.

(Duke of Devonshire's Collection.)

HIS PLACE IN THE DUTCH SCHOOL

219

on, leaving to those who come after them the task of recognising beauties which may break accepted rules, but which nevertheless will be a law to the future.

Without any wish to renew somewhat empty comparisons, it is difficult to speak of Rembrandt and not contrast his life with that of Rubens, his neighbour and almost his contemporary. Side by side with certain points of likeness in their domesticity, for instance, and their extraordinary activity -what a divergence there was between the des-

CHKIST IN THH (1AKUKN OF OLIVES.

Pen drawing (Kunsthalle, Hamburg).

tinies and the genius of the two men ! Think of the ever-increasing obscurity of Rembrandt, of his deepening self-concentration, of his solitary habits, of his absolute ignorance of business, of his incurable prodigality, of his constant efforts at improvement, and of his miserable end ; and then turn to the master of Antwerp, to his European fame, his well-balanced nature, his serenity, his gift for being happy himself and for communicating happiness to others, to the versatility which en- abled him, as occasion arose, to become now a diplomat and now a man of business, to his patronage of all the painters of his country and to his confident exercise of a gift which satisfied himself, to the

REMBRANDT

princely fortune gained by honest work, and finally to his death in the full tide of prosperity, and his passage to the grave through all that was honourable in his native city. What a contrast it is, and what a vivid light it throws upon the natures of these two great masters !

Rembrandt was content to be an artist and to give up all his life to his art. He does not, as we have seen, reveal himself all at once, and in attempting one of those summary descriptions so popular with the multitude, we should run the risk of doing him less than justice. His

devotees have thought to do him honour by endowing him with the whole credit of the invention of what is called chiaro- scuro, but others were chiaroscurists before him ; Leonardo and Correggio, in Italy, to name only the most illustrious ; and Pieter Lastman, his own master, among the painters of his own time and country. But none of these had gone below the surface. It was reserved for Rembrandt to give their full value to light and shade as vehicles of expression. We have already described how he reached the desired end by a renovation of his method, and we need not repeat

it. But we may point out how he surpassed all his countrymen by the universality of his aptitudes, by the force of his genius, by the nobility of his aims. No doubt such names as Frans Hals and Thomas de Keyser, Terborch and Metsu, Jan Steen and Johannes Vermeer, Adrian van de Velde and Paul Potter, Van Goyen, Van de Cappelle, Cuyp, Jakob Ruysdael, and many more, would have sufficed to render the School of Holland illustrious, but without Rembrandt it would have been truncated, it would have lost its poetry, and the apex of its glory. With him, on the other hand, with his etchings and drawings, with portraits such as the

THE BI.IN'n-FIDDT,

1631 (H. T 3 R).

ORIGINALITY OF REMBRANDT'S ART

Elizabeth Bas and the Lady with tlic Fan, Dr. Tholiux and the Burgomaster Six, with the Saskia of Cassel and the Hendrickje of the Louvre, with the Bathsheba of the Lacaze Collection and the Dan'de of the Hermitage, with most of the renderings of his own features, with his versions of Scripture, such as the Jacob's Blessing, at Cassel, the Magdalene, at Brunswick, the Adulteress, of the National Gallery, the Manoah, of Dresden, the Good Samaritan, the Tobit, and the Pilgrims at Emmiins, of the Louvre, with the Lesson in Anatomy, with the Night Watch, with the Syndics and the Jewish Bride, and with a host of fine things too numerous to be named in this list, the Dutch School may take its place fear- lessly in the first rank, and may brave all com- parisons.

While at many points Rembrandt belongs tho- roughly to his own time and country, he is marked off sharply by his peculiar originality. The fashions of the clay had some influence upon him, as upon every artist, but,

thanks to his personal method of work and to his complete self- mastery, he was enabled to stand up against them with success. Member of a race distinguished by positive and practical gifts, he alone, until Spinosa appeared, was a poet and a seer, he alone spread his wings freely, and when he set foot on earth, did so merely to get a purchase for a wider flight.

Rembrandt excels in the expression of sentiments at once august and intimate. Mystery attracts him, and he loves to tell us what ear has never heard, to show us what eye has never seen.

ISAAC Ill.KSSING JACU1 1 ..

(Duke of Devonshire's Collection.)

222

REMBRANDT

Standing at the junction of the visible and the invisible, he passes continually from the one to the other and summons us to follow. Dreams with their confused lights, the agonies of approaching death, the formidable problems of life and mortality which none can escape, the fervour of prayer, the tenderness of a father who finds a son he had believed to be lost, or that of a (iod who reveals Himself to His

THK STORM.

(About 1640 (l!riin^\\k-k Museum).

disciples, the vague looks and hesitating gestures of a body which has just ceased to be a corpse, the revelations which a Lazarus might bring back from the grave or a Christ let fall from the Cross, all these indescribable things he reveals discreetly, with just the right frankness and the right obscurity. All the energies and all the reserves of human sentiment find their utterance in the work of this strange and powerful master, who, even in his subtlest intricacy, never omits to be profoundly human and to give

ORIGINALITY OF REMBRANDT'S ART

223

in his pictures some echo of the movements and hesitations of human thought.

In the extended field over which his art was spread, Rembrandt embraced all realities and all visions. The mysterious element of which we are continually conscious in our passage through life

r.ssiN*; THE cmu>iu-:\ O 1656 (Casse Museum).

informs his pictures, and explains their influence over the most divergent natures. Supple and vigorous, he understands exactly how to be at once precise and suggestive, how to satisfy, and how to stimulate by the merest hint of meaning. We do not choose to be dragooned into our admirations, and even in presence of a master- piece we like to keep our liberty, to have some scope left for fancy. Rembrandt comprehends this to perfection, and while he conveys his

224

REMBRANDT

own idea with all required completeness, he takes care to evoke that collaboration on the part of his audience with which the painter can no more dispense than can the writer. When he has caught our attention and produced his argument he leaves us to make of it what we may. Were he more insistent he would run the risk of breaking the charm and of arousing hostility. But we have no defence against an artist whose powers leave mere talent behind, and who yet confesses that, deeply moved as he is, he can go no further,

. but must leave to each one of us the task of

completing his thought.

It is easy to see how his own people failed to appreciate Rembrandt ; with the passage of time he has gathered a following in every country. In many ways he deserves to be the favourite painter of our epoch, for of all the masters he is the most modern. Through those fluctuations of taste which have been fatal to so many, his fame has steadily grown. The sobriety with which it began makes its present eclat the more startling, yet the unani- mous applause with which the master is now hailed is no more than a legitimate tribute. In these latter years Rembrandt has afforded

a raison d'etre for numerous publications. The prices paid for his works increase day by day ; almost alone among the old masters he has won favour in the si<jht of a youthful afeneration,

o J >

whose impatience of rule is unbounded, and whose admiration is far from catholic. This great position he owes to his sincerity, and to an independence so absolute that theorists on art find it impossible to classify him. As M. Victor Cherbuliez says very truly, 1 " Rembrandt belongs to no school. He has a profound sense of life and of reality. By his way of treating light he gives a certain

A!< WOMAN ASKJINV, ALMS.

1646 (1!. 170).

' U Art et la Nature, i vol. 121110. Paris, 1892. P. 294.

ORIGINALITY OF REMBRANDT'S ART

225

magical and supernatural quality to the most common realities, so that his works are at once passages from nature and fantastic tales, the fairy vision of a great soul."

The moment, then, had arrived, in our belief at least, to put before the public a complete picture of the life and artistic career of Rembrandt, accompanied for the first time by numerous reproductions chosen from all the three classes of his works. Unless we are much mistaken, no artist has displayed himself with less reserve, has been franker in confiding his thoughts, his loves, his joys and sorrows, to the paper than he. He

A JEWS SYNAGOGUE. 1648 (B. 126).

has discovered himself absolutely, with his virtues and faults, and with the painful contrast between artist and man, between the painter who had care for nothing but his work, whose love was there concentrated, and who cherished that love to the end, and the man whose later vears were a series of misfortunes cruel

J

always, and not always undeserved.

It has been our endeavour throughout to approach the study of this great personality with an open mind, profiting as far as possible by the resources offered us by former workers in the same field. We have neither sought to extenuate the moral deficien- cies of the man, and the inequalities of the artist, nor to conceal our predilection for a master so absolutely devoted to his VOL. n. g

22',

REMBRANDT

art, so profoundly human, so expressive and so touching in the familiar simplicity of his eloquence. The work we dedicate to his genius is certainly not all we could have wished. But at least we have grudged neither time nor labour to the task.

LIFE STUDY OF A YOUNG MAN.

i6. ( 5 (B. 196).

CATALOGUE

REMBRANDT'S WORKS

Q 2

PICTURES

DURIXG the fifty-seven years which have elapsed since Smith compiled his Catalogue Raisonne, two art critics have set them- selves the task of making a complete and methodical list of Rembrandt's works. Vosmaer, the earlier of the pair, attempted to include in his list the whole production of the master, assigning each drawing, etching, and painting to the year to which it belonged. Unfortunately, only a com- paratively small number of the pictures had been seen by him, and even for those he knew, his appreciation was often at fault. Taking up the same task with more method and a wider know- ledge, Dr. Bode brought it to a more satisfactory conclusion. His exhaustive studies of Rembrandt's development en- abled him to distinguish the phases through which the evolution of the master's talent passed. It is to him we owe the identification of many youthful works previously ignored. Differing in execution from Rembrandt's later productions, and signed only with a monogram, they had escaped less thorough students. Moreover, in his repeated journeys across the length and breadth of Europe, Dr. Bode found opportunities for a repeated comparison of all the pictures distributed in public and private collections. The list given in his Studien zur Geschichte der hollandischen Malerei is consequently the most accurate and trustworthy we possess. But since 1883, when the Studien were first published, the constantly growing vogue of Rembrandt, and the increase in the value of his works, has necessarily led to many changes in their distribution. In a Munich

AN OLD MAN WITH A LONG BEARD.

About 1630 (B. 291).

2jo REMBRANDT

journal (the Miinchener neueste NuchriMen of July 9, 1890), Dr. Bode has therefore added to his catalogue and rectified it in many points, noting the changes in ownership which took place between 1883 and 1890. Recent though this publication is, many important changes have since occurred, especially in English collections, and show once more how difficult, how impossible in fact, it is, to keep such a catalogue up to date. What is now going on in England is enough by itself to prove this. Not only have many famous collections, like that of Blenheim, been dispersed at public auction ; changes of proprietorship have taken place, as it were, sub rosa, secrecy being one of the conditions of many sales to which owners have been now forced by pecuniary embarrass- ment, now tempted by the offer of some enormous price. In my list some forty pictures will be found, which, during the last few years, have passed through the hands of M. Sedelmeyer alone, mostly from England, some to find new homes on the Continent, others to enrich the numerous galleries now being formed in the United States of America. Thanks to the courtesy of M. Sedelmeyer, I have been able not only to examine, but to photograph some of these pictures during their brief stay in Paris.

In spite of all the efforts I have made and the many letters I have written, I can only put before my readers an approximate account of the present whereabouts of Rembrandt's pictures. As I have had occasion, in the course of the foregoing pages, to refer to most of them in their order of production, I thought it would facilitate research to make their geographical distribution govern the arrangement of this formal list. And, as I had to economise space, I have been content to give only the most indispensable details : the title, the date, the form of signature, the provenance, and the size of each picture, together with the material on which it is executed. For such collections, public or private, as possess catalogues, I have given the number according to the latest edition, the date of which, where possible, is also given.

The collections richest in the work of Rembrandt are the Hermitage (35), the Louvre (20), the Galleries of Cassel (20), Berlin (17), and Dresden (16), the National Gallery (12), and the Gallery of Munich (10). Taking the total number of pictures at 450, an approximate figure according to Dr. Bode, Holland only possesses one eighteenth, or 25. It is true, however, that this small total comprises several works of the first order, both in importance and merit, such as the Lesson in Anatomy, the Night Watch, the Jewish Bride, the Elizabeth Bas, the Burgomaster Six, and the Syndics.

We have spoken of the discredit into which Rembrandt's work had fallen towards the end of his life, and have quoted his grand-nephew, Wybrandt de Geest, on the point. Towards the beginning of the eighteenth century, the prices of his pictures, still very low, began gradually to rise. It was not, however, a steady improvement. At the sale of the W. Six collection, one of the most important of those days, the prices varied between the 50 florins (& 3.?. $d.) for the two Philosop/iers Meditating, now in the Louvre, and the 2,510 florins (^209 35. 4^.) for the Woman taken in Adultery, of the National Gallery. French amateurs were the first to look for Rembrandt's pictures. Among the best- known collectors who owned them were Crozat, the Comte de Vence, M. de Julienne, who had ten, the Comte de Choiseul, who had six or seven, the Prince de Conti, and the Due d'Orleans, whose sale took place in 1792. In the present century the Erard sale (August 7, 1832), and that of Cardinal Fesch (March 17, 1845), should especially be mentioned. In England, where the genius of Rembrandt also grew steadily into favour, his pictures found their way into the princely homes of the great nobles, and it is in

PICTURES 231

England still, in spite of the frequent sales, that the most important private collections are to be found, such as those of Her Majesty the Queen, of Lady Wallace, of the Duke of Westminster, of Lord Ashburton, of Lord Ellesmere, &c. It is in England, too, that we may hope to find some of the lost works of the master, as well as some which have never yet been recognised.

The market value of Rembrandt's pictures has been rising ever since the middle of the eighteenth century. The sale careers of the two little pictures in the Louvre, the Philosophers Meditating, can be followed, and will give some idea of how prices have advanced. They were sold :

In the W. Six sale (1734) for 50 florins (^8 3^. 4^.).

,, Comte de Vence (1752) for .... 3,000 livres (^120). Due de Choiseul (1772) for .... 14,000 ,, (,560). ,, Randon de Boisset (1777) lor . . . 10,900 ,, (,436). Comte de Vaudreuil (1784) for . . . 13,000 ,, (,520).

when they were bought for Louis XVI.

At the Orleans sale, in 1792, the composition known as The Cradle, now in the possession of Mr. Boughton-Knight at Downton Castle, was sold for ,1,050 (26,250 francs) ; while the admirable " Windmill," now in Lord Lansdowne's collection, was sold for .484 (12,120 francs). A Holy Family (the Menage du Menuisier in the Louvre), which had formed part of the Choiseul collection, was sold for .684 i6,y. (17,120 francs) on February 16, 1793, although the Terror was at its height. In our own time Rem- brandt's pictures have kept their upward movement. He is now one of the most sought after of all painters, and of all the old masters he is the most popular in America. The male portrait known as " Le Doreur," signed and dated 1640, was sold for .200 (5,000 francs) in Paris in 1802. In 1836 it fetched .600 (15,000) francs at auction. It was sold for _i,ooo (25,000 francs) at the Gentil de Cavagnac sale in 1854, and for .6,200 (155,000 francs) at that of the Due de Morny in 1865. Bought in 1884 by Mr. Schaus, of New York, for ,9,000 (225,000 francs), it is said to have been sold by him to Mr. Havemeyer for _i 6,000 (400,000 francs), and is now on loan in the Metropolitan Museum of New York. Another portrait, known as the Admiral, was bought by Mr. Schaus for ,4,260 (106,500 francs) at the sale of the Crabbe Collection, June 12, 1890. The two fine full-length portraits of Martin Daey and his wife, bought in August, 1877, with the rest of the Van Loon collection, by the Rothschild family, wore taken by the Baron Gustave de Rothschild at a valuation of more than a million of francs (,40,000). Two other portraits, one of Rembrandt himself and another of a young woman, were sold by the Marquis of Lansdowne to Lord Iveagh for over .16,000. In 1883, Joseph and Potiphar's Wife was bought by the Berlin Museum from Sir John Neeld for .8,000. In 1891 the Pilgrim at Prayer was bought by Mr. Weber, of Hamburg, for ,4,000 ; an Old Woman with a Bible by M. Forges, of Paris, for ,6,000 (150,000 francs) ; and The Accountant by Mr. Handford, of Chicago, for ,5,600 (140,000 francs).

The strong contrasts and the breadth of effect in Rembrandt's pictures were of a nature to tempt engravers, and they have been often reproduced ; in the last century by Schmidt and De Frey, and in our time by such skilful etchers as Massalof, Unger, Courtry, Koping, Waltner, and Rajon. It is only fa.r to mention also Mouilleron's fine

232

REMBRANDT

lithograph after the Nig/it Watch. Finally the photographs of Braun of Uornach ; of Hanfstaengl of Munich ; and of Baer of Rotterdam, have effectually helped to extend the knowledge of Rembrandt's work.

In the following list the countries are arranged in alphabetical order. Under each town the pictures in public museums precede those in private collections. In the case of pictures which I have not seen, or as to which I have been unable to procure special information, I have, as a rule, accepted the information given in Dr. Bode's catalogues. As for the signatures, I have only described such as differed, either in form or spelling, fro:n those habitually used by the master. The figures which follow the letters c and w (canvas or wood) give the size in inches and sixteenths of an inch, the height being always given first.

A U S T R I A- H U X G A R Y.

B u D A- P F.STH. Academy.

Old Man with a while Beard, full length, medium size. Signed and dated 1642. \V, - 28 X 2i,, inches. No. 235.

The Repose of the Holy Family, painted about 1655. Count J. Andrassy.

Portrait of Rembrandt. Signed and dated 1630. W. ig,V X I $ inches. Georges Rath Collection.

Female Portrait (unfinished), perhaps Hendrickje Stoffels. W. 28};] x 20^,. inches,

Landscape. Signed and dated 1638. 2i}JX 28/5 inches.

Study of a RullocKs Carcase. Signed R. 1639. \V. 20! jj x 17 inches.

CRACOW. Czartorisky Gallery. Large Landscape, dated 1638.

INNSPRUCK. Fefdinandeum.

The Head of an old Man (Rembrandt's Father), commonly known as Phllo the Jew. Signed with the monogram and dated 1630. W. 8}J X 6}J inches. Hoppc and Tschager Collections.

PRAGUE. Count Nostitz.

Portrait of an old Man, seated at a table, three - quarters length, life-size. Signed. Painted about 1635,

TARNOWtTZ. Prince Tarnowsky>

Equestrian Portrait of a young Pole.

VIENNA. Imperial Museum. (Cataloeue of 1884.)

Portrait of a Man, half-length, life-size, painted about 1632. W. 35! X2;| inches. (Catalogue of 1783.) No. 1 139.

Portrait of a Woman, pendant to above. No. 1 140.

Rembrandt s Mother, half-length, life-size. Signed and dated 1639. W. 31^ x 24^ inches. (Catalogue of 1783.) No. 1139.

Portrait of Rembrandt, half-length, life-size, painted about 1658. C. 44i X 31 J inches. Charles VI's Collection. No. 1142.

Bust Portrait of Rembrandt, life-size. Signed, painted about 1666-1668. W. ! 9is X i6 inches.

A young Man singing (Titus ?), half- length, life-size, painted about 1658. C. 28 X 2 8 $ inches. (Catalogue of 1783.) No. 1144.

St. Pai//, half-length, life-size, painted about 1636. C. 493 X 43,% inches. Inventory of 1718.

Academy of Fine Arts.

Portrait of a young Lady, half-length, signed with the monogram, and dated 1632. C. 38,^ X 28f inches.

Liechtenstein Collection. (Catalogue of 1873).

Portrait of Rembrandt, half-length, life- size. Signed and dated 1635. C. 36,^ X 28f inches.

J'ortrait of Saskia, an oval ; bust, full-face, life-size. Signed with the monogram and dated 1632. W. 23 J X 17^ inches. Valpin- C,on and Secrdtan Collections.

The Jewish Bride, full length, half life-size, Signed and dated 1632. C. 42^x361 inches. De Bandeville, Rendlesham, Mulgrave and Sir Charles Robinson Collections.

Rust Portrait of a Man, life-size. Signed and dated 1636. Kuscheleff, Besborodko, and Incontri Collections.

Portrait of a Woman, pendant to above. Same collections.

CATALOGUE OF PICTURES

233

Baron von Konigswarter.

Portrait of Rembrandt, bust, full-face, life- size. Painted about 1640. W. 22i X 19|J inches. Mount-Temple and Caledon Collec- tions.

Count Schonborn.

Samson overcome by the Philistines, whole- length figures, nearly life-size. Signed and dated 1636. C. 76| X 1O2| inches.

BELGIUM.

ANTWERP. Museum.

Portrait of the Minister Sivalmius, seated, life-size three-quarters length. Signed and dated 1637. C.- -57^ X 44^ inches. Orleans, Stowe, and Dudley Collections.

BRUSSELS. Royal 1889.)

Museum. (Catalogue of

Portrait of a Man. half-length, life-size. Pendant to the Ladyu'ith the Fan at Bucking- ham Palace. Signed and dated 1641. C.

41 ij X 32J-J inches. Dansaert Collection.

(No- 397-)

Portrait of an old Woman, three-quarters length, life-size. The signature : Rembrandt, 1654, apparently a forgery. C. Acquired in 1886. (No. 397a.) Arenberg Gallery.

Tobias restoring his Father's Sight, small figures. Signed and dated 1634 or 1636. W. i8| x 15^ inches. Hibbert, Carignan, and Gildemecster Collections.

DENMARK.

Col'KNHAGKN. Royal Gallery. (Catalogue of 1885.)

Christ at Emmiius, figures of medium size. Signed and dated 1648. C.- (No. 292).

Bust Portrait of a young Man, life-size. Signed, but not dated. Painted in 1656. C. -(No. 273).

Portrait of a young Woman, pendant to

the above. Signed and dated 1656. C. (No. 274.) Count Moltke.

Portrait of an old Woman. The model the same as in the picture in the Epinal Museum, and the three studies in the Hermitage. Half- length, life-size, painted about 1654. (Cata- logue of the collection, No. 32.)

ENGLAND.

H.M. the Queen. Buckingham Palace.

The Shipbuilder and his Wife, three- quarters length figures, life-size. Signed and dated 1633. C. 4i| X 64$ inches. Smeth van Alphen Collection.

The Aderation of the Magi, figures of medium size. Signed and dated 1657. W. Si,\ X 38 inches.

Rembrandt and Saskia, commonly called The Burgomaster Pancras and his H'ife. Signed, but not dated. Painted about 1635- 1636. C. 61^ X 77 inches. H.Hope Col- lection.

Christ and Mary Magdalene at the Tomb, full-length figures, of medium size. Signed and dated 1638. W. 23^ X 19! inches. De Reuver, Elector of Cassel, and Malmaison Collections.

The Lady with the Fan, three-quarters length, life-size. Signed and dated 1641. C. inches. Townshend Collection.

Portrait of Rembrandt, bust, life-size. Signed and dated 164 (about 1645). W. 27 X 24^ inches. Baring Collection.

H.M. the Queen. Hampton Court Palace.

A Jewish Rabbi, bust, life-size, arched at the top. Signed and dated 1635. W. arched at the top.

H.M. the Queen. Windsor Castle.

Portrait of a young Man (Gerard Dou?), bust. Signed with a monogram, and dated 1631.

Portrait of Rcmbrandfs Mother, bust. Painted about 1630-1632.

CAMBRIDGE. Fitzwilliam Museum. (Cata- logue of 1 86 1.)

Portrait nf Rembrandt in military Costume, three-quarters length^ life-size. Signed and dated 1650. C. 53,*,, X 45}} inches.

234

REMBRANDT

DUBLIN. National Gallery of Ireland. (Cata- logue of 1890.)

The Rest in Egypt, small figures. (More probably a Bivouac of Shepherds.) Signed and dated 1647. W. 15^ X I2j inches. Sir Henry Hoare Collection. (No. 115.)

Portrait of a Young Man (Louis van der Linden), bust. An oval. Painted about 1630- 1631. Not catalogued. Bought from Mr. A. Uansaert, of Brussels.

DULWICH GALLERY. (Catalogue of 1880.)

Bust Portrait of a young Man, rather less than life-size. Signed with the monogram, K. H. L. van Ryn, f. 1632. W. n X 9-,^ inches. (No. 189.)

Girl at a Window, an oval, half-length, life-size. Signed and dated 1645. C. 31 J X 24,1, inches. R. Hibbcrt Collection.

EDINBURGH. Scottish National Gallery.

A young Woman in Bed (Hendrickje Stof- fels), bust, life-size, arched at the top. Signed and dated 1650. Carignan, Maynard, and Mildmay Collections. Bought from Mr. Charles Wertheimer in 1892.

GLASGOW. Corporation Gallery.

Small Female Portrait, a youthful work.

A Man in Armour, half-length, life-size. Signed and dated 1655. C. 53^ X 40^ inches.

Tobias and the Angel. Landscape with figures. W. 29^ x 26 inches.

Study of a Bullock's Carcase, similar to that in the Louvre.

LONDON. National Gallery. (Catalogue of 1892.)

The Descent from the Cross, a sketch in grisaille for the etching of 1642 (B. 82), numerous small figures. W. 13 X II inches. J. de Barry, Sir Joshua Reynolds, and Sir George Beaumont Collections. (No. 43.)

The Woman taken in Adultery, small figures. Signed and dated 1644. W. 32^ X 25^ inches. Six and Angerstein Collec- tions. (No. 45.)

The Adoration of the Shepherds, small figures. Signed and dated 1646. C. 25 < 22 inches. De Noailles, De Bandeville, Tolo- san and Angerstein Collections. (No. 47.)

A Woman bathing, a figure of medium size. Signed and dated 1654. W. 24 x i8| inches. Lord Gwydyr and Rev. W. Holwcll-Carr Collections. (No. 54.)

Portrait of a Capuchin Friar, bust, life-size, painted about 1660. C. 34^ X 25^ inches. Duke of Northumberland's Collection. (No. 1 66.)

A Jewish Rabbi, bust, life-size. Signed and dated 1657. C. 30 X 26 inches. Duke of Argyll, Harman, and Farrer Collections.

Landscape, with Tobias and the Angel, W. 22 X 34 inches. Bequeathed by the Rev. W. Holwell-Carr. (No. 72.)

Portrait of a Jew Merchant, half-length, life-size. C. 53 X 41 inches. Sir George Beaumont's Collection. (No. 51.)

The Painter's oivn Portrait at an advanced Age, bust, life-size, painted about 1664. C. 33 x 27^ inches. Middleton Collection. (No.

221.)

Portrait of a Woman, half-length, life-size. Signed and dated 1666. C. 26^ X 23^ inches. Lord Colborne's Collection. (No. 237-)

Portrait of an old Man, half-length, life- size. Signed and dated 1659. C. 39 X 32^ inches. Lord Colborne's Collection. (No. 2430

His own Portrait -when aged about 32, half- length, life-size. Signed Rembrandt f. conter- feyt. 1640. C 39X31^ inches. Dupont de Richemont Collection. (No. 672.)

Portrait of an old Lady, an oval, bust, life- size. Signed and dated 1634. AE. SUAE. 83. W. 27 X 21 inches. Roos, Erard, Wells of Redleaf, and Sir C. Eastlake Collections. (No.

7750

Portrait of Rembrandt, an oval, bust, life- size (called in the catalogue A Man's Portrait). Signed and dated 1635. C. 30^ X 225 inches. Peel Collection. (No. 850.)

Lady Ashburnham.

The Minister Anslo Exhorting a young Widow, three-quarters length, life-size. Signed and dated 1641. C. 72^ X 88| inches. Sir Thomas Dundas Collection.

Lord Ashburton.

Bust Portrait of a Man, an oval, life-size. Painted about 1635. W. 29}! X 25 inches.

Bust Portrait of Rembrandt, life-size. Painted about 1658. C. 30 X 25 inches. Due de Valentinois Collection.

Portrait of a Man, half-length, life-size. Painted about 1637. 48^ X 37 inches.

Supposed Portrait of Jansenius, half-length, life-size. Signed and dated 1661. W. 3U X 26 inches. Sereville and Talleyrand Collections.

Portrait of the Writing-master Coppenol, half-length, small figure. Signed. Painted about 1658. W. 13^5 X 10}$ inches. Saint Julien and L. Bonaparte Collections.

CATALOGUE OF PICTURES

2 35

Mr. Beaumont.

The Tribute Money, small figures. Signed and dated 1655. C. 25^ x 33^ inches. R. Clarke and Wynn Ellis Collections.

Duke of Bedford. Woburn Abbey.

Portrait of an old Man, bust, life-size. Painted about 1632.

Portrait of Rembrandt, bust, life-size. Painted about 1635. C. 34! X 3o| inches.

Mr. Beresford-Hope.

Rembrandt's Fatlter in military Costume, bust, life-size. Painted about 1631.

Lord Brownlow. Ashridge Park.

Portrait of a Man, erroneously called a Portrait of Jlooft, half-length, life-size. Signed and dated 1653. C. 6if x 59 inches.

Portrait of a Man in a Fancy Dress. Signed and dated 1653.

Duke of Buccleuch. Montague House.

Portrait of Rembrandt, half-length, life-size. Signed and dated 1659. C. 33,',, X 27^.

Portrait of an old IVoman, three-quarters length, life-size. Signed, but not dated. Painted about 1657.

Mr. A. Buckley.

Portrait of a Afan, bust, small size, painted about 1655-1657.

Lord Carlisle. Castle Howard.

Portrait of a young Artist, seated and drawing, bust, life-size. Signed. Painted about 1648.

Mr. W. C. Cartwright.

Dead Peacock and Peahen. Signed, but not dated. Painted about 1640.

Mr. W. Chamberlain. (Brighton).

Portrait of a Man in military Costume (Rembrandt's father), bust, life-size. Signed, but not dated. W. 26 X 19}* inches.

Sir Francis Cook, Doughty House, Richmond Portrait of Rembrandt's Sister, bust.

Signed R. H. L. van Ryn, 1632.

Study of an old Man seated, half life-size,

half-length, painted about 1654. 21 X HfV

inches. Comte de Vence Collection.

Tobit and his Wife, small figures. Signed

and dated 1650. W. \i\ x i;| inches.

Lord Cowper. Panshanger.

Supposed equestrian Portrait of Turenne, life-size, painted in 1649. C. 124^ X 76 \ inches. De Plettemberg and Van Zwietene Collections.

Portrait of a young Man, three-quarters- length, life-size. Signed and dated 1644. C. 44{ff X 393 inches.

Mr. Davis.

Portrait of an old Lady, seated, three- quarters length, life-size. Signed and dated 1635. C. Lord Derby. Knowsley House.

Belshazzar's Feast, half-length figures, life- size. Painted about 1636. C. Tulwood Collection.

Portrait of a Rabbi, full face, bust. Signed and dated 163 (about 1635).

Joseph's Brethren showing his Coat to Jacob, numerous figures, three-quarters of life-size. Painted about 1657-1659. C. 51-,^ x S9\s- Duke of Devonshire. Chatsworth.

Portrait of a Rabbi, seated, three-quarters length, life-sized. Signed and dated 1635.

Portrait of an old Man, seated, three- quarters length, life-size. Signed and dated 165 (about 1656).

Portrait of mi old J\fan, full-face, half- length, life-size. Painted about 1663-1665.

Lady Eastlake.

Ecce Homn. Grisaille. Study for the etching of 1636, (B. 77), small figures. -21 1,! X 19^5 inches. W. Six, Goll and Brondgeest Collections.

Lord Ellcsmere. Bridgewater House.

Portrait of a young Girl of Eighteen, an oval, bust, life-size. Signed and dated 1634, AE. SVAE. \V. -29iX22j inches. De Merle, Destouches, and Bridgwater Collections.

Portrait of a young Lady, an oval, bust, life-size, painted about 1635.

Portrait of an old Man, life-size, three- quarters length. Signed and dated 1637. C. 57^X41^ inches. Gildemeester Collection.

Small Study of an old Man, a bust, painted about 1655.

Portrait of Rembrandt, bust, life-size. Signed and dated 165 (about 1659). C. 22^ X 17! inches. Holderness Collection.

Hannah and the Child Samuel, small figures. Signed and dated 1648. W. 17^ X 13^ inches. De Klines, De Roore, Julienne, Egerton Col- lections. Lord Feversham. Duncombe Park.

Portrait of a Merchant, three-quarters length, life-size. Signed and dated 1659.

Mr. G. C. W. Fitz william.

Bust of an old Man. (The same model as in the studies of the Metz and Cassel Museums), the signature illegible. Painted about 1632. W. 21 J X 17} I- Mr. A. P. Heywood Lonsdale.

Portrait of Rembrandt, bust, life-size. Painted about 1635. W. 25j T 6 x 19! inches

2*6

REMBRANDT

Captain Holford (Dorchester House).

Portrait of Marten Looten, half-length, life- size. Signed R. H. L. January, 1632. C. 37 X 3J inches. Cardinal Fesch Collection.

Portrait of Titus van Ryn, about 1660.

Portrait of an old Lady (the wife of Syl- vius ?), 1644. C. 7j| X 45Jj inches. Fesch Collection.

Portrait of Rembrandt, \ 644.

Mr. Adrian Hope.

Portrait of Nicholas Ruts, three-quarters length, one third of life-size. Signed and dated 1631. W. 16}^ X I2J inches. Romswinckel and William II. Collections.

Portrait of a young Woman, an oval, bust, life-size. Signed and dated 1635.

Lord Francis Pelham-Clinton-Hope.

St. Peter's Boat, figures of medium size. Signed and dated 1633. C. 683 X 54| inches. J. J. Hinloopen, King of Poland, and G. Braamcamp Collections.

Portrait of a young Couple, whole-length figures, rather over one-third of life-size. Signed and dated 1633.

Lord Ilchester.

Portrait of Rembrandt, half-length, life-size. Signed and dated 1658. C. 51 X 40 inches.

Mr. Constantine lonides.

The Dismissal of Hagar, small figures. Signed and dated 1640. W. I2g X i8}j inches.

Lord Iveagh.

Portrait of a young Lady, life-size, three quarters length. Signed and dated 1642. C. 45| x 39? inches. La Live de Jully, Trouart, De Gevigney and Lord Lansdowne Collec- tions.

Portrait of Rembrandt, full face, life-size, three-quarters length, painted about 1662- 1664. C. 49$ x 45! inches. De Vence, Hennessy, Dannoot, Nieuwenhuys, and Lord Lansdowne Collections.

Mr. Samuel Joseph.

Portrait of Saskia, bust. Signed Rem- brant. About 1636-1637. C. 26^ x 2o} inches. Lord Kinnaird, Rossie Priory.

Portrait of a young Woman,\>\\%{. Signed and dated 1636, octagon.

Portrait of Rembrandt, half-length. Signed and dated 1661.

Mr. A. R. Boughton Knight. Downton Castle. The Holy Family, known as The Cradle, small figures, painted about 1643-1645. W. 24! X 3o| inches. Orleans Collodion.

Portrait of a Man, called Rembrandfs Cook, full-face, half-length, life-size. Signed and dated 1661. C. 29^ x 24$ inches. J. Black- wood and Lapeyriere Collections.

Lord Lansdowne. Bowood.

The Mill. Signed. Painted about 1654. Orleans and W. Smith Collections. Sir E. Lechmere.

The Jewish Bride (Portrait of Saskia). A replica, with slight modifications, of the Her- mitage picture. Three-quarters length, life- size, painted about 1634. C. 6o^f X 50^ inches. Sir Joshua Reynolds and Duke of Buccleuch Collections. Lord Leconfield. Petworth.

Bust Portrait of Rembrandt, full face, an oval. Signed R. H. L. van Ryn, 1632.

Portrait of Rembrandfs Sister, pendant to the above. Not dated.

Portrait of a young Woman, seated, full face, three-quarters length, life-size, painted about 1640.

Portrait of a Youth, bust, painted about 1665.

Mr. Alfred Morrison.

Portrait of a Man, half-length, life-size. Signed and dated 164 (about 1642). W. 40 X 29}$ inches. Mr. Charles Morrison. Basildon Park.

Portrait of a young Lady, seated, three- quarters length, life-size. Signed and dated 166 (about 1665). C. 49^ X 36^ inches. Gray Collection. Sir John Neeld. Grittleton House.

Bust Portrait of Rembrandt, an oval. Painted about 1660 1662.

Lord Northbrook.

Portrait of an old Man, bust, life-size. Signed and dated 1667.

Small Landscape with a Stream, painted about 1640-1645.

Lord Paulet. Hinton House.

Bust Portrait of a young Man. Signed with the monogram R.H.L. Painted about 1628 1629.

Sir Robert Peel. Drayton Manor.

Moses found by Pharaoh's Daughter, small figures. Painted about 1640. C. An oval. 19 X 24^ inches. Crozat, De Choiseul, De Conti, Boileau, and De Saint-Victor Collec- tions.

Lord Pembroke. Wilton House.

Rembrandts Mother reading the Bible. Signed, but not dated. Painted about 1630. C. 28|X 1 8] | inches.

CATALOGUE OF PICTURES

237

Lord Penrhyn.

Portrait of Catherine Hough, at fifty years of age, life-size, to the knees. Signed and dated 1657. C. 54^ X 415 inches. Peacock and E. Higginson Collections. Lady (Anthony)Rothschild.

Portrait of Rembrandt, half-length, painted about 1656. C. Duke of Rutland. Belvoir Castle.

Portrait of a young Man, three-quarters length, nearly life-size. Signed and dated 165. C. arched at the top. 30,^X24* inches.

Lord Scarsdale. Kedleston Hall.

Portrait of an old Man, seated, half-length. Signed. Painted about 1645. Lord Spencer. Althorp.

The Circumcision, a sketchy composition, with small figures. Signed, and, according to Smith, dated 1661. 24^ X 3o| inches.

Portrait of a Child, called William, Prince of Orange, bust, painted about 1658-1660. Lady Wallace (Hertford House).

Portrait of Jan Pcllicorne and his Son, sit- ting, full length, life-size. Signed Rembrandt, painted about 1632-1633. C. 60^ X 47 inches. William II.'s Collection.

Portraits of Susanna van Collen and her Daughter (pendant of the preceding). Signed Rembrandt f. 16 (about 1633). Same size and provenance as the last.

The Good Samaritan, small figures, a re- versed reproduction of the etching of 1633, (H. 90). W. lojjj 1 X 8j. Choiseul and Coxe Collections.

The Workers in the Vineyard, life-size figures, to the knees, painted about 1664. C. 53i X "]i\ inches. Stowe Collection. (The subject of this picture is more probably The Unmerciful Servant.}

Study of a Young Negro, bust, life-size, painted about 1640. Stowe Collection.

Rembrandt in a Cuirass, bust, life-size. Signed Remb. f., painted about 1634.

Portrait of an old Man, bust, small, painted about 1655-1657.

Mountainous Landscape, painted about 1640. W. 17} X 27,1 inches.- W'. Taylor Collection.

Loi\l Wantage.

Portrait of an old Lady, an oval, bust, life- sixe. C.--29,*, X 25 inches. Townshcnd, Yerstolk van Soelen, and Baring Collections.

Lord Warwick. Warwick Castle.

T/ie Standard Hearer, front face, life-size, to the knees. Painted about 1660-1662. C.- 55i X 45i inches.

Duke of Westminster. Giosvenor House.

Salutation of the Virgin and St. Elizabeth, small figures. Signed and dated 1640. B. Arched top. 23^ X 19}^ inches.

Portrait of Clues JJerchctn, bust, life-size. Signed and dated 1647. W. 35,V x 2Sg inches.

Portrait of Berchenfs Wife, pendant to the above. (Same signature and dimensions.) Lord Wemyss. Gosford Park.

A Monk seated, and reading. Signed and dated 1660.

Lord Wimborne. -Canford Manor.

St .Paul, seated. Signed. Painted about 1658. Portrait of a Man, three-quarters length, life-size. Painted about 1660.

Lord Yarborough.

Portrait of an old Woman, half-length, rather less than life-size, painted about 1636-1637. W. -39! X 35J inches.

FRANCE.

FINAL. Museum. (Catalogue of 1880.)

Portrait of an old Woman, half-length, life-size. (The same model as in the Her- mitage pictures, and that belonging to Count Moltke at Copenhagen.) Signed and dated 1661. C. 44| X 3ii inches. Salm Collec- tion. (No. 101.)

NANTES. Museum. (Catalogue of 1876.)

Portrait of Rembrandfs Father, bust, one- quarter of life-size. About 1628. W. 6 x 5, 5 6 inches. No. 522. (Catalogued as by Van Vliet.) Due de Feltre's Collection.

PARIS. Louvre. (Catalogue of 1890.)

The Angel Raphael leaving Tobias. Signed

and dated 1637. W. 26} j| X 2oi inches. In the collection in 1754. (No. 404.)

The Good Samaritan, figures of medium size. Signed and dated 1648. C. 44; X 53(' ! s inches. Van Slingelandt and Louis XVI. Collections. (No. 405.)

Saint Matthew, bust, life-size. Signed and dated 1661. C 37? X 31 i inches. Collot Collection. (No. 406.)

Christ with the Disciples at Emmaus, figures of medium size. Signed and dated 1648. W. 26}$ x 25! inches. Six, De Lassay, Randon dc Boisset Collections. (No. 407.)

A Phibsopher absorbed in Meditation; small figure. Signed with the monogram R.

2 3 8

REMBRANDT

H. van Ryn, 1633. W. n&X 13 inches. Louis XVI. Collection. (No. 408.)

A Philosopher absorbedin Meditation; small figure. Painted in 1633. W. 1 1 -^ X 1 3 inches. Louis XVI. Collection. (No. 409.)

The Carpenter's Household; small figures. Signed and dated 1640. W. i6J X ij| inches. Is. van Thye, Gaignat, Choiseul- Praslin Collections. (No. 410.)

Venus and Cupid, half-length, life-size. C. 43vVX3ii inches. Pieter Six Collection (?). (No. 411")

Bust Portrait of Rembrandt, an oval, life- size. Signed and dated 1633. W. 22$ X 17? inches. Musee Napoleon. (No. 412.)

Bust Portrait of Rembrandt, an oval, life- size. Signed and dated 1634. W. 26}jj- X 2oJ inches.--De Choiscul Collection. (No.

4I3-)

Bust Portrait of Rembrandt, an oval, life- size. Signed and dated 1637. W. 31 j X 24j 7 ff inches. Louis XVI. Collection. (No. 414.)

Portrait of Rembrandt at an advanced Age. Half-length, life-size. Signed Remb. . . f. 1660. C. 43! X 335 inches. Louis XVI. Collection. (No. 415.)

Bust Portrait of an old Man, an oval, life- size. Signed Rembrand, 1638. W. 27^,,- X 22 r V inches. In the early collection. (No. 416.)

Bust Portrait of a young Man, life- size. C. 284 X 24 T V inches. Signed and dated 1658. Musee Napoleon. (No. 417.)

Bust Portrait of a Man, small size. A replica of rather better quality in the Cassel Museum. Painted about 1655-1657. W. loj X 7\ inches. Early collection. (No. 418.)

Portrait of a young Woman {Hendrickje Stojjels), bust, life-size. Painted about 1652-1654. C. 28| X 23! inches. Early collection. (No. 419.)

The Carcase of a Bullock hanging in a Butcher's Stall. Signed and dated 1655. W. 37 X 26 r 7 (T inches. (No. 690.)

Lacaze Collection.

Bathsheba, full-length, life-size. Signed and dated 1654. C. 55}| X 55jjinch.es. Young Ottley, Peacock, Maison, P. Perrier Col- lections. (No. 96.)

A Woman Bathing, full-length figure, small size. Study for the Susanna in the Berlin Museum. Painted in 1647. 24^ x 18}-; inches. (No. 97.)

Portrait of a Man, full face, life-size. Signed; the date illegible. C. 32}^ X 26 inches. (No. 98.)

M. Edouard Andrd

Portrait of Arnold Tholinx, bust, life-size. Signed and dated 1656. C. 29}$- X 24! inches. Van Brienen Collection.

Clirist at Emtniius, small figures. Signed with the monogram R.H. Painted about 1632-1633. W. 151x16^5 inches. Leroy d'Etiolles Collection.

Portrait of Saskia, bust, profile, life-size. Signed Rembrandt van Ryn, 1632. C. 27 X 21 1 inches. De Reiset and Haro Collections.

M. Lon Bonnat.

Susanna, an oval, bust, small size. Study for the picture in the Berlin Museum. Painted about 1647. W. 8JJ X 7 inches. His de la Salle Collection.

Head of a Rabbi, bust, small size. Painted about 1655. W. 8f ! F X 9i y ft inches.

The Burgomaster Six, study for the etching (B. 285), small size. 1647. W.

M. Stcph. Bourgeois.

Bust Portrait of a Woman, three-quarters to the front, small size. About 1640. W. 7| X 6| inches.

Prince de Chalais.

Bust Portrait of a Man, erroneously called a Portrait of Rembrandt.

M. Dutuit.

Full-length Portrait of Rembrandt, medium size. Signed and dated 1631. W. 31 X 21 \\ inches. Schamp d'Averschoot Collec- tion.

M. Leon Gauchez.

The Death of Lucretia, three-quarters length, life-size. Signed and dated 1664. C. 45JJ x 38^ inches. Demidoff Collection.

M. Leopold Goldschmidt.

Study of an old Man, bust, life-size. Signed and dated 1635. C. 25$ X 21 , s lV inches. Auguiot and Demidoff Collections.

Study of a Woman, known as Rembrandt's Cook, bust, life-size. Painted about 1656. C. 28 X 23 \ inches. Nieuwenhuys Collection.

M. Haro.

Judas bringing back the thirty Pieces of Silver to the High Priest, figures of medium size. Painted about 1628-1630. C. 3iA X 40 ^ inches. Fanshawe, Terrour, and Lord Northwick Collections.

M. Harjes.

An Old Man with a white Beard, read- ing, bust, life-size. C. 24,^ X 22j inches. De Beurnonvillc Collections.

CATALOGUE OF PICTURES

239

Baron Hirsch de Gereuth.

Portrait of Saskia, an oval, bust, full face, life-size. Signed with the monogram R. H. f. 1633. W. 22jX2ij* 5 inches. Roehn and Brooks Collections.

M. Maurice Kann.

Portrait of a Man, half length, life-size. Painted about 1662-1665. C. 35! X 29! inches. D'Oultremont Collection.

Head of Christ, life-size. Painted about 1656. C 18| X 14,% inches.

Bust Portrait of a Man, half the size of life. Signed and dated 1659. W. 13^ X 1 i-fy inches. From the Weber Collection at Hamburg.

M. Rodolphe Kann.

Portrait of an old M'oman cut tint; lift- Nails, three-quarters length, life-size. Signed and dated 1658. C. 49^ X 41 inches. Ingham, Foster, Bibikoff, and Massaloff Collections.

Portrait of Titus van Ryn, half-length, life-size. Signed and dated 1655. C. 30/5 X 22i inches.

Portrait of a Woman, half-length, life- size. Painted about 1662-1665. c - 36jj X 28J inches. (Pendant to M. Maurice Kann's male portrait.) D'Oultremont Collection.

Head of Christ, half life-size. Painted about 1652. W. I0j 5 5 X 7^f inches.

Head of a Rabbi, the same model as in M. Bonnat's Rabbi, bust, small size, about 1655. W. 9! X 1\\ inches.

Madame Lacroix.

Landscape with Swans, painted about

1645. C. 25i x 17 inches. W. Burger Collection.

M. Paul Mathey.

Head of an old Man with a grey Beard, full-face. W. I9}J X 23}J inches.

M. Henry Pereire.

Portrait of a Man, an oval ; bust, life-size. Signed Rembrandt f. 1632. C 23JJ X iSi inches.

Portrait of a Woman (pendant to the above), an oval ; bust, life-size. Signed Rem- brandt f. 1633. Same dimensions as above. De Beurnonville Collection.

M. Jules Porges.

Study of an old Woman, life-sire, three- quarters length, painted about 1649. C. 37 1- X 29^ inches.

A Rabbi, full-face, bust, life-size. Signed and dated 1642. W. 29^ X 24,^ inches.

Count Edmond de Pourtales.

Portrait of a young Man, thiee-quarters length, life-size, painted about 1633. C. 49 i x 39* inches. Ashburnham and Farrer Collections.

Baron Alphonse de Rothschild.

Portrait of an old Lady, an oval ; bust, nearly life-size. Signed R. van Ryn, 1632. W. 30$ X 22} \ inches.

Baron Gustave de Rothschild.

The Standard Bearer, half-length, life-size. Signed and dated 163 (about 1636). C. 49! X 41 1 inches. Verhulst, Lebceuf, and Clarke Collections.

Portrait of Marten Daey, full-length, life- size. Signed and dated 1634. 8ij 9 lT X 52 inches. Daey van Winter and Van Loon Collections.

Portrait of Marten Daey's Wife (pendant to above). Same date, dimensions, and collec- tions.

Baroness Nathaniel de Rothschild.

Portrait of a Youth, an oval ; bust, life-size. Signed, and dated 1633. C. 17,^ X 13 inches.

M. Henri Schneider.

Portrait of the Minister Alenson, full-length, life-size. Signed, and dated 1634. C. 70 J X 52 inches. S. Colby and Fisher Collec- tions.

Portrait of A/enson's Wife (pendant to the above). Same signature, size, and collections.

M. Charles Sedclmeyer.

The Good Samaritan, full-length figures of medium size. Signature and date 1639, prob- ably forged. C. 38^ X 49i inches.

Pilate Washing his Hands, half length figures, life-size. C. 50^ X 65 inches. Palmerston and Mount-Temple Collections.

The Woman taken in Adultery (?), life-size figures, full-length. Forged date (1644) and signature. C. 44u> X 5 3 A inches. Blen- heim Collection.

The Resurrection of Lazarus, small full- length figures. W. 161% X 13}! inches.

The Crucifixion, small full-length figures. '3i 7 5 X 9i inches. King of Poland and Wilson Collections.

M. A. Waltner.

An Old Rabbi, half-length, life-size. About 1654-1656. C. 32ft X 25S inches.

240

REMBRANDT

M. 1C. Warneck.

Rembrandt with a beardless face, laugh- ing, bust, small size. Signed and iated 1633. W. 8A X 6} 3 inches.

Study of a Rabbi, bust, small size, about 1650-1655. W. 8JJ X 7^0 inches.

Study of a Youth, bust, small size, about 1654. W. 9^ X 7},\ inches.

Diana at the Bath, small full-length figure. A reproduction of the etching (B 201), about 1631. W. 7x6J inches. Hulot Collec- tion.

GERMANY.

ASCHAFFENBURG. Museum of the Royal Palace. (Catalogue of 1883.)

Ecce Homo, bust, life-size. Signed and dated 1661. C. arched at the top. (Dimen- sions not given in catalogue.)

BERLIN. Museum. (Catalogue of 1891.)

Samson threatening his Father-in-Law, life- size figures, three-quarters length. Signed and dated 1635. C. 6iix jo}^ inches.

Royal Collections. (No. 802.)

Tobifs Wife with the Kid, small figures. Signed and dated 1645. W. 7j X io inches.

Royal Collections. (No. 805.)

Joseph's Dream, pendant to the above. Same signature, date, and dimensions. (No. 806.)

/'ortrait of Rembrandt, bust, life-size. About 1634-1635. W. 2i]Jx i8 inches. Royal Collections. (No. 808.)

Portrait of Rembrandt, bust, life-size. Signed and dated 1634. W. 22^ X i8 inches. Royal Collections. (No. 810.)

Moses breaking the Tables of the l.au<, three- quarters length, life-size. Signed and dated 1659. C. 65j| X 53^ inches. Royal Col- lections. (No. 81 1.)

Rembrandt's Wife, Saskia, bust, life-size. Signed and dated 1643. W. 28| X 22 inches. Royal Collections. (No. 812.)

The Rape of Proserpine, small figures, painted about 1632. \V. 32^ x 3og inches. Royal Collections. (No. 823.)

Jacob wrestling w'tli the Angel, life-size figures, three-quarters length. Signed and dated 1659. C. 53}^ ^. 45^ inches. Solly Collection. (No. 828.)

Portrait of a Rabbi, three-quarters length, life-size. Signed and dated 1645. C. 43A x 3 2 I inches. Suermondt Collection. (No. 828A.)

Portrait oj Hendrickje Stoffcls, half-length, life-size. Painted about 1662-1664. C. 34,* s X 255 inches. (No. 828n.)

A Young Woman in Armour (Judith or Minerva), small figure. Traces of a signa- ture, R. Painted about 163 1 1632. W. 23] X l8|jj inches. Royal Collections. (No. 828c.)

Tlic Moncy-Changer, small figure. Signed with the monogram R., 1627. W. I2j X i6j 9 ff inches. Presented by Sir Charles Robinson. (No. 8281).)

Susanna and the Elders, figures of medium size. Signed and dated 1647. W. 29^ X 35^ inches. Sir E. Lechmere's Collection. (No. 828E.)

The Vision of Daniel, figures of medium size. Painted about 1650. C. 37$ x 45 \ inches. Sir E. Lechmere's Collection. (No. 8z8F.)

Joseph accused by the Wife of Potiphar, figures of medium size. Signed and dated 1655. C. 43,% X 3ojj. Sir John Neeld's Collection. (No. 828H.)

Study of an old Man, bust, life-size. Painted about 1655. C. 20^ X I4i 9 j inches. (No. 828.1.)

The Preaching of John the Baptist. Grisaille, small figures. Signed and dated 1656. C. 258 X 32J inches. J. Six, Cardinal Fesch, and Dudley Collections.

Royal Palace.

Samson and Delilah, small figures, life-size. Signed with the monogram R. H. L., 1628. W. 241 X I9|J inches. From the Collec- tion of the Princes of Orange.

BRUNSWICK. Grand Ducal Museum. (Cata- logue of 1887.)

Portrait of a Man, erroneously called Por- trait of Hugo Grotius, oval, bust, life-size. Signed and dated 1632. \V. 25,^ x iS^f inches. (No. 232.)

Portrait of a Woman, pendant to above. Signed and dated 1633. Same dimensions. (No. 233.)

A Philosopher, figure of medium size. (Per- haps a copy.) Signature probably a forgery. W. 2o x 17^. (No. 234.)

Noli me tangere, figures of medium size. Signed and dated 1651. C. 258 x 31^ inches. -(No. 235.)

The Storm. Signed, but not dated. Painted about 1640. W. 20^ x 28| inches. (No. 236.)

CATALOGUE OF PICTURES

241

A Warrior in a Helmet, bust, life-size. Signed and dated 1638. W.~32| x 26f inches. (No. 237.)

Family Group, three-quarters length figures, life-size. Signed, but not dated. Painted about 1668-1669. C. 49JJ x 65}% inches. (No. 238.)

CARLSRUHE. Grand Ducal Museum. (Cata- logue of 1881.)

Portrait of Rembrandt, bust, life-size. Signed, but not dated. Painted about 1645. W. 29,% x 23! inches. (No. 238.)

CASSEL. Museum. (Catalogue of 1888.)

Portrait of Rembrandt, bust, half life-size. About 1627. 7j x 64- inches. Inventory of 1749. (No. 208.)

Portrait of an old Man, bust, life-size. Signed with the monogram R. H. L., 1630. W. An octagon. 26 x 22^ inches. Inven- tory of 1749. (No. 209.)

Study of a bald old Man, bust, nearly life- size. Signed with the monogram R. H. L., 1632. W. 19}^ x 15! inches. Inventory of 1749. (No. 210.)

Study of an old Man, bust, life-size. Signed with the monogram R. H. L. van Ryn, 1632. W. 23! x 19,% inches. De Reuver Collec- tion. Inventory of 1749. (No. 211.)

Supposed Portrait of the Writing-master, Coppcnol, three-quarters length, life-size. Signed with the monogram R. H. L. van Ryn. Painted about 1632-1633. C. 39! X 3of inches. De Reuver collection. Inventory of 1749. (No. 212).

Portrait of the Poet, Jan Herman Krul, three-quarters length, life-size. Signed and dated 1633. C. 48^ X 37iV inches. Invent- ory of 1749. (No. 213).

Portrait of Saskia, half-length, life-size. Painted about 1633-1634. W. 38 \\ X 3o| inches. Six and De Reuver collections. In- ventory of 1749. (No. 214).

Portrait of Rembrandt in a Helmet, bust, life-size. Signed and dated 1634. W. An octagon 31^ X 25^ inches. Inventory of 1749. (No. 215).

Portrait of a young Woman, bust, life-size. About 1635-1636. W. 28| X 23^ inches. In- ventory of 1749. (No. 216).

Portrait of a Man, erroneously called a Portrait of the Burgomaster Six, or of Rem- brandt, full-length, life-size. Signed and dated 1639. C. 78,^ X47| inches. Inventory of 1749. (No. 217.)

The Holy Family, small figures .Signed and dated 1646. W. 17! X 26^5 inches. Lormier Collection. (No. 218.) VOL. II

A Winter Scene. Signed and dated 1646. W. 6J X 8JJ inches. Inventory of 1749. (No. 219.)

The Ruin. Signed, but not dated. Painted about 1650. W. 26 X 33jii inches. Invent- ory of 1749. (No. 220.)

Portrait of Frans Bruyningh, life-size three-quarters length. Signed and dated 1652 (?). C. 41 1 X 35j inches. Inventory of 1749.

(No. 221.)

Portrait of Rembrandt, bust, life-size. Signed and dated 165 (about 1659). C. In- ventory of 1749. (No. 221.)

A Man in Armour, three-quarters length, life-size. The signature forged, probably to replace an authentic inscription, of which traces are still visible. Painted about 1655. C. 44i x 35;> inches. Von Donop Collection. Inventory of 1749. (No. 223.)

Portrait of a Mathematician, three-quarters length, life-size. Forged signature. Painted about 1656. C. 47]- X 35! inches.- Inventory of 1749. (No. 224.)

Portrait of an old Man, bust, a quarter of life-size. Painted about 1655-1657. W. 7j X 6] inches. Inventory of 1749. (No. 225.)

Portrait of an old Man, bust, a third of life-size. About 1655. \V. 73 X 55 inches. Inventory of 1749. (No. 226.)

Jacob blessing the Sons of Joseph, figures three-quarters length, life-size. Signed and dated 1656. C 68 T n ff X 78| inches.- Acquired about 1752. (Xo. 227.)

Habich Collection. (Exhibited in the Cassel Museum till 1892. Sold May 9, 1892.)

Portrait of Rembrandt's Father, bust, life- size. Painted about 1632. W. i8jj X HA inches. (No. 122 in the sale catalogue.)

DARMSTADT. Grand Ducal Gallery. (Cata- logue of 1875.)

The Flagellation, figures of medium size. Signed and dated 1668. C. 37i J ff X 28 J inches. -(No. 347.)

DRESDEN. Royal Picture Gallery. (Catalogue of 1887.)

Portrait of Saskia, bust, life-size. Signed and dated 1633. W. 20]^ X I7f'ff inches. Inventory of 1817. (No. 1 556.)

Portrait of Willem Burchgraeff (the pen- dant in the Stadel Institute, Frankfort). Bust, life-size. Signed and dated 1633. W. 26$ X 5 1 finches. Van Mierop Collection Inventory of 1722. (No. 1557.)

The Rape of Ganymede, full length, life-size. Signed and dated 1635. W. 67^- X 5ifV inches. Acquired at Hamburg in 1751. (No. 1558.)

242

REMBRANDT

Rem'jrandt ami 5 ^/^three-quarters length, life-size. Signed Rcmbrant. Painted about 1635-1636. C. 63 r 7 X 51 1 inches. Bought from Le Leu in Paris, 1749. (No. 1559.)

The Marriage of Samson, figures about half life-size. Signed and dated 1638. C. 49Ji| X 69^ inches. Inventory of 1722. (No. 1560.)

Sports/nan until a Bittern, three-quarters length, life-size. Signed and dated 1639. W. 47! * 35! 1 ,, inches. Inventory of earlier date than 1753. (No. 1561).

Portrait of Saskia holding a Flower in her Hand, three-quarters length, life-size. Signed and dated 1641. W. 38^ X 32, 9 (I inches. Araignon Collection. (No. 1562.)

ManoaKs Sacrifice, figures, full length, life- size. Signed and dated 1641. C. 95 ^y X 1 1 1 i inches. Inventory of earlier date than 1753. (No. 1563.)

An old \\'oinan weighing Money, three- quarters length, life-size. The signature, Rembrandt 1643, seems to beaforgery. C. 44.7 X 39] : ",j inches. Inventory of 1754. (No. 1564.)

Portrait of a young Man in military Cos- tume, bust, life-size. Signed and dated 1643. C- 30^ X 26, 7 f inches. Inventory of earlier date than 1753. (No. 1565.)

The Entombment, figures of medium size. Copy of the Munich picture, worked upon by Rembrandt. Signed and dated 1653. C. 38/3- X 27 inches. Lormicr Collection. (No. 1566.)

Portrait of an old Man, half-length, life- size. Signed and dated 1654. W. 40^ x 3o| inches. Inventory of 1722. (No. 1567.)

Portrait of an old Man, half-length, l.'fe- size, painted about 1656. C 35^ X 27 inches. Inventory of 1765. (No. 1568.)

Portrait of Rembrandt, drawing, half-length, life-size. Signed and dated 1657. C. 33} J- X 2J| inches. Inventory of 1722. (No. I 569.)

Portrait of an old Man, three-quarters length, life-size, painted about 1665-1667. C. 3 2 S X 28 inches. Inventory of 1722. (No. 1570.)

Portrait of an old Man, three-quarters length, life-size, painted about 1645. C. 37 1 X 31 }J inches. Inventory of earlier date than 1753. (No. 1571.)

FRANKFORT-ON-THE-MAIN. Stadel Institute. (Catalogue of 1 879.)

Portrait of Margaretha van Bilderbeccq, an oval, bust, life-size (pendant to the portrait of William Burchgraeff in the Dresden Gallery).

Signed and dated 1633. W. 26 T 7 ff x 22y\, inches. Van Microp Collection. (No. 182.) David playing the Harp before Saul (as- cribed in the catalogue to Salomon Koninck). Whole length figures, about a quarter of life- size. Painted about 1632. W. 24 T 7 F X igJi inches. (No. 183.)

GOTHA. Grand Ducal Museum. (Catalogue of 1890.)

Portrait of Rembrandt, bust, small size. Signed R. H. L. 1629. W. 7^ X & in- ches. (No. i Si.)

HAMBURG. Kunsthalle. (Catalogue of 1887.) Portrait of Maurice Huygens, bust, small size. Signed R. H. L. 1630. Recently ac- quired by the Museum with the Wesselhoeft Collection. Vis. Blokhuysen Collection. Mr. Weber.

Tltc Presentation in the Temple, small figures. Signed, but not dated. Painted about 1630. W. 21 \\ x i7T 5 ?r inches. From the De Lassay, De la Guiche, Sagan and Hohen- zollern Collections. (No. 212 in Dr. K. Woer- mann's Catalogue.)

A Pilgrim praying, half-length, life-size. Signed and dated 1661. C. 35^ X 3oj in- ches. (No. 213 in Dr. K. Woermann's Catalogue.)

LEIPZIG. Municipal Museum. (Catalogue of 1881.)

Portrait of Rembrandt, bust, small size, painted about 1652-1654. W r . loj X 8J in- ches. Clauss Collection.

METZ. Municipal Museum.

Portrait of an old Man, an oval ; bust, life-size. Signed Rembrandt, 1633. W. 17 \ y, 16^ inches. Bequeathed by the Marquis d'Ourches.

MUNICH. Royal Pinacothek. (Catalogue of 1884.)

The Holy Family, full-length figures, three- quarters of life-size. Signed and dated 1631. C. 76 X 51 \ inches. Mannheim Gallery. (No. 324.)

Portrait of an old Man in Eastern Dress. Signed and dated 1633. W. 33^ X 24J in- ches. Zweibriicken Collection. (No. 325.)

The Descent from the Cross, small figures. Signed Rembrant. Painted in 1633. W arched at the top. 35^ X 25! inches. Painted for Prince Frederick Henry of the Netherlands. (No. 326.)

The Elevation of the Cross, small figures. Signed. Painted in 1633. W. 37! X 28| inches. Prince Frederick Henry's Collection (No. 327.)

CATALOGUE OF PICTURES

243

The Ascension, small figures. Signed and dated 1636. W. arched at the top. 36^ X 26'{ g inches. Prince Frederick Henry's Col- lection. (No. 328.)

The Resurrection, small figures. Signed and dated 1639. C. arched at the top. 37i J 5 x273 inches. Prince Frederick Henry's Collection. (No. 329.)

The Entombment, small figures. Painted about 1636-1638. C. arched at the top. 365 x 27, r >, inches.

The Adoration of the Shepherds, small figures. Signed . . . ndt, f. 1646. C. arched at the top. 38^ x 28 J inches. Prince Frederick Henry's Collection. (No. 331.)

Abraham's Sacrifice, life-size figures. Signed Rembrandt verandert en overgcschildert, 1636. C. 76/5 x 51 1 inches. Mannheim Gallery. (No. 332.)

Portrait of Rembrandt, bust, life-size. The signature, Rembrandt f. 1654, is probably a forgery, and the picture an early copy. Diis- seldorf Gallery.

NUREMBERG. Germanic Museum. (Catalogue of 1886.)

Portrait of Rembrandt in military Costume, bust, life-size. Signed with the monogram. Painted about i629.\V. 152 x 12?. (No. 298.)

St. Paul, small figure. Painted about 1629- 1630. Baron von Bodcck's Collection

OLDENBURG. Grand Ducal Museum. (Cata- logue of 1 88 1.)

The Prophetess Anna. (Portrait of Rem- brandt's mother.) Half-length, life-size. Signed R. H. L. 1631. C. 23^ x i8, 3 , T inches. Schonborn von Pommersfcldcn Collection. (No. 166.)

Bust of an old Man, life-size, signed R. H. L. Van Ryn. 1632. C. 26^ X 20^ inches. (No. 167.)

Landscape with two Water-courses. Painted about 1645. W. ii^ x 155 inches. (No. 169.)

SCHWERIN. Grand Ducal Museum. (Catalogue of 1890.)

Portrait of an old Man, bust, life-size. Signed with the monogram R. H. L. Painted about 1630. W. 26}$ x 2o inches. (No. 854.)

Portrait of an old Man, bust, life-size. Painted about 1656. C. 22^ X i8| inches. -(No. 855.)

STUTTGART. Royal Museum. (Catalogue of 1876.)

St. Paul in Prison, small figure. Signed

R. F. 1627 and Rembrandt fecit. W. 27, (1 ff X 22| inches. Schonborn Collection. (No. 225.)

Mr. von Carstanjen.

Portrait of J. C. Sylvius, three-quarters length, life-size. Signed and dated 1645. C. 5i, 3 , y X 43 1% inches. Cardinal Fesch and E. Pcrcirc Collections.

Tlie Flagellation, small figures. Painted about 1645. W. 13'- X HiV inches. De Beurnonville Collection.

Portrait of Rembrandt in old Age, half- length, life-size. Signed, but not dated (about 1665-1667). C 32jj X 24J.--L. Double Col- lection.

Count Estcrhazy. Nordkirchcn.

Young Man laughing, full-face, bust, nearly life-size. Signed with the monogram. Painted about 1629-1630.

Mr. K. von dcr Hcydt. Elbcrfcld.

Portrait of a young M'oman, an oval, bust, life-size. Signed and dated 1635. W. 304 X 25' inches. From the Stadcl Insti- tute at Frankfort.

The Denial <>f St. Peter, very small figures. Signed R. H. L., 1628. Copper. Sjjx 6}J inches. Otto Pcin Collection.

Mr. Carl Hollitschcr.

Sf. Paul, half-length, life-size. Painted about 1635. C. 46), x 37 ij inches. Somer- set Collection.

Tlic Crucifixion, small figures. Painted about 1648. W. 13];: X 9^ inches.

Count Luckner. Altfrankcn.

Portrait of Saskia, half-length, life-size. Signed and dated 1635.

Count Salm-Salm. Anhalt.

Diana discovering the Pregnancy of Callisto, small figures. Signed and dated 1635. C. -28 X 37 jj inches.

Mr. James Simon.

Portrait of a young Lady, full-length, small size. About 1634. W. 17,'% x 14-,-'^ inches. Leroy d'Etiollcs Collection.

Mr. A. Thieme.

Supposed Portrait of the Conn/table de Bourbon, half-length, life-size. Signed and dated 1644. C. 35^ X 29^5 inches. Secrdtan Collection.

The Good Samaritan, sketch in grisaille; small figures. iif X 14^ inches. Henry Willett Collection.

R 2

244

REMBRANDT

HOLLAND.

AMSTERDAM. Ryksmuscum. (Dr. Brcdius' Catalogue of 1891. French edition.)

The March-out of a Company of the Am- sterdam Musketeers, commonly called The Night Watch. Painted for the Hall of the Musketeers' Guild. Life-size figures. Signed and dated 1642. C HiiJ X I7i] inches. --(No. 312 in the Catalogue.)

The Syndics of the Cloth Hall. Painted for the Staalhof. Life-size figures, three- quarters length. Signed and dated 1661. C. 72| X 1075 jf inches. (No. 313.)

Portrait of Elizabeth Bas, widow of the Admiral]. H. Swartenhout. Seated, life-size, three-quarters length. Painted about 1643. C. 45] i 1 ; X 34}if inches. Bequeathed by Mr. Van dc Poll, 1880. (No. 314.1.)

Dr. J. Deymmts Anatomy lesson. Frag- ment of a picture painted for the Surgeons' Guild, and partially destroyed by fire, Novem- ber 8, 1723. Life-size, three-quarters length. Signed and dated 1656. C. 39! X 52 inches. (No. 3141:.)

A Mythological Composition (Narcissus?), half life-size. Painted about 1648. C. 33i% X 26| inches. Hamilton Collection. (No. 1251.)

The Jewish Bride (Boas and Ruth f) three- quarters length, life-size. Signed and dated 16. . , (probably about 1665-1668.) C. 46^ X 64$ inches. Van der Hoop Collection. (No. 1252.)

Portrait of Rembrandfs Mother, lent by Mr. Hockwater in 1889, half-length, life-size. Painted about 1627-1628. C.

THE HAGUE. Mauritshuis. (Dr. Bredius' Catalogue of 1891. French edition.)

Portrait of Rembrandfs Father, bust, life- size. About 1630. C.

Portrait of Rembrandfs Mother. The pendant, Portrait of Rembrandfs Father, is in the Nantes Museum. (No. 522.) Bust, small size. Painted about 1628. W. 6| X 5^ inches. Lent by Dr. Bredius. (No. 314.)

Bust Portrait of Rembrandt, rather less than life-size. Painted about 1629-1630. W. 14-J-J-Xnf inches. William V. Collection. (No. 315.)

The Presentation in the Temple, small figures. Signed with the monogram R. H. L., 1631. W. 28} \ (the arched top is an addition) X 1 8J inches. William V.'s Collection.

Dr. Nicolacs Tutp's Anatomy Lesson. Painted for the Surgeons' Guild of Amster- dam. Figures three-quarters length, life-size. Signed Rembrandt f. 1632. C. 65/ ff x 85! inches. (No. 317.)

Portrait of Rembrandt in military Cos- tume, bust, life-size. Signed. Painted about 1634. W. 24 T ,i X 18/5- inches. William V. Collection. (No. 318.)

Portrait of a young Woman (Saskia?),

bust, life-size. Signed Rem Painted

about 1635. W. 285 X 24}!; inches. Duclos and Secrdtan Collections. Lent by Dr. Bredius. (No. 319.)

Susanna at the Bath, small figure. Signed Rembrandt f. 1637. W. 28J x 24|f inches. Van Slingelandt and William V. Collec- tions. (No. 320.)

Study of a Head (Rembrandt's brother Adriacn?), bust, life-size. Signed and dated 1650. C. 30! X 263^ inches. Lebrun and Sir Charles Robinson Collections. (No. 321.)

ROTTERDAM. Boymans Museum. (Catalogue of 1883.)

The Pacification of Holland, an allegorical composition inspired by the Treaty of Munster. (1648.) Small figures. Signed and dated 1648. W. 28{J X 39 1 inches. Samuel Rogers Collection. (No. 241.)

Portrait of Rembrandfs Father, bust, life- size, oval. Traces of a signature and date. Painted about 1630. W. 28JJ x 22 inches. (353.) Baron Harinxma. Leeuwarden.

Portrait of an old Man, small size. Signed and dated 1647. W. 9-,% X SjV inches.

Prince Henry of the Netherlands.

Bust Portrait of Rembrandt, life-size. Signed and dated 1643. C. 24 X i8| inches.

Mr. Ouarles van UTford.

Supposed Portrait of Captain Jorts de Caulery, full face, half-length. Signed with the monogram R. H. L. van Ryn, 1632. (This picture was recently sold to an American purchaser.)

Mr. J. P. Six.

Portrait of Anna Wymer, mother of Jan Six, life-size, three-quarters length. Signed and dated 1641. C. 37! x 313 inches.

CATALOGUE OF PICTURES

245

Portrait of the Burgomaster, Jan Six, life-size, three-quarters length. Painted in 1654. W. 42*5 X 38^ inches.

Portrait of Ephraim Bonus, small figure, three-quarters length. Painted in 1647. W. 7k X 6 T V inches.

Joseph interpreting the Dreams, grisaille on paper. Signed and dated 163 . (About 1633.) 2iJ X 13! inches. W. Six and De Vos Collections.

Baron Steengracht van Duivemvoorde.

Bathsheba, small figure. Signed and dated 1643. W. 24! X 31}$ inches. Lebrun, Sir Thomas Lawrence, De la Hante, Emmerson, and De Bird Collections.

Mr. van Weede van Dyckveld. Utrecht.

Portrait of a young Woman, half-length, life-size. Signed and dated 1639. C. 41 Jx 31 J;| inches.

ITALY.

FLORENCE. Uffizi Gallery. (Catalogue of 1886.)

Portrait of Rembrandt, half-length, life-size. Painted about 1655-1657. (No. 451.)

Portrait of Rembrandt, bust, life-size. Painted about 1666-1668. (No. 452.)

Pitti Palace.

Portrait of an old Man, rather more than three-quarters length. Signed and dated 1 6. . (about 1658). (No. 1 6.)

Portrait of Rembrandt in military Costume, bust. Painted about 1635. Gucrini Collection. (No. 60.) -Mn.AX. Brcra. (Catalogue of 1887.)

Portrait of a Woman (Rembrandt's Sister?) Signed R. II. L. van Ryn, 1632. W. 2i| X iSJ inches. (No. 449.) Mr. Fabri.

Study of n/i old Man, bust, life-size. W. 2 3ni X uS, 7 ,. inches.

RUSSIA.

SAINT PETERSBURG. Hermitage. (Catalogue of 1891.)

Abraham entertaining the three Angels, life- size figures, three-quarters length. Painted about 1650. C. 47}| X 63};; inches. Cathe- rine II. Collection. (No. 791.)

Abraham's Sacrifice, full-length, life-size figures. Signed and dated 1635. C. 75}! X 52| inches. Wai pole Collection. (No. 792.)

Joseph's Brethren shew the bloody Coat to Jacob, half-length figures, life-size. Signed, but not dated. Painted about 1650. C. 6oJ;f x 65! inches.

Joseph accused by Potiphar's Wife, half- length figures of medium size. Signed and dated 1655. C. 4if X 38$ inches. Gotz- kowski and Catherine II. Collections. (No. 794-)

The Fall of Hainan, half-length figures, life-size. Signed, but not dated. Painted about 1650. C. 49! x 46^ inches. Catherine II. Collection. (No. 795.)

The Holy Family, full-length figures of medium size. Signed and dated 1645. C. 4i X 35f inches. Crozat Collection. (No. 796.)

The Return of the Prodigal, full-length, life- size figures. Signed with the monogram R. V. Ryn. Painted about 1668-1669. c - 103^X98! inches. From the Duke of Bavaria

(Clement Augustus), D'Amczune, and Cathe- rine II. Collections. (No. 797.)

The Workers in the Vineyard, full-length figures, small size. Signed and dated 1637. W. 1 2 ,=',.; X i6i inchcs.-(No. 798.)

St. /'(/, r's Dental, life-size figures, three- quarters length. Painted about 1656. C. 60] X 66 inches.^-Catherine II. Collection. (No. 799.)

The Descent from the Cross, figures of medium size. Signed and dated 1634. C. 62] x 46^ inches. Malmaison Collection. (No. 800.)

The Incredulity of St. Thomas, small figures. Signed and dated 1634. W. 2i| x 20^ inches Ph. van Dyck, Gotzkowski, and Catherine II. Collections. (No. 801.)

Dande, whole-length, life-size. Signed and dated .6.6 (1636). C. 72!;} x 8* inches. Crozat Collection. (No. 802.)

Portrait of an old Woman, half-length, life-size. Painted in 1654. C. 523 x 424 inches. Crozat Collection. (No. 804.)

Portrait of an old Woman (the same model as the above), half-length, life-size. Signed and dated 1654. C. 42* x 33 inches. Baudouin and Catherine II. Collections. (No. 805.)

Portrait of an old Woman (the same model as in the two preceding pictures), half-length, life-size. Signed and dated 1654. C. 2c x 24* inches. Briihl Collection. (No. 806.)

2 4 6

REMBRANDT

Portrait of Rembrandt' s Mo/ha; half-length, life-size. Signed and dated 1643. W. 31 x 24 inches.- Catherine II. Collection. (No. 807.)

Supposed Portrait of Coppenol, half-length, life-size. Signed with the monogram R. !I. L. 1631. C. 44* x 36^ inches. Bruhl Col- lection. (No. 808.)

Pallas, half-length, rather more than life- size. Painted about 1650. C. 46!; x 35-] inches. Baudouin and Catherine II. Collec- tions. (No. 809.)

Study of an old Jcrj, half-length, life-size. Signed and dated 1654. C. 424 x 33 inches. Baudouin and Catherine II. Collections. (No. Sio.)

Portrait of a Man, erroneously called a Portrait of Sobieski, half-length, life-size. Signed and dated 1637. W. 38 J- x 25? inches. Catherine II. Collection. (No. Sn.)

Tlic Jewish Bride (Saskia~), life-size, three- quarters length. Signed and dated 1634. C. -\')i\; x 39-'} inches. Catherine II. Collec- tion. (No. 812 )

Portrait of an Oriental, half-length, life-size. Signed. Painted about 1636. C. 39 x 29] jf inches. Gotzkowski and Catherine II. Col- lections. (No. 813.)

Portrait of Rembrandfs Father in military Costume, bust, rather less than life-size. Signed with the monogram. Painted about 1630. \V. An octagon. I4, :i ,r x ic.J- inches.

-;NO. 814.)

Portrait of an old Man, half-length, life- size. Painted about 1654. C. 42?, x 33^ inches. Bruhl Collection. (No. SiS.)

Portrait of a young Woman, half-length, life-size. Signed and dated 1656. C. 40,";., x 34] inches. Crozat Collection. (No. 819.)

Portrait of a Man, erroneously called a Portrait of Mcnasseh ben Israel, half-length, life-size. Dated 1645. C. 50^ x 44^ inches. Crozat Collection. (No. 820.)

Bust Portrait of a Man, life-size. Signed and dated 166 . (about 1661). C. 28 x 24 inches. Saint-Leu Collection. (No. 821.)

Hannah teaching the Child Samuel, three- quarters figures, life-size. Signed, but not dated. Painted about 1650. C. 46^ x 37 inches. Walpole Collection. (No. 822.)

Portrait of an old Lady, bust, life-size. Signed and dated 16 . (about 1654). C. 34 J x 28 J inches. Walpole Collection. (No. 823.)

Portrait of an old Man, bust, life-size. Signed and dated 1654. C. 2gJ x 24^ inches Bruhl Collection. (No. 824.) . Portrait of a young Man, bust, life-size. Painted about 1660. C. 2S : J x 22 inches. Baudouin and Catherine II. Collections. (No. 825.)

The Girl witli a Broom, half-length, life- size. Signed and dated 1651. C. 42 J x 36]^ inches. Crozat Collection (No. 826.)

Portrait of the Poet Jeremias de Decker, bust, life-size. Signed and dated 1666. W. 28 x 22 inches. Baudouin Collection. (No. 827.)

Portrait of a young Man, erroneously called a Portrait of the Dutch Admiral, Ph. ran Dorp, an oval ; bust, life-size. Signed and dated 1634. W. 27 x 2oi inches. Saint-Leu Collection. (No. 828.)

Portrait of an old Lady, half-length, life- size. Signed Rembrandt. No date. (About 1640 1643.) W. 29^ x 22 inches. Cathe- rine II. Collection. (No. 829.)

Tlie Meeting of David and Absalom, small figures. Signed and dated 1642. W. 29^ x 24 1 : >r inches. Bought by Alexander I. For- merly in the Pcterhof. (Not catalogued.)

Prince Lcuchtemberg. Exhibited at the Aca- demy of Fine Arts. (Catalogue of 1886.)

Portrait of Rembrandt, half-length, life-size. Painted about 1640-1645. W. 29^ x 24$ inches. (No. 108.)

Count A. W. Orloff Davidoff.

Half-length Figure of Christ, life-size. Painted about 1658-1660. C. 43 x 38^ inches.

Count S. Stroganoff.

Philosopher absorbed in Meditation (Lot ?), small figure. Signed with the monogram R. H. L. 1630. W. 24j| x i8f ff inches.

Portrait of a Young Monk, bust, life-size. Signed and dated 1660. C. 31};} x 26$ inches.

Prince Youssoupoff.

Susanna and the Elders, small figures. The signature, Rembrandt, 1637, apparently a forgery.

Study of a Child's Head, small size. Signed Rembrandt, 1633.

Portrait of a young Man, half-length, life- size. Painted about 1662.

Portrait of a young Lady (pendant to the above).

CATALOGUE OF PICTURES

247

SPAIN.

MADRID. Prado Museum. (Catalogue of 1885.) Cleopatra at her Toilette (Sash'a), half- length, life-size. Signed and dated 1634. C. 55l X 6o| inches. (No. 1 544.)

Duke of Alva's Collection.

Landscape : the Painted about 1640.

Entrance to a Town,

SWEDEN.

STOCKHOLM. Royal Museum. (Catalogue of 1887.)

The Conspiracy of Claudius Civ His, formerly known as The Conspiracy of John Ziska, life- size figures. Painted in 1661. C. 753 X I2if inches. Bequeathed by Madame Peil, nee Grille. (No. 578.)

Saint Anastasius, small figure. Signed Rembrant f. 1631. \V. 233 x iSJ inches. Gustavus III. Collection. (No. 579.)

Portrait of an old Man, half-length, life- size. Signed and dated 1655. C. 35 x 28 JJ inches. Gustavus III. Collection. (No. 581.)

Portrait of an old IVoman (pendant to the above). Same date, signature, size, and pro- venance. (No. 582.)

Portrait of Saskia, profile, bust, life-size. Signed with the monogram R. H. L. van Ryn. 1632. C. 28| x 214 inches. Princess Louisa Ulrica's Collection. (No. 583.)

The young Servant, half-length, life-size.

Signed and dated 1654. C. 30! x 24! inches. De Piles, D'Hoym, De Fonspertuis, Blon- del de Gaguy, and Gustavus III. Collections. (No. 584.)

Portrait of an old Man, half-length, life- size. Signed. No date (about 1632-1633). Adolphtis Frederick Collection. (No. 585.)

Study of nn old Man as St. Peter, half- length, life-size. Signed with the monogram R. H. L. van Ryn. 1632. C. 32] X 24^ inches. (No. 1349.)

Portrait of a you/iff Girl (Rembrandt's Sister ?), an oval ; bust, life-size. About 1628 1630. \V. 23 $ T X 241 inches. (No. 59'-) Count Axel von \Vachtmeister.. Vanas.

Portrait of a young Alan, bust, life-size. Signed with the monogram R. H. L. van Ryn, 1632. 24 : j X iSj^y inches.

Portrait of a young ^lan, three-quarters length, life-size. Signed and dated 1662. C. 4' I X 3 5s inches.

UNITED STATES OF AMERICA.

NEW YORK. Metropolitan Museum. (Cata- logue of May, 1891.) Portrait of an old Lady. (No. 72.) Portrait of an old Man. Signed and dated 1665. C. 27i 9 ff X 25 inches. Sir William Knighton Collection. (No. 33.)

The Mill. C. 21 \ X 25$ inches. (No. 36.) Bust Portrait of a Man, life-size. About 1640. Lansdowne Collection. (No. 37.)

The Adoration of the Shepherds. Replica of the picture in the National Gallery, with some variations. W. 24 X 21 \ inches, Mr. Armour. Chicago.

Portrait of a Man. Signed and dated 1643. C. 33 X 26| inches. Mr. W. H. Beers.

Portrait of Rembrandt's Father, in a plumed Cap, bust, life-size. About 1632. C. 2gi x inches. Bought from M. Sedelmeyer.

Mr. W. H. Crocker. San Francisco.

Portrait of a Youth, bust, life-size. W. - i6y\ x 13! inches. De Morny Collection.

Mr. P. C. Hanford.

An Accountant standing by a Table. C. 4& * 3 l % inches, Sir Joshua Reynold's Collection.

Mr. H. O. Havemeyer.

Portrait of Christian Paul van Beeresteyn, Burgomaster of Delft. Signed with the mono- gram and dated 1632. From the Chateau de Maurik, near Vecht.

Portrait of Volkera Nicolai Knobbert, wife of the above. Signed with the monogram and dated 1632.

Portrait of Paulus Doomer, called The Gilder, bust, life-size. Signed and dated 1640. W. 28if X 21^ inches. Ancaster, Van

248

REMBRANDT

Helsleuter, De Chavagnac, De Morny, and W. Schaus Collections.

These three pictures are lent by the owner to the Metropolitan Museum, where they arc numbered 5, 9, 7. (Handbook, No. 6.)

Mr. Robert Hoe.

A Gipsy Girl holding a Medallion, bust, life-size. About 1650. C. ztfg x 5J inches. Bought from M. Sedelmeyer. Formerly in Sir Charles Robinson's Collection.

Mr. W. Schaus.

Portrait of an Admiral, erroneously called Admiral Tromp, half-length, life-size. About 1658. C. 44f x 34j- inches. Alphonse Al- lard and Crabbe Collections.

Mr. Charles Stewart Smith.

Saint John, an oval ; bust, life-size. Signed and dated 1632. \V. 25^,; x 19] inches. Palmerston and Mount-Temple Collections.

Mr. Sutton.

A Alan in Armour, full face, half-length. About 1635. C. 39! x 33 inches. Dcmidoff and Sccrdtan Collections.

Mr. C. T. Ycrkes.

Philemon and Baucis, small, full-length figures. Signed and dated 1658. W. 21 j x 27^ inches.

The following pictures have also been acquired by American purchasers of late years :

An Orphan of the Municipal Orphanage, Amsterdam, three-quarters length, life-size. Signed and dated 1645. C. 62f x 33 inches. Demidoff Collection.

Portrait of a young Man, erroneously called a Portrait of Dr. Tulp, bust, life-size. Signed with the monogram and dated 1632. W.- 28| x 20^ inches. Collot and Princesse de Sagan Collections.

Portrait of a young Woman (pendant to the above). Signed and dated 1634. Same size and provenance.

Portrait of a young Man, erroneously called a Portrait of the Btirgomaster Six, bust, life- size. About 1643. C. 47 J x 36,% inches.- Mecklenburg and Princesse de Sagan Collec- tions.

Portrait oj a Man, said to be Matthys Kalkoen, three-quarters length, life-size. Signed and dated 1632. C. 44^ x 35-j1 T inches. De Kat and Princesse de Sagan Collections.

Portrait of a Man, known as The Dutch Admiral, three-quarters length, life-size. Signed and dated 1643. Erard and Princesse dc Sagan Collections.

Portrait of a Woman (pendant to the above). Princesse de Sagan Collection.

II DRAWINGS

IF the continually increasing number of sales make it difficult to draw up a complete catalogue of Rembrandt's pictures, the case is still worse with regard to his drawings. Not only is it almost impossible to trace the wanderings of such portable works when collections in which they are included are sold privately, or still more privately divided between the different members of a family ; their authenticity, too, is a more delicate question to deal with than that of pictures. Putting aside old forgeries often very cleverly carried out many of the master's pupils and disciples imitated his manner with more or less success.

Readers of these volumes may easily convince themselves of this, for among its illustrations they will find several reproductions after Rembrandt's imitators, such as S. van Hoogstraaten and Gerbrandt van der Eeckhout for example, the Storm Effect (plate 77), the Family of Tobias with the Angel (plate 78), both from the Albertina collection, and the copy after the Ganymede (plate 59), from the Dresden Collection.

Rembrandt very seldom signed his drawings, and although the finer ones leave little room for doubt, we may often hesitate to pronounce upon those of less importance. In private collections, and even in public museums, we frequently find two or three almost identical repetitions of a single drawing, which have to be carefully compared before a decision can be arrived at as to the original. Rem- brandt's productions in this class differ as much in degree of finish and in character of execution as in the methods employed. Black chalk, red chalk, silver point, the quill pen, the reed pen, the pencil, even the fingers, are used in turns and sometimes in combination, while washes of Indian ink, sepia, white, and red often help to heighten or to produce effects.

Problems still more complex are started when we come to chronology. The conscientious studies, at once elegant and precise, of which we have given many examples, belong for the most part to the master's early years, but even in his youth we find him striking off sketches of curious audacity, vigour, and expressive quality. On the other hand we find, down to the very end of his career, that he occasionally laid himself out to produce drawings of infinite delicacy, drawings in which every contour is absolutely correct and in which the play of light and shade is rendered with the utmost care. We must therefore be content, where we have no dated etchings or pictures to guide us, to travel on broad lines in determining such questions.

250 REMBRANDT

Widely as they differed from the drawings most in fashion at the time, Rem- brandt's studies were appreciated during his own life, especially by artists. He took great care of them himself, and we have seen that when he was declared in- solvent on July 25, 1656, they filled five and twenty albums or portfolios, and had been arranged by his own hand in separate categories. Nude figures, studies of animals, landscapes, studies after antique statues, sketches of composition, and more careful studies, all were marshalled systematically, so that at any moment he could lay his hand on whichever he might want. When the rest of his property was sold, at the end of 1657, his drawings were reserved for sale in the month of September, 1658. Many of Rembrandt's friends and pupils had already begun to collect. Zoomer, Six, and Govert Flinck, especially, had acquired a considerable number, and Van de Cappelle, the sea-painter, obtained all that came in his way. De Piles, the French writer, tells us that he, too, formed a collection, probably during his captivity in Holland. Since this period the great public depositories, such as the Louvre, the Cabinets of Dresden, Berlin, Munich, Stockholm, Buda-Pesth, and the Albertina, the British Museum, the Fodor Museum at Amsterdam, and the Teyler Museum at Haarlem, have been laying up the coveted treasures for good and all, while many private collections, famous in their time, have successively changed hands. Such \vere : in Holland, those of the poet Feitama, of Ploos van Amstel, of the Baron Verstolk van Soelen, of Goll de Frankenstein, of Leembruggen, of De Vos, De Kat, and Blokhuysen ; in England, of Sir Joshua Reynolds, of Sir Thomas Lawrence, of Woodburn (the dealer), of W. Esdaile, of R. Payne-Knight, of Lord Aylesford, and (quite recently) of Mr. Mitchell and Mr. Seymour-Haden (sales of May 7, 1890, and June 15, 1891); in France, those of Crozat, Julienne, Claussin, Paignon-Dijonval, Em. Galichon, Firmin Didot, and Armand. At present the largest and most re- markable collections are those of Lord Warwick, Sir Frederick Leighton, Mr. Heseltine, and Mr. George Salting, in London ; of the Duke of Devonshire, at Chatsworth, where Rembrandt has Claude, with the Liber Veritatis, as his com- panion ; of Dr. Straetcr, at Aix-la-Chapelle ; of Mr. von Beckerath, at Berlin ; of the Due d'Aumale and of M. Leon Bonnat, in France. M. Bonnat's and Mr. Heseltine's collections are the most important and the best selected we have seen.

The prices of Rembrandt's drawings have increased continuously, and yet until about the middle of the eighteenth century, they remained cheap enough. Crozat, who had a veritable passion for the master, collected more than three hundred, and although, as Mariette tells us, he bitterly regretted the loss of " the famous cabinet of M. Flinck of Rotterdam l which ' Milord Devonshire ' had carried off from him," he succeeded in acquiring the larger portion of the De Piles collection, among them, no doubt, many which had belonged to Van de Capelle. At the Crozat sale (1741) 106 of these drawings were bought by Count G. de Tessin, at that time Swedish Ambassador to the French Court. The prices were probably small, for we know that Tessin bought 7,000 drawings altogether for 5,072 livres 10 sous (about 200), averaging 75 centimes (7^d.) a-piece. Happy time for amateurs, when so high a pleasure could be obtained so cheaply, and a good investment made at the same stroke !

1 The son of Govert Flinck, Rembrandt's pupil. His collection, formed by his father, was mainly composed of landscape studies, several of which we have reproduced.

DRAWINGS 251

In his preface to Ploos van Amstel's facsimiles, Josi says that the work of no other master has gone up " steadily in price like that of Rembrandt ; his finest landscapes and his historical compositions fetch from 500 (about 40) to 1,000 florins." But since Josi wrote, and especially since about the middle of the present century, the rise has been still more remarkable. At the Verstolk van Soelen sale, in 1847, the Portrait of Anslo fetched 2,100 francs (^84), a Landscape 2,812 francs (about ^112), and a View of the old Ramparts at Amsterdam, 3,125 francs (^125). A drawing, of which the authenticity has since, and with good reason, been contested it was a Death of the Virgin rose to 3,717 francs (about ^148); in 1883, at the De Vos sale, it fetched 6,510 francs (^260). The following prices at the latter sale may also be noted: 8,400 francs (,336) for a Study of an old Man ; 2,142 francs (about ^85) for a study bought for the Herlin Museum ; 9,240 (,369) for the Naughty Boy, for the same collection; 6,691 francs (about ^267) for a Dutch Landscape; and 10,920 francs (about ^436) for a View of the Ramparts of a Town, bought for the Teyler Museum.

So early as the eighteenth century engravers began to turn their attention to Rem- brandt's drawings, or at least to those which then bore his name. Art-criticism was in a very rudimentary condition, and, the interest or vanity of collectors aiding, many more than doubtful things achieved the honour of reproduction. Such were the ten compositions from the History of Joseph, bought by the Louvre in 1842 at the Revoil sale, which were engraved over the name of Rembrandt by the Comte de Caylus. They are certainly not by the master. 1 Most of the things reproduced in the Ploos van Amstel collection of facsimiles (1765), with its continuation by Josi (iSoo),' 2 are of very doubtful authenticity. All these attempts at facsimiles are, moreover, poor enough in quality, and often show but little resemblance to their originals.

It was reserved to the photographer to furnish copies which could really be depended on. The Messrs. Braun were the first to enter upon the task, and to put before us faithful facsimiles of the most remarkable contents of the European museums, as well as of drawings shown at gatherings like that held at the Ecole des Beaux Arts in 1879. But although the engraved work of Rembrandt had given rise to a large number of publications, his. drawings were always a little neglected until quite lately. The learned and energetic head of the Berlin Print Room, Dr. F. Lippmann, first set himself to remedy this state of things. With the help of certain critics and amateurs who had specially concerned themselves with the master, he undertook the publication of four volumes of facsimiles, each containing rather more than fifty faithful reproductions of, for the most part, unpublished drawings. 3 Thanks to Dr. Lippmann's generosity, we have been able to draw upon this magnificent publication for many of the facsimiles of drawings given in these volumes. Their conjunction with those from etchings and pictures, casts a new light upon Rembrandt's genius. For others we have to thank Mr. Scholten, director of the Teyler Museum, Mr. Haverkorn van Ryswyck, of the Boymans Museum, Rotterdam, and Mr. Baer, the Amsterdam photographer. Finally, Mr. G. Upmark, director of the Stockholm

1 I agree with Dr. Bredius in assigning them to Aert de Gelder.

• Collection if imitations de dessins dapris les prindpaux mattrts Iwllandais el fiamands. C. Josi,

London, 1821.

3 Original Drawings by Rembrandt reproduced in Phototype. Berlin, London, Paris; folio; 1890-91.

2 S 2

REMBRANDT

Museum, has allowed us to photograph some of the best things in the fine collection under his charge, a collection enriched wilh many of the Crozat treasures.

We have ourselves seen and made notes of most of the works in the following catalogue. In the case of public collections, our thanks are due to those in authority over them, and especially to Dr. W. von Seidlitz, Dr. Hofstede de Groot, Dr. Schmidt of Munich, Dr. Richard Graul, director of the Graphischen Kiinstc of Vienna, M. Duplessis, director of the Cabinet des Estampes in the Bibliothcque Nationale, and to MM. Lafenestre and H. de Chennevieres of the Louvre. In adding to these names those of Mr. Salting and Mr. Heseltine of London, and M. Le'on Bonnat of Paris, I only discharge a debt of gratitude for much valuable help and information.

AMERICA

NEW YORK. Metropolitan Museum. (Hand- book No. 8.) Vandcrbilt Collection.

Nos. 445. Landscape with a Tower.

448. Houses.

449. A Road.

Xos. 450. Adoration of the Magi.

451. Cottages.

452. A Man reading.

453. Two Men.

454. Figure of a Man.

455. An Interior.

AUSTRIA HUNGARY

BUDAPKST. Estcrhazy Gallery.

The two Rowers. Pen drawing. 2,-';, x 2],'. inches.

Study of a Jew advancing towards tlic left. 1'en, washed with bistre. j, 1 ,; x 2g inches.

Two Men walking and conversing. Pen and bistre. 4^ x 2| inches.

A Beggar standing, with a high cap ; another in profile. Pen. 5];"; x 5, 1 ,.- inches.

Portrait of Rembrandt in old Age, seated before a table. Pen and bistre, heightened with red. 5{j x if inches.

Study of a Ma?i. Pen. 6J- x 6 inches.

Study of a Man advancing towards tlic left. Bistre. 5-,^ x 4j inches.

A couchant Lion, turned towards the right. Pen, washed with bistre. 4i x S'f n inches.

A couchant Lion, turned towards the left. Bistre. 5j% x 9^ inches.

Life-study of a Woman, standing. Chalk and pen. loj x 6-j% inches.

A young Woman (Saskia ?), seated, at a table near a window. Pen and bistre. 6| x 4}| inches.

A Man standing, leaning on a stick. Pen and bistre. 3}|- x 2^ inches.

Life-study of a young Man, turned towards the right. Pen and bistre. gjf x 5 inches.

An Angel appearing to an old Man and a kneeling Woman. Pen and bistre. 8| x n\ s g inches.

Jesus and the Samaritan Woman. Pen, lightly washed. 5^- x iijinches.

VIENNA. Albcrtina.

The Dismissal of Hagar. Black chalk. Jcseph distributing Food to the Crowd. Black chalk, signed.

Rebecca and Eleazar. Pen and bistre. Judah requesting Jacob to confide Benjamin to his care. Pen.

The Angel guiding Tobias. Pen and bistre.

Tobias alarmed at the Sight of the Fish. Pen and bistre.

Tobias taking the Gall of the Fish. Pen and bistre. Jesus and the Samaritan Woman. Pen.

Jesus before Caiaphas. Pen.

The Beheading of John the Baptist. Pen and bistre.

Argus killed by Mercury. Pen and bistre.

A Woman holding a Child. Black chalk.

An old Woman dressing the Hair of a Woman, seated. Pen and bistre.

Life-study of a young Man standing. Pen and bistre ; probably a study for the etching of a Young Man standing. (B. 194.)

CATALOGUE OF DRAWINGS

A Woman holding a Child in leading- strings. Red chalk.

An old Man kneeling. Red chalk.

A Beggar and his Wife, each carrying a child. Black chalk.

A Man seated. Black chalk.

A Woman seated near a Table, reading. Red chalk and wash.

A young Girl asleep. Black chalk.

Sketches of Heads, and a man in a cloak, seated. Black chalk.

An old Woman walking on Crutches.

Baldassare Castiglione, copy of Raphael's portrait. A sketch in bistre, with an auto- graph inscription, and the date 1639.

A large Study of an Elephant. Black chalk ; signed and dated 1637.

Two other Sketches of Elephants. Black chalk.

A couchant Lion. Pen and bistre.

A View of a Town, with fantastic Buildings. Pen and bistre ; signed and dated 1640.

A Lime-kiln. Black chalk.

The Exterior of a large Church. Black chalk.

The Rokin, at Amsterdam. Pen and sepia.

A Plain, with a distant Mountain. Black chalk.

The Entrance to a Church, with figures in the foreground. Pen and sepia.

Four Sketches of Landscapes. Black chalk.

ENGLAND

LONDON. British Museum.

Jacob's Dream (.-- 1 ). Pen, washed with sepia.

The Good Samaritan (?) Pen, washed with sepia.

The II 'idow's Mite. Pen and sepia. 6.\ x 4g inches. Payne-Knight Collection.

The Burial of Lazarus, dated 1630. A rough sketch in red chalk. \o\ x 7; inches. Richardson and W. Fawkcncr Collections.

Joseph tending the Prisoners. Pen.

The Descent from the Cross. Bistre, touched with body-colour and oil ; a sketch for the grisaille in the National Gallery. 7; x gj inches. Richardson, Reynolds, and Payne- Knight Collections.

A Halt of Travellers (Flight into Egypt ?). Pen, washed with sepia. 6| x 9} inches. Payne-Knight Collection.

The Dismissal of Hagar. Pen, washed with sepia. "j\ x 9^ T inches. Wooclburn Collection.

Two Negro Drummers, astride on mules. A drawing in bistre, heightened with red. 8}J x 6J inches. T. Hudson, Richardson, and Payne-Knight Collections.

Life-study of a Woman, for the etching of A Woman before a Dutch Stove. (B. 197.) Pen and sepia. n-^ x 7^ inches. R. Houlditch Collection.

A Youth (Titus?) drawing; on the same sheet, a head of a child. Pen.

A Persian Prince, on a throne ; a man read- ing before him. Pen and wash.

A Persian Warrior on Horseback. Pen, washed with brown and red. j\ x 6| inches. Richardson, J. Barnard, and Cracherode Collections.

Three Studies of Men, leaning on crutches. Pen.

A Mother holding her sleeping Child on her Breast. Pen and sepia wash. 6| x ji inches. Ed. Bouvcric Collection.

An old Man with a long Beard, seated. Pen.

Two Men at Table, shaking hands. Pen and sepia. 7, 1 }.- x 6^ inches. J. Anderson Collection.

A naked Woman, holding a palm ; study for the etching, B. 192.

The Draughtsman. Pen and bistre. ~7\'g x 6 1 3 ff inches. Cracherode Collection.

A Woman seated, another going upstairs. Pen and wash.

A Cavalier, with a plumed hat and ruff. Pen and wash.

A young Man holding a cane.

A Woman suckling a Child. Black and red chalk.

Four Beggars on the same sheet. Pen.

A naked Model, standing and leaning on a cushion. Pen, washed with bistre, and touched with body-colour.

A small Portrait of Rembrandt as a beard- less youth. Wash of Indian ink.

Study for the etched Portrait of Sylvius. Pen and wash.

Study for the etched Portrait of C. Anslo ; signed and dated 1640. Red chalk.

Study for tlie Picture of Lot and his Daughters (1631). Red chalk touched with black.

Pen copy of Mantegna's Calumny of Ape lies. 9s x 1 5^ inches. Van der Schelling and Richardson Collections.

Study of a State-coach, perhaps for Lor Cowper's equestrian portrait of Turenne. Pen and wash. 7 x 9! inches. Payne-Knight Collection.

254

REMBRANDT

A Lion reposing. Sepia wash.

A Lioness feeding. Black chalk.

A Lioness reposing. Black chalk and wash.

Four Lions in different altitudes. Wash.

A coiichant Lion. Bistre wash ; a Latin couplet below :

Jnm piger et longo jacet exarmatus ab a:vo Magna tamcn facieset nun adeunda senectus.

A sleeping Lion. Bistre wash.

An Elephant, standing. Study in Black chalk.

A Landscape, with a turrcted house, a wall, and a garden. Pen.

A Canal, with a clump of trees and a shed. Pen.

Houses on the Bank of a Canal ; on a slope above, some horses on a tow-path. Pen.

Cottages, u>ith Fishing-nets drying. Pen.

Houses and Sheds, with a thicket by the waterside. Pen.

Cottages and Trees, near a stream. Pen and wash. 5 x 9J| inches. Payne-Knight Collection.

A Bridge near a Canal. Pen and sepia wash.

Devonshire, Duke of. ChaUworth.

The drawings of this collection were for- merly in that of Nicolaes Antoni Flinck, son of the painter Covert Flinck, and were bought in 1745 by an ancestor of the present duke.

An old Man on his Death-lied, surrounded by his family. Pen and sepia. 85 x 8 inches.

Christ croii'itcd with Thorns. Pen and sepia ; arched at the top. 7,^ x 7! inches.

A Landscape, with two men by the water- side. Pen, sepia, and Indian ink.

The Banks of a Watercourse, with a wind- mill and a sailing boat. Pen and sepia.

A Road through a Wood. Pen. SfjxSfV inches.

A I'ool of Water, with a village in the dis- tance. Pen and sepia. 2| x 5 J inches.

A Road leading to a Village. Pen and sepia. 35 x 8J| inches.

A flat Landscape with Water and Houses in the Distance. Pen and sepia. 4^ x 7^ inches.

The rowing Boat. Pen and sepia.

A Sheet of Water, with vessels. Pen and sepia.

A Group of Trees, with a Cottage. Pen and sepia.

A Village, with a road on rising ground.

A Haystack near a Farm. A highly-finished pen-drawing, heightened with sepia and Indian ink. Signed, Rembrandt van Ryn.

A Group of Trees, near a Road. Pen sketch with bistre.

Two Cottages in a Village Street. Pen. 5.1 x 7$ inches.

A Road near a Pond, with a Village in the distance. Pen.

The Banks of a River, with a fence in the Foreground. Pen and sepia.

A Windmill by the Roadside. Pen and bistre.

A Fisherman's Hut. Pen and bistre.

A Farm by the Waterside. Pen and sepia.

A Village, with a church by the waterside. Pen and sepia. 3} J x j\\ inches.

A Gate, and the ancient Ramparts of a Town Pen.

A Canal, with a road and trees in the back- ground. Pen.

A Sheet of Water, with windmills on its banks. Pen and wash.

A Cottage among the Sand-dunes. Pen and sepia.

Isaac blessing Jacob. Pen.

Fragment of a Composition : Labanpresent- ing Leah to Jacob. On the right a fragment of another composition, with the figure of an Angel. Pen and bistre.

Sketch of an Oriental talking to an old man Pen.

Saint Gregory seated before a table covered with books. Pen. 7^ x 5* inches.

A Cottage with a large Tree, by the water- side. Pen and bistre. 6}J x lof inches.

A Windmill, with houses by a lake. Pen.

A Road by the Waterside, with a spire in the distance. Pen and bistre. 31 x 5^ inches.

A Horse towing a Boat. Pen and bistre. 3i 3 - x 5j inches.

Landscape, with water, boats, and houses partly hidden by trees. Pen and sepia. sj x 9Jj inches.

A Road bordered with Trees, houses in the distance. Pen. 5-,% x 7^ inches.

Mr. J. P. Heseltine.

A Persian Prince and his Son, copy of a miniature. Pen, washed with sepia. 3| x 3| inches. Hudson, Richardson, Houlditch, Lord Selsey and Roupell Collections.

A Woman reading. Pen and sepia wash. 2| x 3$ inches. Sir W. Knighton's Col- lection.

Sketches of Men's Heads, with one of a woman's head. Lead pencil on vellum. On the reverse, two cottages. 5f ff x 3y\ inches. Sir W. Knighton's Collection.

CATALOGUE OF DRAWINGS

2 55

3iV

The Head of a Man in n high Cap. Pen.

3tl inches.

Life-study of a Man, standing, his hands clasped. Sepia. SJ x 3j", T inches. Roupell Collection.

A Alan in a high cap, seated. 6};f x Jyj, inches. Sir Th. Lawrence, W. Esdaile, and C. S. Bale Collections.

A \Voman standing, and a Man walking, a purse, and two heads of men. Pen. 4^ x 4| inches. Sir W. Knighton's Collection.

Tivo Women standing, holding a child. 3i x ! ik inches. Sir W. Knighton's Collec- tion.

Study for the above. Pen. 4^ x 3^ inches. Sir W. Knighton's Collection.

Life-study of a Man, standing. Sepia. 9j x 6g inches. Nieuwenhuys Collection.

Life-study of a Man, standing, his left arm raised. Sepia. 4};} x 2^ inches. Utterson Collection.

Head of a bearded old Man. Pen. 3-} x 2j inches. De Vos Collection.

The Virgin fainting at the foot of the Cross. Pen. 3f x 6 inches. DC Vos Col- lection.

Beggars, in the foreground : a cripple ; on the reverse, a man seated. Black chalk. 35 x 4| inches. De Vos Collection.

Study of an old Man for the Philosopher in the Louvre. Signed R. 1639. Red chalk. 6^5- x 5f inches. De Vos Collection.

A bearded Afa/i, scaled. Black chalk. 6i x 4^ inches. Verstolk van Soelen Col- lection.

A Woman seated, her head on her hand. Black chalk. 4$ x 3! inches. Ue Vos Col- lection.

A Woman holding a Child. Pen. 4^ x 3! inches. R. Dumesnil and De Vos Collec- tions.

The Crucifixion, study for the etching (B. 80.) Pen. 4{\ x 4$ inches.

A Village with, a Spire. Sepia. 4! x 7^ inches. R. Cosway, Wellesley and Palgrave Collections.

A fantastic Landscape, with a stormy sky. Sepia. 5j 3 j x y/j inches. SirW. Knighton's Collection.

Houses under some high Trees. Pen and sepia. 4^ x 9^ inches. Bouverie and Roupell Collections.

Rampart near the Gate of St. Anthony. Wash slightly tinted with water-colour. 6j x 9! inches. Woodburn Collection.

A Bridge and Houses on a Canal. Pen and sepia. 5J x 7$ inches. Sir Thomas Lawrence and W. Esdaile Collections.

The Banks of a Canal. Pen and sepia. 4 x 3} j inches. Sir W. Knighton's Collec- tion.

Houses with Trees, on the bank of a canal. Sepia. 4fV x 7| inches. J. P. Zoomer Collection.

A large Drawing from Nature, a cottage surrounded by vegetation. Signed and dated 1644. Sepia. I if x 17}$ inches. J. Barnard, A. Pond, Sir T. Lawrence and W. Esdaile Collections.

A small Canal, with plants and a fence. Sepia. 6,-'^ x 7^ inches. Utterson and De Vos Collections.

Houses under Trees. Sepia. 4J x 7l*5 inches. Lawrence, Esdaile, and Bale Collec- tions.

A Cottage and Trees, by the waterside. Pen, washed with Indian ink. 6j x 9 inches. De Vos Collection.

Houses with Sheds, the same landscape as the above, but more extensive. Pen. 4| x 8 inches.

Christ in the Garden of Olives. Pen and sepia. 7j x 6^ inches. Baring Collection.

A coiif/Miit Lion. Sepia. 4- l :1 ff x 8 inches. Sir W. Knighton collection.

A couchant Lion. Sepia. 4^ x 6j inches. Sir \V. Knighton's Collection.

A Landscape, a Road by a River. Sepia. On the reverse, a sketch of a landscape in black chalk with the following inscription : " Decs tekcningh versoont de buissen as- noldi (?) Lant Soo braaf getekent door heer Rembrands cygen hant.

" P. Ko : (Philipps Koninck)." 6| x io| inches. Goll van Franckenstein, Sir T. Lawrence, W. Esdaile, James and Roupell Collections.

A Cottage surrounded by Trees. Pen and wash. 6f x gi inches. J. P. Zoomer and Woodburn Collections.

The Adoration of the Shepherds, a study for the picture in the National Gallery. Sepia wash. 8 x gj inches. Sir T. Lawrence and Esdaile Collections.

A Landscape, the banks of a river. 4/5 x 55 inches. Richardson, Willett, Esdaile and Bale Collections.

Study of an old Man, seated, probably for the etching, The Gold-weigher (B. 281). Sepia. 7j x 6J inches. Woodburn and Dimsdale Collections.

The Mont a! ban Tower, at Amsterdam. Pen and sepia. 5^f x $\\ inches. Zoomer, Sir J. Reynolds, and Howe Collections.

Portrait of Rembrandt, standing, in his working dress. Pen. 7$ x 5^ inches

2 S 6

REMBRANDT

Life-study of a young Man, seated. Sepia an:l red chalk. 5^ x ;| inches. Uttcrson and W. Russell Collections.

Sketches of nine Heads on a single sheet, drawn with a reed-pen, one in red. SJ x 9^ inches. Roupcll Collection.

A Woman standing, looking out of a window. Bistr wash. ujj x 6g inches.

A Landscape, with a clump of trees by the waterside. 5j x 9$ inches. J. Hudson and Portarlington Collections.

A Woman seated in the embrasure of a window, her head on her hand. Pen, washed with bistre. 9,'",; x 6J inches. Marquis de Vende, Dimsdale, Sir Thomas Lawrence, Esdailc, and Bale Collections.

An old Woman asleep, a book on her knees. Pen and sepia. 5$ x 5,", ; inches. Baron Dcnon and J. Gigoux Collections.

An old Woman asleep, her spectacles in her right hand, a book in her left. Sepia wash. 61 x 6 1 1 () - inches. Dcnon Collection.

An old Woman seated. Sepia wash. 5x4! inches. Richardson, Sir J. Reynolds, Sir Th. Lawrence, W. Esdaile, and C. S. Bale Collections.

Life-study of a Woman, seated. Sepia wash. n] x 7,",.- inches. Lord Spencer and W. Russell Collections.

Life-study of a Woman, lying down. Sepia.

5$ x iii inches. Sir Th. Lawrence, Es- dailc, Woodburn and Roupcll Collections.

Life-study of a Woman, seated, and smiling.

log x 7| inches. Sir W. Knighton's Col- lection.

Jacotfs Blessing. Sepia. 6} jj- x SJ inches. Sir W. Knighton's Collection.

An old Man, seated. Reed pen with bistre. &\s x 5^ inches. Bouverie and Nicuwcn- huys Collections.

Simeon in tiie Temple. Bistre, Indian ink and touches of white. gj x Sj inches. Sir Th. Lawrence, Esdaile, J. W. Brett and De Vos Collections.

A Landscape with Windmills. Reed pen and bistre, with the inscription :

"Buyten Amsterdam aan de Weetering op de Stadspakhuyze te zien." 4| x io| inches. Burlctt, Verstolk and De Vos Col- lections.

A Holy Family. Sepia. 6 x 6 inches. Hibbert Collection.

A small Town, with a view of a pier. Sepia. 3! x 5^5 inches. Suermondt Collec- tion.

The Head of an old Woman. Sepia. 4i x 3H inches. Sir Th. Lawrence, Esdaile, and Bale Collections.

A Man seated, feeding a Child; the draw- ing known as The Widower. Sepia. 6jj| x 5f inches. Woodburn Collection.

A Road with a Cottage. Pen. 5f x 8 inches.

An old Man seated, a woman kneeling before him taking off his shoes ; another woman preparing his bed. Sepia. 6| x 6f inches. Roupell Collection.

A young Girl sleeping, with her head on a pillow. 55 x 3$ inches. De Vos Collec- tion.

Tliree Heads of old Men, studies for the Disciples at Emmdiis. Pen. 6 x 6j inches. SirJ. Reynolds, Richardson and Woodburn Collections.

Tliree Women, one with a child ; on the reverse, the head of a man in a large hat, resembling Ephraim Bonus, and a woman asleep in a bed. Pen. Sj x 5! inches. Sir W. Knighton Collection.

A House under Trees. Sepia. 4^ x 6^ inches.

Tlie Town-hall of Amsterdam, after the fire of July 9, 1652. Signed : Rembrandt van Ryn ; and inscribed as follows : " Van d'waech afte zicn Statshuis van Amstcldam doen afif- gcbrandt was den 9 Jul. 1652." Pen and sepia. 6]ij x 8 inches.

Life-study of a young Man, seated. Sepia. ioj x 6| inches. Nieuwenhuys Col- lection.

A Landscape, with Amsterdam in the dis- tance. Pen. 3i x 6 inches. Goll van Frack- enstein, Sir Th. Lawrence, W. Esdaile and Bale Collections.

A Landscape, with a stream. Bistre wash. 5j x 12$ inches. Crozat Collection.

A young Girl asleep at a window. Sepia. 4l x 3S inches. De Vos Collection.

A Woman lying in a Bed. Pen. 5^ x 7 1 \ inches. De Vos Collection.

Christ in the Garden of Olives, with the sleeping disciples. Pen and wash. 7 T % x iij'j inches. Roupell Collection.

Moses and the Burning Bush. 6J| x 9j fl a inches. Roupell Collection.

A Man in a Cloak,standing. 6f x 5 inches. Sir Th. Lawrence and Esdaile Collections.

Sir Frederick Leighton, P.R.A.

A Child asleep in its bed. Black lead pencil. Andrew James and Esdaile Collections.

A Landscape, a road bordered with trees and cottages, leading to a village with a church. Pen, washed with bistre. 6}J x 7^ inches. De Vos and De Kat Collections.

The Agony. Pen.

CATALOGUE OF DRAWINGS

25?

Mr. W. Mitchell. (This collection was sold at Frankfort, May 7, 1890.)

An old Man seated on a chair, study for the the figure of Jacob in the etching Joseph telling his Dreams (1638). Signed with the mono- gram, and dated 1631. Red chalk. g{ x 6f B inches. Hawkins and James Collections.

A Man in a Cloak, talking, and emphasising his speech by a gesture of his left hand. Black chalk. ;i x 3" inches. Th. Hudson, J. Richardson, and Firmin Didot Collections.

A Lion reposing. Pen. 3^ x 6] finches.

A Landscape, houses, and a church witli a cupola. Pen and wash. 4 x j\ inches.

A landscape, houses by a canal with trees and a small bridge. Pen. 5^ x 4!; inches.

A Landscape, a cottage at the mouth of a canal, with a bridge. Black lead pencil. Andrcossy and Firmin Didot Collections.

Two Studies from Nature : The Entrance to a Wood and The Margin of a Forest with a Pool. Black chalk. 3-$ x 5^ inches. Andreossy and Firmin Didot Collections.

Mr. Edward Poynter, R.A.

Study for a figure of Christ, half naked, seated, holding a reed in His hand. Signed, R. v. R. f. 1637. Pen, washed with sepia. 5s x 3if inches. Parsons Collection.

A lame Beggar, offering matches. Pen and sepia. 5^ x 3);} inches. Barton Graham Collection.

Mr. George Salting.

A Windmill, with a country-house sur- rounded by trees, and other buildings on the bank of a canal. Sepia wash. 5-^5 x 8 inches. Lawrence and James Collections.

Two Studies of Elephants. Black chalk. 7 x 6} j inches.

A Man walking. Pen. 4 x 6 inches. Dimsdale and Woodburn Collections.

A Woman with child, standing; on the reverse a young girl. Pen. 6 x 4 inches. Dimsdale and Woodburn Collections.

A Woman seated, her head on her hand. Pen. 8 x 6 t V inches. Bale, Knight and Reynolds Collections.

A Woman supporting a Child, who is trying to walk ; below, two women leading the child. Red chalk. ioi x log inches. Robinson Collection.

Two old Men and a young Child, who seizes one of them by the hair. Pen. 7 x 6J inches. Lawrence, Esdaile, and James Collections.

The Workers in the Vineyard. Pen. 6 x 7^ inches. Utterson Collection. VOL. II.

The Star of the Kings carried through the streets at night by children. Signed Rem- brandt ; the following inscription by Zanctti on the reverse : " Designo capitale di Rem- brandt." Pen and wash. 8 x 12 inches. De Fries and James Collections.

Saint Peter walking on the ll'ater to Christ. Pen. ~]\ x ii-, 1 ^ inches. Lawrence and Esdaile Collections.

The Adoration of the Shepherds. Pen and wash. 7 x io;j inches.

A Persian Prince; copy of a Persian minia- ture. Wash, heightened with red. 7 x 4J- inches. Richardson, Selscy and Russell Collections.

Hagar and Ishmacl, two compositions. Pen. The larger of the two represents the Dismissal. 8 x 9 inches. The other, Hagar and IshmacI on a Road. 5^ x 4 inches. Carcw Collection.

The Prodigal Son ; he kneels near a trough from which the s\vinc are feeding. Pen. 6j x 9} inches. James Collection.

Tiuo Heads of the same II "oman, who wears a hood. Pen. 2" x 5 inches.- Bale Col- lection.

Jacob's Blessing. Pen. 4,";., x \\ inches. Ksdaile and Lawrence Collections.

David refusing the Armour offered him for the fight with Goliath. Pen. 7 x 9! inches.-- Reynolds and James Collection.

Mr. F. Seymour-Hadcn, Wooclcotc, Hants. (This collection was sold in London, June iSth, 1891 ; the drawings acquired by M. Lcfon Bonnat we give elsewhere ; the greater number of those remaining were bought for America.)

A House -with Fishing-nets and a boat. Pen and sepia wash. De Vos Collection.

A Square in a Town. Pen and bistre. Reynolds and Richardson Collections.

A Study of Pigs. Pen and bistre.

Two Studies of Heads. Pen and bistre. E. Bouverie Collection.

A Man walking with a young Woman. Pen.

A Malefactor hanging from a Gibbet. Pen and bistre. De Vos and Esdaile Collections.

A House. Pen and bistre.

Study for the Death of the Virgin. Pen and bistre. 6 x ; inches. Galichon Collection.

Two Women seated. Pen.

A Man seated on the Threshold of his Door. Pen and bistre. Reynolds, Lawrence, and Esdaile Collections.

David and Nathan. Pen and bistre. Lawrence, Esdaile and Richardson Collec- tions.

REMBRANDT

A House with a group of Trees. Pen and bistre. Ksdailc Collection.

The Interior of a Picture Gallery, with a group of figures. Pen and bistre. Roupell Collection.

A Landscape with Cottages. Pen and bistre.

An Interior, with a woman and a sleeping child. Hudson and Richardson Collec- tions.

Lord Warwick, Warwick Castle.

The Head of an old If an, full-face ; per- haps Rembrandt's father. Pen and wash. 7i 5 iT x 6 inches.

A Man in a Cap, seated, and gesticulating. Pen and sepia. 5^ x 4] inches.

A Man standing, full-face, three-quarters length. Pen and sepia. 9.} x 7J; inches.

1' art rait of a Man holding a Hut (the same person whose portrait in the Hoi ford Col- lection is signed and dated 1634). Black and red chalk.

Saint Jerome praying before a crucifix. Pen and sepia. 7 ,% x 9i inches.

A ll'onian on her Knees. Pen and sepia. 5i x 4 inches.

A Woman (Judith ?) holding a Sword, and several other figures. Pen and sepia. 7 x iij inches.

An Oriental seen from behind, and two women on the threshold of a house. Pen and sepia. 7o x 12 inches.

An Indian holding an arrow. Pen and sepia. 7\ x 5 inches.

A Landscape, view of a town with ramparts and a church. Pen and sepia. %\ x I2 inches.

Study of a young Girl, partly naked, her hands clasped. Pen and sepia. 93 x 6| inches.

Life-study of a Woman lying down, seen from behind. Pen and sepia. 6i x II inches.

Life-study of a Woman, kneeling. Pen and sepia.- 8'^ x 5;* inches.

FRANCE

PARIS. Louvre.

Tobias restoring his Fathers Sight. Study for the picture in the Arenberg Gallery (1634). Pen and bistre. "]-{\ t x 10 inches.

Jacob's Dream. Pen, corrected with body-colour. 9g x 8} inches. Mariette Col- lection.

The Prodigal Son. Pen. 5 x gj inches.

Tlie Samaritan paying the Host. Pen and bistre. 6g x 8}J inches.

Calvary. Pen and bistre. 8 x 1 1 \ inches.

Christ with two of the Apostles, a man kneeling before Him. Pen. 6j x 9^ inches.

The Last Supper (/) Pen and bistre. 7j x 1 1 ] ;] inches. Mariette Collection.

Head of an old Man, in red chalk. Study for ths Saint Anastasius, at Stockholm.

The Banks of a Canal. Pen and bistre. 55 x log inches.

Walls and Gothic Gateway of a Town. Pen and bistre. 7,^ x 10 inches.

An old Man, and two Heads. Pen. John Barnard Collection.

A Man seated at a Table, reading, near another person who is writing. Pen. 5 j x si inches.

A naked Woman, seated. Pen and bistre. S|X7| inches.

A Youth (?) in a high cap. Pen and bistre. 6i X 4H inches. Huquicr Collection.

Hiist of a Man in a broad-brimmed hat. ISistre wash. 911 X7j inches.

Study for the Saint Jerome engraved by J. van Vliet, in 1631. Red chalk with touches of black. 8 J x 6, 5 ff inches.

A Young Woman seated in an arm-chair. Red chalk. 5jX4 inches.

A Lion approaching a Corpse stretched on the ground. Brush and bistre. 5| x 8^ inches.

A Lion turned to the right, seen in profile. Brush and bistre. 6^ x 9^ inches.

Rcmbrandfs Studio. Pen, washed with Indian ink and bistre. 6f x 9^ inches. His de la Salle Collection.

Three standing Figures. Pen, washed with bistre ; arched above. 5^ x 4j inches. Lord Spencer and His de la Salle Collections.

The Court of an Indian Prince, copy of an Indian miniature. Pen, washed with bistre. 7^x7^ inches. Richardson, Houlditch, and His de la Salle Collections.

The Disciples at Emmiius. Pen. 6i x 8{-$ inches. Mariette Collection.

A Man reading. Pen, washed with bistre ; arched at the top. 6| x 4 inches.

Life-study of a young Man, lying down. Pen, washed with bistre. 5^ x 7^ inches.- Mariette Collection.

CATALOGUE OF DRAWINGS

2 59

A Landscape, with a Canal and a Bridge. Pen and bistre. 4f X4}$ inches. Mariettc Collection.

PARIS. BiBLioTHkQUE NATIONALS. Print Room.

Lot leaving Sodom. Pen, washed with bistre. 7f xgf inches.

A young Woman seated, full face. Pen, washed with bistre. 8- l ', T x6, : ; f inches.

Life-study of a young Man, seated, his hands crossed. Pen and bistre ; study for the etching. gj x 6| inches.

M. Lt?on Bonnat.

Portrait of Rembrandt, signed Rh. 1630. Pen, bistre, and body-colour. s,';., x 3 ,';.; inches.

A Man in a Cloak, turned three-quarters to the spectator. Pen. 3,",,- x 2,",,- inches. Sir J. Reynolds Collection.

A Stream, with three boats, two of them with sails ; a town in the background. Bistre wash. 5$ x 6,-; v inches. Esdaile Collection.

A Lawn with large Trees and figures. Pen and sepia. ;i x -j\\ inches.

A landscape with large Trees, a glade in the middle. Bistre wash. 5.} x 7,^ inches. On the reverse, an autograph inscription by Rembrandt, consisting of a receipt for a mixture of oil of white turpentine with ordinary turpentine.

A Road rising to a Bridge, with trees on the farther side of the water. Pen and sepia wash. 9,'j x 4! inches.

A Hay-shed, in a meadow where two cows are feeding near some tall trees and a fence ; a road to the right. Pen and bistre. 4 T s ff x lo-Jj inches.

A Road by the Waterside ; houses and a spire in the background. Pen. 6}^ x y\ inches. Richard Cosway Collection.

A Stream fringed with Trees, a bridge and houses in the middle. Pen. 4}g x yi inches.

A Woman asleep in Bed. Pen. 3y' ! ff x 4^ inches.

A Youth lying on the Ground. Pen and bistre. 3 x 4^'$ inches.

A bearded Man in a high cap bordered with fur. Black chalk. 5^ x 3! inches. Richardson Senior, John Thane, and A. Firmin Didot Collections.

A Man seated at a Table, supporting a large book with his left hand. Pen. 3! x 3^ inches. Utterson Collection.

A Man with a long Beard, seated near another man crouching before a grate, and holding a frying-pan in his hand. Pen. 4$ x 5| inches.

A Woman standing near a young woman, seated and weeping. Pen. 4^ x 4| inches. Esdaile Collection.

An old Man seated near a Woman; to the left below, a child turning away from a dog, which is trying to take what he is eating. Pen. 4 ] '-' iT x 6 inches.

Two kneeling Figures, one, half-naked, pressing against the other ; to the left, above, angels. (Abraham's Sacrifice?') Pen. sjx 4j| inches.

A High Priest enthroned ; a man standing beside him ; on the steps, a man kneeling, and uvo other persons standing. Pen. 3];"; x 3;,! inches. E. Utterson Collection.

Study for an Abraham's Sacrifice. Pen. -4 x 3iiv inches.

Another Study for the same. Pen. 5,^ x 4$ inches.

A Man in a liigh Cap, seated before a table. Pen, washed with reddish sepia. 6,% x 3};} inches.

The Disciples at Emmiius. Pen. 4^ x 4,'V, inches.

A Woman asleep, facing the spectator, her head in her hands. Sepia. 1\ x 2j inches.

E. Utterson Collection.

An old M'oman, her head swathed in a handkerchief. Bistre. 3 x 2^ inches.

A Man in Bed. Pen. 3 x 5! inches. Andreossy Collection.

A Woman raising her Hand to her Face. Pen. --3J x 3 inches. Andreossy Col- lection.

77/6' Beheading of John the Baptist. Pen.

S-> x 5i*f inches. R. P. Roupell Collec- tion.

Two Persons in broad-brimmed Hats, perhaps a study for the Night Watch. Pen. 4j x 2f inches.

Beggars walking. Pen, washed with ink. 4^ x 2^ inches.

An old Woman standing, full-face ; and a sketch of a woman's head. Black chalk. 3}f x 2j inches.

A Man in a high Hat. Black chalk. 44* x 3 inches. Andreossy Collection.

A Woman holding a Child in her Arnn. Pen. 4$ x 2 inches.

An old Man standing, leaning on a stick, a seated figure to the right. Pen and bistre. 4 x 3 inches. Richardson Junior Col- lection.

A Man sheathing his Sword after behead- ing a man who lies at his feet. (The Behead- ing of John the Baptist?} Pen. 5f x 4$ inches.

An old Woman standing, her hand on the

S 2

260

REMBRANDT

shoulder of a youth. (The Departure of Tobias?} Pen and sepia. 61 x 3, !l ff inches.

A Woman seated before a Table, shading her eyes from the flame of a taper. Sepia. 5in x 4i'k inches. Sir J. Reynolds Col- lection.

A Woman seated, her hands crossed on her lap. Pen and bistre, with touches of white. 6,", v x 4$ inches. E. Utterson Col- lection.

A Woman seated, holding a child. Pen. 6,'V, x 5jj- inches.

Christ crowned with Thorns. Pen. ~1\ x 6f, s inches. Sir J. Reynolds and Utter- son Collections.

A Man standing, in a gown girt round the waist, a skull-cap on his head. Pen. "\ x 4];": inches.

A Woman seated, praying, her hands clasped. Pen and bistre. On the reverse, a sketch of a woman holding a child. T ft, x 5', inches.

Portrait of Saskia. Bistre and black chalk. 7i<\ x 5-2 inches. N. Diaz Collection.

A Woman seated, another figure in the light near a window ; in the shade, a man in a high cap. Bistre. 6J x yJ, inches. Wood- burn Collection.

Tlie Head of a Man in a Turban, the end of which hangs down in a scarf; a bird of Paradise below. Pen, bistre, and white. 6,4 x 6],V inches.

Two Birds of Paradise. Pen, bistre, and white. 6| x b\\ inches.

Study of a kneeling Camel. Bistre. Below, a camel's head. Pen. 6, s , v x 4j inches.

Study of a Cow in a Stall. Bistre. 5'K x 5s inches.

A Pig standing up, another rolling on the ground beside him. Pen. \\^ x y-J inches.

Three Heads of Lions. A sketch with the brush. 6j x 5^ inches. Esdaile Collection.

A couchant Lion, the head in profile. Bistre. 5,% x 7^ inches.

A couchant Lion, the head three-quarters to the front. Bistre. 5! x 8J inches. On the reverse," Rembrandt nat Leven." Henry Rcveley Collection.

Joseph interpreting the Dreams (?}. An aged man on a throne, a man addressing him from the steps ; other persons grouped around. Pen. 7j x ioj inches. Richardson Junior Collection.

An old Woman kneeling before an old Man at the mouth of a cave, a horse to the left. Bistre. 7^ x 9! inches.

A young Woman kneeling to an old man ; a man in a turban advances towards them ;

a globe on a table near. Pen and bistre. 7s x 9s inches. Utterson Collection.

Clirist standing, a man kneeling to Him, and other persons approaching. Pen. 5g x gi inches. Sir J. Reynolds, Utterson, and Richardson Collections.

Christ approaching a Boat in which are two fishermen. Bistre. 6j% x 9^ inches. \V. Ottley Collection.

The Vision of Daniel. Sketch for the picture at Berlin. 6i x gf inches. Utterson Collection.

Jesus in tlie midst of Hie Doctors. Pen and bistre. 6| x gi inches. W. Ottley Col- lections.

The Flight info Egypt. Pen and bistre. 61 x 9g inches. Utterson and Russell Col- lections.

Study for tlie Hundred Guilder Print. Pen. 7s x 9 iV inches. W. Esdaile Collection.

Tlie Baptism of the Eunuch. Study for the etching. Pen and bistre. 6| x 10] inches.

Life-study of a Man lying on the ground. Pen and bistre. 7jj x 9! inches. Utterson Collection.

landscape with a watercourse, a road, and cottages. Bistre wash. 6- ] i \ x 1 1 f fi inches.

A Landscape, with a bridge over a stream and houses under tall trees. Lead pencil. 10 J x 1 1 1 inches.

Judas bringing back the thirty Pieces of Sih>cr(?}. Pen. 8| x lojfinches. Richardson Junior and Sir J. C. Robinson Collections.

An Old Man, leaning on a stick, and approaching a kneeling woman, near whom is a man carrying a basket ; in the background a town. Bistre wash. 6Jx6Jjf inches.

A Woman seated at a Table, another woman standing near her with clasped hands ; below, and to the right several other figures, two of them kneeling. Pen. 4}f x 7$ inches.

The Prodigal Son kneeling before his father. Pen and bistre. 7^ x 9^ inches.

Life-study of a Youth, his left hand resting on a support. Pen and bistre. 9^ x 16^5 inches. Christ surrounded by several Persons, one of whom kneels before Him ; above, to the right, the head of an old woman. Pen. 6 rV x 5 A inches.

A Variation of the same Theme. Pen and bistre. 7^x6,% inches. On the reverse, a few words in Rembrandt's writing, and the signature Rembrandt van ....

A Landscape -with Cottages, a stream, mills, and a village. Pen and bistre. 7/^x12 inches. Lord Spencer Collection.

The Angel Raphael with Tobias and his Family. Pen. 6| x 8^J inches.

CATALOGUE OF DRAWINGS

261

David playing the Harp before Saul. Pen and bistre. 8 T %x6f inches. A. Firmin Didot Collection.

The Student of Leyden. Pen and bistre wash. 8| x 4$ inches. Richardson Senior and Junior Collections.

Study for an Adoration of the Magi. Pen. 7ix llj inches. Mourian Collection.

An old Man praying, behind him, to the right, a figure in bed. Pen and bistre, with touches of white. 7^x7! inches.

A Road between Trees. Sepia wash. - 6 x 7 T % inches.

An Indian Prince on Horseback, a falcon on his hand. Pen, lightly washed with red. 8iJ x 7-ji'jj inches. W. Russell and Richard- son Junior Collections.

Life study of a young Man, seated on a stool. Black chalk gj x 7 \ inches. \V. Es- daile Collections.

Mercury and Argus. Pen and bistre. 5f X7j inches.

A Woman seated by a well with a dome ; she seems to see an apparition. Pen and bistre. 7i x 8f inches. Utterson Collection. Four Sketclics of Womcifs Heads. Pen. On the reverse, a sketch of cavaliers. Pen. 7g x Jg inches. J. Richardson junior, John Thane, and R. P. Roupell.

Tobias and the Angel by the waterside. Pen. 7^ x io| inches. J. Reynolds and Utterson Collections.

Rembrandfs Studio, a replica (?) of the drawing in the His de la Salle Collection. Sepia. 7JX9^ inches. Marietta Collection. A Composition with many Figures (the Preaching of John the Baptist ?) in a simulated frame. Pen and bistre. 5^ x 7 inches.

Tobias and the Angel by the waterside, a variation of the composition in the Albertina ; signed above, but not by the master's own hand, Rembrandt f. 1630. Pen. 8fJ x I2i inches.

A Cavalier -with a Sword, with two other persons, one of whom is showing him the way. Pen and bistre. 6j 3 5 x 7$ inches.

A naked Man, kneeling. Pen. 3j x 3g inches. Sir J. Reynolds, Hudson and Sey- mour Haden Collections.

A Woman with her hands clasped, looking mournfully at a dead man in a bed. Pen. 6-i5r x 8J inches.

A Woman standing near the daTs of a raised bed, advances towards some men (one of them in a helmet) partly hidden by a drapery. Pen. 6.V x 8J inches.

A young Man kneeling to a King seated on his throne, and surrounded by his Court.

(Joseph interpreting the Dreams?} Pen and bistre. ~]\ x 9^ inches.

The Denial of St. Peter, a night effect. Reed pen and sepia. 7j x 10 inches. Lempereur and Seymour Haden Collections.

A Woman seated, her head resting on her left hand ; above her, two wax candles. Pen and sepia. 7^ x sf g inches. Sir Th. Law- rence, R. Roupell, Esdaile, and Woodburn Collections.

The unfaithful Servant. Pen. 6J- x 8J inches. Esdaile and Seymour Haden Collec- tions.

Clirist in the midst of the Doctors. Pen, with touches of white. 7-^ x ioj inches. Sir Th. Lawrence, Esdaile, and Seymour Haden Col- lections.

A Cottage. Pen and bistre. 4]^ x 6J inches. Esdaile and Seymour Haden Collec- tions.

Gateway at tlte Entrance of a Town. Pen and sepia. 51 x 9} inches. Seymour Ha- den Collection.

A couchant Lion. Black chalk. 4^ x 5} inches. Seymour Haden Collection.

Two couchant Lions. Bistre wash. 5^ x S},\ inches.

A Staircase with a Landing. Black chalk and bistre. 5j x 3Jj{ inches.

Due d'Aumale. Chant illy.

The unfaithful Servant. Pen and wash. 55 x 8J inches. Desperet Collection.

A couchant Lion. Pen and wash. 5^ x QI'J inches. Denon and Reisct Collections.

A Landscape, with a windmill and cows. Pen and bistre. ;i x 1 i j~ ff inches.

A Landscape with large trees, washed with bistre. 5'{X6 inches. Reiset Collection.

M. Eugene Dutuit. Rouen.

Christ in the House of Martha and Mary. Pen. 7j x b\\ inches. Ploos van Amstel and De Visscher Collections.

M. Louis Galichon.

Judas bringing back the thirty Pieces of Silver. Pen, washed with sepia, with touches of red chalk. 5^ x 6J inches. Em. Galichon Collection.

A young Woman seated in an Arm-chair. Red chalk with touches of black. 5^ x 5| inches. Em. Galichon Collection.

A young Woman in a broad-brimmed Hat. Pen. 4i%x3 I ( k inches. Andreossy and Em. Galichon Collections.

A full length of a Woman, seen in profile. Pen. 5J x 4-,^ inches. Andreossy and Em. ~~ Galichon Collections.

262

REMBRANDT

Christ in the midst of His Disciples. Pen. 7? x ii^y inches. Fcstctis and Firmin Didot Collections.

Esther and Mordecai. Pen, washed with sepia. 7j x i2{-;j inches. Rumohr, Festctis, and Firmin Didot Collections.

Study of a Man, full length. Black chalk. 5ii x 4ui inches. Robert Dumesnil and Firmin Didot Collections.

Peasants near a Cornfield. Pen. -6J x 9; inches. Em. Galichon Collection.

M. PaulMathcy.

A Man in an Arm-chair, meditating, a ter- restrial globe at his feet. Pen, washed with sepia, and touched with body-colour. 7,'^ x 7.', inches. Count Soutcktclcw Collection.

Portrait of a young Man in a Cap. Pen and bistre. 5^- x 4;! inches. Seymour I laden Collection.

The \\~oundcd M'lin of the Parable of the

Good Samaritan visited by Doctors. Pen and bistre. ~i\ x 9^ inches. E. Utterson and Soutcktelew Collections.

A Man approaching a Woman with a child on her lap. Lead pencil. 4f x 6 inches.

A Woman in full dress, seated in an arm- chair. Pen and bistre. 6, S x 5^ inches. Soutcktclcw Collection.

M. Henry Pcrcirc.

A Woman suckling her Child. Pen and sepia. Armand Collection.

A Dutch Landscape, with houses, mills, and a drawbridge on a canal. Pen and sepia. "]\\ x I2j inches. Armand Collection.

Baron Edmond de Rothschild.

Portrait of Reinier Anslo. Study for the etching. Pen, washed with bistre, with touches of red chalk and body-colour. 9^ x y|g inches. Em. Galichon Collection.

GERMANY

BKKUX.- Print Room of the Royal Museum.

The Head of a M'oman. nearly in profile. Pen. -2.V x 2 t ~ ft inches. Hausmann Collec- tion.

A Man standing (a priest or apostle) ; to the left a kneeling woman ; a third person to the right. Pen. 4JJ- x 4^ inches.

A young Woman seated before a table on which is a violin. Pen, washed with bistre. 6;' x 7j| inches. On the reverse a head of a woman. Von Nagler Collection.

Philemon and Baucis, a man seated at a table in the foreground, a figure seated on the ground by a fire, and in the background to the left, another figure, standing ; inscribed : " d. onde filemon on van t mcs in d mond en d hand op d vlocr omgeswicht?" Pen sketch. 5-, : iy x 7-^ inches. J. D. Bohm and Hausmann.

^ Beggar in a large hat, walking towards the right. Black chalk. 6}j|- x 3 inches. Hausmann Collection.

The Circumcision; a high priest, an assist- ant, the parents, and spectators. Pen, washed with sepia. 8 x \\{^ inches. Lawrence, Esdaile and Suermondt Collections.

A Landscape, with a bridge over a stream, a cottage, and trees. Black chalk. 31$ x 5! inches.

A landscape, with a stream and two boats, houses and trees. Black chalk. 3| x 6^- inches. A Landscape, with two low-roofed cottages

and a pool ot water! Sketch in chalk. 3i 7 " x 6} inches. J. D. Bohm and W. Roller Collections.

A Landscape, a road by a stream, with houses and trees. Black chalk. 35 x 6 inches. On the reverse, a half-length figure of a man, sketched with a few strokes.

A Man seated on a Mound, and on an emi- nence beyond, a house surrounded by trees. Pen. 8j' l ff x I3j inches. Blokhuyzen and Suermondt Collections.

An old Woman seated in an arm-chair, hold- ing a book in her left hand. Pen. 6 x 6|f inches. On the reverse, the head of a bearded man in a high turban. Pen. Von Nagler Collection.

Ati old Man seated in an arm-chair, his head slightly bowed, his hands clasped. Red chalk, with touches of black. 8^f x 6y inches.-- Ploos van Amstel, Dapper and Suermondt Collections.

Saskia in a large straw hat, holding a flower in her hand ; with the following autograph inscription by Rembrandt : " dit is naer rnyn huysvrou geconterfeyt do 21 yaer ond was den derden Dach als wy getrondt waere de 8 e Yunyns 1633." Lead pencil on parchment. 7j% x 4^ inches.

Rembrandt, a bust, full face, with bare head. Pen, heightened with wash. 4}f x 5/5 inches. Sir Th. Lawrence and Esdaile Collections.

Christ bearing His Cross. The Saviour

CATALOGUE OF DRAWINGS

263

sinking beneath the weight of the Cross, the Virgin fainting ; to the left one of the thieves, bearing his cross. Pen. ;j x io{ inches.

Bust Portrait of Andrea Doria, in profile, with an autograph inscription by Rembrandt : "Andreas d. Aurca, hartog van Genuwa." Pen. 6 x 8 inches. Sir J. Robinson Col- lection.

A Woman seated, in Eastern dress. Pen, sepia wash, and touches of white. 7j x 6g inches.

A Man with ii long Beard, in a large hat, standing. Black chalk on Chinese paper. 5$ x 3i- inches.

A Woman carrying a Sack on her shoulder, a little girl walking beside her, and an old woman seen from behind. A sketch in black chalk. 3i x 4$ inches.

77/6' Descent from the Cross; the Virgin, three other kneeling women, and two men standing surround the winding-sheet. On the reverse, an erotic subject. Pen sketch. 6}jf x 6^ inches.

The Annunciation, the Virgin seated to the left, to the right the Angel, with his right arm uplifted. A drawing by F. Bol, corrected with bold, masterly strokes by Rembrandt. Red chalk, heightened with bistre, and touched with white. 6g x 9^ inches. Lawrence, Esdaile and Bale Collections.

A Landscape; a plain with a watercourse ; to the left a herd of cows, a woman milking one of them. Pen and wash. Lawrence, Esdaile and Bale Collections.

Sketches of seven Heads, or half lengths of men and women on a single sheet. Pen. 7iV x 7r% inches. Lawrence, Esdaile and Bale Collections.

A Sheet of Sketches of men, women, and a weeping child. Pen. 8JJ x 7$ inches. Legay, Esdaile and Bale Collections.

A Landscape with two cottages and a group of six peasants. On the reverse, another Landscape with a road, and a town with a church spire. Lead pencil on parchment. 4y>5 x 7^5 inches. Esdaile and Bale Col- lections.

Study of a Woman, richly dressed, stand- ing, her left hand on her hip. Pen, lightly washed, and touched with white. 5, 7 5 x 3! inches. J. Thane, W. Esdaile and A. Posonyi Collections.

Study for an Entombment. Pen and sepia. 4& x 5& inches. E. Durand and Posonyi Collections.

The Descent from the Cross. Pen and sepia, touched with white. yJJ x 8j% inches. Posonyi Collection.

Cain and Abel offering their sacrifices. \ 'en and sepia, heightened with white. Mariclt.' Beurnonville and Posonyi Collections.

A Woman with Spectacles, seated, reading. Pen and sepia. 4j x 2g inches. Pulszky, Von Rath, and Posonyi Collections.

Christ taken down from the Cross, His followers weeping round His corpse. Pen and sepia, heightened with white. 5^ x 7;' inches. Pulszky, Von Rath, and Posonyi Col- lections.

Pyrainus with Thisbe kneeling beside him. Pen and sepia. 6^5- x 7^ inches. Pulszky, Von Rath, and Posonyi Collections.

Pyrainus and Tliisbe. Pen and sepia. - 4/ii x 7s inches. S. Zoort, Dreux, and Posonyi Collections.

Thisbe kneeling by the Corpse of Pyramus. Pen and sepia. 10,^ x 7| inches. Bohm, (iscll, Von Rath, Pulszky, and Posonyi Col- lections.

A Landscape with two cottages under large trees. Pen and sepia. 7." x I2|- inches.-- Pulszky, Von Rath, and Posonyi Collections.

Study for the Group of sick Persons in the Hundred Guilder Print (the composition re- versed). Pen and sepia. 5},} x 7 j s rt - inches. Fcstctis and Bohm Collections.

Jacob's Dream, two angels and two cherubs on the steps of the mystic ladder. Pen and sepia. 7J x 7} inches.

The Good Samaritan. Pen and sepia. 6.' x 7},\ inches. Gavet, Pulszky, Von Rath, Engcrt and Posonyi Collections.

The Rest in Jtgypt, the angel directin ; Joseph. Pen and sepia, heightened with white. 5J x 7$ inches. Andreossy, Beurnon- ville, Gigoux and Posonyi Collections.

The Prodigal Son's Depart lire. Pen and sepia. 7, ft lS x ioj;| inches. Pulszky, Von Rath, Posonyi and Gsell Collections.

Christ in the Garden of Olives, the Apostles asleep. Pen and sepia. 7 x gj inches. Lawrence, Esdaile, Desperet, Galichon and Posonyi Collections.

Tobit and his Wife with the Goat. Pen. 5iff x 7ii inches. Pulszky, Von Rath an:l Posonyi Collections.

Judith and her Attendant entering the tent of Holofernes ; two other women near. Pen. 6|x6f inches. Pulszky, Von Rath, and Posonyi Collections.

A Man praying before a Crucifix, another man kneeling beside him. Pen and sepia. 6$ x 7^ inches. W. Roller and Posonyi Col- lections.

An Oriental Prince giving audience (Joseph and his brethren ?) ; a man kneeling before

264

REMBRANDT

him and three other persons near. Pen. 7 X7 t V inches. Pulszky, Von Rath, Koller and Posonyi Collections.

Philemon and Baucis. Pen. 5* x 5^r inches. Bohm, Pulszky, Von Rath, Festctis, and Posonyi Collections.

An Oriental, richly dressed; to the right a figure seen from behind ; between them a third figure, lightly sketched. Pen. 6^x5^ inches. Bohm and Posonyi Collections.

Three Jews conversing. Pen, on Japanese paper. 4l;.;x2 1 1 j{ inches. Van der Schafft, Habich and Posonyi Collections.

An Oriental, in a cap and a large cloak. Pen. 4] s ,y x2 i;} inches. On the reverse, horsemen at the gateway of a town. Reynolds, Lawrence, Esdailc and Posonyi Collections.

An Oriental in a turban; another figure, very lightly sketched, beside him. Black chalk. 4} i;x 2] ;f inches. Pulszky, Von Rath and Posonyi Collections.

An Oriental, nearly in profile, leaning on a

stick. Pen. 5^ x 3] inches. Estcrhazy,

Pulszky, Von Rath, and Posonyi Collections.

A Man in a Cloak and a high hat, a woman

to the left. Pen. 4,'ij x 3,';, inches.

A liov taking offhis Shoes. On the reverse, the head of a beardless man in a fur cap. Pen and sepia. 4};| x 2} J inches. Bohm, Pulszky, Von Rath and Posonyi Collec- tions.

A Village by a Canal ; in the centre, a house with a high gable end. Pen, on red tinted paper. 2|jx6:j inches. Van der Willigen, Hebich and Posonyi Collections.

The Poet Vondel in front of his house. Pen and red chalk with wash. 8, fl ( yX9j inches. De Vos Collection.

The Last Supper, after Leonardo da Vinci. Signed, and dated 1635. Pen. 5, : "; v x 1 5 inches.

A Child in a Passion, carried away by its mother. Pen and wash. SJxjf inches. De Vos Collection.

The blind old Woman. She leans on a stick, and lays her left hand on the shoulder of a child ; below, a beggar. On the reverse, a man in a fur-trimmed cap. Pen. 7^ x 6} ,} inches. Th. Hudson, Reynolds, Lawrence, Esdaile, De Kat and De Vos Collections.

A Sheet of Sketches of figures and heads. Pen and sepia. 6^ x 7} \ inches. Lawrence and Esdaile Collections.

Manoah and his Wife, startled at the sight of the angel who announces the birth of Sam- son. Pen and sepia. 6J x 7^ inches. On the reverse, the half-length figure of a man

with one arm outstretched. Sir Th. Lawrence and Esdaile Collections.

BREMEN. Museum (Kunsthalle).

Dromedaries, a study from nature. Black chalk. Dated 1633.

DRESDEN. Royal Museum.

Abraham's Sacrifice. Pen, arched at the top. 7^ x 6J- inches.

Samson struggling with a Lion. Pen sketch. 7 x \o\ inches.

Saul falling upon his Sword. Pen, heightened with bistre. 6}f x 8 inches.

The Judgment of Solomon (?). Pen and bistre; the signature a forgery. 7 J x 12^ inches.

Gods Covenant with Abraham. Pen, arched at the top. 7}$ x io| inches.

Joseph interpreting the Dreams. Pen. 7j x 7 inches.

The Angel showing the Fish to Tobias, who recoils in alarm. Pen. 6j% x 6^ inches.

The Angel leaving Tobias and his Family ; study for the picture in the Louvre. Pen. 7}^* x 7 inches.

An old A fan seated, teaching a kneeling Child to read (7). Pen. 7% x 9^ inches.

The Angel announcing the Birth of John the Baptist to Zachariah. Pen. 7| x io^f inches.

The Adoration of the Shepherds (f). Pen, heightened with bistre. 6J x 8J- inches. The Circumcision. Pen. 8J x 8j a ff inches. The I'irgin with the Infant Jesus, a reminiscence of Raphael's Madonna della Scdia. Pen. 7| x 6| inches.

Jesus among the Doctors. Pen, washed with sepia ; the signature forged. 7f x 8 inches.

The Baptism of Christ. Pen, heightened with wash. 6i x lofg inches.

The Temptation. Pen sketch. 7^5- x 8{J inches.

The Departure of the Prodigal Son (.?). Pen with wash. 7 x loj inches.

The Return of the Prodigal Son. Pen and wash. 7 1 7 , r x loj inches.

A Vessel on a stormy Sea. Pen sketch for the Deepdene picture, St. Peter's Boat in the Storm. 7j x u|jj inches.

The Flagellation. Pen, heightened with bistre. 7j s ff x lo^j inches.

Ecce Homo. Red chalk. 13^ x I of inches. Christ on the Mount of Olives. Pen. 7\ x 6| inches.

The Holy Women weeping over the body of Christ. Pen. 7] x loj inches.

CATALOGUE OF DRAWINGS

265

The Entombment. Pen, arched at the top. 9& * 7j% inches.

Christ appearing to the Magdalene. Pen. ~!\ x \o\ inches.

An Oriental Chief vanquishing his enemy. Pen and bistre. 1\ x 8J inches.

An Oriental standing by a Woman who is lying down. Pen, arched at the top.

A naked Man kneeling, in a landscape (St. Jerome?) Pen. 5^ x 4] inches.

An old Man praying (.-). Pen. 5^ x 5^ inches.

A Man in Eastern dress, standing. Pen.

7.' x 9^ inches.

The Rape of Ganymede. Sketch for the Dresden picture (1635). Pen, heightened with wash. 7 1 x 6-, 5 , v inches.

Diana surprised by Ac/icon. Pen, height- ened with bistre, the signature forged. 9}?! x '3U inches.

Tlie Minister Swalmius. Sketch in black chalk for the portrait in the Antwerp Museum (1637). Forged signature. 9 x 6| inches.

An old Man with a cap and stick, seated. Pen and bistre. ,J x 4J? inches.

A young Woman in bed. Pen and bistre.

5il x 5i inches.

A young Man in a broad-brimmed Hat (?"). Pen and bistre. 7] x 5 ,,. inches.

A Geographer (?). Pen, heightened with bistre. 8, 7 , y x 6; inches.

An old Beggar. Sketch in black chalk. (About 1630.) 10 x i\ inches.

An old Woman asleep. Black chalk. (About 1630.) 9};{ x -j\ inches.

An old II 'oman, seated. Pen. 4f x 4| inches.

An old Man looking out of window. Pen and wash. 6| x 4^ inches.

A young Girl in a large Hood, seated ; to the right, a sketch of her head in profile. Pen. 4 x 4\% inches.

Two Women, and a Child in Swaddling- clothes. Pen sketch, with bistre. 5^ x 4f inches.

A Man, and a Woman holding a Child, seated at table (?). Pen and bistre wash. 5 x 6jf inches.

A Hawking Party (/). Pen sketch. 8^ x 9?i inches.

A three quarters length Figure, a Man, full length, and a Woman seated. Pen and bistre. Above : a sketch of two persons, an old and a young man ; sketches in ink, per- haps for the etching, The three Crosses. (B. 78.) 7}J x lo^. inches.

Two Persons taking leave. Pen and sepia, rounded at the upper corners. 7, !> s - x 9}^ inches.

A Woman in Bed, and, to the right, four other persons. Pen. 7^ x lof inches.

Tivo Men in a Farmyard with a donkey, another man at a door. Pen, heightened with wash, arched above. 7 x 12 inches.

A Man seated at a Table. Pen. \\ j x 4-^ inches.

Two Persons at a door. Pen sketch. ~1\ x 8|- inches.

Study of a Man, seated, seen from behind (?). Pen sketch, heightened with sepia. 8^ x 6J inches.

Study of a Man, seated, looking to the right (?). Sketch with pen and brush. 7j x 5J- inches.

A M'oman lying down, her face in profile. Pen sketch. 5^ x 6J inches.

A young Man asleep, perhaps a study for the Antiopc. Pen and brush. 7]- x 5$ inches.

A young Man seated and reading (/). Pen and brush. 6J;J x 4j inches.

A young Man standing and dropping a pike (?). Pen and bistre wash. 9! x 7^ inches.

Two Heads of Camels (>}. Pen. 4} x 6Jf inches.

Studies of Lions (/}. Pen and chalk. 7};{ x 6J inches.

Study of a Lion. Pen and wash. 5$ x 6| inches.

A Farm surrounded by Trees. Pen study, perhaps for the etching of 1641 (B. 225.), the signature forged. I2}ii x 7] inches.

A Cottage and a Tree. Pen sketch, perhaps for the etching of 1650 (B. 217.). 6i x 9^ inches.

The Gate of a Town, with a distant back- ground. 7 x loj inches.

The Moat about a Town, with houses and a windmill. Pen and wash. 6 J x gf inches.

A group of Trees in front of a Cottage. Pen and wash. Perhaps a study for the etching of 1636 (B. 224.). si x 8-^ inches.

A Cottage surrounded by Trees. Pen sketch, perhaps for the etching of 1641 (B. 226.), 4 x "U inches.

View of the Ramparts of a Town. Pen and bistre. 6| x 10 inches.

The Market Place at Rotterdam (?). Pen and wash. 6^ X 8 T : V inches.

FRANKFORT-ON-THE-MAIN. Stadel Institute.

The Crucifixion. Pen and sepia. The rest in Egypt. Pen. A Man standing. Pen. St. Peter delivered from Prison (?~). Pen, washed with bistre.

266

REMBRANDT

The Temptation. Pen.

Study of an old Man for Lot and liis Daughters. Red chalk. Signed and dated 1663.

Two Men conversing. Pen.

A Woman seated, study from the antique.

David and Saul. Pen, heightened with sepia.

HAMHURG. Kunsthallc.

Hagar and the Angel. Pen. 7^x9-; inches.

Head of a young Man, perhaps Rembrandt himself. Black chalk.

Study of a naked Woman lying on a bed. Black chalk.

A House under large Trees, study. Pen and bistre. De Baillie Collection.

An Alley of Trees. Pen and bistre.

St. Jerome praying. Pen and bistre. 9 ^ x 7 inches.

Christ in the Garden of Olives, the angel ministering to Him. Pen and bistre. /J x 12 inches.

MUNICH. Royal Collection of Drawings and Engravings.

The Angel showing Hagar the Well.

Jacob's Blessing. Black chalk.

The Flight into Egypt, the angel appearing to Joseph and Mary. Pen.

The Adoration of the Magi, two sketches in black chalk, and one with the pen.

The Triumph ofMordecai. Pen and bistre.

77;i? Circumcision (?). Pen.

The Annunciation to the Shepherds, a night effect. Bistre wash.

The Ascension. Pen.

Christ among the Doctors. Pen, heightened with red. Below, an inscription, perhaps by Rembrandt's own hand, alluding to the sacred story ; drawn on the back of an invita- tion to a funeral.

Christ among the Doctors. Pen. A dif- ferent composition.

The Angel ministering to Christ in the Garden. Pen.

The Angel seated on the Stone of the Sepulchre. Pen.

The Repentance of St. Peter.

St. Jerome asleep. Bistre wash.

Study for the Baptism of the Eunuch, engraved by J. van Vliet (1631). Pen.

A woman reading from a large Book on a table, a crucifix beside her. (The Magdalene ?)

An Oriental, standing before a table, with a sceptre ; on the other side a weeping woman, and another with her hands clasped. Pen and bistre.

The Banquet of Claudius Civilis, study for the composition painted for the Stadhuis, the central portion of which is now in the Stock- holm Museum. Pen and bistre, sketched on the back of an invitation to a funeral.

A Man kneeling before a Priest, and other persons. Pen.

A Cavalry Skirmish. Pen, washed with bistre.

A Carriage drawn with great difficulty by Horses. Signed and dated 1630. Black chalk.

A Sleigh, with a man standing up and another running. The signature and date, 1639, forged ; the horse by another hand.

A Woman lying down; study in red chalk.

A Woman standing before the fire ; to the left another person. Pen, washed with sepia.

Bust of a Woman in a Cap. Pen and bistre.

A Woman, seated, full face, a veil on her head and a roll of papers on her lap. Bistre wash, lightly tinted with red.

A Woman in Bed, a seated figure at her feet. Pen.

A sick Woman in Bed, her hands clasped. (Saskia ?). Pen.

Rembrandt painting a study of a Woman. Pen.

A Painter at his Easel ; to the right a woman, seated, with a child. Pen.

An artist painting the Portrait of a W'oman; a variation on the above. Pen.

A young Girl reading at a Window. Pen and bistre.

Two studies of a. Child in a Cradle.

A Man reading at a Window. Pen and bistre.

A High Priest in his Robes. Pen and wash.

A Study of Ducks.

A couchant Lion. Pen and bistre.

A Lion rising from the Ground. Pen and bistre.

A Horse attacked by a Lion, kicking. Pen.

A Landscape, with a village, and a far- reaching horizon. Bistre wash.

WEIMAR. Goethe's House.

An old Man fainting, two men supporting him ; and three other sketches on the same sheet. Pen. 5^ x 4^ inches.

A Sheet of Sketches ; three full face heads of the same woman, and two women with a child. Pen. 7^ x 5| inches.

Lot and his Daughters. Pen. 5^$ x 7^ inches.

CATALOGUE OF DRAWINGS

267

Mr. A. von Beckcrath.

Susanna at the Bath; she is turned full face to the spectator, and endeavours to cover herself on perceiving the Elders. Pen and sepia. 5]j; x 6} j inches. Lord Egmont and Roupell Collections.

Susanna at the Balk j she is seated on a bench, the Elders behind her. Signed below R. f. Red chalk. 9] x 14^ inches. Gigoux and Andrcossy Collections.

David and Jonathan (?) in a landscape. Pen and sepia. 5, : ; r x 8i inches.

Esther, Ahasucrits, and Haitian. Pen and sepia. 6| x SJ inches. Goll van Francken- stein Collection.

Nathan and David. Pen and sepia. 5| x 6}jj inches. Klinkosch Collection.

ManoaKs Sacrifice ; his wife stands beside him, and turns away her head at the sight of the angel. Pen and sepia. 6g x 8 inches. Roupell Collection.

The Dismissal of Hagar. Pen and sepia. 7| x 8},} inches.

The Dismissal of Hagar. Pen and sepia. 5j x 6 inches.

facob and Esau. Pen and sepia. 6j x S, 1 ^ inches.

Jacob's Dream. Pen and sepia. 7| x yf inches.

Study for Jacob's Dream. Pen and sepia. 4 x 5^ inches. Lawrence and Esdaile Collections.

Isaac blessing Jacob ; Rebecca stands beside the bed. Pen and sepia. 4};} x 6] ;; inches.

Christ in the Garden of Olives. Pen and sepia. 7^ x 9^ inches. Lawrence, Esdaile, and Roupell Collections.

Christ before Herod (or Ca'iaphas ?). Pen and sepia. 6 x 7 j inches. Roupell Collec- tion.

The Entombment. Pen and sepia. 6J x 9 inches. Klinkosch and Festetis Collections.

The Prodigal Son (?) Pen and sepia. 7fs x 8f inches.

The Raising of faints' Daughter. Pen and sepia. 7j x 7j inches. On the reverse, a small head of a young man. Seymour Haden Collection.

The Betrayal of Christ. Judas approaches to kiss Him. Pen and sepia. "]\ x 8 J inches.

Christ blessing little Children. Pen and sepia. 8^ x ii| inches. Woodburn and Roupell Collections.

Study for a Descent from the Cross. Pen and sepia. lo^ x 8$ inches. Van der Willi- gen, Temminck, Hooft and Van der Schafft Collections.

Pilate giving Judgment (?) A composition

of numerous figures. Pen and sepia. 8^% x iOj% inches. Klinkosch and Festetis Col- lections. Engraved by Bartsch.

The Presentation in the Temple. Pen and sepia. 7^ x 9^ inches. Roupell and l)c Vries Collections.

The Good Samaritan. The wounded man in bed ; the Samaritan giving money to the host. Pen and sepia. 5^ x 9 inches.

Christ healing the Sick (/) Pen and sepia, lightened with a few touches. 7A x 9? inches.

The W'orkers in tlie Vineyard. Pen and sepia. 6];;- x 9^ inches.

The Adoration of the Magi. Pen and sepia. 6^ x 9 inches. Klinkosch and Festetis Collections.

Study for a Holy Family (/) Pen and sepia. 4-,\f x 54 inches. Roupell Collection.

The ll'/ifow's Mite. Pen drawing, heigh- tened with sepia, and very carefully finished. "1 x 12] inches. Woodburn, Esdaile, Lawrence, and Roupell Collections.

Study of an old Man seated. Pen and sepia. 3;| x 2] IJ ft inches. Klinkosch Collection.

Tii'o Men conversing. Pen, washed with ink. 5}, x 3|,f inches.

Study of a Man in a Turban. Pen and sepia. 4? x 4i inches.

Two S/udies of Men on the same sheet. Pen and sepia. 2.' x 2^ and 2j x 2^ inches. Seymour Haden and Bouverie Collections.

Study of a Man in a high Cap. Pen and sepia. 47 x 3,^ inches. On the reverse, some lightly sketched outlines of figures.

A blind Beggar, with a child and a dog. Black chalk. 5 x 3^ inches.

Study of seven \Vomen seated near a stair- case. Pen and sepia. 73 x 4} j inches.

Study of an old Man, seated, full face. Pen and sepia. 3^ x 2^ inches. Klinkosch Col- lection.

A young Man seated and reading. Pen and sepia. 3^ x 4^ inches. Dimsdale and Esdaile Collections.

Sketch of a Man, bust. Pen and sepia. 3^ x 2& inches. Gigoux Collection.

Sketch of a Man writing, facing to the front. Pen and sepia. 3^ x 3^ inches. Gigoux Collection.

Study of a U'oman, seated, half naked, probably for a Susanna. Black chalk. An- dreossy and Gigoux Collections.

Two Studies of Men's Heads on a single sheet. Chalk. 4^ x 4^ inches, and 2{ x 3 inches. Gigoux Collection.

Five small Heads on a single sheet : i. A young Man with long hair. Pen and sepia.

268

REMBRANDT

lyV x lit inches. 2. An old Woman I |J x I ,'lf inches. 3. A young Girl with long hair. Red chalk. 2j x 2 inches. 4. A grotesque Head with open mouth. Light chalk (?). ijx ij'jj- inches. 5. Head of a Man with a bandage over one eye. Light chalk ij x il inches.

An old Alan seated and reading. Black and red chalk, very carefully finished. 1 1 , 7 lT x 8J inches.

An Interior, with a bullock's (?) carcase hanging up, and several figures. Pen, very boldly washed with a broad brush. j{ x 7j inches.

An allegorical Composition ; a man seated, Death advancing towards him. Pen and sepia. 9fer x 7s inches. (Belisarius (?).) In the foreground a beggar, to whom a man is giving alms, another man standing by. Above, an inscription of seven lines, in which the name Belisarius seems to occur. Pen and sepia. Posonyi Collection.

A Landscape, with the framework of a boat, and workmen. Pen and sepia. 5; x 9^5- inchcs.

Study for the Syndics, a free sketch for the three figures to the left. Outlines of some of the other figures. Pen and sepia. 7 x 8J inches. Gigoux Collection.

A Pair of Lovers, a young man with his arm round a young girl's neck. Pen and sepia, with touches of white. 6 x 2J ! inches.

Study for a Mountebank. Pen and sepia. 7iir x 5jj inches. Bohm Collection.

The Conversation, two men talking. Pen and sepia. 4] j x 3^ inches. Gigoux Col- lection.

The Wounded Man; another man tending him ; and two persons looking on pityingly. Pen and sepia. 4^ x 4!- inches. Roupell Collection.

Study of a Landscape, with houses and trees. Black chalk. 4^ x 6^ inches. An- dreossy and Gigoux Collections.

A Landscape, with a cottage and a tree ; a road to the left. Pen and sepia. 5! x 9,-^ inches.

A Stream, with boats ; houses and a mill in the distance. Pen and sepia. 4^ x io}$ inches.

A group of Trees and a building. Pen and sepia. 34 x 6| inches. On the reverse a Study of an Interior. Roupell Collection.

A group of Trees, with water and boats. Pen and sepia. 4 x 6i. Roupell Collec- tion.

A Stream, with trees to the left, and on the right a road, with a man and a child. Black

chalk. 4j x 7^ inches. Andreossy and Gigoux Collections.

A Road, with a woman and a child seen from behind. Pen and sepia. 3! x 9 T fl ff inches. On the reverse : fragment of a man kneeling, in red chalk, with touches of black.

A Pond, with trees on the banks. Pen and sepia, with touches of violet. 5^ x yf inches.

A Landscape, with a tree in the middle, and a hut to the right. Black chalk. 6/n x 9i'i'i inches. Gigoux Collection.

The Temptation of Saint Anthony, in the centre the Saint, seen from behind, on the right a devil addressing him. Pen and sepia. 6! x 6]fj inches. Maris Collection.

Mr. K. Habich. Casscl.

A Lion Hunt. Pen.

The good Samaritan. Pen and bistre. Dated 1644.

I'icta, the holy women and St. John round the Saviour's corpse. Pen.

An Interior, an old man reading by the fireside, his wife listening. Pen.

Prince George of Saxony's Collection.

(All these drawings, except the last three, arc from the J. G. A. Fensel Collection, sold at Dresden, August 7, 1837.)

Lot and his Daughters. Pen. 5! x 6| inches.

Sara conducting Hagar to Abraham (?). Pen. 6, : i, x 7J,V inches.

Hagar and Ishmael in the Desert. Pen and sepia. 55 x 6i inches.

Esther, Ahasuerus, and Hainan, at table (?). Pen and wash. A replica, with variations, of a drawing in the Munich Collection. 3}-| x 9, 7 ,., inches.

A young Oriental, richly dressed, on a camel. Pen and bistre. ~]\ x 4^ inches.

An old Man and a Woman, in a vaulted interior. Pen and wash. 6| x gj inches.

An Angel -with four Persons, a Scriptural subject (?). Pen and wash. 7y% x 9^ inches.

The Tribute-money (?). Pen and wash. 8 x 7i inches.

Leonardo da Vinci's Last Supper. A copy in red chalk. Signed Rembrant. 10/3- x 1 8} J inches.

St. Peter delivered from Prison (?). Pen and wash. 7^ x 12^ inches.

Mercury and Argus. Pen and wash. 7^ x loj inches.

Pyramus and Thisbe. Pen and wash. 5 \ x 6i inches.

A Study of two full-length Figures in cloaks,

CATALOGUE OF DRAWINGS

269

and a head in a broad-brimmed hat. Sketch with the brush. 5 x 3j inches.

Head of a bearded Man, profile. Black chalk. 3| x 2 ,'-5- inches.

Study of an old Man, erroneously called Sylvius or Justus Lipsius. On the reverse, an inscription of two lines, perhaps by Rembrandt's own hand. Pen. j| x 4],^ inches.

A Woman standing, with two children. Pen. 5 T ^ T x 5 inches.

A Beggar, turned to the left. Black chalk. 1 5s x 3l inches.

A blather holding her Child, another child on a chair near a cradle. Pen sketch. 3J x 3f inches.

An old Woman walking, and sketches of five heads. 5^x9' inches.

An old \\'otnan in a large Hood, seated. Black chalk. ji x 4,"^ inches.

A Mountebank in a Market (/). Pen and wash. 7j| x 6;j inches.

E/is/m's Miracle on the Jordin (/). A Scriptural subject, probably by one of Rem- brandt's pupils, with corrections by the master. Brush and bistre. 7] ;J x 7; inches.

A Landscape, with a wide road, a canal, houses and trees. Pen and wash. 5^ x loj inches.

Houses and Groups of Trees by the water- side. Pen. -2i x S\ inches.

A Man coining downstairs, supported by another person. Pen and wash. Forged signature. 6 x 4! inches.

A ruined Cottage, with a fallen tree. Pen and wash. 4j x 6}j inches.

An old Man leaning on a Stick, in a land- scape. Pen, with touches by another hand. The signature a forgery. 4j x 2| inches.

Dr. Striiter. Aix-la-Chapelle.

Christ in the Garden of Olives. Pen, washed with bistre. 6},\ x 8j inches. Vis Blokhuyzen Collection.

The Entombment. Pen ; on the reverse, a study for the etching, The Beheading of John the Baptist. (B. 92.) 10 x 7^ inches. Vis Blockhuyzen Collection.

Two Men and a Woman. Pen. 3}j x 5' inches. Six and Vis Blokhuyzen Collec- tions.

An old Man, seated. Pen. Galichon and Sucnnondt Collections.

Three Sheets of Sketches, heads of men and women. Pen. Galichon and Suermondt Collections.

A couchant Lion. Pen study, heightened with bistre. 3};j- x 19^ inches. De Vos Collection.

A Landscape, with a canal and a village with a spire. Pen, washed with sepia. 3g x 4j inches. J. P. Zoomer, Goll van Franckenstcin and Van Cranenburgh Collec- tions.

The old Willow, perhaps a study for the etching, A View of Omval. (B. 209. Pen, washed with sepia. 8f x 4^ inches. Revil, Van den Zandc and De Kat Collections.

HOLLAND

AMSTERDAM. Ryksmuseum.

The Adoration of the Shepherds. Pen, heightened with wash.

Life-study of a Woman, full face. The same model as in a drawing in the Heseltine Collection. Pen and wash.

A Woman going up a Staircase recoils in alarm at the sight of a dead man lying at the threshold of a door. Sepia and Indian ink.

Philemon and Baucis imploring Jupiter ; his eagle with extended wings beside him.

A Landscape with three Trees, a study for the etching of 1643. (B. 212.) 1643.

A Woman leaning upon a Door, and look- ing out. Sepia, heightened with body-colour. ~6i 5 ff x 5J inches. Ploos van Amstel, Versteeg and Van Cranenburg Collections.

A couchant Lion, asleep. Pen and bistre. Verstolk van Soelen Collection.

A Man, full face, with a wallet. Black chalk.

A blind Man leaning on a stick. Black chalk. Verstolk van Soelen Collection.

Fodor Museum. (Catalogue of 1863.)

A blind Man, and a Woman carrying a child. Black chalk. Bernard and Verstolk van Soelen Collections.

A Sheet of Studies of five Figures. Black chalk. Baartz Collection.

Seven Studies of Heads. Black chalk.

A Group of four Men conversing. Black chalk. Verstolk van Soelen Collection.

Mars and Venus surprised by Vulcan (?). Pen. Baartz Collection.

270

REMBRANDT

The return of Tobias. Bistre wash.

Esa.it sells his Birthright. Pen, washed with sepia. Mendes de Leon Collection.

A crouching Lion. Pen, washed with sepia.

A View of the Westerkerk. Pen, washed with sepia.

The Towers of the M'esterkerk, from the Rozcngracht. Pen and bistre. Baartz Col- lection.

The Interior of a J'casan/'s House. Pen and bistre.

A Mill on the ancient ramparts of Amster- dam. Pen and bistre. Ploos van Amstel, ('oil van Franckenstein, De Haas, J. Hnrmann and Ycrstolk van Soclcn Collec- tions.

A }\'ell under a Tree. Pen, heightened with sepia and red chalk.

The Courtyard of tlie hunting Sent of the Counts of Holland. Pen and sepia. Ploos van Amstel, J. de Yos and Six Collections.

HAARI.KM. Teyler Museum.

Isaac and Esau (/). I "en.

A Man asleep (/). Bistre.

Two Men conversing (?*). Black chalk.

The Dismissal of Hagar. A study for the etching, the composition reversed. Pen and wash. On the reverse, the Head of an old Man.

Two Men in Eastern Dress. Pen and wash.

Study of an old Man, from a model of frequent occurrence in the master's youthful pictures and etchings. Red chalk. Signed with the monogram, and dated 1631. 8 J X 5| inches.

A sleeping Lion. Bistre wash.

A Landscape with a windmill. Bistre wash.

Saskia. Pen, washed with Indian ink.

Rembrandt. Pen, washed with Indian ink.

A View of Hillegom. Pen and sepia. Xoomer Collection.

The Gate known as the Jan Roodenspoort. Sepia, very delicately treated. 5i x 7; inches. De Vos Collection.

Christ in the House of Martha and Mary. Pen.

The Rampart of Amsterdam. Pen, heightened, perhaps by another hand, with bistre and water-colour. 7j x log inches. Ploos van Amstel, De Vos and Six Collec- tions.

A couchant Lion, asleep. Bistre wash.

fesus in the midst of His Disciples, signed and dated 1634. Black and red chalk, pen,

and touches of bistre, body-colour, and red. An elaborately treated drawing, altered in parts by pasting cuttings of paper over the original work. The composition contains several of the types familiar to us in Rem- brandt's early pictures and etchings. 14 x i8J inches.

A Frisian ]l'j:ni:i, S22n from behind ; the drawing known as Titus Nurse. Pen and Indian ink. S],} x 5}-" inches. Sir Th. Lawrence, Mendes de Leon, Verstolk van Soelen and Lecmbruggen Collections.

The Departure of Benjamin for Egypt. Pen, washed with sepia. 7), x ui inches. Goll van Franckenstein, De Vos, Mendes de Leon, and DC Kat Collections.

A Landscape witlia Watercourse. Pen and wash.

A Landscape with a Cottage and Bushes. Pen and sepia.

The Entombment. A reminiscence of Italian art. Pen and bistre.

Samuel anoints David. An interior, with several figures. Pen and bistre.

77/6' Return of the Prodigal Son. Pen and sepia.

A ruined Tower, with cottages in the back- ground.

A large Tree by a Canal, in shadow ; in the background, hills, the light falling upon them. Pen and bistre.

Two Men, full face, one wearing a loose gown. Pen and bistre.

ROT i -KRDA.M. Uoymans Museum.

A Man on Horseback with a lance, and several other horsemen. Pen. 5^ x 6J inches.

A Hfn/i, seated, and searching in his pockets. 4j x 3i inches.

Abraham kneel ing to receive the Angels. Pen, heightened with wash. 6j x 9^ inches.

Christ healing a Blind Man. Pen and bistre. 7j x gj inches.

The Resurrection of Lazarus. Pen sketch. 7f s x 6| inches.

The Good Samaritan. A broadly treated study washed with bistre, for the picture in the Louvre. 8 x I2 inches.

An old Man standing, leaning upon a stick; a landscape background. 7i x 4$ inches.

Boaz and Ruth (.?). Pen and bistre.- 6g x lo^j inches.

The Betrayal of Christ (/). Pen. s} x 9 T 5 S inches.

The Holy Family : the Virgin at a spinning- wheel, St. Joseph kneeling, a mallet in his

CATALOGUE OF DRAWINGS

271

hand, his back to the spectator. Pen. 6J x 9j^ inches.

A Man leaning on a Table, two persons by his side. On the same sheet, a head in an antique helmet ; perhaps a study for the Minerva in the Hermitage. Pen.

Several of the drawings in this Col- lection were destroyed in the fire of 1864, among them a Woman making Pancakes, a Mercury and Argus, and a Study of a Cow.

Madame Kneppelhout. Sterkenburg.

Simeon holding the Child Jesus in his Arms. Signed and dated 1661. Pen, heightened with sepia. In an album formerly belonging to J. Heyblock.

Mr. J. P. Six van Hillcgom.

Two landscapes. Pen, washed with sepia, for the family album known as Pandora.

A Sketch for tlie Anatomy Lesson of Dr. Deyinan. Pen and brown ink. 4$ X 5] inches.

RUSSIA

ST. PETERSBURG. The Hermitage.

Abraham and the three Angels. Pen sketch. 8JJ x 13! inches.

A Woman seated in an Arm-chair, a fan in her hand. Pen and bistre. 5| x 4.} inches.

A Woman seated on a Bench, her head rest- ing on her hand. Pen. 4- 1 s , r x 4,^ inches.

An Interior, with a woman holding a child in her arms, and a man seated at a table look- ing at her. Pen and bistre wash. 4,^-5 x 4,-",. inches.

The Banks of a Canal, with houses and a

windmill. Sketch with a reed pen. 6,",) x i ii inches.

The ! lend of an old Man with a white beard, a skull-cap on his head. Signed with the monogram. Study in red chalk for Count Stroganoff's picture.

Christ and Nicodemus conversing in a room by lamp-light. Pen and bistre. 3.' x 2-; inches.

Tltrcc l-'igures of Men, one in Eastern dress. Pen and bistre. 5}^ x 5},^ inches.

The Dismissal of Hagar (/). Red chalk. 10;^ x 8> inches.

SWEDEN

STOCKHOLM. Royal Museum.

The greater part of this fine Collection came .from the Crozat cabinet, which con- sisted in the main of drawings bought by De Piles in Holland, probably from J. van de Cappelle.

Study of a naked Model, standing at a table ; the same slender youth who reappears in various other drawings and etchings by the master. Pen and sepia wash.

Jesus among the Doctors,. A free sketch with the reed pen.

Calvary. A pen study.

Titia van Uylenborch, Saskiefs sister. A drawing from nature, the name of the sitter inscribed by Rembrandt, and the date 1639. Pen and bistre.

A Woman in a Hood, her hands hidden in her loose sleeves. Pen and bistre.

The Head of a Child, almost full face. Titus (?). Pen and bistre.

A young Girl in a broad-brimmed hat, her

hand on a window-frame. Bistre, corrected with body-colour.

The same, her head resting on her right hand. Bistre, with corrections in body- colour.

A Turk, full face. Black chalk and Indian ink.

A young Woman in profile ; two others, lightly sketched with the pen.

A Man seated, a stick in his hand ; another, the position reversed.

A Landscape, with a canal, reeds, and trees. Sepia wash.

Three Cottages, with a clump of trees. Sepia wash.

A young Woman, with a veil and a floating skirt, holding a flower in her hand. Bistre.

A Woman with a white head-dress and apron, her head resting on her right hand. Pen and wash.

An old Woman, guiding a child in leading- strings. Pen.

272

REMBRANDT

A Man fishing. Pen.

An Oriental, seated. Pen.

Three Studies of the same Model. Pen.

A Youth in Oriental Dress; from the posi- tion of his right hand he appears to be play- ing the harp ; perhaps a study for a David. Pen.

An old Woman, scuted, reading in a large book. Pen, washed with Indian ink.

An old U'oman asleep. Pen.

A Man, seated, and reading by the light of a lamp. Pen and sepia wash.

A Man in a Turban, seated before a table loaded with books. Pen.

A young Woman in full dress, seated by a basket of fruit and flowers ; an old woman beside her talking to her. Pen.

Jesus and the Disciples at Emmiius. Pen and sepia wash.

A Turk going up a Staircase, another figure beside him. Pen.

Two nearly nude figures, with clasped hands. Pen.

Four rough sketches of heads. Pen.

A Youth in a Cap, seated, one of his feet on a stool. Titus. Drawn from nature, with a reed pen.

A Man standing, one hand giasping a sword, the other laid upon his breast. Pen.

A young Man leaning on a stick, seen from behind. Pen and bistre.

A young \\'oinan standing near a table ; the curtains of a bed in the background. Pen.

A Man in a plumed Jiat, seated on a low chair. Pen.

Abraham and Isaac. A study of two dif- ferent gestures for the patriarch's hand, as he preaches submission to the Divine will.

A young Woman seated at a Table, absorbed in a book. Pen.

Two Women, each suckling a child. Pen and sepia.

An Oriental in a Turban and Cloak. Pen.

A Fisherman in a Blouse, holding a basket in each hand.

The Saviour showing His Wounds to St. Thomas, who kneels at His feet. Pen.

David and Uriah. On the margin, this sketch is divided into squares.

A Man in a Swoon; persons pressing round to help him. Pen and bistre wash.

The Entombment ; the size noted on the margin. Pen.

Abraham's Sacrifice. Study for the picture in the Hermitage. Pen and bistre wash.

Christ and the Samaritan Woman, by the well. Sepia wash.

A Woman resting at the mouth of a cave.

Study fora Flight into Egypt. Sepia wash.

A young Woman, seated in an arm-chair ; an old woman behind her. Pen.

An Oriental in a Turban, wrapped in a large cloak. Pen.

A Woman suckling her Child. Pen sketch.

A Woman holding a Child in Swaddling- clothes ; another woman suckling a child beside her. Pen sketch from nature.

Sketch for an Abraham's Sacrifice. Sepia wash.

A Man sea/ed at a Table, his head on his right hand. Pen.

An old Man in a high hat and short cloak, with a child. Pen.

An old Man seated, reading in a book, which he holds in his hand. Pen.

An old Woman standing, carrying a basket, and speaking to a young woman in front of her. Pen.

An old Man on a platform, listening to a man who addresses him from below ; perhaps the Good Samaritan and the Host. Pen.

An Oriental in a Turban, armed with a scimitar ; before him a man imploring his mercy, with clasped bands. Pen.

Pilate declares Jesus innocent ; the same motive, slightly less elaborated, is in the Albertina Collection. Pen, with sepia wash.

Abraham's Sacrifice, study for the picture in the Hermitage. Pen and sepia.

The Good Samaritan tending the wounded man. Pen.

An old Woman seated at a fireplace, watch- ing a saucepan upon the fire. Pen and sepia.

A Woman warming a Child at a fire. Pen.

An old Woman seated, her hands crossed before her. Pen and sepia.

A Person kneeling before an Oriental. Pen and sepia.

Jacob's Blessing. Study for the Cassel picture. Pen.

The Triumph of Mordecai. Study for the etching. Pen and sepia.

The Magdalene kneeling at the Feet of Christ. Study for the Brunswick picture. Pen and sepia, heightened with white.

A Man with Books under his Arm. a child near him. Pen and bistre.

A Life-study of a Man. Black chalk.

An Oriental, full face, in a high cap. Pen.

A Woman lying on the Ground, another woman tending her, in an Eastern landscape. Pen.

A Woman praying, in a Landscape, an angel approaching her. Pen and bistre.

CATALOGUE OF DRAWINGS

273

A Woman caressing a Child, who stands before her. Below, the rough sketch of a head, and a study of the same child in a cap. Pen, washed with ink.

A Man, seated at a table; he hands some money to a workman standing beside him ; another workman counts over what he has received. (The Workers in the Vineyard?} Pen.

Jesus among the Doctors. Pen.

Tobit and his Wife with the Goat. A sketch for the picture in the Berlin Museum. Pen.

A couchant Lion, asleep. Pen.

Manoah's Prayer. A sketch for the Dresden picture ; arched at the top. Pen and sepia. 8| x ~]\ inches.

Raguel and his Wife return thanks to Cod for the preservation of Tobit. Pen.

Christ and the Apostles in the Garden of Olives. Pen and sepia wash.

Jesus taken Prisoner. Pen and sepia.

The Adulteress before Christ. Pen.

A Landscape with two Coivs and a Shepherdess. Pen.

A study for the grisaille, The Preaching of John the Baptist. Pen and wash.

Calvary. A pen study.

A Woman seated, her hair unbound ; a study for the Jewish Bride. Pen and wash.

Job, his Wife, and his Friends. Pen and bistre, with corrections in the action of the principal figure.

A Study for the Workers in the Vineyard at the Hermitage. Pen.

Copy of the Adoration of the Magi, an Italian composition, remodelled by Rem- brandt. On the reverse, an Adoration of the Shepherds. Bistre, heightened with red chalk.

Mr. Josephson.

The Visitation; two women embracing in a landscape before a house, fr<5m which two men are looking out at them. Pen, washed with bistre. 7^ x 5^ inches. M. G. Anckerswaerd Collection.

A Landscape, with a stream in the fore- ground, a hut to the left, and a hay-shed surrounded by trees. Pen, washed with bistre. 4.4 x 6J inches. Comte de Tessin and Anckerswaerd Collections.

VOL. II.

Ill

ETCHINGS

EVEN during his lifetime Rembrandt's etchings were very much sought after by amateurs. We find Houbraken already speaking of excited contests for their possession, and of great variation in price between one proof and another, caused rather by rarity than merit. He quotes Clement de Jonghe, Zoomer, and Pieter de la Tombe, as having made collections even in those early years.

In the eighteenth century the best known Dutch collections were those of Amadeus de Burgy and of Van Leyden. We shall also have to speak of those of J. Barnard and of Lord Aylesford in England ; and those of Marolles, Coypel, Julienne, Silvestre, and, above all, Mariette, in France, where Rembrandt had fervent admirers at a very early period.

In our own time we may be content with mentioning those of M. Edmond de Rothschild and of M. Dutuit, in France ; that of Mr. Holford, in London ; those of Mr. Artaria, at Vienna ; of Dr. Straeter, at Aix-la-Chapelle ; and of Mr. D. Rovinsky ; at St. Petersburg.

Important as these private cabinets may be, they must yield the pas to the great public collections, with their privilege of durability, which are enriched from day to clay by purchase and bequest. For the number and beauty of its proofs Amster- dam comes first. It was formed in great part by the purchase of the Van Leyden collection in 1810, by Louis Bonaparte. Next come the cabinets of Paris, of London, of Berlin, of Vienna, and of Frankfort. At the successive great sales of the present century those of Silvestre in 1811, of Robert Dumesnil in 1836, of Lord Aylesford in 1846, of the Baron Verstolk van Soelen in 1847 and 1851, of Firmin Didot in 1877! prices steadily increased. In 1782 a proof of the Burgomaster Six, in the first state, was bought for 500 florins (^32 i6s.) by the Vienna Museum. At the Verstolk sale, the Resurrection of Lazarus fetched ^54 ; the Renter Anslo, ^60 ; the large Coppenol, 100 guineas; the Ephraim Bonus, ^138 8^., and the Rembrandt with a Sabre, ,152. The famous Christ healing the Sick, for which a hundred guilders (^8 65. 8d.) had once seemed a memorable price, was sold at this sale for ^154 i6s. It has since been sold for .1,160. Finally, at the Griffith sale, in 1883, M. Edmond de Rothschild acquired

1 To these we may add the sales of Dr. Griffith in 1883, of the Duke oj Buccleuch in 1887, nfMr. Richard Fisher in 1892, of Air . Seymour Hadcn in 1891, a nil oj Mr. A'. S. Holford in 1893. /'. W.

ETCHINGS 275

a first state of the Dr. A. Tholinx for ^1,520, the highest price, I believe, ever paid for an engraving. 1

Rembrandt's etchings have been the subject of much cataloguing and classification. Gersaint, the friend of Watteau, was the first to put together the elements of a catalogue, which, however, he left unfinished. After his death his MS. was bought by Helle and Glomy, who added some information collected by themselves, and published the whole in 1751. P. Yver, an art-dealer of Amsterdam, issued a supplement in 1756, correcting several mistakes, and an Englishman, Daniel Daulby, printed a translation of this latter work, accompanied by notes of his own, in 1796, at Liverpool.

Twelve months later the well-known engraver, Adam liartsch, who was then keeper of the prints in the Vienna library, completed the labours of his predecessors with his conscientious study of Rembrandt and his imitators, published in two volumes in the Austrian capital.

The Chevalier Claussin (1824) in France, and Wilson (1836) in England, did little more than reproduce the work of Bartsch with some improvements, although the earlier of the two made no allusion to the source from which he had so largely drawn. More recently still in 1854, 1859, and 1861 Charles Blanc added some judicious remarks to the work of all these men, but, like them, he adopted the classification by subjects. Vosmaer was the first to attempt the study of Rembrandt's work as a whole, giving to each production, so far as he could, its correct place in the chronology of the master's life. It is easy to understand how many difficulties stood in the way of such a task, especially at its inception. Scarcely a third of the etchings are dated, and the work of fixing approximate dates, or even an order of production, for those which are undated, is still a very delicate business. Vosmaer's chronology contains, therefore, plenty of mistakes. But it was the first parallel in a siege prosecuted with increased vigour by later critics.

In May, 1877, an exhibition of Rembrandt's etchings was organized by English amateurs at the Burlington Fine Arts Club, a chronological order being determined on. Mr. Seymour Haden, one of the promoters of this exhibition, to which he had sent the most remarkable proofs in his own collection, wrote a preface to the catalogue and in this he put forward his own views upon disputed questions of dates and authenticity.

A passionate admirer of Rembrandt, Mr. Seymour Haden is himself a most dis- tinguished etcher, and so his researches and the results to which they lead have a peculiar interest of their own. It is impossible to disagree with his opinions on the comparative value of different impressions of Rembrandt's plates, and on the unreasonableness of the excessive variations in price brought about by the rarity of certain proofs. It must be acknowledged that everything he says on these points springs from his delicate appreciation of the art he practises, and of the qualities of his favourite master. His admiration for Rembrandt may even have a touch of over-partiality about it. In his recognition of the very real differences between works of the same period, he may not have taken sufficient account of inequalities in the master's talent and of modifications due to the varying measure of time and trouble expended on this plate and on that. In his desire to attribute nothing to Rembrandt but masterpieces, Mr. Seymour Haden has gone a little too far. He has not shrunk from erasing Rembrandt's name from plates on which it was inscribed, but which

1 This price was exceeded by that given for the Hundred Guilder Print at the Hjlford Safe (1,750), and also by that rcachai by the Ephraim Bonus with the black ring (.1,950). F. W.

T 2

27 6 REMBRANDT

seemed to him unworthy of the honour, or from giving some of the work to assistants. In order, apparently, to add force to his hypothesis, he even ventures to distinguish between one assistant and another, and to name them. Here it is certain that the English critic has fallen into more than one error. 1 He calls Lievens and Van Vliet Rembrandt's pupils, for instance, and he included in the list other artists who were not in the master's studio at the time when he declares them to have helped him with his plates. Again he refuses to accept as genuine forms of signature which seem unusual to himself even when those very forms are to be recognized on contemporary works in oil. As Mr. Seymour Haden's formal statements on these points have been recognized as inexact, his mistakes, although they do not destroy the value of his work, make it necessary to use it with discretion.

More reticent than his countryman on questions of authenticity, Mr. C. H. Middleton- Wake (formerly Middleton) was also struck by the advantages to be won by classifying Rembrandt's teuvre chronologically. During the Burlington Club exhibition he gave his notions on this subject to the public in Notes on the Etched Work of Rembrandt (London, 1877, 410), which was followed a year later by a complete catalogue of the master's etchings. 2 This is an excellent work, in which the description of each plate was followed by the remarks of preceding labourers in the same field as well as by his own. While proclaim- ing the superiority of the chronological arrangement, Mr. Middleton-Wake has attempted to reconcile it in his own catalogue with the old-fashioned grouping by subjects. He has diminished the number of the groups, however, and substituted four heads for the twelve adopted by Bartsch, viz.: i, Studies and Portraits; 2, Biblical and Religious Subjects; 3, Fancy Subjects; and, 4, Landscapes. Valuable as his work is from the chronological stand-point, Mr. Middleton Wake has, so far as the designation of the plates is concerned, only added one more to previously existing notations, and so far has added to the confusion brought about by so many systems.

M. Eugene Dutuit, in his turn, did a good service to criticism in having the whole series of Rembrandt's etchings reproduced in their actual dimensions and with the most scrupulous care. For this purpose he used the best proofs in his own collection one of the finest of those formed in our time and in the public museums. This magnificent work, which the progress of heliogravure has made vastly superior to anything previously attempted, puts within the reach of every critic and every collector the means of com- paring groups of etchings which can never be found united in original impressions of equal quality. Each reproduction is accompanied by a commentary pointing out the different states of the plate and the various opinions which have been expressed upon it. M. Dutuit himself, while leaving to each critic the responsibility for such opinions as he may quote, expresses his own with discretion, modesty, and impartiality. In the matter of enumera- tion, he protests against the inconvenience resulting from previous systems, but he adds another to the total, and so helps to increase the discomfort he deplores. I must add, however, that he does something to help other students in this matter, for his elaborate concordance tables allow any particular plate to be readily followed through all the classifications. On the other hand, his own critical use of the facsimiles made with such care is slight enough.

1 This, I think, M,: Seymour Haden has admitted. His fi, st conjectures may have gone too far, but there can scarcely be a question as to the general value of his cont. ibution to Kcmbrandt criticism. It is full of

ttggcstivencss, of -vitality, and of knowledge. F. W.

2 A Descriptive Catalogue of the Etched Work of Kcmbrandt van Kyn. Svo. London : John Murray.

ETCHINGS 277

In an important work published at St. Petersburg in 1890, Mr. Dmitri Rovinsky lays before the student reproductions of Rembrandt's etchings in all their states. The one thousand untouched phototypes included in this work allow us perhaps for the first time to appreciate the various stages through which Rembrandt carried his plates, and therefore to fix for each the real number of states, apart from such changes (due to caprice, experiment, or accident in the printing) as do not amount to a "state."

The exhibition at the Burlington Club led, of course, to many discussions as to the authenticity of certain plates ascribed, with more or less probability, to Rembrandt. Bartsch's total of 375 was soon acknowleged to be over-generous, and later critics have successively reduced it : Wilson to 366, Claussin to 365, Charles Blanc to 353, Middleton- Wake to 329. Going still further in the same direction, certain artists and amateurs, acting not seldom on mere personal predilection, have erased other works from the already shortened list, and one, Mr. Alphonse Legros, has gone so far as to limit Rembrandt's undoubted authorship to 71 plates, while he allows that 42 others, or 113 in all, may be by his hand. The sceptical movement set afoot by Mr. Seymour Haden thus made way, and in December, 1885, M. Louis Gonse published an article in the Gazette des Beaux Arts in which he altogether blessed the innovators, and asserted the necessity for a thorough overhauling of the traditional lists. Certainly, as one of Rembrandt's most intelligent admirers, Mr. W. von Seidlitz, wrote to me, the master's reputation could only gain by the recognition that certain unworthy plates were not his, but the work of purification should be done without any taint of partiality. In an other- wise judicious article printed in the Repertorium fiir Kunstwissensekaft, 1 Dr. Strater of Aix- la-Chapelle yields to the new ideas even while attempting to combat them. In his total of from 280 to 300 plates, he refuses to include the free subjects, not because they are inferior or different in execution from the rest, but simply because their grossness seems to him unworthy of the master's reputation.

It fell to Dr. Bode to revindicate the rights of true criticism, which in all this had been somewhat overlooked. He did so in a sequel to Dr. Strater's article, which also appeared in the Repertorium, and carried the weight due to Dr. Bode's knowledge of Rembrandt's work as a whole. The technical knowledge of actual practitioners has its value, says the German critic, in these questions, but side by side with the special indications to which such men are apt to confine themselves, a vast amount of other evidence exists which must be taken into account. In the case of Rembrandt, the dates on his early etchings against which the strictures of Mr. Seymour Haden and his followers are chiefly directed a comparison between their execution and that of pictures and drawings of the same period, as well as biographical documents relating to himself and his contemporaries, should all be taken into account. Unless this be done, and done with fulness both of knowledge and judgment, false or dangerous conclusions may readily be come to. It is certain that when we compare the master's early pictures with those of his maturity, they offer differences no less marked than, and of the same kind as, those between some scratching of his experimental period and such a masterpiece as the Lutma, or the Old Haaring or the Hundred Guilder Print. Neither can it be denied that plates like those numbered 14, 15, 25, 150, 166, 314, 322, 337, 360 by Bartsch to mention only these do Rembrandt little honour, and yet, with their dates of 1630 or 1631,

1 Rcnibrandfs Radintngtti ; 1886, pp. 253 et seq.

27 REMBRANDT

with their monograms and their acceptance by Rembrandt as part of his achievement, they are neither better nor worse than many pictures of the same epoch. If, as Dr. Bode wisely points out, the master attached but little importance to these early efforts, they yet have their uses in showing the progressive development of his powers and the lines on which he built up his definitive manner. From the study of his earliest pictures we may draw indisputable proof of authenticity in the case of certain etchings which otherwise we should be tempted to erase from the catalogue of his productions. The monograms and signatures : R. H., R. H. van Ryn, Rembrant van Ryn, Rembrant, and finally Rembrandt, which we find on pictures combined with dates between 1628 and 1633, appear also upon etchings of the same epoch. Now these facts have only been noticed and put on record quite recently, so that forgers could not have made use of them for the better recommendation of their wares. It is only fair to say that the credit for these discoveries, as well as their proper combination, belongs to Dr. Bode, whose deductions and even hypotheses have been confirmed by what has since come to light about Rem- brandt's youth. Thanks to such evidence as that here briefly sketched, the authenticity of a large number of the early etchings which are those most contested seems to be put beyond cavil, especially that of such as beat 1 the master's name or monogram. Until these signatures are proved to be false we shall do well not to show ourselves more fastidious than Rembrandt himself, who, in spite of their inequalities of execution, acknowledges them his by his sign manual.

However this may be, it must be allowed that the movement started by Mr. Seymour Haden has done much good in freeing Rembrandt from responsibility for certain plates quite unworthy of him. Mr. Middleton-Wake, for instance, while maintaining a laudable reserve, throws doubt upon various landscapes rather lightly accepted by Bartsch, some of which may now be even restored to their true authors. Still more recently, Mr. W. von Seidlitz, in his desire to throw light on the question, was happily inspired to provoke a discussion of the whole subject in the Berlin Society for the study of Art History. 1 He invited the co-operation of those, who, by their special studies, had proved themselves authorities on questions of authenticity. By correspondence with Dr. Bode, with Dr. Strater, and with myself, he, moreover, took care to combine the information he had received on points which seemed doubtful, and to note agreement between different authorities, whenever it occurred. As a consequence of all these inquiries and of his own personal researches the number of plates accepted by Mr. von Seidlitz as the work of Rembrandt amounts to 260.

Our limited space has compelled us to confine the following catalogue to what is strictly necessary. As we were unable to notice all the enumerations previously put forth, we have been content to give references to two which represent between them the respective systems of classification by groups and by dates. 2 For the first we have taken Bartsch, who seems to enjoy a certain immortality, and who has, moreover, this advantage, that he can be quoted also for Rembrandt's pupils and imitators. To the notation of Bartsch we have added that of Middleton-Wake, whose chronology, with a few rare exceptions in this, usually with the support of Mr. von Seidlitz we have also adopted. We have pointed out the plates the authenticity of which is seriously contested, and have rejected those which for various reasons, seemed to ourselves inadmissible. The total to which all this

1 Meeting of the 3151 October, 1890.

2 But n-e have added Wilson see Editors Preface. F. W.

CATALOGUE OF ETCHINGS

279

brings us is 270 ; some forty plates being included on which we should hesitate to give a definite opinion. The number does not differ very greatly from that arrived at by Mr. von Seidlitz, and yet, in a matter so delicate, it can only be looked upon as approximate.

The figures placed after the letters B, W, and M refer respectively to the numbers in the catalogues of Bartsch, Wilson, and Middleton.

FIRST CLASS.

PORTRAITS OF KEMBRA.VDT.

Portrait of Rembrandt, when young, -with bushy hair. Monogr. About 1630. (Bartsch, I. Wilson, i. Middleton- Wake, 51.)

Portrait of Rembrandt -with moustaches. About 1634. (B. 2. W. i. M. 1 06.)

Rembrandt, holding a Bird of Prey. About 1633. Contested by von Seidlitz. The first state probably by Rembrandt. (B. 3. W. 3. M. 100.)

A Bust of Rembrandt, with a large nose. About 1631. (B. 4. W. 4. M. 42.)

A small head of Rembrandt, stooping. About 1630. (B. 5. W. 5. M. 19.)

A Bust of Rembrandt, with a fur cap and dark dress, coarsely etched. About 1630. Con- tested. (B. 6. W. 6. M. 17.)

Rembrandt in a turned up hat and embroidered mantle. Monogr. 1631. The impression of the second state, on which Rembrandt wrote : ast. 24 (or 25), anno 1631, is in the British Museum. (B. 7. W. 7. M. 52.)

Rembrandt with frizzled hair. About 1631. (B. 8. W. 8. M. 50.)

Bust of Rembrandt, the eyes deeply shaded. About 1630. Contested. (B. 9. W. 9. M. 21.)

Rembrandt with an air of grimace. Monogr. 1630. (B. 10. W. io. M. 23.)

A Portrait of Rembrandt when young. (Por- trait of Titus van Ryn.) About 1652. (B. ii. W. ii. M. 165.)

Portrait of Rembrandt in an Oval. About 1630. Contested. (B. 12. W. 12. M. 16.)

Rembrandt with an open mouth. Monogr.

1630. (B. 13. W. 13. M. 22.) Rembrandt with a fur cap and robe. Monogr.

1631. Contested. (B. 14. W. 14. M. 44.)

Rembrandt -with a mantle and cape. Monogr.

1631. (B. 15. W. 15. M. 48.) Rembrandt with a round fur cap. Monogr.

1631. (B. 16. W. 16. M. 45.) Rembrandt with a scarf round his neck. Rem- brandt. 1633. (B. 17. W. 17. M. 99.) Portrait of Rembrandt with a drawn sabre,

held upright. Rembrandt f. 1634. (B. 18.

W. 18. M. 105.) Rembrandt and his Wife. Rembrandt, f. 1636.

(B. 19. W. 19. M. 128.) Portrait of Rembrandt in a cap and feather.

Rembrandt, f. 1638. (B. 20. W. 20. M.

1340 Rembrandt leaning on a stone sill. Rembrandt

f. 1639. (B. 21. W. 21. M. 137.) Rembrandt drawing. Rembrandt f. 1648.

(B. 22. W. 22. M. 1 60.) A Portrait of Rembrandt in an Oval. In the

first state, the figure is shown to the knees ;

the plate is a square, signed above, Rem- brandt f. 1634. It was cut to an oval for the

second state. (B. 23. W. 23. M. in.) Portrait of Rembrandt in a fur cap and light

dress. Monogr. 1630. (B. 24. W. 24.

M. 27.) Portrait of Rembrandt with frizzled hair. We

believe the first state only to be by Rembrandt.

It is signed with the monogr., and dated

1631. Contested. (B. 25. W. 25. M. 49.) Portrait of Rembrandt with short curly hair.

Rembrandt. About 1638. (B. 26. W. 26.

-M. 133.) Portrait of Rembrandt with frizzled hair, a

tuft of which rises over the left eye. Monogr.

1630. (B. 27. W. 27. M. 26.)

SECOND CLASS.

SUBJECTS FROM THE OLD TSTAME.\T.

Adam and Eve. Rembrandt f. 1638. (6.28. W. 35. M. 206.)

Abraham entertaining the three Angels. Rem- brandt f. 1656. (B. 29. W. 36. M. 250.)

The Dismissal of Hagar. Rembrandt f. 1637. (B. 30. W. 37. M. 204.)

The same Subject. These two plates are not by

Rembrandt. (B. 31 and 32.) Abraham caressing Isaac. Rembrandt f.

About 1638-1639. (B. 33. W. 135*. M. 203.) Abraham with his son Isaac. Rembrandt.

1645. (B. 34. W. 38. M. 220.)

280

REMBRANDT

Abraham's Sacrifice. Rembrandt f. 1655. (B. 35. W. 39. M. 246.)

Four Prints for a Spanish Bank : La PiciJra Gloriosa, by Menassch ben Israel. I. Nebuchadnezzar's Vision of the linage. 2. DanicFs Vision. 3. Jacob's Dream. 4. David and Goliath. Rembrandt f. 1655. In the first states these plates were dark, and full of bur. They were afterwards lightened, and retouched. (B. 36. W. 40. M. 247.)

Josepli telling his Dream to his Brethren. Rem- brandt f. ' 1638. (B. 37. W. 41. M. 205.)

Jacob lamenting tJie supposed Death of Joseph.

Rembrandt van Ryn fe. (B. 38. W. 42.

M. 189.) Joseph and Potiphar's Wife. Rembrandt f.

1634. (B. 39. W. 43. M. 192.) The Triumph of Mordecai. About 1648-1650.

(B. 40. W. 44. M. 228. David on his Knees. Rembrandt f. 1651. (B.

41. W. 45. M. 232.) Tobit Blind. Rembrandt f. 1652. (B. 42.

W. 46. M. 226.) The Angel ascending from Tobit and his

Family. Rembrandt f. 1641. (B. 43. W.

48. M. 213.)

THIRD CLASS.

SUBJECTS FROM THE .V/;/F TESTAMEXT.

Tlte Angel appearing to the Shepherds. Rem- brant f. 1634. (B. 44. W. 49. M. 191.)

The Nativity. Rembrandt f. About 1654. (B. 45. W. 50. M. 238.)

The Adoration of the Shepherds. About 1652. (B. 46. W. 51. M. 230.)

J/ie Circumcision. Signed twice : Rembrandt f. 1654. (B. 47- W. 52. M. 239.)

The Circumcision. About 1630. (B. 48. W. 53. M. 179.)

The Presentation of Jesus in the vaulted Temple. About 1641. (B. 49. W. 54. M. 208.)

The Presentation, in Rcmbrandf's dark manner. About 1654. (B. 50. W. 55. M. 243.)

The Presentation, with the Angel. Monogr. 1630. (B. 51. W. 56. M. 178.)

The Flight into Egypt : a small Print. Rem- brandt inventor et fecit. 1633. The compo- sition only by Rembrandt (?) (B. 52. \V. 57. M. 184.)

The Flight into Egypt : a Night Piece. Rem- brandt f. 1651. (B. 53. W. 58. M. 227.)

The Flight into Egypt. About 1630. (B. 54. W. 59. M. 181'.)

The Flight into Rgypt : the Holy Family crossing a Rill. Rembrandt f. 1654. (B. 55. W. 60. M. 240.)

The Flight into Egypt: in the style of Elshcimer. About 1653. The composition taken from a plate by Hercules Seghers, of Tobias and the Angel. (B. 56. W. 62. M. 236.)

The Rest in Egypt, in a Wood, by Night. About 1641-1642. (B. 57. W. 62. M. 221.)

The Rest in Egypt. Rembrandt f. 1645. (B. 58. W. 63. 218.)

The Rest in Egypt. Not by Rembrandt. (B. 59-)

Jesus found by his Parents in their Journey to

Jerusalem. Rembrandt f. 1654. (B. 60.

W. 64. M. 244.) The Virgin and the Infant Jesus in the Clouds.

Rembrandt f. 1641. (B. 61. W. 65. M.2II.) The Holy Family. Monogr. About 1632. (B.

62.- W. 66. M. 182.) The Holy Family ; Joseph looking in at the

Window. Rembrandt f. 1654. (B 63. W.

67. M. 241.) Jesus disputing with the Doctors in the

Temple: a Sketch. Rembrandt f. 1654. (B.

64. W. 68. M. 245.) The same Subject ; a larger Sketch. Rembrandt

f. 1652. (B. 65. W.'eg. M. 231.) The same Subject ; a small upright. Monogr.

1630. (B. 66. W. 70. M. 177.) Christ preaching, commonly called The little

Tomb. About 1652. (B. 67. W. 71. M. 229.) The Tribute-Money. About 1634. (B. 68. W.

72. M. 196.) Christ driving the money-changers out of the

Temple. Rembrandt f. 1635. (B. 69. W.

73.-M. 198.) Jesus and the Samaritan Woman at the Well ;

an arched Plate. The third state signed :

Rembrandtf. 1658. (B. 70. W. 74. M. 253.) The same Subject; an upright Plate. Rem- brandt f. 1634. (B. 71. W. 75. M. 193.) The Resurrection of Lazarus. Rembrandt f.

1642. (B. 72. W. 76. M. 215.) The same Subject; a large Print. R. H. Van

Ryn f. About 1633. (B. 73. W. 77. M. 188.) Christ healing the Sick; called The Hundred

Guilder Piece. About 1649. ( B - 74- W. 78.

M. 224.) Christ in the Garden of Olives. Rembrandt .

165. About 1657. (6.75. W. 79. M. 251.) Christ before Pilate. Rembrandt f. 1655. (B.

76. W. So. M. 248.)

CATALOGUE OF ETCHINGS

The Ecce Hanw. Rembrandt f. 1636. Cum privil. A plate in which the collaboration of a pupil, probably J. van Vliet, is very obvious. (B. 77. W. 82. M. 200.)

The Three Crosses. (Christ crucified between the two Thieves.') The third state signed : Rembrandt f. 1653. (B. 78. W. 81. M.

235.)

The same Subject; an oval Plate. About 1640. (B. 79. W. 85. M. 222.)

The Crucifixion; a small square Plate. Rem- brandt f. About 1634. (B. 80. W. 86. M.

1930

The Descent from the Cross. Rembrant f. 1633. Of this plate there are only three impressions. A copy on a slightly larger scale made probably by one of Rembrandt's pupils is signed : Rembrandt f. cum. privil. 1633. (M. 187.) (B. 81. W. 83 and 84. M. 1 86.)

The Descent from the Cross ; a Sketch. Rembrandt f. 1642. (B. 82. W. 87. M. 216.)

The Descent from the Cross; a Night Piece. Rembrandt f. 1654. (B. 83. W. 88. M. 242.)

The Funeral of Jesus. Rembrandt. About 1645. (B. 84. W. 89. M. 217.)

The Virgin mourning the Death of Jesus. About 1641. The execution closely allied to that of the Spanish Gipsy of this date (No. 120.). (B. 85. W. 90. M. 202.)

Jesus Christ Entombed. About 1652. (B. 86.

W. 91. M. 233.) Christ and the Disciples at Emmaus.

Rembrandt f. 1654. (B. 87. W. 92.

M. 237.) Christ and the Disciples at Emmaus; a small

Print. Rembrandt f. 1634. (B. 88. W.

93. M. 194.) Jesus Christ in the middle of his Disciples.

Rembrandt f. 1650. (B. 89. W. 94.

M.22 5 .)

The Good Samaritan. Rembrandt inventor et

fecit. 1633. (B. 90. W. 95. M. 185.) The Return of the Prodigal Son. Rembrandt

f. 1636. (B. 91. \V. 96. M. 201.) The Beheading of John the Baptist. Rembrandt

f. 1640. (B. 92. W. 97. M. 209.) The same Subject. Not by Rembrandt. (B. 93.) Peter and John at the Beautiful Gate of the

Temple. Rembrandt f. 1659. (B. 94. \V.

9 8.-M. 254.) The same Subject. About 1630. (B. 95.

W. 99.-M. 249.) St. Peter. Rembrandt f. 1645. (B. 96. W.

101. M. 219.) The Martyrdom of St. Stephen. Rembrandt

f. 1635. (B. 97. W. 102. M. 197.) The Baptism of the Eunuch. Rembrandt f.

1641. (B. 98. W. 103. M. 210.) The Death of the Virgin. Rembrandt f. 1639.

(B. 99. XV. 104. M. 207.)

FOURTH CLASS.

PIOUS SUBJECTS.

St. Jerome sitting at the Foot of a Tree. Rem- brandt. 1634. (B. ico. W. 105. M. 190.)

St. Jerome kneeling ; an arched Print. Rem- brandt ft. 1632. (B. ioi. W. 106. M. 183.)

St. Jerome kneeling. Rembrandt f. 1635. (B. 102. W. 107. M. 199.)

St. Jerome sitting before the Trunk of an old Tree. Rembrandt f. 1648. (B. 103. XV. 108. M. 223.)

St. Jerome ; unfinished. About 1652. (B. 104. W. 109. M. 234.)

St. Jerome; in Rembrandt s dark manner. Rem- brandt f. 1642. (B. 105. XX". no. M. 214.)

St. Jerome. Not by Rembrandt. (B. 106. XV. in.)

St. Francis praying. Rembrandt f. 1657. (B. 107. XV. 112. M. 252.)

FIFTH CLASS.

ALLEGORICAL, HISTORICAL, AND FANCY SUBJECTS.

The Hour of Death. Not by Rembrandt. (B. 108.)

Youth surprised by Death. Rembrandt f. 1639. (B. 109. W. 113. M. 265.)

An allegorical Piece; probably the Demo- lition of the Duke of Alva's Statue. Rem- brandt f. 1658. (B. no. W. 114. M. 296.)

Adverse Fortune; an allegorical Piece. Rem-

brandt f. 1633. (B. in. W. 115. M.

262.) Medea; or the Marriage of Jason and Creiisa.

The fourth state signed : Rembrandt f. 1648.

(B. ii2. W. 1 1 6. M. 286.) The Star of the Kings. About 165? (B. 113.

W. 117. M. 293.) The Large Lion- Hunt. Rembrandt f. 1641.

(B. 114. XV. 1 1 8. M. 272.)

282

REMBRANDT

A Lion- Hunt. About 1641. (6. 1 15. VV. 1 19.

M 273.) A Lion-Hunt. About 1641. (B. 116. VV. 120.

M. 274.) A Battle. About 1641. (B. 117. W. 121. M.

275.)

Three Oriental Figures (Jacob and Laban.} Rembrandt f. 1641. (B. 118. \V. 122. M.

212.)

The Travelling Musicians. About 1635. Con- tested. (B. 119. W. 123. M. 263.)

The Spanish Gipsy. About 1647. (B. 120. W. 124. M. 285.)

The Rat-Killer. Monogr. 1632. (B. I2I.--W. 125. M. 261.)

The Rat-Killer. About 1632. Contested. (B.

122. W. 126. M. 260.)

The Goldsmith. Rembrandt f. 1655. (B. 123.

W. 127. M. 295.) The Pancake Woman. Rembrandt f. 1635.

(B. 124. W. 128. M. 264.) The Sport of Kolf. Rembrandt f. 1654. (B.

125. W. 129. M. 294.) A Jews' Synagogue. Rembrandt f. 1648. (B.

126. W. 130, M. 288.)

The Corn-Cutter. Not by Rembrandt. (B. 127.) The Schoolmaster. Rembrandt f. 1641. (B.

128. W. 131. M. 271.) The Mountebank. Rembrandt f. 1635. (B.

129. W. 132. M. 117.) The Draughtsman. About 1641. (6.130. W.

133. M. 270.) Peasants travelling. About 1650. Contested.

(B. i 3 i.-W. I34.-M. 153.) Cupid reposing. Not by Rembrandt. (6.132.) A Jew, with a high Cap. Rembrandt f. 1639.

(B. 133. W. 135.- M. 140.) The Onion-Woman. Monogr. 1631. Con- tested. (B. 134. Rejected by Wilson. M.

66.) The Peasant with his Hands behind him. Monogr.

1631. Contested. (6.135. W. 136. M. 89.) The Card-player. Rembrandt f. 1641. (B.

136. W. 137. M. 269.)

Old Man with a short Beard. Not by Rem- brandt. (B. 137.) The blind Fiddler. Monogr. 1631. (B. 138.

W. 138. M. 78.)

The Man on Horseback. Monogr. About 1630.

(B. 139. W. 139. M. 4.) A Polander. About 1633. (B. 140. W. 140.

M. 102.) Another Polander, with a Sword. About 1632

Contested. (B. 141. W. 141. M. 93.) The Little Polander. Monogr. 1631. (6.142.

W. 142. M. 79.) An old Man, seen from behind. About 1631.

(B. 143. W. 143. M. 86.) Two travelling Peasants. About 1634. (B.

144. W. 144. M. 104.)

The Astrologer. Not by Rembrandt. (6.145.) A Philosopher. Not by Rembrandt. (6. 146.) A Philosopher meditating. About 1646. (B.

147. W. 145. M. 156.) A Man meditating. About 1642. (B. 148.

VV. 146. M. 276) An old Man studying. About 1629. (B. 149.

VV. 147. M. 176.)

A beardless old Man. Monogr. 1631. Con- tested. (B. 150. VV. 148. M. 71.) An old Man with a bushy Beard. Monogr.

reversed. About 1630-1632. (6. 151. W.

149. M. 32.) The Persian. Monogr. 1632. (6. 152. W.

I50.--M. 91.) A blind Man, seen from behind. About 1630.

This, as Messrs. Charles Blanc, Middleton-

VVake and Wilson have pointed out, is a study

for the Tobit (6. 42). Contested. (B. I 53.

W. 47. M. 1 80.) Two Venetian Figures. Monogr. Contested.

(B. IS4.-W. iji.-M. 73.) A Physician feeling the Pulse of a Patient.

Study for the physician in the Death of the

Virgin (B. 99). (B. 155. W. 152. M. 143.) A Skater. About 1633, according to Mr.

Middleton-Wake. We agree with Mr. von

Seidlitz that the plate is not by Rembrandt.

(B. 156. W. 153. M. 103.) The Hog. Rembrandt f. 1643. (B. 157.

W. 154 M. 277.) The little Dog sleeping. About 1640. Accepted

by Dr. Bode. Rejected by Mr. von Seidlitz.

(B. 158. W. 155. M. 267.) The Shell. Rembrandt f. 1650. (B. 159.

W. 156. M. 290.)

SIXTH CLASS.

BEGGARS.

A Beggar sitting in an elbow-chair. About 1631. (B. 160. W. 157. M. 76.)

Beggars : A Man and a Woman. About 1639, according to Mr. Middleton-Wake. We agree with Mr. von Seidlitz that the plate is not by Rembrandt. (B. 161. VV. 158. M. 142.)

A Beggar standing, and leaning on a Stick.

About 1630. (B. 162. W. 159. M. 33.) A Beggar standing, seen in Profile in a Cap.

About 1631. (B. 163. W. 160. M. 141.) Two Beggars, a Man and Woman, conversing.

Monogr. 1630. (B. 164. W. 161. M. 37.)

CATALOGUE OF ETCHINGS

Two Bfggars, a Man and a II 'a man, coming

from behind a Bank. Monogr. About 1629.

(B. 165. \V. 162. M. 10.) A Beggar, in the manner of Callot. About

1631. We agree with Mr. von Seidlitz that this

piece is very doubtful. (I?. 166. XV. 163. -

M. 74.) A Begg.ir in a slashed CL'ak. Monogr. 1631.

Contested. (B. 167. W. 164. M. 70.) A Beggar Woman with a leathern Hot tie.

About 1631. We agree with Mr. von Seidlitz

that this piece is very doubtful. (B. 168.-

W. i6 5 .-M. 75.) A Beygar Standing. Monogr. About 1631.

Contested. (B. 169. W. 166. M. So.) A Beggar Woman, asking Alms. Rembrandt

f. 1646. (B. 170. W. 167. M. 157.) L.izarus Klap, or the dum'j Beggar. Monogr.

1631. Contested. (B. 171. W. 168. M. 72.) A Ragged 1'casanf, ivith his Hands behind

him. About 1630. (B. 172. \V. 169.-

M. 121.)

A Beggar warming his Hands over a Chafing- dish. About 1629. (B. 173. -W. 170.

M. 14.) A Beggar sitting on a Hillock. Monogr. 1630.

(B. i7 4 .-W.'i 7 i.- M. 34.) An old Beggar with a long Beard, and a Dog

by his Side. Monogr. 1631. Contested. (B. 175. W. 172. M. 65.)

Beggars at the Door of a House. Rembrandt 1648. (B. 176. W. 173. M. 287.)

A Beggar, and its Companion, in Two Pieces. Rembrandt f. 1634. (B. 177. W. 174. M. 112.) Rembran. f. 163. (B. 178. W. I75--M. H3-)

A Beggar with a Wooden Ij?g. About 1630. (B. 179. W. 176. M. 35.)

A 1'easant standing. Not by Rembrandt. (B. 1 80.)

A Female Peasant standing : companion to the last. Not by Rembrandt. (B. 181.)

A Beggar: a Sketch. About 1629. (B. 182. W. 179. M. 11.)

Two Beggars : A Man and a Woman. About 1631. Contested ; but an impression of this plate is found on the reverse of an impression from the Uizarus Klap (B. 171).- (B. 183.-- W. 180. M. 13.)

A Beggar, wrapped in a Cloak. About 1629. Contested. The last part of Bartsch's de- scription applies to another plate. (B. 184. \V. 181. M. 9.)

A sick Beggar lying on the Ground, and a Beggar Woman. Rejected, with good reason, by Mr. Middleton-Wake. (B. 185. W. 182.)

SEVENTH CLASS.

FKKE Sl'UfECTS A\l) ACADEMIC FIGURES.

Ledikant, or the French Bed. Rembrandt f.

1646. (B. 186. W. 183. M. 283.)

The Friar in the Cornfield. About 1640. Con- tested. (B. 187. W. 184. M. 282.)

'Ihe Flute-player. Rembrandt f. 1640. (B. 188. W. 185. M. 268.)

The Shepherds in the Wood. About 1641. (B. 189. W. 1 86. M. 281.)

A Man making Water. Monogr. 1630. (B. 190. W. 187. M. 255.)

A Woman crouching under a Tree ; a com- panion to the last. Monogr. 1631. (B. 191. - W. 188. M. 257.)

A Painter drawing from a Model. About

1647. Contested, though there is a drawing by Rembrandt of the composition. (B. 192. W. 189. M. 284.)

An academical Figure of a Man, called in Holland the Prodigal Son. Rembrandt f. 1646. A study (reversed), for this plate is in the Bibliotheque Nationale. (B. 193. W. 190. M. 279.)

Academical Figures of Two Men. About 1646. The sketch of a Woman playing with a Child on the same plate is probably a little earlier. (B. 194. W. 191. M. 280.)

The Bathers. Rembrandt f. 1651. The 5 in

the date was substituted by the artist for the 3

originally written. (B. 195. W. 192. M. 292.) Academical Figure of a Man sitting on the

Ground. Rembrandt f. 1646. (B. 196. W.

193. M. 278.) A Woman sitting before a Dutch Stoi'e.

Rembrandt f. 1658. (B. 197. W. 194. M.

299.) A naked Woman sitting on a Hillock. Monogr.

About 1631. (B. 198. W. 195. M. 256.) A Woman preparing to dress after bathing.

Rembrandt f. 1658. (B.iog. -W. 196. M. 298.) A Woman with her feet in the Water. Rembrandt

f. 1658. (B. 200. W. 197. M. 297.) Venus or Diana, bathing. Monogr. About

1631. (B. 201. W. 198. M. 258.) The Woman with the Arrow. Rembrandt f.

1661. (The a of the signature is missing, and

the b is reversed.) (B. 202. W. 199. M. 302.) Antiope, and Jupiter as a Satyr. Rembrandt f.

1659. (B. 203. W. 200. M. 301.) Dande and Jupiter. Monogr. About 1631.

(B. 204. W. 201. M. 259.) A naked Woman, seen from behind. Rembrandt.

1658. (B. 205. W. 202. M. 300.)

2 8 4

REMBRANDT

EIGHTH CLASS.

The Landscape ivith a Caiv. Rejected by

Middleton-Wake. The date 1634 (if indeed

the last figure be a 4) docs not agree with the

monogram, which Rembrandt no longer used

at this period. (B. 206. W. 103.)

A Landscape with a House and a large Tree by

it. About 1640. (B. 207. W. 204. M. 303.)

Six's Bridge. Rembrandt f. 1645. (B. 208.

W. 205 AM. 313.) View of Oinval. Rembrandt f. 1645. (B. 209.

W. 206. M. 211.) View of Amsterdam. About 1640. (B. 210.--

W. 207. M. 304.) The Sportsman. About 1653. (B. 211. W.

208. M. 329.) The three Trees. Rembrandt f. 1643. (15. 212.

W. 209. M. 309.) A Peasant carrying Milk-pails. About 1650.

(B. 213. W. 210. M. 320.) A Landscape with two Houses, lightly etched and washed with Indian ink. Rejected, with good reason, by Mr. Middleton-Wake ; pro- bably by Ph. Koninck. (B. 214. W. 211.) The Coach Landscape. Not by Rembrandt.

(B. 215. W. 212.) The Terrace. Not by Rembrandt. (B ->i6

W. 2,3.)

A Village near the High-road, arched. Rem- brandt f. 1650. (li. 217. W. 214. M.325.) A Village with a square Tower, arched. Rembrandt f. i65o.(B. 218. W. 215. M. 321.) Landscape, with a Man sketching. About 1646.

(B. 219. W. 216. M. 315.) The Shepherd and his Family. Rembrandt f.

1644. (B. 220. W. 217. M. 310.) The Canal. About 1652. (B. 2->i W ->i8--

M. 327.) A Landscape -with a Vista. Rembrandt f. 1652.

(B. 222. W. 219. M. 328.) Landscape with a ruined Tower. About

1648. (B. 223. W. 220. M. 317.) An arched Landscape with a Flock of Sheet. Rembrandt f. 1636. (B. 224. W. 221. M. 319 ) Large Landscape, with a Cottage and a Dutch Hay-barn. Rembrandt f. 1641. (B. 225 - - W. 222. M. 306.) A Large Landscape, -with a Mill Sail seen aboi'e

a Cottage. Rembrandt f. 1641. (B. 226. W.

223. M. 307.) Landscape with an Obelisk. About 1650. (B.

227. W. 224. M. 324.) A Village with a Canal and a Vessel under Sail.

About 1645. (B. 228. W. 225. M. 314.) A Landscape with a Clump of Trees near the Road-side. Rejected with good reason by Messrs. Ch. Blanc and Middleton-Wake. (B. 229. W. 226.) An Orchard with a Barn. About 1648,

But we

(B. 230.

1645.

LANDSCAPES.

according to Mr. Middleton-Wake.

follow Mr. von Scidlitz in rejecting it.

W. 227. M. 316.) The Grotto with a Brook. Rembrandt

(B. 231. W. 228. M. 312.) The Cottage with -white Pales. About 1645-1648.

(B. 232. W. 229. M. 308.) Renbrandfs Mill. Rembrandt f. 1641. (B. 233.

W. 230. M. 305.) The Gold-weigher's Field. Rembrandt.

(B. 234. W. 231. M. 326.) A Canal with Swans. Rembrandt f.

(B. 235. W. 232. M. 322.) Landscape ivith a Canal and a large Boat.

Rembrandt f. 1650. (The a and the 6

reversed.) (15. 226. W. 233. M. 323.) A Landscape with a Cow Drinking. About

1649. (B. 237. W.234. M. 318.)

1651. 1650.

(The fifteen Rembrandt.)

following are not by

A Landscape with a square Tower. (The

signature a forgery.) (B. 238. W. 235.) A Landscape, with a small Figure of a Man.

(B. 239. W. 237.) A Landscape : the Canal with the little Boat.

(15. 240. W. 236.) A Landscape -with a gnat Tree in the middle.

(B. 241. W. 238.)

The Landscape with a white Fence. (B. 242.) A Landscape with a Fisherman in a Boat. (B.

243. W. 239.)

A Landscape with a Canal. (B. 244. W. 240.) The low House on the Bank of a Canal. (B.

245. W. 241.) A Landscape with a Wooden Bridge. (B. 246

W. 242.) A Landscape, with a Canal and a Palisade,

dated 1659. (B. 247. W. 243.) A Cottage and a Barn filled with Hay. (B 248.

-W. 244.) A Cottage with a square Chimney. (B. 249.

W. 245.) The House with three Chimneys. (B. 250. W

246.)

The Hay-waggon. (B. 251. W. 247.) The Castle. (B. 252. W. 248.)

The Bull. Rembrandt f. 164. About 1649.

(B. 253. W. 249. M. 289.) The Village Street. Rejected with good reason

by Mr. Middleton-Wake. (B. 254. W. 250.) An unfinished Landscape, with five Cottages.

Signed P. D. W. (P. de Witt.) (B. 255. W.

251.) A Landscape : View of a Canal. Xot by

Rembrandt. (B. 256. W. 252.

CATALOGUE OF ETCHINGS

285

NINTH CLASS.

PORTRAITS OF !\[K.\:

A Man in an Arbour. Rembrandt f. 1642.

(B. 257. W. 258. M. 152.) A Young Man sitting in a Chair. Rejected

with good reason by Mr. Middleton-Wake.

(B. 258. W. 259.) An old Man with a large Beard, lifting his

Hand to his Cap. About 1639. (B. 259.

W. 260. M. 139.) Bust of an old Man with a long Beard.

Monogr. 1631. (B. 260. W. 261. M. 62.) A Man -with a Crucifix and Chain. Rembrandt

f. 1641 ; the same model as in the Man

flaying Cards (B. 136), dated the same year.

(B. 261. W. 263. M. 147.) An old Man, with a large white Beard, and a

Fur Cap. Monogr. About 1632. Mr.

Middleton-Wake wrongly supposes him to be

Rembrandt's father. (B. 262. \V. 264. M.

90.) Portrait of a Man -with a short Beard. Monogr.

1631. (Portrait of Rembrandt's father.) (B.

263. W. 265. M. 77.) Portrait of J. Antonides van der TJnden. About

1653. (B. 264. W. 266. M. 167.) An old Man in a fur Cap, divided in the

Middle. Rembrandt f. 1640. (B. 265. W.

267. M. 145.) Jan Cornelisz Sylvius. Rembrandt f. 1634.

(B. 266. W. 268. M. no.) An old Man sitting at a Table. Not by Rem- brandt. (B. 267. W. 269.) A Young Man musing. Rembrandt f. 1637.

(B. 268. W. 270. M. 132.) Menasseh ben Israel. Rembrandt f. 1636. (B.

269. W. 271. M. 127.) Doctor Faust us. About 1651. (B. 270. W.

272. M. 291.)

Renier Anslo. Rembrandt f. 1641. There are

two studies by Rembrandt for this plate ;

one in the British Museum, the other in M.

Ed. de Rothschild's collection. (B. 271. W.

2 73 .-M. 146.) Clement de Jonghe. Rembrandt f. 1651. (B.

272. W. 274.' M. 164.) Abraham Fransz. About 1656. (B. 273. W.

275. M. 172.) Old Haaring. About 1655. (B. 274. \V. 276.

M. 1 68.) Young Haaring. Rembrandt f. 1655. (B. 275.

W. 277. M. 169.) Jan I.utma. Rembrandt f. 1656 (on the second

state.) (B. 276. \V. 278. M. 171.) Jan Assclyn. Rembra ... f. 164. About 1648.

(B. 277. W. 279. M. 161.) Ephraim Bonus. Rembrandt f. 1647. (B. 278.

W. 280. M. 158.) Uytenbogaerd, a Dutch Minister. Rembrandt

f. 1635 (on the third state.) (B. 279. W. 281.

M. 114.) Jan Cornelisz Sylvius. Rembrandt 1645. (B.

280. W. 282. M. 155.) Uytenbogacrd : called " The Goldweigher."

Rembrandt f. 1639. It is generally agreed

that one of Rembrandt's pupils, probably .

Bol, assisted him in this plate. (B. 281.

W. 283. M. 138.) The Little Coppcnol. About 1651. (B. 282.

W. 284. M. 162.) The Great Coppenol. About 1658. (B. 283.

W. 285. M. 174.) Doctor A. Tholin.i: About 1655. (B. 284.

W. 286. M. 170.) The Burgomaster Six. Rembrandt f. 1647.

(B. 285. W. 287. M. 159.)

TENTH CLASS.

FA.\'CY HEADS OF MEX.

First Oriental Head. Rembrandt geretuc. 1635. Portrait of Rembrandt's father. (B. 286. W. 288. M. 122.)

Second Oriental Head. Rembrandt geretuckeert. Portrait of Rembrandt's father. (B. 287. W. 289. M. 123.) Third Oriental Head. Rembrandt geretuck.

1635. (B. 288. W. 290. M. 124.) A Young Man in a Mczelin Cap. Sig. R. (B. 289. W. 291. M. 125.)

The four plates above are, as the word geretuckeert indicates, studio pieces, copies of prints by Lievens, and only retouched by Rembrandt.

Bust of an old Man with a large Beard.

About 1635. (B. 290. W. 292. M. 126.) Bust of an old Man, bald-headed, with a long

Beard. About 1630. (B. 291. W. 293. M. 29.) Profile of a bald-headed Man. Monogr. 1630.

(B. 292 W. 294. M. 39.) Profile of a bald-headed Man. About 1630.

Portrait of Rembrandt's father. Contested.

(B. 293. -W. 308. M. 41.) An old Man with abald Head. Monogr. 1630.

Portrait of Rembrandt's father. (B. 294.

W. 295. M. 40.) An old Man with a long Beard. Not by

Rembrandt. (B. 295.)

2 86

REMBRANDT

Jiust of an old Man with a bald Head. About

1632. (B. 296. W. 296. M. 95.) An old Man with a Beard. Monogr. 1631.

Contested. (B. 297. \V. 297. M. 61.) Bust of a bald old At an with his Month open.

Monogr. 1631. Contested. (B. 298.

W. 298. M. 56.) Bust of an old Man without a Heard, in a very

high fur Cap. About 1631, according to Mr.

Middleton-Wake ; we agree, however, with

Messrs. Bode and von Scidlitz, who reject it.

(B. 299. \V. 299.- M. 118.) Bust of a Man with a Heard from Ear to Ear.

About 1631. (B. 300. W. 300.- M. 88.) Head of an old Man with a Heard. A copy of

the above, on a smaller scale. (B. 301.

\V. 301.) The Slave with the great Cap. About 1631.

Contested. (B. 302. \V. 302. M. 81.) A Turkish Slave. About 1631. (B. 303.

W. 303, M.8 7 .) Bust of a Man seen in front in a Cap. Monogr.

1630. Contested. (H. 304. \V. 304. M. 38.) Bust of a Man with curling Hnir and his

Undtr-lip thrust out. About 1635. (B. 305.

W. 305.-- M. 119.) A bald old Man with a short Heard. About

1635. ('* 36- - W. 306. -- M. 120.) H ust of a Man in a fur Cap, stooping. Monogr.

1631. (B. 307. W. 307. -M. 58.')

Bust of a Man in the Action of Grimace. About 1631. Contested. Its authenticity very doubtful. (B. 308. W. 309. M. 60.)

An old Man with a large white Beard. Monogr. 1630. (B. 309. W. 310. M. 31.)

I'or/rait of a Hoy, a Half-length. Rembrandt f. 1641. Called by various authors a portrait of William II. as a child, a statement for which there is no evidence. (B. 310. W. 311. -M. 148.)

A Man with a broad-bri mined Hat and a KufJ. Monogr. 1630. De Vries read the date 1638, and the last figure may be taken for 8. But at this period Rembrandt did not use the monogram here employed. Mr. von Seidlitz, however, ascribes the plate to Ph.de Koninck. (B. 311. W. 312. M. 28.

An old Man -with a large Beard and fur Cap. About 1631. (B. 312. W. 313. M. 64.)

An old Man with a square Beard in a rich velvet Cap. Rembrandt f. 1637. (B. 313. W. 314.-- M. 131.)

An old Man with a square Beard and a Cap. Aboui 1630. Contested. (B. 314. W. 315. -M. 59.)

Jiitst of an old Man, with a large pointed Heard. Monogr. 1631 (on the second state). (P. 315. W. 316.-M. 63.)

Bust of a Man, full face, laughing. (I'crtra't of Rembrandt.) (B. 316. W. 29. M. 25.)

Profile of a Man with a short, thick Beard. Monogr. 1631. Contested. (B. 317. W. 3I7.-M. 69.)

A Philosopher, with an Hour-glass. Monogr. 1630 (on the third state). Rejected, with good reason, by Mr. von S Jdlitz. (B. 318. W. 318. -M. 15.)'

" L'komme a trois C 'rocs" About 1631. Portra : t of Rembrandt with moustaches, and a small tuft on the chin. (B. 319. W. 28. M. 47.)

Head of a Man with a mutilated Cap or Rem- brandt with haggard Eyes. Monogr. 1630. (B. 320. -W. 33. M. 34.)

A Man with Moustaches, in a high Cap, silting, also known as I'hilo the Jew. Monogr. 1630. It is really a portrait of Rembrandt's father. (B. 321. W. 319. M. 36.)

Bust of a J\Ian in a Cap. Monogr. 1631. Con- tested. (B. 322. W. 320. M. 46.)

A Man's Head, with Cap and Chin-stay. Of very doubtful authenticity. (B. 323. W. 321.)

Bust of a bald-headed Man. Monogr. 1631. Contested. (B. 324. \\'. 322. M. 57.)

An old Man with a very large Beard. Monogr. 1630. (B. 325. YV. 323. M. 30.)

A grotesque Head, in a. high fur Cap. Ab >ut 1632, according to Mr. Middleton-Wake but rejected by Mr. von Seidlitz. (B 326 W. 324. -M 98)

A small grotesque Head, with the mouth open. About 1632. (B. 327 W. 325 M 97.)

A Man pointing. Not by Rembrandt. (B 328.)

Bust of a young Man, in an Octagon. Not by. Rembrandt (B. 329. W. 326.)

B.ist of a young Man, lightly sketched. About 1651, according to Mr. Middleton-Wake; but we agree with Messrs. Bode, von Seidlitz, and Striiter, who reject it. (B. 330. W. 327.-- M. 163.)

Bust of a young Man in a Mezetin Cap with it Feather. Not by Rembrandt. (B. 331. W 328.)

Head of a Man with curly Hair and thin Moustaches. Monogr. 1631. (B. 332. W. 336. M. 43.)

Bust of an old Man with an aquiline Nosf. About 1631. (B. 333. W. 329.- M. 85.)

Must- of an old Man, seen nearly in profile. About 1631. (B. 334. W. 330. M. 84.)

Bust of a Man in a Ruff, with Feathers in his Cap. About 1628, according to Mr. Middle- ton-Wake, but we are inclined to doubt its authenticity. (B. 335. W. 331. M. 2.)

A Man with frizzled Hair; or Portrait of Rembrandt, in an Octagon. About 1631, ac- cording to Mr. Middleton-Wake ; but we are

CATALOGUE OF ETCHINGS

287

inclined to doubt its authenticity. (B. 336. - VV. 31. M. 20.)

Must (if an old Man with a white Beard and a Cip with a Border. About 1630. Contested. (B. 337.-W. 332.-M. 96.)

Bust of a young Man (Rembrandt?). Memoir.

1629. (B. 338. W. 30. M. 7.) The white Ne^ro, or Morisco Nol bv Rem

brandt. (B. 339. VV. 333.)

ELEVENTH CLASS.

rORI'RAITS OF II'OMKX

77/1.' Gnat Jewish Bride. Monogr. 1634.

Its authenticity questioned by M. de Seid-

litz. (B. 340. \V. 337. M. 1 08.) Study for the abm'e. Rejected, with good

reason, by Mr. Middleton-\Vake. (B. 341.) The Little Jewish Bride, or Saint Catharine.

Rembrandt f. 1638. (B. 342. \V. 338. M.

'35.)

Portrait of an old U'omiin, sitting, or Kern- rand fs Mot 'her, with a black I '<//.

Monogr. About 1631. (B. 343. \V. 339.

M. 54. Another old Woman sitting, or Rembrandt's

Moth jr. Rombrandt f. About 1632. (B.

344. VV. 340. M. 92.) A young Woman reading. Rembrandt f. 1634.

(B. 345. W. 341. M. 109.) An old Woman meditating over a Book. Not

by Rembrandt. (B. 346.) A young Woman with a Head-dress of Pearls.

(Saskia.) Rembrandt f. 1634. (B. 347.^

W. 342. M. 107. An old Woman with an Oriental Head-dress.

(Rembrandt's mother.) Monogr. 1631. (B.

348.-W. 343--M. 55-) Rembrandt's Mother. Monogr. 1631. (B.

349. W. 344. M. 53.) An old Woman asleep. About 1635. (B. 350.

W. 345. M. 116.) Head of an old Woman (Rembrandt's Mother

etched no lower than the chin. Rembran It f. 1633. (B. 351. --AV. 346. M. 101.)

The same subject, but earlier. Monogr. 1628.

_ (8.352. -W. 347--M. 6.) Bust of Rembrandt s Mother. Not in existence.

( 353.)

Bust of old W'omiin lightly etched. (Rem- brandt's Mother.) Monogr. 1628. (B. 354.

-W. 348.-M. 50 An old Woman in a black- I'eil. Monogr. 1631.

Contested. (B. 355. VV. 349. M. 67.) A \\'oian with a Basket. About 1642. (B.

356. VV. 350. M. 151.) The white Negress, or Morisco. Rejected by

Mr. Middleton-Wake, though the first stat :

bears the master's monogram. The same

subject was etched by Lievens on a smaller

scale. (B. 357--W. 35'.) Bust of a Woman, the lower piirt oval. About

1631. Contested. (B. 358. \V. 352. M. 68.) A Woman in a large flood. About 1642. (B.

359-^ W. 353.-M. 150.) An old Woman's Head. Monogr. Contested

by Mr. von Seidlitz. The execution very . coarse and heavy. (B. 360. W. 354.) A Woman reading. Not by Rembrandt. (B.

3 6i.-W. 355.) ' An old Woman in Spectacles, reading. About

1641, according to Mr. Middleton-Wake.

Contested. (B. 362. W. 356. M. 149.)

TWELFTH CLASS.

STUDIES OF HKADS A\l) SKE'/'i'llliS.

The Head of Rembrandt and other Studies. About 1632. (B. 363. W. 357--M. 136.)

Part of a Horse and other Sketches. About 1652. (B. 364. W. 358. M. 166.)

S.i sh'a, and other Heads. Rembrandt f. 1636. (B. 365. -W. 359--M. 129.)

A Sheet of Sketches, containing Jive Heads. Monogr. reversed. 1631. The plate has been cut into five pieces, which are described in this Catalogue separately as follows : B. 143, 300, 303, 333, and 33).. (B. 366.- VV. 360. M. 83.)

Three Heads of Women. (Saskia). About 1635. (B. 367. VV. 361. M. 115.)

Three Heads of Women, one asleep. Rembrandt f. 1637. (B. 368. VV. 362. M. 130.)

Two Women in Beds, and other Sketches. About 1639. (B. 369. W. 363. M. 144.)

Rembrandt's Head, and other Sketches. Monogr. 1631. The date has been disputed. We take it as referring only to the group of beggars in the corner. Rembrandt's portrait was evi- dently added on a vacant space at a much later date, probably 1648-1650, as appiars from his apparent ag; and the character of the execution. (B. 370. W. 364. M. 82.)

Sketch of a Dog. About 1640, according to Mr. Middlcton-VVakc. The plate is however,

288

REMBRANDT

contested, in spite of its bold and brilliant

execution. (B. 372. W. 365. M. 266.) Sketch of a Tree, and other Subjects. About

1638-1640. (B. 371. W. 366. M. 154.) Two Small Figures and some Trees; the plate

divided in two by a line. About 1631. (B.

373--W. 3 67.-M. i.) Three Profiles of old Men. About 1630.

Probably studies of Rembrandt's father (B. 374. W. 368. M. 12.) Head of a Woman. A Study. About 1628, according to Mr. Middleton-Wake. M. de Seidlitz questions its authenticity, and is inclined to give it to Hoogstraaten. (B. 375. W. 369. M. 3.)

SUPPLEMENTARY PLATES.

. Rembrandt Engraving a Plate. Unique impression, belonging to M. Dutuit (No. 173 in his Catalogue.) Accepted by Messrs. Seymour Haden and Middleton-Wake, who refer it to 1658. Rejected by Mr. von Seidlitz.

. Beggars under a Cloak. Accepted by M. Charles Blanc (No. 150 in his Catalogue) and by Mr. Middleton-Wake (No. 8 in his Cata- logue), who believes it to date from 1629. But we agree with Mr. von Seidlitz in rejecting it.

THE RETURN OF THE PRODIGAL.

Pen Sketch (Louvre).

BIBLIOGRAPHY

THE Literature connected with Rembrandt would form a library of itself. We have been content to quote in chronological order the principal publications bearing on his life and works. The special authorities consulted have been noted in the text.

CONSTAXTIXK HUVGKNS. Unpublished auto- biography, written about 162930. Library of the Academy of Sciences at Amsterdam. MS. Xo. XLVIII : Prasa Anglica, Italica, Hispanica, &c. J. J. ORLERS. Beschryving der Stad Leiden,

i vol. Ley den, 1641.

MENASSEH BKN Isy.\v.\..I 3 iedragloriosa ode la Estatua de Nebuchadnesar, i vol. 121110. Amsterdam, 1655.

SAMUKI, VAN HaoGSTRATEN.Meyding tot dc hooge School der Schilderkonst. Rotterdam, 1678. JOACHIM DE SANDRART. Academianobilissimce

artis pictorice, fol. Nuremberg, 16751683. FILLIPPO BALDINUCCI. Cominciamento c progresso delC arte delF intagliare in mine, i vol. 410. Florence, 1686. FELIBIEN. Entretiens sur Ics Vies et les Outrages des plus excellent* Peintres, 5 vol. I2mo, 1666 1688. R. DE PILES. Abrege de la Vie des Peintres,

i st edition, i vol. 121110. 1699. ARNOLD HOUBRAKEN. De groote Shoubourgh der nederlandsche Konstschilders, 3 vol. 8vo. Amsterdam, 17181719.

J. CAMPO WEYERMANN. De Levens Be- schryvingen der nederlandsche Konstschilders, 4 vol. 8vo. The Hague, 1729. DARGENVILLE. Abrigc de la Vie des plus

fameux Peintres, 3 vol. 4to. Paris, 1745. GERSAINT. Catalogue raisonne' de toutes les Pieces qui forment Fceuvre de Rembrandt, published by Messrs. Helle and Glomy, i vol. I2mo. Paris, 1751.

PIERRE YVER. Supplement au Catalogue raisonne de MM. Gersaint, Helle ami Glomy, i vol. i2mo. Amsterdam, 1756.

VOL. II.

J. VAX DYCK. Beschryving van alle dc Schil- deryen op hct Stadhuis van Amsterdam. Amsterdam, 1758.

DAMKI. DAULI-.V. A descriptive Catalogue of the Works of Rembrandt and of his Scholars, \ vol. 8vo. Liverpool and London, 1796. ADAM BARTSCH. Catalogue raisonne de toutes les Estampes qui forment rcem're de Rembrandt et ceux de ses principaux imitatcurs, 2 vol. 8vo. Vienna, 1797.

Lie CHEVALIER DE CLAUSSIN. Catalogue raisonne de toutes les Estampes qui forment rccuvrc de Rembrandt, i vol. 8vo. Paris, 1824.

Idem. Supplement au Catalogue de Rembrandt, i vol. 8vo. Paris, 1828.

JOHN SMITH. Catalogue raisonne of the Works of the most eminent Dutch, Flemish and French Painters, 9 vol. Svo. London, 1829 1842. Vol. VII (1836) is specially devoted to Rembrandt's Works.

D ESC AMPS. Vies des Peintres flamands ct hollandais, 3 vol. 4to. Marseilles, 1840.

EDUARD KOLLOKF. Rembrandt's Leben und Werke, published in Fr. von Raumer's Historisches Taschenbuch. Leipzig, 1854.

W. BURGER. Tresors (fart exposes a Manches- ter in 1857, i vol. I2mo. Paris, 1857.

Idem. Les Must'esde Belgique ct de Hollande, 3 vol. 121110. Paris, 1858, 1860, and 1862.

DR. SCHELTEMA. Rembrandt; Discours sur sa Vie et son GMe, i vol. Svo. Paris, 1866.

P. G. HAMERTON. Etching and Etchers, i vol. Svo. London, 1868.

F. SEYMOUR-HADEN. Introductory Remarks to the Catalogue of the etched Work of Rem- brandt (Burlington Club Exhibition), 410. London, 1877.

U

290

BIBLIOGRAPHY

C. VOSMAER. Rembrandt, so. Vie et ses CEuvres, i vol. 8vo. The Hague and Paris, 1877.

DR. C. LEMCKE. Rembrandt van Ryn, pub- lished in R. Dohme's Kunst und Kiinstler 8vo. Leipzig, 1877.

EUGENE FROMENTIN. Lcs Maitres d'autrefois,

I vol. I2mo. Paris, 1877. C. H. MIDDLETON-WAKE. Notes on the etched

Work of Rembrandt, 410. London, 1877. Idem. A Descriptive Catalogue of the etched

Work of Rembrandt, i vol. Svo. London

1878.

HENRI HAVARD. L'Art et les Artistes hol- landais, 3 vol. Svo. Paris, 1879.

F. SEYMOUR HADEN. Lam-are grave de Rem- brandt, Svo. Paris, 1880.

CHARLES BLANC. Lauvre comflet dc Rem- brandt dccrit et commentc, 2 vols. fol Paris 1880.

HERMAN RiEGEL.-AW/n^ zur niederldndi- schen Kimstgeschichte, 2 vol. 121110 Berlin 1882.

A. BRKDIUS AND N. Die RoEVER. Oud-Holland, a periodical, first published in Amsterdam in 1882, 10 vol., 410.

W. BODE. Studien sur Geschichte der hol- liindischen Malerei, i vol. Svo. Brunswick 1883.

ANTON SPRINGER.-^/,/^ au s der neucren Kunstgeschichte, vol. 1 1 : Rembrandt i,nd seine Genossen; 2 vol. Bonn, 1886.

BUSKKN-HUET.-^^ Land van Rembrandt 3 vol. Svo. Harlem, 1886.

L. SCHNEIDER. Geschichte der niederldndi- schen Litteratur, i vol. Svo. Leipzig, 1888.

G. GALLAND. Geschichte der hollandischen Baukunst und Bildnerei, i vol. large Svo. Leipzig, 1890.

A. BREDIUS. Les C/tefs-tfceuvre du Muset 1 royal d Amsterdam (French translation), i vol. folio, Paris, 1890.

Idem. Die Meisterwerke der koniglichen Gemdlde Galerie im Haag, i vol. fol. Munich 1890.

A. WOI.TMANN AND K. WOERMANN. Ge- schichte der Malerei, 3 vol. Svo. Leipzig.

L>R. W. Scmnm.Handzeichnungen alter Meister im K. g. Kupferstichkabinet sit Miinchen, fol. Munich.

DMITRI ROVINSKI. L'ceuvre grave de Rem- brandt, reproduction of original plates in all their successive states. 1,000 phototypes (un- touched), fol. St. Petersburg, 1890.

DR.^LANGEEHN. Rembrandt ah Erzichcr, by a German, i vol. Svo. Leipzig, 1890. (Pub- lished anonymously.)

DR. F. LIPPMANN. Original Drawings by Rembrandt, reproduced in Phototype. London, Berlin, and Paris ; 200 drawings in four issues' 18891892.

W. VON SEIDUTZ. Rembrandt's Radirungen published in the Zeitschrift fiir bildende Kunst, 1892.

PROFR. KARL MADSKN. Studier f ra i vol. Svo. Copenhagen. 1892.

THE SHELL.

1650 (B. 159).

INDEX OF PROPER NAMES

WASHED DRAW INC INK.

(Lord Warwick's Collection.)

ADRIAEN VAN Rvx, i. 72, 263, 264 : ii.

93-

AERTSKN (I'ic- tcr),i. 13,194-

A I, K N S N

(Hans), i. 149- 260.

ANTHONISSEN (H. van), i.

55- ANSI o (Rcnicr), i. :6o, 272, 273

274.

ARMINIUS, i. 3, 190. ASSKLVN (Jan), ii. 42, coi.

BACKER (Jacob), i. 83, 243,247 ;

ii. no, 124. BAEN (Jan of), ii. 124. BAERLE (Caspar van), i. 71, 93,

170,259,275; ii. 34,201. BAILLY (David), i. 36. BAILLY (Pieter), i. 35. BALDINUCCI (Filippo), i. 253,

258 ; ii. 64, 190. BANCK (Adriaen), ii. 121. BARENTSZ (Dirck), i. 112, 279. BAS (Elizabeth), i. 306, 307. BASSEE (Pieter), i. 250, 253. BASSEN (Van), i. 95. BECKER (Herman), ii. 39. BEERSTRATEN (Jan), ii. 48. BERCHEM (Claes), ii. 40, 41,

201.

BERENGERIO DA CARPI, i. 126. BEUCKELAER (Joachim), i. 194. BEYEREN (Cornelisz van), i. 250. BLEKER (Dirck), i. 155, 242. BLOEMAERT, i. 57. BOISSENS, i. 6.

Boi. (Ferdinand), i. 69, 106, 141, 198, 200, 238, 244, 246, 247, 258, 2/2 ; ii. 56, 60, 89, 124, 156.

BONUS (EphraTm), i. 83 ; ii. 34, 35-

BOURSSE (Esaias), ii. 58.

BRAMER (Leonard), i. 242.

BRAUWER (Adriaen), i. 253.

BRKDKROO, i. 84, 85, 89.

likii. (Paul), i. 5.

BRUYNINGH (Frans), ii. in, 1 12.

Burn El. (Arent van), i. 57, 58.

BURCHGRAEFF (Willem), i. 139.

BVLKRT (Frans), ii. 191, 192.

C.U.CAR (John of), i. 126. CALLOT (Jacques), i. 62. CAPPKI.I.E (Jan van de), i. 210,

249 ; ii. 62, 156, 161, 201. CARAMAN (Adriaen), i. 22. CARAVAGGIO, i. 242. CATS (Jacob), i. 87, 88 ; ii. 161,

201.

CAULERY (Joris de), i. 118. COCQ (Frans Banning), i. 282,

283, 296.

CODDE (Pieter), i. 90. COLYNS (David), i. 251. COPAL (Francis), i. 167, 210,

262, 293. COPPENOL, i. 6, 115, 1 16 ; ii. 35,

135, 161.

COQUES (Gonzales), i. 155. CORNELIA VAN RYN, ii. 71,

ii2, 113, 159, 181, 189,

192. CORNELIS DE HARLEM, i. 15,

112; ii. 68.

C'ORREGGIO, i. 222, 223 : ii. ~O.

COSTER, i. 84, 259.

CRAYKRS (Louis), ii. 120, 121,

1/3-

Cl'YP (Albert), i. 242. Cl'YP (Benjamin), i. 242.

UAEY (Marten), i. 148, 213. DAI.KN (C. van), i. 131. DANCKERTS, i. 98. DECKER (Jeremias de), ii. 161,

178, 179, i So. DESCARTES, i. 79, So. DEYMAN (Johannes), ii. 101,

102, 103.

DIRCX (Gecrtje), ii. 65, 66, 67. DOLENIKI (Bartolomeus), ii. 35,

38. DOOMER (Lambert), i. 270 ; ii.

62.

DOOMER (Paulus), i. 270. DORP (Philip van), i. 147, 156. DORST (Jacob von), ii. 57. DOU (Gerard), i. 38, 40, 42, 46,

47, 5i, 73, 196, 3o. DROST (Cornells), ii. 57. DUART (Francisca), i. 259. DULLAERT (Heyman), ii. 57,95- DUSART (Christian), ii. 192. DYCK (Anthony van), i. 93, 112,

118, 149, 155; 57, 124- DYCK (Jan van), i. 286, 288.

EECKHOUT (G. van den), i. 198,

248, 249, 258 ; ii. 60, 161, 201. EGBERTSZ DE VRY (Sebastian),

i. 128, 129. ELIAS (Nicholaes), i. 112, 130,

258,281 ; ii. 124, 155. ELSHEIMER (Adam), i. 16, 17,

27, 242 ; ii. 46.

292

INDEX OF PROPER NAMES

KLZEVIER (Hernout), i. 310. ELZEVIRS (the), i. 3, 35. ENGELBRECHTSZ (Cornells), i. 10, 1 1.

ESSELENS (Jacob), ii. 61.

FAMRITIUS (Bernhard), ii. 60. FABRFFIUS (Card), ii. 59, 60. FAKXERIUS, ii. 62. FKI.IIIIKN, ii. 169. FI.IXCK (Govcrt), i. 90, 198,246,

-47, 258, 290; ii. 14, 50, 56,

60, 124, 151, 152, i6r. FOKKF.XS (Mclchior), ii. 149. FOUKMF.XT (Helena), i. 223. FRAXSZ, (Abraham), ii. 39, 97,

'9, '73, 192. FREDERICK HENRY (Prince),

'93, i55,i5 6 , '59, 19, 238; ii.

2.

GF.EST (YVybrandt dc), i. 167,

i/i ; ii. 190. G ELDER (Acrt dc), ii. 17, 55,

H5, '74, 175, 176, 177, 201. r.HKVN (James of), i. 35, 131. GlORGIOXE, i. 224 ; ii. 70.

GLAHHECK (Jan van), ii. 57. GOETHK, i. 103. GOLTZIUS, i. 57.

GOMARUS, i. 3.

GOUDT (The Count Palatine), ii. 46, 209.

GOYEX (Jan van), i. 56,95,310; ii. 91.

GRAEFF (Andries de), ii. 121. GREP.P.ER (Pietcr de), i. 155. GKOOT (Hugo de), called Grotius, i. 123, 190.

HAARING (Jacob), i. m. HALS (Frans), i. 112, 183, 280; ii. 86, 91.

HARMEN (Gerritsz van Ryn), i.

5, 6, 39, 41, 42, 43, 44) 45; 46 ,

59, 72.

HEEM (Jan Davidsz de), i. 55. HEEMSKERCK (M. van), i. 57 ,

112.

HEERSCHOP (Hendrick), ii. 57. HEINSIUS (Daniel),!. 3; ii. 161. HELST (Barthelemi van der), i. 248; ii. 14, 55, 123, 124.

HELT-.STOCKADE (\. dc), ii.

123.

HERCKMANS, i. 191. HERTSP.EEK (Isaac van), ii. 95,

120, 121, 173.

HEYBLOCQ (Jacob), ii. 160. HEYDEX (Van dcr), i. 98. HIXDRICHSF.N (Johan), ii. 57,

95-

HIXI.OOPF.X (Jan), i. 152. Hoijp.E.MA, i. 95 ; ii. 91. HOET (Gsrard), i. 55, 115. HOI.HEIN, i. 112 ; ii. 136. HOI.I.AXD (Johann), i. 130. Houi.THORsr (Gerard), i. 20,

27, 155, 242. HOOCH (Pieter de) i. 95, 154;

ii. 58, 91, 124. HOOFT (I'ieter Cornelisz), i. 85,

86, 87, 90, 93, 259 ; ii. 201.

HOOGSTRATEX (Samuel van), i. 290, 291 ; ii. 63, 174.

HORST (G.), ii. 57.

HOUMRAKEX, i. 4, 15, 38, 47, 119, 146, 152, 196, 198, 243, 252, 258, 290 ; ii. 40, 42, 53,7i, 124, 142, 175.

HUYGENS (Constantin), i. 58, 59, 60, 61, 62, 114, 155, 156, 159, 160,220, 255, 256; ii. i6i.

HUYGENS (Maurice), i. 114.

ISAAC ISAKSZ, i. 22.

JACOBSZ (Dirck), i. 112, 279. JONGE (Martsen de), i. 259.

JONGHK (Clement de), i. 42, 98 ; ii. 39.

JORDAENS, i. 155. JUSTUS LlPSIUS, i. 3.

KEILH (Bernard), i. 253, 283 ; ii. 55, 56, 64.

KETEL (Cornells), i. 57, n2 281.

KETHAM (Johannes de), i. 126. KEYSER (Hendrick de), i. 80,

9i, "3- KEYSER (Thomas de), i. 83, 1 13,

114, 117, 129, 130, 133, 142,

144, 244, 259, 281 ; ii. 124, 1 55. KONINCK (Philips de), i. 198,

251,258; ii.45, 57, 61,93, 120. KONIXCK (Salomon), i. 152,

218, 251.

KOUWENHORN (Pieter), i. 38. KRETZER (Marten), ii. 39, 57, 123.

KRUL (Jan Hermansz), i. 140, HI-

LAIRESSE (Ge'rard de), ii. 193. LAMBERT (Jacobsz), i. 244, 247. LAROON (Marcus), ii. 165. LAST.MAX (Claes Pietersz), i. 281 . LASTMAX (Pieter), i. 15, 16, 17,

1 8, 19, 20, 21, 22, 23, 24, 242 ;

ii. 86, 124.

LEVECQ (Jacobus), ii. 57. LESIRE (Paulus), i. 118, 242. LEUPEMUS, ii. 61. LIEVEX DE KEY, i. 2. LIEVEXSZ (Jan), i. 15, 16, 37,

40,46,47, 58, 59, 72, 73, 1 1 8,

196, 198, 200, 203, 205, 206,

3io; ii. 87. LIXDEX (Antonides van der), ii.

35- LlXGELBACH (David), ii. 143,

144.

LIXGELBACH (Johannes), ii. 144.

Loo (Albert van), i. 255; ii. 189.

Loo (Gerrit van), i. 167, 174,

255, 293-

Loo (Jan van), ii. 93, 1 20. LOOTEN (Marten), i. 117. LORRAIN (Claude), i. 242. LUCAS HUYGHEXSZ, called

LUCAS DE LEYDEN, i. 10, n,

35, 55, 57, 62, 250. LUDIK (Lodewyck van), ii. 57,

93, 97, 133, 149- LUNDENS (Gerrit), i. 287, 289. LUTMA (Jan), i. 98, 249 ; ii. 109,

1 10. LYSBETH VAN RYN, i. 69, 72,

109, 1 10, 263; ii. 93.

MAES (Nicolaes), i. 22, 58, 59 ; ii. 78, 124.

MAGISTRIS (Trojanus de), i.

253.

MANDER (Karel van), i. 10. MARNIX DE SAINTE ALDE-

GONDE, i. 3.

MATHAM (Theodor), i. 244. MAURICE OF NASSAU (Prince), i. 155, 189,248.

'

INDEX OF PROPER NAMES

293

MAYR (Ulric), ii. 55.

MEER (Willen van der), i. 128.

MENASSEH BEN ISRAEL, i. 83,

236 ; ii. 82, 83. MICHELANGELO, i. 223. MIERVELT (Michiel), i. 112, 128,

155, 167.

MIERVELT (Pieter), i. 128. MOEYAERT (Claes), i. 251, 259,

295.

MOLYN (Pieter de), i. 310. MONCONYS (de), i. 125. MOREEI.SE (Paul), i. 112, 167. MORO (Antonio), i. 112.

NEELTGE WILLEMSDOCHTER Rembrandt's mother), i. 6, 22, 39, 40, 263. NEER (Aert van der), ii. 91. NOLPE (Pieter), i. 98.

ORLERS, i. 4, 14, 15, 23. ORNIA (Gerbrandt), ii. 133. OSTADE (Adriaen van), i. 1 54. OVEN (Juriaen), i. 83 ; ii. 55.

PAAUW (Pieter), i. 123, 124,

130.

PALAMEDES (Antoni), i. 90. PANCRAS (The Burgomaster),

i. 1 80. PAUDISS (Christophel), i. 272 ;

ii. 55, 176.

PELLICORNE (Jan), i. 139. PELS (Andries), ii. 138. PERCELLIS (Jan), i. 55, 310. PlETERSEN (Aert), i. 128, 281 ;

ii. 153.

PILES (Roger de), ii. 130. PLANTIN, i. 3. POORTER (Willem de), i. 196,

243-

POTTER (Pieter), i. 55, 90. PYNAS (Jan), i. 15, 55,242,250.

QUELLINUS (Artus), i. 131.

OUINCKHARD, i. 130, 131.

RAPHAEL, ii. 30.

RAVESTEYN (Jan van), i. 112,

155,280.

RENESSE (C.), ii. 58. RENIALME (Johannes de), ii.

39-

RlBERA, i. 242.

ROGHMAN (Roelant), i. 249,

261 ; ii. 42, 43, 201. RUBENS, i. 93, 112, 155, 204,

223, 224; ii. 2, 59, 202, 219. RUYSCH (Frederick), i. 124. RUYSCH (Rachel), i. 124. RUYSDAEL (Jacob van), ii. 41,

91, 124. RUYSDAEL (Salomon van), i.

310.

SANDRART (Joachim de), i. 196, 251, 258, 259, 260, 281 ; ii. 6. SANTVOORT (Dirck), ii. 155. SAUMAISE, i. 3. SAVERY (Roelant), i. 310. SAVERY (Salomon), i. 156.

SCALIGER, i. 3.

SCHILPEROORT (Conraet), i. 310.

SCOREL (Jan van), i. 112.

SEGHERS (Hercules), ii. 43, 45-

SIMON VAN LEEUWEN, i. 4, 15.

Six (Jan), i. 214, 318; ii. 36,37, J33, '34, 149-

SOBIESKI (John), i. 216.

SPINOSA, i. So, 86.

STEEN (Jan), i. 95, 300 ; ii. 91.

STOCK (Andreas), i. 131.

STOFFELS (Hendrickje), ii. 67, 68, 69,70,71,72,73, 74, 112, 113, 137, 140, 141, 145, '46, 159, 160 ; ii. 167, 168, 189, 191, 193.

SWALMIUS, i. 214.

SWANENBURCH (Claes van), i.

13- SWANENBURCH (Isaac van), i.

13, 56; ii. 153- SWANENBURCH (Jacob van), i.

13, I4,i5- SWANENBURCH (Willem van), i.

7, 8, 12, 35, 125. SWEELINCKS (the), i. 91. SYLVIUS (Jan Cornells), i. 167,

170, 171, 176, 260; ii. 34-

TERBORCH (Gerard), ii. 14- TESSELSCHADE (Maria), i. 259. TEUNISSEN (Cornells), i. 112,

279.

THOLINX (Arnold), ii. 101. THYSZ (Christoffel), ii. 94, 95>

1 20.

TITIAN,!. 126, 223; ii. ii, 70

171, 188. TITUS (van Ryn), i. 293, 294, 295,

310 ; ii. 68, 96, 97, 112, 113,

120, 121, 139, 140, 141, 142,

159, 160, 173, 174, 189, 190,

191.

TOM BE (Pieter de la), i. 31. Tui.P (Claes Pietersz), i. 118,

130, 131, 132,133, 134; ii- 38,

101, 152. TURENNE (Mardchal de), ii. I 5,

1 6.

UYLEXBORCH(The family van), i. 166, 167.

UYLEXBORCH (Hendrick van), i. 71, 101, 167, 168, 171, 202, 247, 261, 295 ; ii. 39, 57, 92,

121.

UYLENBORCH (Saskia van), i. 166 184,209, 210, 2ii, 213, 223, 224, 225, 226, 254, 255, 293, 294, 295, 296 ; ii. 96.

UYLENBORCH (Titia van), i. 262,

293-

UYLENBORCH (Ulric van), i. 255. UYTENBOGAERD(Jan),i.83, 142,

189, 190, 244.

UYTENBOGAERD (The Treas- urer), i. 238, 256.

UYTENBROECK (Moses) i. 118, i55, 242.

VALCKERT (Werner van), i. 112,

281 ; ii. 155.

VALDEZ (Francesco de), i. 9. VALENTIN, i. 242. VELDE (Adriaen vande), ii. 124. VELDE (Esa'ias van de), i. 90,

310. VELDE (Jan van de), i. 6, 103 ;

ii. 209.

VENANT (Frans), i. 251. VENNE (Adriaen van de), i. 87. VERBOUT (Jan), ii. 112, 120. VERDOEL (Adriaen), ii. 57. VERMEER (Jan), of Delft, ii. 91. VERMEER (Jan), of Haarlem, ii.

45,60.

VERSCHOOTEN (Joris), i. 15. VESALIUS (Andrea), i. 126, 127. VIANEN (Adam van), i. 98, 249. VICTORS (Jan), i. 249, 250; ii.

58.

294

VlNCl (Leonardo da), ii. 87, 88.

VlNCKKNBRINCK (Jansx), i. 91. VlSSCHKR, i. 98, 131. YUKOKR (Simon dc), i. 55, 310. VI.IKT (Joris Van), i. 38, 40, 42,

46, 48, 49, 50, 51, 60, 74, 196,

198, 199, 200, 202, 203 ; ii.

89. VOXDKI. i. 86, 87, 90, 93, 248,

251, 289 ; ii. 152, 161, 178,

20 1.

INDEX OF PROPER NAMES

VOORT (Cornelis van dcr), i

M2, 130, 131, 281 ; ii. 155. VOKSTKRMAN (Lucas), i. 198. Vossius, i. 3 ; ii. 161. VRIK.S (Abraham dc), i. 83. VRIKS (Vreclcman dc), i. 95.

WICKS (Adriacn dc), ii. 93. \\"KT (Jacob dc), i. 199, 243.

WlF.r.RANTSZ (I'ictcr) ii. II/.

WIU.KN (Van Ryn), i. 72, 263. \Vii.i.ii.MANs (Michiel), ii. 55. WII.MKRDOUX (Abraham), ii 121.

\VITSF.N (C.), ii. 95, 120, 121. WULFHAOEN (Franz), ii. 55. \VVMKR (Anna), i. 268. WITT (P. dc), i. 196.

ZKSF.N (Philips dc), ii. 150 ZOOMK.R, ii. 28.

JKSCS DlSI'l'TING \VITII THE DOCTOR 1 ; 1652 (I!. 65).

THE END

RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY

1670 4

ND Michel, Emile

653 Rembrandt

R/VM53 v.2

Fine Art

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