Skip to main content

Full text of "Rembrandt, his life, his work, and his time [microform]"

See other formats 


R  E  M  BRANDT 


Portrait  of  Rembrandt  (1658.) 

(LORD  ILCHESTKK'S  COLLECTION.) 


R, 


REMBRANDT 

His  Life,  his  Work,  and  his  Time 


V 


BY 


EM  ILK    M  i en  ML 

MEMBER   OF   THE   INSTITUTE   OK    FRANCE 


FROM   THE   FRENCH    liV 

FLORENCE   SIMMONDS 


EDITED    ItV 

FREDERICK    WEDMORE 


With  Sixty-seven  Full-page  Plates 
And  Two  Hundred  n/irf  Fifty  Text  Illustrations 


IN  TWO  VOLUMES 
Second  Volume 


LONDON 
WILLIAM     HEINEMANN 

1894 


ALL  RIGHTS  RESERVED. 


RICHARD  CLAY  AND  SONS,  LIMITED, 
LONDON  AND  BUNGAY. 


CONTENTS    OF   VOLUME    II 


CHAPTER    I 

I'KRIOO  OF  GREAT  ACTIVITY,  FROM   1646  TO  1654— I.IKE-STUDIES  (1647)—'  SUSANNA 

AND  THE  ELDERS '—REMBRANDT'S  TECHNIQUE— 'THE  coon  SAMARITAN  :  AM> 
'THE  DISCIPLES  AT  EMMAUS1  (1648)— '  PORTRAIT  OF  TURKNNF,'  (1649) — 'THE 
VISION  OF  DANIEL'  ;  '  ABRAHAM  AND  THE  ANGELS  '  ;  '  NOLI  ME  TANGERE1  (1651)  — 
ETCHINGS  OF  THIS  PERIOD  :  THE  '  HUNDRED  GUILDER  PRINT'  AND  'THE  LITTLE 
TOMI:.' 1—32 

CHAPTER    II 

PORTRAITS  OF  REMBRANDT'S  RELATIVES  AND  FRIENDS  :  |AX  SYLVIUS,  EPHRAIM 
liONUS,  JAN  SIX,  COPPENOL,  CLEMENT  I)K  JONGH  E  —  REMBRANDT'S  INTIMATES 
AMONG  THE  LANDSCAPE-PAINTERS  :  CLAES  BF.RCH  EM,  J  AN  ASSEI.YN,  R.  ROGHMAN, 
H.  SEGHERS,  JAN  VAN  DK  CAPPELLE— STUDIES  FROM  NATURE— THE  'RUIN'  AND 
THE  'WINDMILL' — STUDIES  OF  ANIMALS — REMHKANDT'S  PUPILS  AT  THIS  PERIOD — 
HIS  METHOD  OF  TEACHING 33—64 

CHAPTER    III 

REMURANDT'S  HOME— TITUS  AND  HIS  NURSE- HENDRICKJE  STOFFELS— PICTURES 
PAINTED  FROM  HER — THE  PORTRAIT  IN  THE  SALON  CARRE  AND  THE  '  HATHSHEBA1 
OF  THE  LACAZE  COLLECTION— STUDIES  FROM  NATURE— THE  '  GIRL  WITH  A  BROOM,' 
AND  THE  PORTRAITS  OF  OLD  MEN  IN  THE  HERMITAGE  AND  THE  DRESDEN- 
GALLERY — 'JOSEPH  ACCUSED  BY  THE  WIFE  OF  POTIPHAR'— ETCHINGS  FROM  1654 
TO  1655— REMBRANDT'S  HOUSE  AND  HIS  COLLECTIONS 65—90 

CHAPTER   IV 

REMBRANDT'S    EXTRAVAGANCE   AND    WANT   OF    FORETHOUGHT — THE    'MATHE- 
MATICIAN'   IN    THE    CASSEL    GALLERY — 'DR.    DEYMAN'S    LESSON    IN   ANATOMY  '- 
'JACOB      BLESSING     THE      CHILDREN      OF      JOSEPH '—THE      GRISAILLE     OF      'THE 
PREACHING  OF  ST.  JOHN '—ETCHED    PORTRAITS:     J.  LUTMA,    AND    'OLD    HAARING1 
—  REMBRANDT   A    BANKRUPT— THE   SALE   OF    HIS    HOUSE   AND   COLLECTIONS  .     .     .         91  —  IlS 
VOL.    II.  i> 


CONTENTS 


CHAl'TKK   V 

PAGB 

RKMIikANDT'S      DIFFICUI.T1KS      WITH      HIS      CRKDITORS— HIS      LONELY      LIFE— THK 

'CHRIST'   i\    cor  XT   ORLOFF-DAVIDOFF'S   COLLECTION— '  DAVID   AND    SAUL'- 

PORTRAITS        OF         THIS        PERIOD        (1658-1660)  —  THK  P.URGOMASTKR          SIX. 

COI'I'KXOI.  —  ETCHINGS       OF        HKNhRlCKJK --  PORTRAITS       OF       TITl'S      AND      OF 
REMBRANDT    HIMSELF -THK    PARTNERSHIP    P.KTWI.KN    TITUS    AM)    HKXDRICKJK      .       119—142 


CHAPTER   VI 

REMBRANDT'S  RETIRED  AND  LABORIOUS  LIFE  (1661)— 'SAINT  MATTHEW  AND  THE 
ANGEL'— '  YF.NUS  AXD  CUPID'— 'THE  CONSPIRACY  OF  CLAUDIUS  CIVILIS'- 
1'ICTURKS  OF  THE  CIVIC:  GUILDS  IX  HOLLAND— THE  'SYNDICS  OF  THE.  CLOTH 
HALL'— THE  UNITY  OF  THE  LITTLE  FAMILY— STUDIES  AND  PORTRAITS  OF  THIS 
PERIOD 143 — 166 


CHAl'TKK.   VII 

THK  DEATH  OF  HF.\ PRICKJK—  THK  PROliAP.LE  FAILURE.  OF  UKMRRANDT'S  HEALTH 
AND  SICHT  — THK  '  LUCRKTIA'  AXD  THK  'JEWISH  URIDK '•- AKRT  DK  OEI.DER  AXD 
HIS  WORKS— THK  '  I.E.  PECQ  REMBRANDT '—PORTRAIT  OF  JEREMIAS  DK  DECKER  — 
THK  'FAMILY  CROUP'  IN  THK  P.RUXSWICK  OALLERY— THE  '  FLAC.KLLATIOX  '  AT 
DARMSTADT— THE  'UKTURN  OF  THE  PRODIOAI.  SON  '—  RKMP.R ANDT's  Ij\ST 
PORTRAITS -THE  TRIALS  OF  HIS  CLOSING  YKAKS— HIS  DKATH  . 167—194 


CHAPTER   VIII 

THE  MAX  AND  HIS  WORK— HIS  DESULTORY  LIFE,  AND  THE  CONSTANT  DISCIPLINE 
TO  WHICH  HIS  POWERS  WERF.  SUBJECTED-  HIS  DRAWINGS— HIS  ETCHINGS— HIS 
PICTURES— THE  CHARACTER  AND  ORIGINALITY  OF  HIS  GENIUS ,95 2i6 


CATALOGUE    OF    REMBRANDT'S    WORKS. 

I.  PICTURES ; 

II.  DRAWINGS 

III.  ETCHINGS  . 

2/4 

BIBLIOGRAPHY _g 

INDEX- OF  PROPER  NAMES 2gi 


LIST   OF    FULL- PAGE    ILLUSTRATIONS 

IN    VOLUME    II 


PORTRAIT  OF  REMURAXDT.     1658.     (Lord  Ilehestcr's  Collection.) J'/viiiispiaa 

STUDY  FOR  THE  KTCHKD  "  LIFK- STUDY  OF  A  YOUXG  MAN."     1646.      Pen  and  wash. 

(BibliotJdque  Xationalt:.) _j 

STUDY    FOR    THE    "GOOD     SAMARITAN-."      Pen    and    wash.      (Rotterdam    Museum.) 

Phot.  Bacr     I0 

THE  Sui'l'F.K  AT  EMMAUS.     1648.     (Louvre.)     Phot.  IJraun 12 

KRAGMF.XT   FROM   "Tin;   PACIFICATION  OF   HOLLAND."     1648.     (Rotterdam  Museum.) 

Phot,  llaer H 

STUDY  OF  A  WOMAX,  SKATED.      Pen  Drawing,  heightened  with  sepia.      (Bibliothcque 

Nationalc.) 22 

CHRIST    PRKACHIXC..      Facsimile  of  the  etching  known  as    The   Lilllc    Tomb.      About 

1652.     (IS.  67.) 30 

VIEW  OF  AMSTERDAM.     Pen  and  sepia.     (Alberlina.)     Phot.  IJraun 50 

INTERIOR  OF  A  CHURCH.     Pen  and  wash.     (Albertina.) 52 

COTTAGE  SURROUNDED  I;Y  TREES.     Pen  and  wash.     (Heseltine  Collection.) 54 

STUDY  OF  A  COUCHANT  LION.     Pen  and  wash.     (Lord  Brownlow's  Collection.)  ....  56 

LANDSCAPE  STUDY.     Pen  and  wash.     (British  Museum.)     58 

THE  STORM.     Pen  and  wash.     (Albertina.)      60 

TOBIAS  AND  HIS  FAMILY  WITH  THK  ANGEL.     Pen  and  wash.     (Albertina.) 62 

PORTRAIT  OF  TITUS  VAN  RYN.     1655.     (M.  R.  Kami's  Collection.) 66 

PORTRAIT  OF  HENDRICKJK  STOFFELS.    About  1652.     (Louvre.)     Phot.  Braun     ....  68 

BATHSHEISA.     1654.     (Louvre.)     Phot.  Braun 70 

PORTRAIT  OF  HENDRICKJE  STOFFELS.    About  1658—1660.     (Scottish  National  Gallery.)  72 

WOMAN  BATHING.     1654.     (National  Gallery.)     Phot.  Braun     74 

GIRL  WITH  A  BROOM.     About  1654.     (Hermitage.)     Phot.  Braun 76 

PORTRAIT  OF  AX  OLD  WOMAN.     1654.     (Hermitage.)     Phot.  Braun 78 

A  MAN  READINC;.     Pen  and  sepia.     (Louvre.) 82 

A  MAN  IN  ARMOUR.     1655.     (Glasgow  Corporation  Gallery.) 86 

PILATE  WASHING  HIS  HANDS.    About  1656.     (M.  Sedelmcycr.)      106 


viii  LIST    OF   TEXT    ILLUSTRATIONS 

PAGE 

Tin:  LARGK  COPPKNOL.    About  1658.     Facsimile  of  the  Etching.     (8.283.) 136 

PORTRAIT  OF  RKMISKANDT.     1660.     (Louvre.) 138 

THK    SYNDICS   OF   THK    CLOTH    HALL.       1661.       (Amsterdam   Ryksmuseum.)      Phot. 

Hanfstacngl >  5s 

A  PILGRIM  PRAYING.     1661.     (Weber  Collection,  Hamburg.) 162 

PORTRAIT  OF  A  WOMAN,  SKATKD.     Pen  and  sepia.     (Heseltine  Collection.) 200 

Tin:  WOMAN  AT  THF  WINDOW.     Pen  and  wash.     (Heseltine  Collection.) 204 

AN  OLD  MAN  SKATKD  IN  AN  ARMCHAIR.     Pen  and  sepia.     (British  Museum.)   ....  212 


LIST   OF   TEXT   ILLUSTRATIONS 

IN    VOLUME    II 

DRAWING,  washed  with  Indian  Ink.     (British  Museum.) I 

AN  OLD  MAN,  WITHOUT  A  BEARD.    About  1635.     ('*•  299.) i 

AN  ACADEMICAL  FIGURE  OF  A  MAN.     1646.     (B.  193.) 4 

SUSANNA  AND  THK  ELDERS.     1647.     (Berlin  Museum.) 5 

THK  GOOD  SAMARITAN.     Pen  Drawing.     (Berlin  Print  Room.) 8 

REMBRANDT  DRAWING.     1648.    (B.  22.) 9 

NOLI  ME  TANGERE.     1651.     (Brunswick  Museum.) •  12 

STUDY  FOR  THK  "  NOLI  ME  TANGKRK"  IN  THE  BRUNSWICK  MUSEUM 13 

THE  SPANISH  GIPSY.     1647.     (B.  120.) 16 

HEAD  OF  CHRIST.     About  1652.     (M.  Rodolphe  Kann.) 17 

SKETCH  FOR  "DANIEL'S  VISION."     Pen. Drawing  with  wash.     (M.  Leon  Bonnat.)  .    ...  20 

DR.  FAUSTUS.    About  1651.     (13.  270.) 21 

BEGGARS  AT  THE  DOOR  OF  A  HOUSE.     1648.     (B.  176.) 24 

STUDY  FOR  THK  HUNDRED  GUILDER  PIECE.     Pen  Drawing.     (Berlin  Print  Room.)  .    .  25 

JESUS  DISPUTING  WITH  THE  DOCTORS.     1652.    (B.  65.) 32 

LANDSCAPE  WITH  A  RUINED  TOWER.    About  1648.     (B.  223.) 33 

THE  DRAUGHTSMAN.     Pen  Drawing.     (British  Museum.)      33 

STUDY  FOR  THE  PORTRAIT  OF  J.  C.  SYLVIUS.     Pen  Drawing.     (British  Museum.)  ...  36 

PORTRAIT  OF  JAN  CORNELISZ  SYLVIUS.     1646.    (B.  280.) 37 

PORTRAIT  OF  CLEMENT  DE  JONGHE.     1651.    (B.  272.)    First  state 40 

PORTRAIT  OF  CLEMENT  DE  JONGHE.     1651.    (B.  272.)    Third  state 41 

PORTRAIT  OF  J.  ANTONIDES  VAN  DER  LINDEN.    About  1653.    (B.  264.) 44 

A  LANDSCAPE.     Pen  Drawing,  heightened  with  sepia.     (Heseltine  Collection.) 45 

PORTRAIT  OF  JAN  ASSKLYN    1648.    (B.  277.)    .       48 


LIST   OF   TEXT    ILLUSTRATIONS 


I'AGE 


RUINS  OF  THE  AMSTERDAM  TOWN  HALL.     1652.     Pen  Drawing,  heightened  with  wash. 

(Heseltine  Collection.)      4^ 

TOWT  BLIND.     1651.     (0.42.) 52 

VILLAGE  WITH  A  SQUARE  TOWER.     1650.    (B.  218.) -3 

A  ROAD  THROUGH  A  WOOD.     Pen  Drawing.     (Duke  of  Devonshire.) 56 

LANDSCAPE  WITH  AN  OIIEI.ISK.     About  1650.     (li.  227.) • -7 

A  WOMAN   IN  BED  ASLEEP.     1'en  Drawing.     (Hcscltinc  Collection.) Oi 

STUDY  OF  A  BEAR.     Pen  Drawing  heightened  with  wash.     ''Lord  Brownlow.) 6 

Tin-:  GOLDWKIGHEK'S  FIELD.     1651.     (B.  234.) 65 

OLD  MAN  WITH  A  LARGE  BEARD.    About  1631.     (B.  312.) 65 

PORTRAIT  OE  TITUS.    About  1652.    (B.  n.) 6<S 

TiTi's'  \URSE.     Pen  Drawing  heightened  with  wash.    (Teylcr  Museum.) 69 

REMMRANDTS  HEAD  AND  OTHER  SKETCHES.     1631,  and  1650  (?)     (B.  370.) 72 

CHRIST  WITH  THE  DISCIPLES  AT  KMMAUS.     1654.     (B.  87.) 75 

CHRIST  IN  THE  GARDEN  OE  OLIVES.     About  1657.     (B.  75.)     78 

STUDY  OF  A  YOUTH.     (Titus?)     Pen  Drawing.     (Stockholm  Print  Room.) 79 

THE  YOUNG  SERVANT.     About  1654.     (Stockholm  Museum.) 82 

THE  SPORT  OF  GOLF.     1654.    (15.  125.) 87 

TOHIT  AND  HIS  WIFE.     Pen  Drawing.    (Stockholm  Print  Room.) 90 

THE  CANAL.    About  1652.     (B.  221.) 91 

BUST  OF  A  WOMAN.    About  1631.    (B.  358.) 91 

PEN  SKETCH.     (Boymans  Museum,  Rotterdam.)     94 

PILATE  DECLARES  THE  INNOCENCE  OF  JESUS.    (Stockholm  Print  Room.) 95 

PORTRAIT  OF  DR.  ARNOLD  THOLINX.     1656.     (M.  Kdouard  Andre.) 98 

PORTRAIT  OF  DR.  ARNOLD  THOLINX.    About  1655.    (B.  284.)     99 

DR.  J.  DEYMAN'S  LESSON  IN  ANATOMY.     1656.     (Ryksmuscum,  Amsterdam.)     ....  102 

THE  DESCENT  FROM  THE  CROSS;  A  NIGHT-PIECE.     1654.    (B.  83.)      103 

PORTRAIT  OF  JAN  LUTMA.     1656.    (B.  276.) 107 

SUPPOSED  PORTRAIT  OF  FRANS  BRUYNINGH.     1658.     (Cassel  Museum.) 1 1 1 

THE  "  IMPERIAL  CROWN"  AT  AMSTERDAM.     Facsimile  of  a  Drawing  of  1725 114 

LANDSCAPE  STUDY.     Pen  Drawing.     (British  Museum.) 115 

ENTRANCE  TO  A  TOWN.     Pen  Drawing.     (Duke  of  Devonshire's  Collection.) 118 

PEN  DRAWING  OK  A  LANDSCAPE.     (Duke  of  Devonshire's  Collection.) 119 

PEN  SKETCH,  with  wash.     (British  Museum.) 119 

ST.  PETER  DELIVERED  FROM  PRISON.   Pen  Drawing  heightened  with  wash.    (Albertina.)  122 

ST.  JEROME.    About  1652.     (B.  104.)     123 

REMBRANDT  IN  HIS  WORKING  DRESS.    Pen  Drawing.    (Heseltine  Collection.)  ....  126 

FIGURE  OF  CHRIST.     About  1658—1660.     (Count  Orloff-Davidoff) 127 

DAVID  ON  HIS  KNEES.    1652.    (B.  41.) 130 

AN  OLD  WOMAN  CUTTING  HER  NAILS.    1658.    (M.  R.  Kann.) 131 

CHRIST  AND  THE  SAMARITAN  WOMAN.     Pen  Drawing,  heightened  with  wash.     (Stock- 
holm Print  Room.) 134 


x  LIST   OF   TEXT    ILLUSTRATIONS 

TAGK 

CHRIST  AND  THE  .SAMARITAN  WOMAN.     1658.    (B.  70.) 135 

YOUNG  WOMAN  ASLEEP.     Pen  Drawing.     (Hcseltinc  Collection.) 138 

PEN  SKETCH,  heightened  with  sepia.     (Seymour-IIadcn  Collection.) 139 

THE  HOLY  WOMEN  ON  CALVARY.     I'en  Drawing.    (Stockholm  Print  Room.) 142 

PEN  DRAWING  or  A  LANDSCAPE.     (Uuke  of  Devonshire's  Collection.) 143 

SMALL  HEAD  OF  REMISKANDT,  STOOPING.    About  1630.     (1!.  5.) 143 

YOUNG  WOMAN  AT  A  WINDOW.     About  1665.     (Berlin  Museum.) 146 

TIIK  FAITHFUL  SERVANT.     Pen  Drawing.     (Bonnat  Collection.)   ...            147 

Tin;  CONSPIRACY  OF  CLAUDIUS  Civii.is.     1661.     (Stockholm  Museum.; 150 

THE  CONSPIRACY 'OF  CLAUDIUS  Civii.is.     (Study  for  the  original  work.     Facsimile  of 

a  Drawing  in  the  Munich  Print  Room.) 151 

WOMAN  AT  A  WINDOW.     Pen  Drawing  washed  with  sepia.     (Hcseltinc  Collection.)   ...  154 
Tin:    PKINSENGRACHT    AND    THE    WES TERKERK.       (Near  Rembrandt's  home  on   the 

Rozengracht.)     Drawing  by  Boudier,  from  a  photograph 155 

JACOB'S  BLESSING.     Pen  Drawing.     (Stockholm  Print  Room.) 162 

Kl.l.lAll   IN  Tin;  DESERT.     Pen  Drawing.     (Berlin  Print  Room.) 163 

PEN  SKETCH  OF  A  LANDSCAPE.     (Duke  of  Devonshire's  Collection.) 166 

SKETCH    OF   A    LANDSCAPE,    heightened  with  sepia.       (Duke    of    Devonshire's   Collec- 
tion.)      167 

AN  OLD  WOMAN  IN  A  BLACK  VEIL.     1631.     (B.  355.) 167 

PEN  SKETCH,  heightened  with  sepia.     (Lord  Warwick's  Collection.; 170 

Till'.  JEWISH  BRIDE.    (BOA/  AND  Ruin?;     About  1665.     (Ryksmuseum,  Amsterdam.)  .  171 

I.. \II.\N  AND  LEAH.     Pen  Drawing.     (Duke  of  Devonshire's  Collection.) 174 

THE  NATIVITY.     About   1652.     (B.  45.) 174 

I'EN  DRAW  i\c,,  heightened  with  sepia.     (Duke  of  Devonshire's  Collection.) 175 

PEN  DRAWING,  washed  with  sepia.     (Duke  of  Devonshire's  Collection.) 175 

PEN  SKETCH,  with  sepia.     (Lord  Warwick's  Collection.) 178 

THE  STANDARD  BEAKER.     About  1662-1664.     (Lord  Warwick's  Collection.) 179 

SCRIPTURAL  SUP.JECT.     Pen  Sketch  with  sepia.     (Lord  Warwick's  Collection.) 182 

FAMILY  GROUP.    About  1668- 1669     (Brunswick  Museum.) 183 

INTERIOR  OF  THK  WESTERKERK.     (Facsimile  of  a  contemporary  Print.) 186 

THE  Fi.AGl'.Ll.ATiON.     1668.     (Darmstadt  Museum.)      187 

JESUS  CHRIST  IN  THE  MIDST  OF  Mis  DISCIPLES.     1650.     (B.  89.) 190 

THE  COTTAGE  WITH  WHITE  PALINGS.     1642.     (B.  232.) •  101 

SEPIA  DRAWING.    (Heseltinc  Collection.) 194 

PEN  DRAWING  AFTER  LEONARDO  DA  VINCI'S  "LAST  SUPPER."    (Berlin  Print  Room.)  .  195 

REMIIRANDT  WITH  FRIZZLED  HAIR.    About  1631.    (B.  336.) 195 

YOUNG  WOMAN  ASLEEP  AT  A  WINDOW.     Pen  Drawing  heightened  with  sepia.     (Hesel- 
tinc Collection.) ,yy 

Jois  AND  HIS  FRIENDS.     Pen  Study  with  bistre.     (Stockholm  Punt  Room.; 199 

YOUNC,  WOMAN  READING.     Pen  Drawing.     (Berlin  Print  Room.) 202 

STUDY  FROM  RAPHAEL'S  BALUASSARE  CASTIGLIONO.  Pen  and  sepia.  (Albcrtina, Vienna.;  203 


LIST    OF   TEXT    ILLUSTRATIONS 


I'ACE 


PEN  DRAWING.    (Seymour-Haden  Collection.) 206 

PEN  SKETCH  OF  A  LANDSCAPE.    (Ileseliinc  Collection.) 207 

THE  GEOGRAPHER.     Pen  Drawing  heightened  with  sepia.     (Dresden  Print  Room.)  .    .    .  210 

REMBRANDT  LEANING  ON  A  STONE  Sn.i..     1639.    fl>.  21.) 211 

STUDV  OF  A  HEAD.    (Rembrandt's  Brother  ?)     1650.    (I Injjue  Museum.; 214 

PEN  SKETCHES  OF  A  BEGGAR.     (liritish  Museum.) 215 

PEN  DRAWING.     (Duke  of  Devonshire's  Collection.) 2iH 

CHRIST  IN  THE  GARDEN  OF  OLIVES.     Pen  drawing.     (Kunsth;illc,  Hamburg 219 

THE  BLIND  FIDDLER.     1631.    (li.  138.) 220 

ISAAC  BLESSING  JACOI:.     (Duke  of  Devonshire's  Collection.) 221 

THE  STORM.     About  1640.     (Brunswick  Museum.) 222 

JACOB  BLESSING  THE  CHILDREN  OF  JOSEPH.     1656.    fCassel  Museum.) 223 

A  BEGGAR  WOMAN  ASKING  ALMS.     1646.     (B.  170.) 224 

A  JEWS'  SYNAGOGUE.     164$.     'P..  126.) 225 

LIFE-STUDY  OF  A  YOUNG  MAN.     1646.    (11.  196.) 226 

BUST  OF  AN  OLD  MAX  WITH  A  LONG  BEARD.     About  1630.     '}',.  291.) 229 

/   THE  RETURN  OF  THE  PRODIGAL.     Pen  .sketch.    I'l.ouvrc.) 2SK 

THE  SHELL.     1650.    (B.  159.) 290 

WASHED  DRAWING,  INK.     (Lord  Warwick's  Collection.) 291 

JESUS  DISPUTING  WITH  THE  DOCTORS.     1652.     iT>.  65.1 294 


DRAWING,    WASHED   WITH    INDIAN    INK. 

(liritish  Museum}. 


CHAPTER    I 

PERIOD  OF  GREAT  ACTIVITY,  FROM  1646  TO  1654— LIFE-STUDIES  (1647) — 'SUSANNA 
AND  THE  ELDERS' — REMBRANDT'S  TECHNIQUE —  'THE  GOOD  SAMARITAN'  AND 
'THE  DISCIPLES  AT  EMMAUS  '  (1648)  — '  PORTRAIT  OF  TUKENNE'  (1649) — 'THK 
VISION  OF  DANIEL'  ;  'AHRAHAM  AND  THE  ANGELS';  'NOLI  ME  TANGERK'  (1651)  - 
ETCHINGS  OF  THIS  PERIOD:  THE  'HUNDRED  GUILDER  PRINT''  AND  'THE  LITTLE 

TOMB.' 


AN    OLD    MAN,  WITHOUT    A    BEARD. 

About  1635  (B.  299). 


REMBRANDT,   as    we    see,  had,    to    a 
certain  extent,    shaken    off    the   deep 
depression  that  had  overwhelmed  him 
after  the  death  of  Saskia.     An  intimate  com- 
munion with  nature  had  invigorated  his  genius, 
and  in  resuming  the   labours  that  had  become 
a  necessity  to  him,  he   soon  felt  the  benefit  of 
these    novel    studies.      The   loneliness  of    his 
position  had   this  advantage,  at  least — that  it 

enabled  him  to  devote  himself  more  ardently  than  ever  to  his 
work — and  the  period  we  are  about  to  deal  with  was  one  of 
the  most  productive  of  his  busy  life.  In  returning  to  the  Scriptural 
subjects  he  preferred  to  all  others,  he  sought  satisfaction  alike  for 
his  active  imagination  and  his  creative  passion.  The  infinite  variety 
of  these  subjects  harmonised  with  the  diversity  of  his  own  im- 
pressions, and  he  interpreted  their  emotional  aspects  with  equal 
sincerity  and  penetration.  He  now  received  a  fresh  commission  from 
VOL.  n.  B 


2  REMBRANDT 

Prince  Frederick  Henry.  Though  he  had  lost  his  popularity  with  the 
public,  he  was  still  appreciated  by  the  Prince,  who,  though  already 
the  owner  of  five  pictures  by  him,  wished  for  two  more.  The 
price  paid  for  these  is  an  interesting  proof  of  the  Prince's  growing 
respect  for  his  powers.  In  a  draft  dated  November  29,  1646, 
Frederick  Henry  commands  that  a  sum  of  2400  florins  be  paid  to 
Rembrandt  for  the  pair.  It  will  be  remembered  that  the  price  paid  for 
the  two  pictures  of  the  same  dimensions  delivered  to  the  Statlwuder 
in  1639  was  just  a  half  of  this,  while  in  1645  he  had  also  bought  two 
important  pictures  by  Rubens,  who  had  lately  died,  and  whose  works 
were  in  great  request,  for  the  sum  of  2100  florins.  Of  one  of  the 
works  painted  for  the  Prince,  the  Circumcision,  no  trace  is  to  be  found. 
It  had  disappeared  before  the  removal  of  the  Electoral  collection  from 
Diisseldorf  to  the  Munich  Pinacothek. 

The  other,  an  Adoration  of  the  Shepherds,  now  in  the  Pinacothek, 
has  suffered  severely  from  the  effects  of  time.  This  is  the  more  to  be 
regretted,  as  the  subject  was  one  peculiarly  adapted  to  Rembrandt's 
manner,  and  he  had  bestowed  great  care  upon  it.  Not  only  did  he  make 
an  elaborate  study  of  its  effects  and  arrangement  in  the  fine  drawing 
belonging  to  Mr.  Heseltine  which  we  reproduce,  but  he  also  painted  a 
replica,  with  a  few  slight  modifications,  which  bears  the  same  date, 
1646.  It  is  now  in  the  National  Gallery.  The  conception  is  much  on 
the  lines  of  Corrcggio's  Notte  in  the  Dresden  Gallery.  As  in  the 
Italian  master's  work,  the  illumination  of  the  central  group  proceeds 
almost  entirely  from  the  Infant  Saviour.  This  light,  resplendent 
with  vivid  red  and  deep  golden  tones,  gradually  melts  away  into 
the  surrounding  gloom  of  the  humble  shed.  Some  few  articles 
of  rustic  furniture,  and  the  silhouettes  of  crouching  cattle  are  dis- 
tinguishable in  the  shadows.  Mysterious  reflections  gleam  through  the 
semi-transparent  darkness  on  the  faces  of  the  shepherds,  who  draw 
near  to  join  the  Virgin  and  the  kneeling  St.  Joseph  in  adoration 
of  the  new-born  Babe. 

The  Susanna  and  the  Elders  of    1647  :   is  a  striking  instance    of 

1  This  picture  belonged  to  Sir  Joshua  Reynolds,  and  in  later  times  to  Sir  Ed. 
Lechmere,  from  whose  collection  it  passed  to  the  Berlin  Gallery  in  1883. 


LIFE-STUDIES  3 

Rembrandt's  versatility,  and  of  the  ease  with  which  he  now  approached 
the  most  diverse  subjects,  preserving  the  essential  character  of  each. 
The  episode  was  one  which  specially    attracted    him,  by  the    oppor- 
tunity  it    afforded    for    the    treatment    of   the    nude.      His    technical 
equipment  was  now  so  complete,  that  he  might,  like  so  many  others, 
have  relied  in  future  on  the  resources  at  his  command,  taking  counsel 
with   nature  only  when  projecting    or    executing  a    picture.      But  we 
shall  find  him  not  only  consulting  realities  at  times  of  special    need, 
but  devoting  himself  unweariedly   to  studies,  the  one  object  of  which 
was  his  further  instruction  and  improvement.     The    numerous  "  aca- 
demies "  executed  at  this  period  witness  to  the  delight  he  took  in  these 
disinterested  studies.      Several  of  these  drawings  from  male  and  female 
models  belong  to  the   Louvre  and  the    Bibliotheque  Nationale,  others 
to  Mr.  Heseltine  and  M.  Leon  Bonnat.      A   model  of  frequent   occur- 
rence among  them  is  a  slender  youth,  whose  long  thin  limbs  have  not 
attained  their  full  development.     Such  a  type  was  valuable  as  enabling 
the  painter  to  observe  the  play  of  bones  and  muscles,  and  their  exact 
positions  in  action.      In  the  matter  of  feminine  models,  he  had  perforce 
to  content  himself  with  the  few  among  that  decorous  nation  who  could 
be  induced  to  pose  in  a   studio.     The  types  and  forms  available  were 
therefore  far  from  elegant,  yet  the  master  reproduced  them  with  the 
most  scrupulous  exactitude,  abating  nothing  of  their    ugliness.     The 
sincerity  of  these  studies   is   only   to  be  equalled   by   their   facility  of 
execution.     The  figure  is  sketched  in  with  a  few  strokes  of  the  pen  ; 
a  slight  wash  of  sepia  or  Indian  ink  is  then  employed  for  the  modelling, 
which  is   carried    out    with    the    utmost  delicacy  and  precision,  every 
inflection    being  carefully    followed  with   extraordinary    perception  of 
values.     Rembrandt  had  gradually  acquired  an    absolute  mastery    of 
such  effects  ;  the  two  etchings  dated  1646,  of  which  we  give  facsimiles 
(B.  193  and  195),  may  be  examined  as  typical  examples  of  that  close 
and  nervous  draughtsmanship,  which  enabled   the  master  to   indicate, 
not  only  the  silhouette,  but  the  structure  and  effects  of  a  subject,  with 
a  few  strokes  of  the  point,  and  this  with  faultless  accuracy  and  precision. 
Such  studies  were  not  invariably  sketched  directly  on  the  plate.     One 
of  the  two  etchings  reproduced  was  preceded  by  a  drawing  from  nature, 

B   2 


REMBRANDT 


Museum — in 
composition    is 


now  in  the  Bibliotheque  Nationale.  But  very  often  the  subject  was 
sketched  on  the  copper  without  any  preparation,  sometimes  on  the  un- 
occupied corner  of  a  partially  covered  plate,  such  as  that  (B.  194)  on 
which  two  of  these  life-studies  are  drawn  side  by  side  with  a  sketch  of 

an  old  woman  bending 
down  to  play  with  a  child 
in  a  go-cart.  Another 
etching,  the  Rcmbranat 
drawing  from  a  Model 
(B.  192),  was  executed, 
probably  in  1647,  from  a 
sketch  in  the  British 
which  the 
therefore 

reversed  —  which  repre- 
sents the  master  in  his 
studio,  drawing  from  a 
nude  female  model.  The 
background  only  was 
finished,  probably  by  one 
of  Rembrandt's  pupils. 
The  figures  of  the  woman, 
who  holds  a  palm-branch 
in  her  hand,  and  of  the 
artist,  who  is  seated  on 
a  little  stool  in  front  of 
her,  are  merely  indicated. 

The  composition  of 
the  Sttsanna  Rembrandt 
had  treated  not  only  in 

several  sketches,  but  in  two  painted  studies.  To  judge  by  that  of  the 
Lacaze  collection  in  the  Louvre,  the  model  was  far  from  seductive. 
Her  body  is  badly  formed,  her  legs  thin  and  bowed.  The 
original  of  M.  Leon  Bonnat's  oval  panel — a  little  brunette  with 
luxuriant  hair,  a  large  mouth,  a  thick  flat  nose,  and  black  eyes— 


AN    ACADEMICAL    FIGURE   OF    A    MAN. 


1646  (B.  193). 


Life  Study  of  a    Young  Man — Study  for  the 
Etching  (1646). 


Pen  and  Wash. 

(BIHI.IOTHi-ol  E    N  AT  U  IN  AI.K.) 


Printed  by  Draeger  &  Lesieur,  Paris 


"SUSANNA  AND  THE  ELDERS"  5 

has  a  fair  share  of  that  beautt1  du  diable  proper  to  her  extreme 
youth.  The  technique  of  this  study  is  superb,  and  the  glow  and 
texture  of  the  flesh,  shivering  as  it  encounters  the  cold  water,  are 
rendered  with  extraordinary  power.  In  the  Berlin  picture,  the  type  has 
been  further  refined,  and  is  not  without  grace,  though  it  hardly  attains 
to  beauty.  The  young  woman,  about  to  enter  a  bath  hollowed  out 
among  the  rocks,  is  seized  by  one  of  the  elders,  an  evil-looking  old 


SUSANNA    AND   THE   ELDERS. 

1647  (Berlin  Museum). 


man.  He  tries  to  snatch  away  the  last  vestige  of  her  raiment  ; 
another  old  man,  whose  face  has  an  expression  of  profound  cunning, 
advances  from  his  ambush  to  his  accomplice's  aid.  Thus  surprised, 
the  young  woman  turns  towards  the  spectator  in  terror  and  amaze- 
ment. Above  the  bath,  on  the  edge  of  which  is  perched  a  peacock, 
flowers,  creepers,  and  the  branches  of  trees  increase  the  decorative 
effect  of  the  lofty  buildings  in  the  background.  Above  them  all  rises 


6  REMBRANDT 

a  tower  with  an  imposing  clerestory;  below  is  a  building  with  gilded 
capitals,  a  portico,  and  a  terrace  adorned  with  statues.  The  bather's 
garments  lie  on  the  circular  stone  bench  at  the  edge  of  the  bath ;  they 
consist  of  a  scarf  with  golden  tassels,  and  a  dress  of  heavy  material,  the 
skirt  a  magnificent  purple,  the  bodice  a  deeper  shade,  trimmed  with 
golden  ornaments.  These  vivid  tones  are  enhanced  by  the  neutral 
gray  of  the  sky  and  the  stone,  the  deep  green  of  the  trees,  and  the 
strong  yellows  of  the  bushes,  and  throw  the  dazzling  whiteness  of 
Susanna's  body  into  forcible  relief.  The  abrupt  inflection  of  the  left 
leg  is  unpleasant  ;  but,  on  the  other  hand,  the  upper  part  of  the  body, 
and  the  gesture  of  the  hand,  are  instinct  with  youthful  grace  and 
modesty.  In  several  early  pictures — notably  in  the  Siisanna  of  the 
Mauritshuis,  and  the  Bathslicba  of  the  Steengracht  collection- 
Rembrandt  had  sought  to  express  the  harmonious  splendours  of  that 
Biblical  East  which  appealed  so  strongly  to  his  imagination.  But 
never  had  he  rendered  it  with  such  a  wealth  of  magnificent  fancy  as  in 
this  picture,  in  which  the  luxuriant  vegetation,  the  fantastic  grandeur 
of  the  architecture,  the  splendour  of  the  draperies,  and  their  gorgeous 
colouring  are  enhanced  by  a  masterly  use  of  chiaroscuro,  by  the 
exquisite  finish  of  the  execution,  and  by  the  perfect  harmony  of  the 
handling  with  the  various  picturesque  details. 

It  will  not  be  out  of  place  to  inquire  briefly  into  those  principles 
of  colouring  which  produced  the  full,  resonant,  and  varied  crimsons  so 
happily  blended  or  opposed  in  this  picture.  The  master,  careful  of 
every  element  in  his  art,  was  specially  jealous  of  the  composition  and 
preparation  of  his  ingredients.  He  procured  the  rarest  and  most 
precious  woods  for  his  panels,  and  was  equally  particular  as  to  the  oils 
and  varnishes  he  employed.  The  problem  of  the  vehicles  he  used  to 
spread  his  colours,  or  to  continue  an  interrupted  work  without 
prejudice  to  its  solidity  and  freshness,  is  still  unsolved.  Lacquers 
brought  from  the  Dutch  Indies  had  doubtless  increased  the  resources 
of  the  palette  in  Rembrandt's  time.  Sandrart  extols  the  excellence  of 
the  colours  then  manufactured  at  Amsterdam,  making  special  mention 
of  a  certain  imperishable  white,  and  of  various  ochres,  which  retained 
their  transparence  in  shadow.  The  simplicity  of  Rembrandt's 


"HANNAH    INSTRUCTING   SAMUEL"  7 

methods  was  a  further  guarantee  of  the  durability  of  his  works,  and 
the  excellent  condition  of  all  such  as  have  enjoyed  adequate  care 
and  protection  is  a  sufficient  proof  of  his  technical  superiority. 

In  the  small  panel,  Hannah  teaching  the  child  Samuelinthe  Temple, 
dated  1648,  now  at  Bridgwater  House,  the  execution  is  as  finished,  and 
the  chiaroscuro  as  delicate,  but  unhappily,  the  colour  has   deteriorated. 
Hannah,   a  venerable  old   woman  in    a    black   wimple,   and   crimson 
dress    with    gold  embroidered  bodice,    holds    in    her   hand  a  pair  of 
spectacles,  and   a  large   parchment  book,    from    which   the    youthful 
Samuel  has  been  reading.     The  child,  a  fair-headed  cherub,   with  an 
innocent,  rosy    face,    prays    devoutly,    with    clasped    hands.     A    soft 
shadow   falls    across   his  face.      In  the   middle  distance,  two  old   men 
stand  beside  a  cradle,  and  in  the  background  of  the  Temple  rise  the 
tables    of  the    Law    surmounted   by    an    angel's    head    amidst    gilded 
sculptures.     The  golden    browns   of  the  child's   dress  contrast    finely 
with  the  magnificent  reds  of  his  mother's  robe,  and  form    as  it  were  a 
subdued  echo  of  the  gorgeous  harmonies  of  the  Susanna.       In  this 
perceptible  lowering  of  the  key  of  colour,  in  the  rich  decorations  of  the 
Temple,    where   gold    and    the  vague    glint  of    precious    stones    are 
cunningly  blended,  we  find  a   fresh  evidence  of  the   art  with    which 
Rembrandt  brought  every   detail    of  his   compositions   into   harmony 
with  the  subject.     A  somewhat  larger  picture  in  the  Hermitage  of  the 
same  theme,  known  as    The   Nun  and  the  Child,  may  be  bracketed 
with    the    Bridgwater     House    panel,    as    closely    analogous,    though 
possibly  later  by  a  year  or  two.     The  heavy  and  somewhat  spiritless 
execution,    the    comparatively  cold,  opaque    shadows,  and    the    want 
of    richness  in   the  tonality   have   suggested  doubts,     not  altogether 
unreasonable,  as   to  the  authenticity  of  the  work.     We  may,  however, 
point  out  that  the  type  of  the  child  is  identical  with  that  of  the  Ephraim 
in  the  Jacob  blessing  the  Children  of  Joseph  of   1656,  and  that  the  old 
woman,  and  the  chair  in  which  she  sits,  figure  in  several  portrait-studies 
dated  1654.     We  should  not  be  disinclined  to  question  the  authenticity 
of  another  large  picture  of  this  period,  also  in  the  Hermitage,  a  Fall  of 
Haman,   in   which   the    life-size   figures   are    fantastically    arrayed    in 
Turkish  costume,  and  painted  in  a  coarse  and  summary  style.      But  we 


REMBRANDT 


are  fain  to  believe  it  a  genuine  work.  A  bare  mention  will  suffice  for 
this  large  canvas,  the  very  perfunctory  achievement  of  some  few 
hours. 

Returning  to  the  year  1648,  we  shall  find  two  masterpieces  in  the 
Louvre,  bearing  this  date,  together  with  Rembrandt's  signature. 
These  are  the  Good  Samaritan,  and  the  Christ  with  the  Disciples  at 


f  i/-.^ 
<A 


i+.JMKm 


m 


THE    GOOD    SAMARITAN. 
Pen  drawing  (Uc-rlin   Prim   Room). 


Emmaus,  subjects  which  seem  to  have  had  a  supreme  fascination 
for  the  master.  He  treated  them  again  and  again  at  different  stages 
of  his  career,  in  paintings,  drawings,  and  engravings.  The  motive 
of  the  Good  Samaritan  had  a  double  attraction  for  him.  It  gave 
him  an  opportunity  for  the  rendering  of  the  nude,  and  the  episode  itself 
was  one  that  appealed  strongly  to  a  nature  so  tender  and  sympathetic 
as  that  of  Rembrandt,  "kindly  to  the  verge  of  extravagance,"  as 
Baldinucci  testifies.  Some  strange  presentiment  of  his  own  fate 


"  THE   GOOD   SAMARITAN  " 


seems  to  have  haunted  the  artist,    making  him   keenly   susceptible   to 
the  pathos  of  the  story.      He,  too,  was  destined   to  lie  stripped  and 


REMBRANDT    DRAWING. 
1648  (B.  22). 


wounded  by  Life's  wayside,  while  many  passed  him  by  unheeding. 
He  had  already  treated  the  subject  in  an  etching  of  1633,  i°  a 
picture  now  in  the  Wallace  collection,  and  in  the  drawing  in  the 


io  REMBRANDT 

Boymans    Museum,    in  all    of    which   he  lays  peculiar   emphasis    on 
the  moving  elements  of  the  drama.      The  sketch  in   the  Berlin  Print 
Room  deals  with  another  moment  of  the  action.     The  master  made 
use   of  it,  with    some    unimportant    modifications,    for   an    interesting 
picture    signed,    and     elated    1639,    which    M.     Sedelmeyer    recently 
bought    in    England.      The    wounded    man    lies    almost    naked    on 
the    ground.      The    Samaritan,    who    wears    a    red    costume    and    a 
turban,    kneels    beside    him,     dressing    his    wounds.       To    the    left 
stands  an  iron-gray  horse  with  a  saddle  ;    on  the  right    is    a    drapery 
bordered    with  a  rich    embroidery,   of   that  golden    yellow    in  which 
Rembrandt    delighted.       A    small    medicine    chest    full    of    phials    is 
open  beside  it.     The  horizon  is  shut  out  by  a  mass  of  rocks  with  a 
waterfall,   and  on  some  rising  ground  in  the  distance  the   Levite  of 
the  Gospel  narrative  casts  a  furtive   backward   glance  at   the  sufferer 
he  has  left  to  perish.     The  harmony,  made  up  of  warm  browns,  yellows, 
and    russets,    is    sustained    and    powerful,    and    the    somewhat    harsh 
execution,  broad  and  free.      In  the  Louvre  picture,  painted  some  nine 
years  later,  as  in  a  beautiful  and  most  luminous  sketch  purchased  by 
M.  Sedelmeyer,1  Rembrandt  returns   to  his   first  conception.     But  his 
artistic   progress  may  be  measured  by  the  modifications  to  which  he 
has  subjected  his  composition.     The  sun  is  sinking,  and  the  dying  rays 
light    up  the  group  at  the  door,   where    the    wounded    man    is    lifted 
from  the  horse  amidst  the  excited  spectators  of  his  arrival,  and  borne 
to  the  inn.      His  saviour,  purse  in  hand,  recommends  him  to  the  care 
of  the   hostess.     How  can  we  more  fitly  describe  the  scene  than  in 
the  eloquent  words  of   Fromentin  ? — "  The    man  is  barely  alive ;  his 
bearers  support  the  bent  and    mangled  body  by  the  shoulders    and 
legs  ;  gasping  with  agony  at  the  movement,    he   hangs   helplessly   in 
their   arms,    his    bare   knees    drawn    convulsively   together,    his    feet 
contracted,    one    arm    thrown     across    his     hollow    breast,    his    head 
swathed  in   a    bloodstained    bandage.  ...      It   is    late,    the    shadows 
are      lengthening.     The      tranquil     uniformity     of      twilight'    reigns 

1  Formerly  in  Mr.  Henry  Willett's  collection.  It  is  a  night-scene,  the  action 
taking  place  by  torch-light,  which  gives  occasion  for  various  happy  effects  of  chiaro- 
scuro. 


8 
.-S 


"  CHRIST    WITH   THE   DISCIPLES   AT   EMMAUS  "  1 1 

throughout  the  canvas,  save  for  an  occasional  gleam  that  seems 
to  float  across  the  surface,  so  fitful  and  mobile  is  its  effect.  In  the 
mysterious  gloaming,  you  scarcely  distinguish  the  finely  modelled 
horse  to  the  left  of  the  picture,  and  the  sickly-looking  child,  rising 
on  tip-toe  to  peer  across  the  animal's  neck  at  the  wounded 
wayfarer,  who  moans  as  the  servants  carefully  lift  his  shattered  body." 
As  to  the  execution — again  we  give  way  to  Fromentin  :  "  Pause,  look 
at  it  closely,  or  at  a  distance,  examine  it  carefully.  No  contour  is 
obtrusive,  no  accent  mechanical.  You  note  a  timidity  which  has 
nothing  in  common  with  ignorance,  which  results  rather  from  a 
horror  of  the  trivial,  or  from  the  great  importance  attached  by  the 
thinker  to  the  direct  expression  of  life  ;  a  building  up  of  things  which 
seem  to  exist  in  his  inner  vision,  and  to  suggest  by  indefinable  methods 
alike  the  precision  and  the  hesitations  of  Nature.  .  .  .  Nowhere  a 
contortion,  an  exaggerated  feature,  nor  a  touch  in  the  expression  of  the 
unutterable  which  is  not  at  once  pathetic  and  subdued  ;  the  whole 
instinct  with  deep  feeling,  rendered  with  a  technical  skill  little  short 
of  miraculous."  l 

Emotion  is  perhaps  still  more  powerfully  expressed  in  the  Christ 
with  the  Disciples  at  Emmiius,  a  subject  which  presented  greater 
difficulties.  Here  the  simplicity  of  the  conception  is  more  marked,  the 
treatment  more  personal  and  mysterious.  Recalling  earlier  versions  of 
the  touching  Gospel  story,  the  purely  decorative  renderings  of  painters 
such  as  Titian  and  Paul  Veronese,  we  feel  that  it  was  reserved  for 
Rembrandt  to  comprehend  and  translate  its  intimate  poetry.  Hence- 
forth, it  seems  hardly  possible  to  conceive  of  the  scene  but  as  he 
painted  it.  What  depths  of  faith  and  adoring  reverence  he  has 
suggested  in  the  attitude  of  the  disciple,  who,  his  heart  "  burning 
within  him"  at  his  Master's  words,  recognises  Him  "in  the  breaking 
of  bread,"  and  clasps  his  hands  in  worship,  while  his  companion, 
unconvinced  as  yet,  leans  upon  the  arm  of  his  chair,  his  questioning 
gaze  fixed  on  the  Saviour's  face.  How  truthful  again  is  the  expression 
of  ingenuous  curiosity  in  the  features  of  the  young  servant,  amazed  at 
the  sudden  emotion  of  the  two  apostles  !  But  more  admirable  than  all 

1  E.  Fromentin,  Les  Maitres  tfAnlrefois,  p.  376  et  scq. 


REMBRANDT 


is  the  conception  of  the  risen  Christ,  the  mysterious  radiance  that 
beams  from  His  pallid  face,  the  parted  lips,  the  glassy  eyes  that 
have  looked  on  death,  the  air  of  beneficent  authority  that  marks 
His  bearing.  By  what  strange  magic  of  art  was  Rembrandt 
enabled  to  render  things  unspeakable,  and  to  breathe  into  our  souls 
the  divine  essence  of  the  sacred  page  by  means  of  a  picture 
"  insignificant  in  appearance,  without  any  beauty  of  accessories  or 

background,  subdued  in 
colour,  careful,  and  almost 
awkward  in  handling  ?  "  1 
Rembrandt  returned 
to  the  subject  more  than 
once.  He  had  already 
treated  it  after  a  slightly 
fantastic  fashion,  in  an 
etching  of  1634  (B.  88), 
the  Christ  of  which  is 
a  somewhat  theatrical 
figure.  Twenty  years 
later  he  made  use  of  it 
for  another  plate  (B.  87), 
the  composition  of  which 

is  much  on  the  same  lines  as  that  of  the  picture  in  the  Louvre, 
though  less  impressive.  The  latter  was  probably  preceded  by 
the  picture  of  the  same  date  (1648)  in  the  Copenhagen  Museum, 
a  greatly  inferior  work,  in  poor  condition.  The  treatment  is 
more  complex,  and  the  episode  loses  much  of  its  emotional 
power.  As  in  several  other  instances,  Rembrandt  has  inclosed  his 
composition  in  a  simulated  frame,  slightly  arched  at  the  top ;  a 
brown  curtain,  hanging  from  a  rod,  is  painted  across  the  left  of  the 
canvas.  The  Saviour  wears  a  red  robe;  His  serene  features  show  no 
traces  of  recent  suffering  and  death.  The  interest  is  less  concentrated  ; 
and  the  obtrusive  figure  of  an  old  woman  in  a  white  hood,  carrying  a 
glass,  who  is  placed  immediately  in  the  light,  attracts  the  eye  of 
1  Fromentin,  Les  Maitres  (FAutrefois,  p.  380. 


NOI.I    ME   TANGKKK. 


1651  (Brunswick  Museum). 


The  Supper  at  Emmiius  (i6jS). 

(LUUVKE  ) 


"CHRIST    WITH   THE    DISCIPLES   AT    EMMAUS  "  13 

the  spectator  in  a  fashion  disastrous  to  the  effect  of  the  main 
group.  The  master  was  more  happily  inspired  in  the  beautiful 
drawing  of  the  Dresden  Museum.  The  moment  chosen  is  that 
wherein  the  Saviour  vanishes  from  the  sight  of  His  followers. 
Rembrandt  very  characteristically  represents  the  humble  room  as 
illuminated  by  a  vivid  light,  shining  above  the  place  lately  occupied 
by  the  Lord.  The  two  disciples  are  lost  in  awe  and  wonder  at 


STUDY  FOR  THE   "NOLI    ME  TANGERE"    IN   THE   BRUNSWICK    MUSEUM. 

the    miracle.     One    has    risen,  and    presses    against    the    wall,  as    if 
overcome  with  terror. 

The  year  1648  is  a  date  for  ever  memorable  in  the  annals  of  the 
Netherlands.  After  a  prolonged  struggle,  the  Beggars  had  triumphed 
over  their  oppressors,  and  had  wrung  from  them  recognition  of  their 
national  independence.  Throughout  the  length  and  breadth  of 
Holland,  already  rich  and  powerful,  the  solemn  act  which  ratified  her 
claims  in  the  sight  of  Europe,  and  crowned  her  prosperity,  was  received 
with  joyful  acclamations.  Public  fetes,  and  gala  theatrical  perfor- 


I4  REMBRANDT 

mances.  attested  the  popular  delight  at  the  proclamation  of  the  Peace 
of   Westphalia.     The   men   of  letters   celebrated   it  in   their   writings. 
Terborch  constituted  himself  historiographer  of  the  Treaty  of  Munster, 
which  set  the  final  seal  on  the  peace  ;  Van  der  Heist,  who  had  become 
Rembrandt's   rival,    and   Covert   Flinck,   who  had   taken   his   master's 
place  in  public  favour,  were  commissioned  by  the  civic  guards  to  paint 
the  two  large  canvases  that  now  flank  the  Night  Watch  in  the  Ryks- 
museum.      No    one    seems    to    have    thought    of    Rembrandt    on   this 
occasion.     Although    he    now    lived     in    great    retirement,    troubling 
himself  little   about   public  opinion,   it  is   natural   to   suppose   that  he 
was  not   insensible  to  this  neglect.      He  cannot  but  have  shared  the 
emotion  of  his  contemporaries.     A  son  of  that   Leyden  whose  heroic 
resistance  had  so  greatly  strengthened  the  cause  of  national  freedom, 
he  loved  the  land  he  was  never  to  leave,  and  where,  but  a  few  years 
back,  he  was  accounted  the  most  distinguished  master  of  his  day.      His 
artistic  susceptibilities  were  wounded,  and  he  resolved  to  emerge  from 
his  seclusion.     It  was  doubtless  in  the  hope  of    receiving  some    com- 
mission akin  to  those  of  his  confreres,  which  would  give  scope  for  the 
display  both  of  his  talents  and  his  patriotism,  that  in   1648  he  executed 
the  grisaille  in  the  Rotterdam  Museum,  known  as  The  Pacification  oj 
Holland  (La  Concorde  du  Pays),  a  confused,  overloaded  composition, 
full    of  subtle  allusions   suggested,  perhaps,   by   some    pedant  of  the 
master's  acquaintance.      Rembrandt  showed  little  aptitude  for  allegory. 
He  had  none  of  Rubens'  ease,  coherence,  and  decorative  sense  in  its 
treatment.     Realities    were    the    essential    basis    of    his     art.     The 
Rotterdam    picture,    with    its    two    compact    masses    of    combatants, 
separated  by  a  lioness  chained  beneath  a  shield  emblazoned  with  the 
arms  of  Amsterdam J  and  the  legend,  Soli  Deo  Gloria  ;  its  figure  of 
Justice,  clumsily  grasping  a  scale  loaded  with  papers  ;  its  infinite  variety 
of  grotesque  detail,   is    a    mere  jumble   of  enigmatical    episodes,  the 
interpretation    of  which    passes   both  our  courage   and  our  patience. 
The  general  effect,  however,  is   very  remarkable.     The   neutral  blue 
tint  of  the  sky  is  happily  contrasted  with  the  predominant  brown  and 

1  The  introduction  of  this  shield  seems   to  confirm  the  idea  that  Rembrandt  had 
hopes  of  a  place  in  one  of  the  public  buildings,  perhaps  the  Stadhuis,  for  his  work. 


Fragment  front.  "  The  Pacification  of  Holland"  (1648). 

(ROTTERDAM  MUSEUM-) 


"THE    PACIFICATION    OF    HOLLAND"  15 

russet  tones,  which  are  heightened  here  and  there  by  fat  touches 
of  pale  yellow,  applied  with  superb  brio  for  the  high  lights.  The 
execution  of  the  left  portion  of  the  panel  is  masterly  in  the  extreme. 
From  Mr.  Baer's  fine  photograph  here  reproduced  our  readers  may 
gain  a  very  fair  idea  of  the  feeling  for  picturesque  effect,  and 
extraordinary  divination  of  the  mediaeval  spirit  displayed  by  Rembrandt, 
in  his  grouping  of  the  serried  ranks  of  mailed  horsemen  in  martial  and 
resolute  array.  The  figure  of  the  leader,  lance  in  rest  on  his 
prancing  white  charger,  is  especially  admirable.  Instinct  with  the 
prescience  of  modern  Romanticism,  it  recalls  one  of  Delacroix's  vivid 
creations.  The  composition,  it  appears,  was  never  carried  out  on 
a  larger  scale.  The  grisaille  remained  in  Rembrandt's  studio  and 
figures  in  the  inventory  of  1656.  We  need  not  greatly  regret  that  the 
painter  received  no  commission  for  the  large  picture  he  had  aspired  to 
paint.  In  its  present  dimensions  the  sketch  is  highly  interesting, 
as  exhibiting  Rembrandt's  methods  of  composition.  In  a  more 
imposing  form  its  extravagances  would  have  been  fatally  apparent. 
The  commentaries,  more  or  less  ingenious,  by  which  some  writers 
have  sought  to  explain  the  hidden  meanings  of  the  allegory,  tend 
only  to  the  deeper  mystification  of  the  student.  Here  again  Rem- 
brandt seems  to  have  recognised  his  disabilities.  He  made  no 
further  essays  in  this  direction,  and  the  Pacification  remains  his 
solitary  attempt  to  illustrate,  directly  or  indirectly,  the  history  of  his 
own  times. 

Two  pictures,  one  the  landscape  in  the  Cassel  Gallery,  known  as 
The  Ruin,  the  other  a  portrait  at  Panshanger,  are  the  only  works  by 
Rembrandt  we  can  assign  to  the  year  1649,  and  even  so,  we  have 
nothing  to  go  upon  in  the  case  of  the  latter  but  conjecture.  Lord 
Cowper's  example  is  a  life-size  equestrian  portrait  of  a  personage  said 
to  be  the  Marechal  de  Turenne.  He  wears  a  rich  and  brilliant 
uniform — a  buff  jerkin  with  gold-embroidered  silk  sleeves,  and  a  large 
felt  hat  with  feathers — and  bestrides  a  restive  dapple-gray  horse,  at 
the  entrance  of  a  park.  A  servant  stands  beside  him,  and  in  the 
middle  distance  to  the  left  is  a  state-carriage  with  footmen, 
containing  several  persons.  The  magnificence  of  the  surroundings 


i6 


REMBRANDT 


is  by  no  means  out  of  character  with  the  supposed  sitter,  and  seems 
to  confirm  the  notion  that  the  portrait  is  that  of  Turenne.  The 
Marshal,  a  grandson  of  William  the  Silent,  had  served  his  apprentice- 
ship to  the  career  of  arms  with  some  distinction,  under  his  uncles, 
Maurice  and  Frederick  Henry,  sons  of  the  Prince  of  Orange.  The 
assumed  date  of  the  portrait  also  agrees  with  that  of  Turenne's  later 
sojourn  in  Holland.  It  will  be  remembered  that  the  Marshal,  having 

sided  against  Mazarin  in 
the  troubles  of  the  Fronde, 
was  abandoned  by  his 
troops,  and  judged  it  pru- 
dent to  retire  to  the 
Netherlands  in  February, 
1649.  He  remained  in  the 
country  till  the  conclusion 
of  the  Peace  of  Rueil,  on 
the  first  of  April  of  the 
same  year,  and  during 
these  weeks,  when  he 
was  no  doubt  the  guest 
of  his  cousin,  William  1 1 1., 
Rembrandt  is  supposed  to 
have  painted  his  portrait. 
The  work  adds  little  to 
the  master's  reputation. 

The  horse  was  not  studied  with  the  care  and  precision  necessary 
for  a  work  on  this  large  scale,  and  has  a  lifeless,  wooden  appear- 
ance. The  colour  is  monotonously  brown  ;  the  handling,  loose  and 
slight  in  the  background,  and  excessively  loaded  in  the  draperies, 
is  careless  throughout,  save  in  the  modelling  of  the  head.  This, 
though  not  essentially  unlike  that  of  Turenne — the  facial  type 
is  that  of  a  severe-looking  man,  with  a  rather  thick  nose,  a 
florid  complexion,  long  luxuriant  hair,  and  a  slight  black  moustache 
—bears  but  a  vague  resemblance  to  the  later  portrait  by  Pieter  de 
Jode,  engraved  by  Anselm  van  Hulle,  or  to  that  by  Philippe 


THE   SPANISH    GIPSY. 


1647    (B.   I2o) 


PORTRAIT    OF    TURENNE 


de  Champagne,  familiar  to  us  in  Robert  de  Nauteuil's  admirable 
engraving.1 

The  Vertumnus  and  Pomona  in  the  collection  of  the  Artis  Amicitifc 
Society  at  Prague,  is  now  admitted  to  be  by  Aert  de  Gelder.  This 
picture,  which  enjoyed  a  great  reputation  during  the  eighteenth 
century,  was  engraved  by  Lepicie  as  the  work  of  Rembrandt.  At 
the  Lebrun  sale,  however,  it  was  restored  to  its  true  author.  Both  in 
subject  and  sentiment 
the  composition  has  very 
slight  affinities,  if  any, 
with  Rembrandt's  work. 
Neither  in  the  delicately- 
featured  Pomona,  who 
wears  a  large  straw  hat 
and  a  dress  of  somewhat 
pretentious  elegance,  nor 
in  her  disguised  suitor, 
the  old  woman  in  a  cloak, 
leaning  upon  a  crutch, 
can  we  trace  any  like- 
ness to  the  types  and 
costumes  of  the  master. 
The  execution,  too,  differs 
radically  from  that  of 
Rembrandt. 

After    an    interval    of 
some  two  years  we  find 

the  artist  returning  to  the  Scriptural  subjects  he  loved.  The  Jacob 
lamenting  the  supposed  Death  of  Joseph,  in  the  Hermitage,  a  picture 
with  life-size  figures,  three-quarters  length,  represents  the  patriarch 
gazing  at  the  bloody  coat  of  Joseph.  One  of  the  brothers  dis- 
plays it  across  his  knees  ;  another  tells  the  story  agreed  upon. 
Jacob  stands  beside  a  table,  and,  lifting  up  his  hands,  expresses 

1  As  Dr.  Bredius  points  out,  the  face  is  that  of  a  younger  man  than  Turenne,  who 
was  born  in  1611,  and  was  therefore  thirty-eight  at  the  supposed  date  of  the  picture. 
VOL.  II.  C 


HKAU    OF    CHKIST. 


About   1652  (M.  Rodolphe   Kami). 


REMBRANDT 


his    agony   at    the   news.     The    youthful   Benjamin   beside   him  plays 
with    a    bird,    childishly    indifferent    to    the    catastrophe.      The    scene 
is   well   composed,    and    carried    out    in    the    warm    browns,    yellows, 
and    reds    peculiar    to    the    period.      The   execution    is    not   remark- 
able, as  compared  with   the   master's   technique  generally.      Abraham 
entertaining  the  Angels,   also   in   the    Hermitage,   apparently  belongs 
to    the    same    period.      Here   the    figures   are   again     life-size.      The 
patriarch,    seated    with     his     guests     at    a    table    spread     before    the 
open    door    of    his    house,    pauses    in    the    act    of   carving    the   joint 
before   him,    amazed    at    the   white-robed    angel's   announcement  that 
Sarah    shall    shortly    bear    a    son.       His    wife,    who   appears   behind 
him    on    the    threshold,    laughs    incredulously   at    the    angel's    words. 
The  venerable  figure  of  the  patriarch   is    full   of  dignity  and   beauty. 
But   the  conception   has   scarcely  the   expressive  eloquence  proper  to 
Rembrandt's    works.     The    strange    attitude    of    the    angel    in    the 
foreground,   and    the   vivid   hues  of  his    many-coloured   wings    assert 
themselves   somewhat   unduly  in   the   composition.      Pleased   with   the 
theme,   the    master   had  already    treated   it   in   several   drawings,   and 
in  a  small  picture   dated    1646,   formerly  in  the   Six  collection,  which 
was  in  Mr.  Richard  Saunderson's  possession  in  1836.      He  returned  to 
it   some  years  later  (in    1656),  for  an  etching  (B.  29)  less  interesting 
than    the  St.   Petersburg  example,    and    marked    by    eccentricities    of 
treatment  still  more  pronounced. 

We  may  briefly  call  attention  to  the  Woman  taken  in  Adultery,  a 
large  canvas  from  the  Duke  of  Marlborough's  collection,  recently 
acquired  by  M.  Sedelmeyer.  In  this  remarkable  work  the  colour, 
and  the  strong  traces  of  Italian  influence  in  the  composition  are 
sufficiently  perplexing  to  the  connoisseur.  Both  in  type  and  execution 
two  of  the  figures  —  Jesus  Himself,  and  the  white-bearded  old  man 
beside  Him  —  are  purely  Rembrandtesque  conceptions,  worthy  of 
the  master's  genius.  The  remaining  three,  however,—  the  young 
man  to  the  left,  the  woman,  and  the  handsome  effeminate-looking  youth 
in  the  shadow  —  seem  to  be  borrowed  from  Titian  or  Van  Dyck.  In 
view  of  these  anomalies,  we  cannot  but  concur  in  Dr.  Bode's  doubts 
as  to  the  authenticity  of  this  work,  its  harmonious  colour  and  fine 


PICTURES    INSPIRED    BY    THE    BIBLE  19 

quality  notwithstanding  ;  and  we  may  add,  in  further  justification  of 
such  doubts,  that  the  signature  and  the  date  1644  inscribed  on  the 
canvas  are  obvious  forgeries. 

Though  neither  signed  nor  dated,  the  Vision  of  Daniel,  purchased 
within   the   last   few  years    from    Sir    Ed.    Lechmere  for    the     Berlin 
Museum,  is,  on  the  other  hand,  unquestionably  the  work  of  Rembrandt. 
Landscape    plays    an   important   part   in   the   mysterious    sublimity    of 
the    scene.       A    tower — the    same    we    noted    in    the    Susanna — rises 
against  the  pale  gray  sky  from  a  base  of  perpendicular  rock.      Daniel 
has  fallen  forward   on   his   face  by   the   riverside,   trembling  with  fear 
at  the   apparition   of  the   strange    beast   on   the  opposite   bank.      The 
angel  Gabriel  stoops  to  raise  him  from   the  ground,  and  expounds  the 
vision,  pointing  to   the    fantastic   ram   from   which   the  young  prophet 
averts  his  terrified  gaze.      A  drawing  in   M.    Bonnat's  collection  shows 
that  Rembrandt  took  considerable  pains  to  render  the   symbolic  horns 
exactly    as    they    are   described   in   the    text.      He   must   have  at    last 
recognised  the  futility  of  his  efforts,  for  after  reiterated  corrections  and 
erasures   he  finally   abandoned  his  attempt.      But   though    his  concep- 
tion of  the  beast  is  rather  grotesque  than  terrible,  its  absurdity  is  more 
than  redeemed   by  details  such   as   the  awe-struck   face   of   Daniel,   his 
attitude,  and  that   of  the   consoling   angel,   the   mysterious   brightness 
which   throws    the   two   figures   into   strong  relief  against  the    brown 
tones  of  the  surrounding  landscape,  and,   finally,   the   skill  with   which 
the   handling   is   adapted   to   the  dimensions,      The   work   remains,   in 
spite  of  its  defects,  one  of  the  most  poetic  of  the  master's  creations  at 
this  period. 

The  Christ  appearing  to  the  Magdalene,  of  the  Brunswick  Museum, 
dated  1651,  is  instinct  with  a  charm  still  deeper  and  more  penetrating. 
Here  Rembrandt  returns  to  the  theme  he  had  already  treated  in  the 
Buckingham  Palace  picture,  avoiding  the  various  eccentricities  we 
deprecated  in  the  earlier  work.  In  a  beautiful  drawing  in  the 
Stockholm  Print  Room  he  gives  yet  a  third  version  of  the  episode. 
The  scene  as  represented  in  the  Brunswick  canvas  is,  however,  vastly 
more  impressive.  Alone,  and  dressed  in  mourning  robes,  abandoning 
herself  to  her  despair,  the  Magdalene  has  fled  the  city,  and  drawn 

c  2 


20 


REMBRANDT 


by  some  strange  prescience,  has  wandered  into  this  desert  spot, 
where  the  last  faint  rays  of  the  setting  sun  gleam  on  rocks  and 
stunted  bushes.  The  Saviour  draws  near,  touched  by  her  devotion. 
Faint  and  weary,  bearing  in  His  feet  and  hands  the  bloody  evidences 
of  His  passion,  and  on  His  face  the  marks  of  His  protracted  agony, 
He  comes  forth  from  the  land  of  shadows.  Wrapped  in  His  winding- 
sheet  of  linen,  He  approaches  the  mourner,  faithful  when  so  many 


'... 
.— ,*^Ln^Hr: 


SkMTCK    l-'OK    "  DANIICI.'s   X'lSHIN." 

Pen  drawing  with  wash  (M.  Leon   Uonnnl). 


failed.  Mary  endeavours  to  kiss  the  hem  of  His  garment.  She 
stretches  forth  detaining  hands.  But  the  Saviour's  kingdom  is 
not  of  this  world.  He  does  not  repulse  her,  but,  with  a  gesture  of 
benevolent  authority,  pronounces  the  warning  Noli  me  tangere. 
The  two  solitary  figures,  the  one  illuminated  by  the  light  that 
shines  from  the  other,  the  vague  outlines,  the  melancholy  of  the 
place  and  hour,  the  majesty  of  death,  the  ineffable  fusion  of  love 
and  awe,  together  with  countless  other  traits,  conceived  with 
infinite  delicacy,  and  rendered  with  matchless  eloquence,  appeal  to 
the  soul  and  move  it  to  its  uttermost  depths. 


CHRIST    APPEARING    TO    THE    MAGDALENE" 


21 


In  the  intervals  of  these  important  undertakings,  Rembrandt  painted 
a  few  portraits  of   friends,  and  fancy  studies,  such   as  the    Minerva, 


UR.    FAUSTt'S. 

About    1651    (I!.    270). 


in    the   Hermitage,    which  to  judge  by  the  breadth  of  the  handling 
probably  dates  from  about   1650.     The  goddess  wears  a  helmet  with 


22  REMBRANDT 

an   owl   for  crest,    and   grasps   a   shield.      But   for  the  working  up    of 
the    impasto,    and    the    harmonious    intonations    so     characteristic     of 
Rembrandt,   the  beauty   and    noble    proportions  of    the  figure   might 
well     lead    us    to    suppose    it    the    creation    of   some     Italian     master. 
Unhappily   the  picture  has  suffered  considerably  ;  the   buckler,   which 
fills  the  lower  part  of  the  canvas,  has  become  quite  black.      A  portrait, 
or  rather  a  study,  painted  about  1648 — 1650,  claims  a  place  of  honour 
among  the  works  of  this  period.      This  is   the   life-size   three-quarters 
length    of  an    old    woman,   bought    by    M.     Seclelmeyer  in   Scotland, 
and   now    in    M.   J.    Forges'   collection    in    Paris.      A  large  Bible  lies 
upon    her    lap  ;    her    left   hand   rests  upon    it,   holding  her  spectacles. 
She   seems   to  be   musing  on    what   she   has   just   read.      Her  face    is 
seamed    with  wrinkles,    the   gray   hairs  about    her  temples   and   broad 
forehead  have  become  scanty ;   her  small   eyes,   reddened  by  frequent 
tears,    are   dim   and   sunken;  but   her    ruddy  lips   and    cheeks   denote 
a  temperament  still  vigorous   and   active.      Her  dress,  though  simple, 
is    very    picturesque.      The    execution,     free    and     even     careless     in 
parts — as,   for  instance,   in    the   sleeves  and   the  hastily  painted  hands 
—is  elaborately   finished    in    the   delicately    modelled  face,    the   head- 
dress, and  notably  in  the  fur,  the  tawny  shades  of  which  are   treated 
with   the  utmost  skill   and   precision.      Save   that   the   effect   is   richer, 
we    recognise   the    same    harmony    of  brilliant    and   varied    reds    and 
yellows  melting  into  iron  grays,   the   secret   of  which  Maes  learnt  from 
the     master,    and    turned    to   account    in     several    fine     works.       But 
powerful    drawing    and    glowing  colour    notwithstanding,    the    sitter's 
personality    dominates    the     whole.       The     interest     centres     in     the 
expression  of  the  venerable  face,    the  meditative  gaze,   the   unstudied 
pathos   of  the   gesture  by    which   the    simple    old   creature  seems   to 
proclaim  the  fervour  of  her   faith,  and   the  consoling  influences  of  her 
favourite  book. 

Among  the  small  studies  of  heads  painted  towards  this  period 
are  two  more  notable  than  the  rest :  the  first  that  of  a  young  man 
with  a  fresh  complexion,  a  quantity  of  fair  hair,  and  a  soft  and 
gentle  expression  (it  belongs  to  Mr.  Warneck),  the  second  a 
study  of  an  old  man,  belonging  to  Baron  van  Harinxma  of 


Study  of  a    Woman,  seated. 

Pen   Drawing,   heightened  with  Sepia. 

(HI  111.  Hll  Hi...  I  h     \,\  111  .\Al.t-.) 


.  >«     n. 


Printed  by  Berthaud,  Paris  (France). 


STUDIES    AND    PORTRAITS  23 

Leeuwarden.1     Both    are     remarkable     for     the     delicacy     of    their 
modelling,     the    brilliance    of    their    high-toned     flesh-tints,     and    a 
breadth    of    handling    unusual    in    works    of    such    small    dimensions. 
In   addition  to  several  other  portraits,    of  which   we  shall   have   more 
to  say  in  due  time,   we  may  mention  two  studies  of  himself  painted 
by     Rembrandt    at    this    period.     The    Leipzig    Museum   owns    one, 
a  bust,   the  head   turned  full  to   the  spectator,    in   which   the  master 
wears    a    dark    reel    costume  ;    a    large  violet   cap    throws   its   shadow 
over    the    greater    part    of    his    face.      The    other,    a   more   important 
work,  signed,   and   dated    1650,    belongs   to   the  Fitzwilliam    Museum 
at   Cambridge.      As  was    so    often   his   habit    when    making    a    study 
from     himself,     Rembrandt     has     somewhat    disregarded     the     actual 
likeness,  and  it  is  hardly  surprising  that  Waagen   failed   to  recognise 
the    painter    in    this    portrait,    which    represents    him    in    the    martial 
trappings    he    affected    in    his   earlier    works.      A   broad-brimmed   hat 
with   feathers    shades   his   face  ;  over   his   slashed   crimson   doublet  he 
wears  a  heavy  gold   chain,   a  cuirass,   and   the   inevitable  steel   gorget 
we    have    so    often     noted.        One    hand    rests    on    the    hilt    of    his 
sworcl,  the  other  on  his  hip.      The  excellent  condition  of  this   picture 
enables  the  student  fully  to  appreciate  the  charm  of  the  chiaroscuro, 
and    the    masterly    assurance    of    the    frank,    yet    mellow    touch.      A 
more   faithful  transcript  of  the  master's  features  at  this  period  is  to 
be  found  in  an  etching  of  1648,  the  Portrait  of  Rembrandt  drawing 
(B.   22).      Here    the    painter    has    put    off     his    lordly    airs    with     his 
plumed  cap,   and    represents    himself   in   his    working  dress,    a    plain 
tunic    open    at    the  neck,  and  the  rather  high,   narrow-brimmed   hat 
which  also  figures   in  a  drawing   in    Mr.   Heseltine's  collection.      He 
is  seated  at  a  table,  drawing  by  the  light  from  an  open   casement, 
through    which    are    seen    the    tops    of   distant    trees.       His   features 
have  aged  considerably ;  his  forehead  is  covered  with  wrinkles  ;  his 
eyes,     melancholy,     but     penetrating     as     ever,    are     fixed     steadily 
on    the    model    before    him.     This    is    a    fine    and    impressive    plate, 
though    somewhat    worn    in    the    later    impressions    (there    are    ten 

1  This  study,  which  is  signed,  and  dated  1647,  figured  in  the  exhibition  organised  by 
the  Pulchri  Studio  Club  at  the  Hague  in  1890. 


24  REMBRANDT 

altogether).  The  earlier  "states,"  though  lacking  the  charm  of 
many  other  portraits  of  the  master,  express  more  forcibly  than 
any  the  keenness  of  his  gaze,  and  the  concentration  he  brought  to 
bear  on  a  task  that  demanded  all  his  attention. 

The  etchings  of  this   period   are   to  the   full   as    important   as  the 
pictures.      Their   number,  and  the   elaboration   of  some   among  them, 

explain  the  comparative 
rarity  of  Rembrandt's 
paintings  in  certain  years, 
as  for  instance  in  1649 
and  1651.  His  infinite 
variety  both  of  subject  and 
method  attests  the  fertility 
of  his  imagination,  and 
the  flexible  quality  of  his 
genius.  We  find  him  pass- 
ing in  rapid  succession 
from  motive  to  motive  of 
the  most  diverse  charac- 
ter. He  had  always  shown 
a  deep  interest  in  popular 
life  and  manners,  recog- 
nising that  among  the 
lower  orders,  the  expres- 
sion of  feeling  is  vigorous 
and  natural  in  proportion 

to  its  lack  of  refinement.  The  little  plate  of  1646,  the  Old  Beg- 
garwoman  (B.  170),  leaning  on  a  staff,  her  right  hand  extended, 
as  if  asking  alms,  reproduces  both  the  figure  and  attitude  of  the 
old  woman  in  the  Little  Spanish  Gipsy  (B.  120),  a  plate  executed 
about  this  period  ;  it  is  said,  as  an  illustration  for  a  Dutch  play, 
borrowed  from  the  Spanish  stage,  which  was  then  popular  in 
Amsterdam.1 


UKGGAKS    AT    THE   DOOR    OF   A    HOl'SK. 
1648   (T,.    176). 


1  The  evidence  on  this  point  is  by  no  means  conclusive.     The  play,  however,  was 
published  by  the  title  Het  Leven  van  Konstance  ;  Amsterdam,  1643. 


ETCHINGS    OF    THIS    PERIOD  25 

In  1648  he  returned  to  those  types  of  beggars  and  poor  persons 
which  had  inspired  so  many  of  his  early  plates,  and  closed  the  series 
by  a  masterpiece,  the  Beggars  at  the  Door  of  a  House  (B.  1/6),  an 
etching  in  which  the  most  vivid  and  striking  effect  is  won  by  means 
of  a  few  strokes.  Four  ragged  figures — a  boy,  an  old  man,  and  a 
woman  with  a  baby  on  her  back — -stand  shivering  in  their  patched 


STUDY    FOR    THK    HI'NDKKU   IH'll-UEK    I'lKClC. 

Pen  drawing  (Herlin  Print   Room). 


garments  at  the  threshold  of  an  open  door,  awaiting,  with  the 
patient  resignation  of  the  wretched,  the  alms  a  benevolent-looking 
man  smilingly  bestows  upon  them.  As  our  readers  will  note  on 
examination,  every  stroke  tells  in  this  plate,  the  richness  of  which 
is  obtained  by  the  most  simple  means.  The  touch,  full  of  an  in- 
telligent sobriety,  reproduces  not  merely  the  outline  of  objects,  but 
their  textures  and  quality,  with  unerring  precision.  A  plate  closely 
allied  to  this  in  execution  is  the  Jews  Synagogue  (B.  126),  of  the 


26  REMBRANDT 

same  year  (1648),  the  scene  and  strongly  marked  types  of  which 
Rembrandt  no  doubt  studied  in  the  vicinity  of  his  own  house,  close 
to  the  Breestraat. 

At  this  period,  as  throughout  his  career,  Rembrandt  drew  his 
subjects  largely  from  the  Bible.  We  need  not  linger  over  the  little 
plate  of  1647,  the  Rest  in  Egypt  (B.  57),  nor,  though  this  is 
more  important,  over  the  Christ  on  the  Cross  between  the  two 
Thieves  (B.  79)  of  the  preceding  year.  Both  were  merely  pretexts  for 
studies  of  light  somewhat  hurriedly  treated.  This  brings  us  to  1649,  a 
year  in  which  we  shall  not  be  surprised  to  find  the  list  of  pictures 
painted  by  the  master  a  very  scanty  one.  It  was  made  memorable  by 
one  great  creation,  the  fame  of  which  suffices  to  glorify,  as  the  labour 
of  execution  sufficed  to  occupy  it.  This  was  the  celebrated  plate, 
Christ  Healing  the  Sick  (B,  74),  better  known  as  The  Hundred 
Crinlder  Piece.  Rembrandt  made  several  studies  for  this  plate,  the 
most  remarkable  of  which  are  the  reversed  drawing  of  the  central 
group  of  sufferers,  in  the  Berlin  Print  Room,  and  the  drawing  of  the 
camel  to  the  right,  in  M.  Bonnat's  collection.  By  this  careful  pre- 
paration the  order  and  clarity  of  the  conception  were  perfectly 
preserved,  and  in  spite  of  the  multiplicity  of  episodes,  the  effect  is 
simple  and  coherent.  Beauty  of  execution  seems  to  have  reached  its 
highest  point  in  the  finer  impressions  of  the  plate.  Rembrandt  was 
now  in  full  possession  of  his  artistic  resources.  He  made  use  of  an 
infinity  of  processes,  combining  and  opposing  them,  not  in  foolish  pride 
of  technical  accomplishment,  but  as  a  means  towards  the  highest  ex- 
pressive quality.  He  loads  one  portion  of  the  plate  with  those  intense 
velvety  blacks  of  which  he  alone  possessed  the  secret,  making  every 
detail  legible  through  the  deep,  yet  transparent  shadow.  In  another 
part  the  execution  is  extremely  slight,  the  delicate  strokes  seeming  to 
melt  into  the  high  lights.  The  master  was  able  to  correct  and  work 
upon  his  plates  in  such  a  manner  as  to  re-inforce  their  unity.  By 
means  of  a  learned  system  of  preparation  and  re-touching,  he  trans- 
formed them,  bringing  out  new  and  unexpected  beauties.  The  strokes 
of  the  needle  are  so  placed  as  never  to  quite  conceal  what  is  beneath, 
and  the  darkest  parts  are  never  blind  or  impenetrable.  The  methods 


ETCHINGS    OF   THIS    PERIOD  27 

by  which  he  emphasises  the  more  essential  features  of  his  subject  are 
such  as  genius  alone  could  devise.  Note,  for  instance,  the  consum- 
mate art  of  the  grouping  in  this  Hundred  Guilder  Piece.  To  the  left 
are  the  spectators  of  the  miracle,  Pharisees  and  unbelievers,  the  types 
of  self-sufficiency  and  rancour,  jealous  of  those  worldly  interests  and 
conventional  creeds  the  Saviour's  teaching  seems  to  threaten.  They 
dog  His  steps,  secretly  hoping  to  find  some  fault  in  Him,  and  exchange 
virulent  criticisms  among  themselves.  Some  there  are,  however,  who 
seem  to  hesitate,  half-convinced,  awaiting  the  manifestation  that  shall 
determine  their  doubts  and  compel  their  adhesion.  On  the  right  we 
see  the  crowd  of  sufferers— the  sick,  the  insane — every  type  of  human 
pain  and  misery.  They  too  follow  Jesus,  but  in  no  contentious  spirit. 
They  suffer,  and  they  hope  for  healing.  From  every  side  they  hasten 
to  the  Saviour's  feet — some  limping,  or  dragging  themselves  on 
crutches  ;  others  brought  by  friends  on  wheelbarrows  or  stretchers  ; 
some  crawling  painfully  on  hands  and  knees.  They  press  eagerly 
around  Him,  imploring  help  by  word  and  gesture.  A  deep  and 
beautiful  significance  is  added  to  the  conception  by  the  disposal  of  the 
sceptics  and  false  teachers  in  the  full  daylight,  and  of  the  sick  and 
afflicted  suppliants  in  dense  shadow.  "  An  antithesis  superb  alike 
in  its  moral  truth  and  artistic  effect,"  as  Vosmaer  says,  and  due 
to  no  puerile  straining  after  dramatic  contrast,  but  to  "  a  perception 
of  life  and  art  of  the  utmost  truth  and  delicacy."  By  a  skilful  dis- 
tribution of  the  half-tones  the  two  groups  are  brought  together  in  a 
series  of  modulated  gradations,  which  obviate  all  the  harshness 
of  violent  contrast.  Prominent  in  the  midst  of  the  two  groups 
the  Saviour  stands,  His  face  radiant  with  serene  compassion  and 
tenderness,  a  figure  at  once  gentle  and  commanding,  to  which  the 
eye  is  immediately  attracted  as  the  central  point  of  interest  in  the 
composition. 

It  was  natural  that  Rembrandt  should  bestow  the  utmost  care  on 
all  the  mechanical  aids  to  such  a  work  as  this.  Just  as  he  chose  the 
wood  for  his  panels,  and  superintended  the  preparation  of  his  colours, 
so  he  printed  his  etchings  on  the  papers  best  fitted  to  bring  out  the 
perfection  of  his  work.  He  procured  specimens  of  those  he  considered 


28  REMBRANDT 

most  suitable  from  the  country  in  which  such  manufactures  have  been 
brought  to  the  highest  point  of  perfection,  and  occasionally  experi- 
mented on  vellum,  but  for  choice,  made  use  of  China  or  Japanese 
paper,  the  supple,  resisting  quality  of  which  material  heightened  the 
delicate  effect  of  his  workmanship.  He  invariably  printed  his  etchings 
himself,  with  such  variety  in  the  processes  employed,  that  it  is  rare  to 
find  two  perfectly  similar  impressions  from  the  same  plate.  In  many 
instances,  the  differences  resulting  from  his  method  of  spreading  the 
ink,  and  wiping  away  sometimes  more,  sometimes  less  of  the  fluid 
before  pulling,  have  caused  it  to  be  supposed  that  the  various  impres- 
sions were,  in  fact,  distinct  states.  By  thus  undertaking  the  more 
mechanical  processes,  which  others  were  content  to  leave  to  subordin- 
ates, Rembrandt  gave  them  a  peculiar  aesthetic  quality,  and  the  finer 
impressions  of  his  works  soon  came  to  be  highly  prized  by  amateurs. 
None  were  more  eagerly  sought  after  than  the  Hundred  Guilder 
prints,  which  fetched  comparatively  high  prices  as  soon  as  they  were 
completed.  Many  of  these  have  passed  from  one  famous  collection  to 
another  ;  they  have  their  distinctive  titles,  and  have  risen  steadily  in 
value  with  years.  In  spite  of  the  tradition,  however,  it  does  not 
appear  that  the  print  actually  sold  for  a  hundred  guilders  (a  sum  equal 
to  about  eight  guineas)  in  Rembrandt's  lifetime.  An  old  inscription 
on  the  back  of  an  impression  of  the  first  state  in  the  Vienna  Print 
Room  mentions  forty-eight  florins  as  the  price  given  for  the  sixth 
impression.  It  may  be,  as  M.  Dutuit  suggests,  that  Rembrandt 
valued  the  print  at  a  hundred  guilders  in  exchanging  it  with  his  friend 
Zoomer  for  some  engravings  by  Marc  Antonio.  But  its  market 
value  has  greatly  increased  since  the  beginning  of  the  present 
century.  Only  nine  impressions  of  the  first  state  exist.  Of  these, 
one,  formerly  in  the  Zoomer  collection,  was  bought  by  M.  Dutuit 
in  1868  for  _£i,ioo  (27,500  francs).1 

After  a  task  of  such  magnitude,    in  which  the    demands  both  on 

1  And  another,  which  had  been  Mr.  Ho/ford's,  was  sold  at  Christie's  in  July,  1893, 
for  ;£i,75°.  More  encouraging  yet,  because  it  was  a  sign  of  the  admiration  excited  by 
fine  subject  and  fine  impression,  independent  of  "  state,"  was  the  price  obtained  at  Sotheby's 
in  1892,  for  the  impression  which  had  belonged  to  that  admirable  amateur,  Mr.  Richard 
Fisher.— F,  IV, 


"THE   HUNDRED   GUILDER    PRINT"  29 

genius  and  industry  were  so  severe,  Rembrandt  naturally  sought 
relaxation.  The  etchings  that  immediately  followed  are  little  more 
than  careless  sketches,  hastily  drawn  on  the  copper,  though  even  in 
these  the  progress  made  by  the  master  is  manifest.  Three  among 
them,  it  is  true,  the  Flight  into  Egypt  of  1651  (B.  53);  the  Star 
of  the  Kings  (B.  113)  and  the  Adoration  of  the  Shepherds  (B.  46), 
probably  of  the  same  year,  are  night-pieces,  in  which  the  darkness 
is  relieved  by  occasional  gleams  of  brilliant  light ;  but  the  opacity 
of  the  shadows  betrays  the  haste  of  the  treatment.  The  Triumph 
of  Mordccai  (B.  40),  a  plate  of  about  the  same  period,  is  almost  as 
summary  in  execution,  and  is  merely  a  picturesque  motive,  of  slight 
importance,  while  the  fantastic  composition  of  the  Funeral  of 
Jesiis  (B.  86)  is  rendered  more  startling  by  the  coarse  handling. 
But  other  plates  of  this  period  are  models  of  pregnant  concision  in 
their  deliberate  reticence  of  treatment.  In  his  fresh  and  novel  pre- 
sentments of  familiar  episodes,  Rembrandt  reveals  both  the  fertility  of 
his  imagination,  and  the  increase  of  his  experimental  knowledge.  In 
the  Nativity  (B.  45)  he  shows  us  the  Shepherds  advancing  with 
reverent  curiosity  to  the  rude  manger  ;  the  cattle  in  the  background 
seem  to  unite  with  them  in  wondering  homage.  In  the  Jesus 
disputing  with  the  Doctors  in  the  Temple  (B.  65)  we  see  the  Divine 
Child  alone  among  the  elders,  baffling  their  perfidious  questions, 
and  confounding  their  boasted  wisdom  by  the  ingenuity  of  His 
replies.  In  the  Jesus  Christ  in  the  midst  of  His  Disciples  of 
1650  (B.  89),  we  note  the  various  emotions — amazement,  incredulity 
and  rapture — roused  in  the  minds  of  the  disciples  by  the  sacred 
apparition. 

Rembrandt's  powers  are  even  more  brilliantly  manifested  in  two  Old 
Testament  subjects  of  this  period.  The  David  on  his  Knees  of  1652 
(B.  41)  combines  extreme  simplicity  of  technique  with  a  most  masterly 
precision.  Under  the  magic  touch  of  the  Master's  burin,  common- 
place objects  take  on  an  indescribable  colour  and  charm.  The  Tobit 
Blind  (1651  ;  B.  42)  has  not  only  these  qualities,  but  the  further 
beauty  of  admirable  composition.  The  wonderfully  natural  gesture 
of  the  old  man,  who  gropes  his  way  with  his  stick  and  his 


30  REMBRANDT 

disengaged  hand,  recalls  the  attitude  of  Elymas  the  sorcerer  in 
Raphael's  cartoon.1 

Two  other  etchings  of  this  period  are  perhaps  more  typical 
examples,  in  that  they  deal  with  effects  of  light.  Turning  to  very 
novel  account  the  most  subtle  of  the  picturesque  elements  in  Nature, 
he  found  methods  of  expression  no  less  varied  than  powerful  in  the 
treatment  of  chiaroscuro.  By  means  of  strong  contrasts  of  light  and 
shadow  he  succeeded  in  rendering  or  suggesting  those  supernatural 
phenomena  which  art  had  been  powerless  to  express  before  his 
advent.  The  Doctor  Faustus  of  1651  (B.  2/0)  attests  Rembrandt's 
continued  preoccupation  with  the  problems  of  chiaroscuro  he  had 
attacked  in  the  Christ  with  /he  Disciples  at  Enimaits  and  the  Hundred 
Guilder  Piece.  The  mysterious  element  in  such  a  subject  as  the 
Doctor  Faustus  was  of  a  nature  to  appeal  strongly  to  the  master. 
Standing  at  a  table  in  his  laboratory,  surrounded  by  the  paraphernalia 
of  his  art,  the  doctor  looks  with  fixed  attention  at  the  apparition  he  has 
conjured  up,  a  mirror  containing  a  cabalistic  inscription,  wherein  the 
name  Adam  appears  together  with  the  title  /;/;'/  in  fiery  letters. 
There  is  no  touch  of  fear  on  his  refined  and  intelligent  features.  The 
expression  is  marked  only  by  eager  curiosity.  The  old  man  is 
evidently  an  adept  for  whom  the  black  art  has  lost  its  terrors. 

In  a  more  important  plate  of  two  years  later,  the  Three  Crosses 
(1653  ;  B.  78),  a  more  pathetic  effect  is  won  from  the  arrangement 
of  light.  The  stormy  grandeur  of  the  composition  is  in  perfect 
harmony  with  the  character  of  the  scene.  The  trembling  earth,  the 
riven  clouds,  the  flashing  rays  of  light,  the  universal  tumult  of  the 
elements,  blend  into  unity  with  the  agitation  of  the  crowd,  their  grief, 
terror,  adoration,  or  hatred,  the  wild  flood  of  human  emotions  that 
surged  about  the  foot  of  the  Cross.  The  very  contrasts  of  execution 
seem  but  a  natural  echo  of  the  outburst  of  contending  passions. 
While  some  of  the  details  are  finished  with  the  utmost  elaboration, 
others,  as,  for  instance,  the  horse  ridden  by  one  of  the  soldiers,  and 

1  Rembrandt's  Tobit  was  no  sudden  inspiration.  It  was  preceded  by  the  Blind  Man 
seen  from  behind  (B.  153),  a  plate  probably  executed  in  1630,  in  which  the  gesture  and 
movement  are  very  characteristic,  though  the  conception  is  greatly  inferior  to  the  Tobit  in 
style,  and  even  in  truth. 


I 


' 


OTHER   ETCHINGS    OF   THIS    PERIOD  31 

the  guard  who  has  dismounted,  are  so  slightly  sketched  as  to  give 
an  effect  of  incoherence,  or  even  of  an  almost  childish  awkwardness. 
The  master's  hand  would  seem  to  have  followed  the  workings  of  his 
imagination  with  a  feverish  eagerness  that  impelled  him  to  leave 
his  work  unfinished,  and  trust  to  the  sympathy  of  the  spectator  for 
its  due  completion.  Anxious,  however,  to  carry  his  interpretation 
of  the  text  as  far  as  possible,  Rembrandt  deepened  the  shadows 
very  considerably  in  the  after  states  of  this  plate,  finally  drowning 
all  the  details  in  complete  darkness. 

The  Christ  preaching  (B.  67),  a  plate  worthy  to  rank  beside  the 
Hundred  Guilder  Piece,  though  somewhat  smaller  in  dimensions,  brings 
this  series  to  an  end.  Executed  about  1652,  it  was  generally  known, 
perhaps  even  in  Rembrandt's  lifetime,  and  certainly  soon,  after  his 
death,  as  The  Little  Tomb  (Tombisch  plaatgen),  probably  because  it 
became  the  property  of  a  friend  of  Rembrandt's  named  Jacob  de  la 
Tombe.  The  full  maturity  of  the  master's  genius  is  expressed  in 
every  feature — in  the  impressive  aspect  of  the  whole,  the  frankness 
of  the  effect,  the  happy  balance  of  masses,  the  animation  and  variety 
of  expression,  the  ease  and  precision  of  the  handling.  Familiar 
types  abound  in  the  composition  ;  many  of  the  faces  are  vulgar, 
some  of  the  attitudes  incorrect.  But  these  seem  only  to  accentuate 
the  ideal  beauty  of  the  Saviour,  and  the  majesty  of  His  bearing. 
Rembrandt's  type  of  Jesus  at  this  period — a  face  of  singular  nobility, 
with  brown  hair  and  beard,  and  eyes  at  once  soft  and  piercing- 
ma)'  be  recognised  in  the  admirable  study  of  a  head  in  M.  Rodolphe 
Kann's  collection,  probably  painted  about  1652.  In  his  conceptions 
of  the  divine  figure,  Rembrandt  loved  to  dwell  on  the  infinitely 
human  and  compassionate  aspects  of  His  personality.  His  Christ  is 
the  apostle  and  martyr  of  Charity,  the  Christ  of  the  rough  manger, 
the  cottage  home  of  Nazareth,  the  supper  at  Emmaus.  He  dwells 
among  the  poor,  the  despised,  the  afflicted.  We  have  seen  him 
healing  their  diseases ;  we  now  behold  Him  ministering  to  their 
souls.  The  master  expresses  the  Saviour's  love  and  mercy  in  accents 
of  deep  conviction,  the  candid  simplicity  of  which  confounded  the 
devotees  of  accepted  traditions.  Rembrandt's  visions  have  an  inward- 


32  REMBRANDT 

ness  all  their  own,  and  the  emotions  he  seeks  to  inspire  lie  beyond  the 
regions  of  convention.  His  own  heart  was  profoundly  touched  by  them  j 
they  haunted  his  solitary  and  dreamy  mind,  filling  it  so  completely 
that  the  occasional  grotesqueness  of  his  conceptions  escaped  his 
notice,  and  he  was  hardly  aware  that  his  characters  lacked  nobility 
and  distinction,  or  that  their  costumes  were  often  fantastic  and 
inappropriate.  But  his  sincerity  was  absolute,  and  eager  to  declare 
to  us  new  things  of  subjects  apparently  exhausted,  he  turned  to 
novel  and  untried  methods.  He  created  a  style — a  style  compounded 
of  diffidence  and  audacity,  of  ingenuity  and  knowledge,  a  purely 
personal  style,  yet  one  which  his  genius,  at  once  positive  and 
speculative,  never  definitively  adopted,  so  strong  were  those  early- 
prepossessions,  from  which  even  his  passionate  desire  for  perfection 
never  completely  detached  him. 


1652  (B.  65). 


LANDSCAPE    WITH    A    RUINED    TOWER. 

About  1648  (IJ.  223). 


CHAPTER    II 

PORTRAITS  OK  REMBRANDT*  S  RKI.ATIVKS  AND  FRIENDS'.  JAN  SYLVIUS,  KPHRAIM 
BONUS,  JAN  SIX,  COPPKNOL,  CI.KMKNT  DK  JONGHE—  RKMBRANDT's  INTIMATKS 
AMONG  THK  LANDSCAPE-PAINTERS:  CI.AES  BERCHEM,  JAN  ASSEI.YN,  K.  ROGHMAN, 

H.  SEGHKRS,  JAN  VAN  DK  CAPPEI.I.E STUDIES  FROM  NATURE  — TH  E  'RUIN'  AND 

THE  'WINDMILL' — STUDIES  OF  ANIMALS — REMBRANDT'S  PUPILS  AT  THIS  PERIOD — 
HIS  METHOD  OF  TEACHING. 


R 


EM  BRANDT'S  painted  and  engraved 
portraits  of  this  period  have  a  peculiar 
interest,    as   affording    us    an    insight 
into  his  friendships  and  course  of  life.      One 
of   these,    the    portrait     of    an    elderly    man, 
dated    1650,   which    Dr.    Bredius    bought    not 
long  since   in    England,   he    thinks    may  very 
probably     represent     Rembrandt's      brother, 
Adriaen,  the  quondam  shoemaker,   who  took 
over  the   mill  after  his  father's  death.     The 
face,    with  its  broad    nose,   vigorous  features, 
and     moustache,    is     not     unlike     Rembrandt's 
several    other    works    by    the    master,    as,    for 
instance,    in    the    full    face    study  of  a    head,    engraved    by    Schmidt 
in    a    study    of    a     man   in    a    helmet,    which    passed    from    France 
to    America    in     1890,     and     in     one     of    Rembrandt's     latest    pic- 
VOL  n.  D 


THE   DRAUGHTSMAN. 

Pen  drawing  (British  Museum). 


and     grizzled     hair 
own.      It    figures 


n 


34 


REMBRANDT 


tures,  the  Workers  in  the  Vineyard  of  the  Wallace  collection.1 
M.  Kann's  study  is  carried  out  in  brown  transparent  glazes  upon  a 
light  ground  ;  the  impasto  is  rich  and  loaded  in  the  lights,  and 
the  effect  of  the  rapid,  but  masterly  touch  is  singularly  brilliant. 
In  the  etching  of  Jan  Cornelisz  Sylvius  we  have  the  portrait  of 
another  member  of  the  artist's  family.  Rembrandt,  we  know,  had 
already  etched  Sylvius'  portrait  in  1633  or  1634.  For  the  plate 
of  1646  (B.  280),  executed  eight  years  after  the  minister's  death, 
he  used  a  drawing  made  in  Sylvius'  life-time,  and  also  a  sketch 
(in  the  British  Museum)  in  which,  with  a  few  hasty  strokes,  he 
decided  upon  the  arrangement  of  the  figure.  Saskia's  cousin  is 
represented  full  face.  He  turns  over  the  leaves  of  a  book  with 
his  left  hand  ;  his  right  is  outstretched  as  if  to  emphasise  a  solemn 
declaration  of  faith.  Around  the  oval  enframing  the  bust  is  an 
inscription,  giving  the  dates  of  Sylvius'  birth  and  death,  and  a  list 
of  his  various  pastorates.  Some  Latin  verses  by  Van  Baerle  and 
Scriverius  printed  below  proclaim  his  virtues,  and  attest  the  holiness 
of  his  life  and  his  entire  devotion  to  his  ministerial  office.  We 
may  therefore  conclude  that  the  print  was  a  pious  souvenir,  executed 
for  the  friends  of  the  good  minister,  and  those  he  had  converted 
by  his  preaching,  or  edified  by  his  example.  No  fitter  hand  than 
Rembrandt's  could  have  paid  this  last  homage  to  the  beloved 
relative,  who  had  always  shown  him  the  most  cordial  kindness. 

The  other  portraits  with  which  we  are  now  concerned  are 
those  of  Rembrandt's  friends,  or  of  artists  with  whom  he  was 
intimate  at  this  period.  First  among  them  is  the  likeness  of  the 
physician,  Ephraim  Bueno  or  Bonus.2  Bonus  was  the  son  of  a 
distinguished  physician  and  belonged  to  the  community  of 

» 

Portuguese  Jews  at  Amsterdam,  where  civic  rights  were  conferred 
on  him  in  1651.  Himself  an  eminent  savant,  he  had  evidently 
a  taste  for  the  society  of  artists ;  a  few  years  later,  Lievens 
etched  a  fine  portrait  of  him  (B.  56).  Rembrandt's  plate  is  dated 

1  It  has  been  suggested  that  the  head  of  a  man,  one  of  several  sketches  on  a  single 
plate  (B.  370),  among  them  a  group  of  beggars  etched  in  1631,  was  drawn  from  this  same 
model.     But  this  head  is  evidently  a  study  of  Rembrandt  himself.     Its  likeness  to  the 
Rembrandt  drawing  (B.  22),  for  instanc?,  is  unmistakable. 

2  See  Vol.  I.  page  85. 


PORTRAIT    OF    COPPENOL  35 

1647  (B.  2?8),  and  represents  Ephraim  in  a  meditative  attitude, 
his  hand  on  the  balustrade  of  a  staircase.  As  is  the  case  in  several 
of  Rembrandt's  portraits,1  the  arm  on  which  he  leans  seems 
disproportionately  short  ;  but  the  head,  with  its  melancholy  expression 
and  thoughtful  gaze,  is  full  of  a  pensive  intelligence.  It  is  not 
unlikely  that  Ephraim  attended  Rembrandt  or  some  member  of 
his  family,  and  that  the  master,  in  acknowledgment  of  his  services, 
painted  the  little  portrait  in  the  Six  collection,  from  which  the 
etching  was  made.  The  composition  is  reversed  in  the  latter, 
but  the  dimensions  are  almost  identical.  Another  doctor,  J. 
Antonides  van  cler  Linden,  whose  portrait  (B.  264)  Rembrandt 
etched  about  1652 — 1653,  was  a  professor  at  the  University  of 
Franeker.  He  enlarged  and  re-organised  the  botanical  gardens  of 
the  town,  and  Vosmaer  supposes  Rembrandt  to  have  had  this 
benefaction  in  his  mind  when  he  represented  the  doctor  in  a 
garden.  It  may  be,  however,  that  the  master  considered  such  a 
background  the  most  favourable  for  the  head  of  the  Professor, 
who  is  painted  in  his  official  costume,  a  gown  with  a  broad  velvet 
collar.  Another  plate  of  about  the  same  period  (B.  282)  is 
devoted  to  one  of  Rembrandt's  earliest  patrons  and  most  faithful 
friends,  the  writing-master  Coppenol.  The  apparent  age  of  the 
sitter  is  about  fifty-five,  and  Coppenol,  we  know,  was  born  in 
1598.  He  is  seated  beneath  a  window,  his  head  turned  towards 
the  spectator,  a  complacent  expression  on  his  full,  round  face. 
Over  his  closely  cropped  hair  he  wears  a  black  skull-cap.  Two 
wooden  squares  and  a  pair  of  compasses  hang  beside  the  window. 
His  plump,  well-shaped  hands  rest  on  a  sheet  of  paper ;  he  holds 
in  the  right  a  long  goose-quill,  with  which  he  has  just  completed 
a  capital  letter.  A  boy  behind  him  looks  admiringly  at  his 
master's  work.  Coppenol  had  no  mean  opinion  of  himself,  and 
under  several  impressions,  both  of  this  plate  and  of  a  later  portrait 
by  Rembrandt,  he  wrote,  in  fine,  bold  characters,  verses  in  his 
own  praise  by  contemporary  poets.  Coppenol,  however,  has  a 
claim  on  our  sympathies  in  spite  of  his  weaknesses.  He  was  one 
of  the  first  to  encourage  Rembrandt's  youthful  efforts,  and  was 

1  See  the  portraits  of  Jan  Lutma,  Old  Haaring,  and  Coppenol. 

D    2 


REMBRANDT 


constant  when  many  others  abandoned  [him.  The  writing-master 
was  also  a  lover  of  the  arts.  In  the  third  state  of  the  above 
etching  Rembrandt  placed  a  triptych  of  the  Crucifixion  on  the 
wall  beside  him,  no  doubt  in  allusion  to  his  tastes. 


STUDY    TOR    Tilt:    PORTRAIT    OF    J.    C.    SYLVIUS. 

Pen   drawing  (British  Museum). 


Jan  Six,  whose  whole  length  portrait  Rembrandt  etched  in  1647 
(B.  285),  was  an  amateur  of  higher  pretensions.  His  house  was  a 
museum  of  beautiful  things.  He  was  a  bibliophile,  and  possessed 
a  choice  collection  of  engravings,  drawings,  and  pictures  by  the 


PORTRAIT   OF   CORNRLISZ   SYLVIUS  37 

most    famous     Dutch     and     Italian    masters.      His    acquaintance    with 


t  fufnuu 


ufu  3>erwn  /tttnlnt:  *<L  turm  WL 


n  /tt 

rat  <S^-!rt  fttciej  ,  auau'imuj  itlu 
/M  utteiit'-iu  fro*  b-tu,. 


ncce./ifa  VttUt  -i.  rut£u 
iftn  .  Qin  T>iiiauCJ  tutju  j  fttit  . 

inj  -Tfirfu.h,hu.  ct.hu 


J      a  i       i      /)U          /         v 
Ojfrc/tU  Tfiiut  frtmit^rUiue-riy 
U      •       sr         *      t     *v*    /•  / 

)icjtntuit:Ji!Ju.m,  vifc  maurf  df 
ffLectit'a  .  ct-  (viKii.m.Jv.imvn<i  n<r&_b>  nunaJ  . 
mj'Mn./iJ  numar  cxtincti  .^i  cmJdit  urbem. 
iMrrihu,  LKC  i 


utl  <t.maliuj  vitiraiJtce  illii 

/       a     SP 

<z  mtilfrr,  FfuJ  frtuiut 


JAN   COKNEL1SZ   SYLVIUS. 
1646  (13.  280). 


Rembrandt    dated    from     1641    at    latest,     for     we    know    that    the 
master  painted  his  mother's   portrait   in  that  year  ;    a  close   intimacy 


38  REMBRANDT 

had  gradually  grown  up  between  them.  Six's  wife,  Margaretha, 
whom  he  married  in  1655,  Rembrandt  had,  no  doubt,  often  met  in 
the  house  of  her  father,  his  early  patron  Dr.  Tulp.  Of  Rembrandt's 
genius  Six  had  the  highest  opinion.  He  gave  substantial  proof  of 
his  admiration  by  advancing  a  sum  of  money  to  the  master  in 
1653,  on  Van  Ludik's  security.  A  year  after  the  execution  of  the 
etching  of  1647,  he  commissioned  Rembrandt  to  undertake  another, 
the  plate  of  which  is  still  in  the  possession  of  the  Six  family.  This 
was  the  Marriage  of  Jason  and  Crcnsa,  (B.  112),  a  picturesque 
rendering  of  one  of  the  principal  episodes  of  Six's  tragedy  Medea.1 
Some  years  later  (about  1658-1660)  Rembrandt  was  further 
commissioned  to  paint  the  fine  portrait  of  the  Burgomaster  with 
which  we  shall  deal  more  fully  in  a  future  chapter. 

Several  pictures  by  Rembrandt  appear  in  the  catalogue  of 
Six's  collections,  which  were  sold  on  April  6,  1702,  after  his 
death.  They  included  Lord  Dudley's  grisaille,  the  Preaching  of 
JoJin  the  Baptist,  a  portrait  of  Saskia,  "  of  remarkable  grace  and 
vigour,"  and  the  "charming"  little  picture  of  1646  already  described, 
Abraham  entertaining  the  Angels.  It  is  evident  that  Rembrandt  was 
anxious  to  please  the  distinguished  amateur  who  showed  him  so 
much  kindness.  Before  embarking  upon  the  plate,  he  painted  the 
preliminary  study  of  the  head  now  in  M.  Bonnat's  collection.  In 
arrangement  it  agrees  almost  exactly  with  the  etching,  though  the 
composition  is  reversed.  But  his  very  anxiety  militated  against  the 
complete  success  of  his  work.  The  task  he  set  himself  when  he 
posed  his  sitter  with  his  back  against  an  open  window,  his  head 
in  relief  on  a  light  background  of  sky,  was  at  once  difficult  and 
ungrateful.  In  spite  of  the  great  beauty  of  the  execution,  the 
contrasts  between  the  dark  shadows  and  the  white  of  the  paper  are 
too  strongly  marked,  save  in  a  few  of  the  finest  impressions,  such 
as  one  of  the  second  state  in  the  Print  Room  of  the  Louvre. 

The  various  accessories  by  which  the  master  indicates  his  sitter's 
tastes  are  barely   distinguishable.      Some   books,   a  sword   and   sword- 

1  There  seems  to  be  no  ground  for  the  assertion  that  the  plate  was  intended  to  figure 
as  an  illustration  in  the  volume  containing  the  tragedy  :  Medee,  Treurspel ;  Amsterdam, 
1648. 


REMBRANDT'S    FRIENDS  39 

belt  are  laid  on  a  bench  behind  him.  A  picture  in  an  ebony  frame 
hangs  against  the  wall.  The  modelling  of  the  head  is  far  from  fault- 
less, and,  in  the  portions  nearest  the  light,  depth  and  transparency 
are  entirely  destroyed  by  the  over-loading  of  the  shadows. 

It   would    be    difficult,    on   the   other   hand,    to   conceive   of  work- 
manship   more  delicate,   expressive,   and   intelligent    than   that  of  the 
Portrait  of  Clement  de  Jonghc,   dated    1651    (B.    272).      The   famous 
publisher's    shop     was    one    of    the     best    known     and    most    widely 
patronised    among    those    of  the    printsellers    and    art-dealers    of    the 
Kalverstraat,     and     Rembrandt's     passion     for     collecting     naturally 
brought    about   a   considerable   traffic   between    the   two,    both   in    the 
way    of   purchase  and   of  exchange.      The    inventory  of    Clement  de 
Jonghe's  effects,   drawn   up  after  his   death,    and   dated    February    IT, 
1679,   includes  seventy-four  etchings  by    Rembrandt.      This  catalogue 
is  of  peculiar  interest,   as  giving  the  titles  by  which   the  plates  were 
commonly  known  in   Rembrandt's  time.      The  authenticity  of  several 
among  them   has  been   confirmed   by   means  of   these  titles,   and   the 
identity   of  the  sitters  established,  as   in   the  case  of  the   portraits  of 
Rembrandt's  father  and   mother,   his   son   Titus,   and   others.      In   the 
etching  of  1651    De  Jonghe   is   represented   sitting   in   an  elbow-chair, 
wrapped  in  a  loose  cloak,   and  wearing  a  broad-brimmed  hat,   which 
throws    a    shadow    over    his    face.      The    characteristic    expression— 
the  astute  air    of  one  versed    in  all  the  subtleties  of  art- traffic — are 
rendered  with  inimitable  ease  and   sobriety.     The  portrait  is  one  of 
Rembrandt's  very   finest  prints.     We  can   recall    none  in   which  the 
facility,  concision,  and   breadth  of  the  technique    bear  more   eloquent 
testimony  to  the  ripeness  of  the  master's  power. 

At  the  sales  he  was  in  the  habit  of  frequenting,  the  meetings  for 
the  appraisement  of  works  of  art  to  which  painters  were  often 
summoned  in  those  days,  the  shops  of  dealers  such  as  De  Jonghe 
and  Johannes  de  Renialme,  the  houses  of  his  cousin  Hendrick 
van  Uylenborch,  of  Fransz,  and  of  those  collectors  who,  like  Marten 
Kretzer  and  Herman  Becker,  combined  a  certain  unofficial  traffic 
in  pictures  with  their  other  avocations,1  Rembrandt  must  often 

1  See  Dr.  Bredius'  interesting  study,  De  Kunsthandel  te  Amsterdam  in  de  XVII.  Eeuw, 
in  the  Amsterdamsch  Jaarboeckje,   1891. 


40  REMBRANDT 

have    encountered    Claes    Berchem.        Berchem,    who    was    born    at 
Haarlem    in    1620,    had    settled    early    in    his  career    at  Amsterdam. 


CLEMENT    DE   JONGHE. 

1651  (B.  272). 
(Etching :  first  state.) 


Like  Rembrandt,  he  was  a  collector  mainly  of  Italian  prints  and 
drawings,  for  which  he  occasionally  paid  high  prices.  Houbraken 
tells  us  that  he  gave  sixty  florins  for  Marc  Antonio's  Massacre  of 


REMBRANDT'S   FRIENDS 


the  Innocents,  after  Raphael.  Tastes  such  as  this,  his  devotion  to 
his  art,  and  his  enthusiasm  for  Italy,  the  picturesque  scenery  of 
which  he  loved  to  paint,  were  all  strong  recommendations  to 
Rembrandt's  favour  and  friendship.  An  intimacy  soon  sprang-  \-p 
between  the  two,  slight  as  were  their  artistic  affinities.  In  Berchem's 
studio  Rembrandt  may  very  possibly  have  encountered  another 
landscape-painter,  one  whose  art  was  more  purely  Dutch  than 
Berchem's,  and  whose 
sincerity  and  poetic  tem- 
perament had  more  in 
common  with  the  mas- 
ter's own  genius.  The 
attraction  between  Jacob 
van  Ruysdael  and  Rem- 
brandt must,  it  is  natural 
to  suppose,  have  been  a 
strong  one.  Like  Rem- 
brandt, Ruysdael  lived 
apart,  indifferent  to  the 
suffrages  of  his  contem- 
poraries. At  the  time 
we  are  now  considering, 
he  was  in  the  habit  of 
requisitioning  Berchem's 
facile  brush  for  the  fig- 
ures and  animals  in  his 
landscapes.  No  trace  of 
the  relations  that  may 
have  existed  between  the  two  greatest  of  the  Dutch  masters  has  sur- 
vived. But  Rembrandt's  friendship  with  Berchem  is  formally  attested 
by  the  master's  portraits  of  the  landscape-painter  and  his  wife,  painted 
in  1647,  and  now  in  the  Duke  of  Westminster's  collection.  Berchem, 
who  was  twenty-seven  years  old  at  this  date,  wears  a  broad-brimmed 
hat,  and  a  black  costume,  relieved  by  a  flat  turn-down  collar,  the 
whiteness  of  which  accentuates  the  olive  tint  of  his  complexion.  A 
quantity  of  black  hair  surrounds  his  delicately-featured  face  ;  a  black 


CI.KMENT    UK   JUNCIIK. 

1651  (H.  272). 
(Ktching;  third  state.) 


42  REMBRANDT 

beard,  and  a  curling  black  moustache  enhance  the  vigour  of  the  manly 
head.  The  wife's  frank  eyes  and  fresh  complexion,  her  simple  dress, 
the  absence  of  all  jewelry  save  the  wedding  ring  on  one  of  the  short, 
serviceable  hands,  proclaim  her  an  honest,  notable  soul,  full  of  sound 
sense  and  housewifely  instincts.  Rembrandt  shows  himself  at  his  ease 
with  this  excellent  couple.  The  broad,  yet  careful  handling,  and  the 
charm  of  expression  in  the  two  portraits  indicate  a  labour  of  love. 

One  of  Rembrandt's  finest  etched  portraits  dates  from  this  same 
year  and  was  inspired  by  another  of  the  Italianisers,  the  landscape- 
painter  Jan  Asselyn  (11  277).  He  wears  a  cloak,  thrown  jauntily  over 
his  shoulder  and  fastened  round  the  waist  with  a  sash.  His  left  hand 
is  placed  on  his  hip,  his  right  rests  on  the  table  against  which  he  stands. 
In  the  first  state  of  the  etching  there  is  an  easel  behind  him,  with  one 
of  his  landscapes  upon  it  ;  but  this  Rembrandt  afterwards  effaced,  no 
doubt  because  it  detracted  somewhat  from  the  effect  produced  by  the 
figure. 

The  long,  regular  features  have  a  candid,  open  expression.  Rem- 
brandt skilfully  conceals  a  deformity  of  his  model's  hands  by  means  of 
a  pair  of  gloves.  Asselyn  is  said  to  have  suffered  from  a  distortion  of 
the  fingers  which  won  him  the  nickname  of  Crabbetjc  (little  crab) 
among  the  Dutch  painters  in  Rome.  He  lived  for  a  considerable  time 
in  Italy,  where  he  came  under  the  influence  of  Jan  Miel  and  Pieter  de 
Laar.  Passing  through  Lyons  on  his  return  to  Holland  in  1645,  he 
married  the  daughter  of  an  Antwerp  merchant  settled  in  that  city.  At 
this  date  he  was  thirty-five  years  old.  He  had  just  established  himself 
in  Amsterdam  when  Rembrandt  etched  this  portrait. 

Other  landscape-painters  whose  names  are  not  to  be  found  in  the 
list  of  Rembrandt's  sitters  were  nevertheless  among  his  closest  friends. 
Although  he  took  pleasure  in  the  society  of  some  among  the  Italian- 
i-ers,  his  sympathies  rather  inclined  him  to  the  more  original  artists 
whose  genius  was  essentially  Dutch.  We  learn  from  Houbraken  that 
the  almost  forgotten  master,  Roelandt  Roghman,  was  his  closest  friend. 
The  two  had  many  points  of  contact.  They  were  united  by  a  common 
devotion  to  their  art,  a  similarity  of  sentiment  and  tastes,  and  later,  by 
their  brotherhood  in  adversity.  An  ardent  student  of  Nature,  as  his 
numerous  studies  of  the  ruined  castles,  churches,  and  monasteries  which 


ROELANDT    ROGHMAN  43 

abounded  in  Holland  sufficiently  prove,1  Roghman  had  a  fondness 
for  the  brown  tones  affected  by  Rembrandt,  and  in  his  com- 
position and  his  treatment  of  chiaroscuro  occasionally  approached 
the  master  so  closely  that  his  works  have  been  attributed  to 
Rembrandt.  The  two  large  landscapes  signed  with  his  mono- 
gram in  the  Cassel  Gallery  long  passed  for  the  work  of  the  greater 
master.  This  ascription  was  supported  by  the  adroit  modification  of  the 
monogram  by  a  forger.  In  the  fine  Hilly  Landscape  in  the  Oldenburg 
Museum,  signed  with  Roghman's  name  in  full,  a  work  we  take  to  be 
his  masterpiece,  the  effort  is  more  concentrated  ;  the  colour,  though  no 
less  harmonious,  has  greater  brilliance  and  variety,  and  the  blue  sky, 
with  its  floating  white  clouds,  blends  very  happily  with  the  warm,  trans- 
parent tones  of  the  landscape.  Roghman,  who  had  travelled  much, 
was  also  an  engraver,  and  has  left  a  considerable  number  of  plates, 
among  them  two  sets  of  views,  one  of  places  in  the  neighbourhood  of 
Amsterdam,  the  other  of  the  most  picturesque  spots  in  Holland.2 

There  is  a  higher  art  and  a  deeper  study  of  nature  in  his  set  of 
landscapes  illustrating  the  scenery  of  the  Wood,  near  the  Hague,  which 
occasionally  suggest  Ruysdael.  For  Roghman,  his  senior  by  some  ten 
years,  Rembrandt  had  a  warm  affection.  Jan  Grifficr,  a  pupil  of  the 
elder  master,  is  said  to  have  deserted  his  studio,  and  to  have  presented 
himself  to  Rembrandt,  begging  to  be  enrolled  among  his  scholars. 
Rembrandt,  however,  promptly  dismissed  him,  declaring  himself  too 
much  attached  to  Roghman  to  steal  away  his  pupils.  Neglected  by  his 
contemporaries,  the  unfortunate  Roghman  found  himself  at  last  com- 
pletely abandoned.  He  remarked,  with  pardonable  bitterness,  that 
"  he  had  gained  knowledge  and  experience  only  to  find  that  he  had  no 
use  for  them."  Poverty  overtook  him  in  his  old  age.  He  was  reduced 
to  the  shelter  of  an  almshouse  in  1686,  and  died  there,  having  survived 
his  friend  many  years. 

Hercules  Seghers,  a  landscape-painter  even  more  unfortunate  than 
Roghman,  was  no  less  generously  appreciated  by  Rembrandt.  It 

1  Many  of  these  drawings  are  in  the  Six  collection,  the  Teyler  Museum,  and  the 
Amsterdam  Print  Room,  and  have  an  historic  interest  apart  from  their  great  facility  of 
execution. 

"  Plaisante  Lantschappen  na  tLeven  geteeckendt  door  Roelant  Roghman^  gedruckt  by 
Vyscher. 


44 


REMBRANDT 


seems  unlikely,  however,  that  there  was  much  intercourse  between  the 
two,  taking  into  account  the  difference  in  their  respective  ages.  The 
date  of  Seghers'  birth  is  not  known,  but  he  was  practising  in  Amster- 
dam so  early  as  1607,  and  traces  of  him  are  to  be  found  from  time  to 
time  till  1630.  By  virtue  no  less  of  his  aspirations  than  of  his  actual 
achievements,  Seghers  deserves  to  rank  among  those  pioneers  who  led 

the  way  to  the  emancipa- 
tion of  Dutch  art,  and 
proclaimed  its  true  voca- 
tion. After  a  life  of  con- 
stant struggle  with  poverty 
he  was  reduced  to  selling 
his  plates  at  starvation 
prices,  and  even  to  cutting 
them  up  in  order  to  make 
some  trifling  profit  on 
them.  His  prints  were 
mainly  appreciated  by  his 
grocer  and  fruiterer,  who 
used  them  to  wrap  up 
their  goods.  His  misfor- 
tunes seem  to  have  per- 
sisted, even  beyond  the 
grave,  for  all  his  works 
have  disappeared,  with  the 
exception  of  two  pictures, 

the  Dutch  Landscape  in  the  Berlin  Museum,  a  wide  plain  with  a 
distant  town  beside  a  canal,  and  the  fine  landscape  in  the  Uffizi, 
known  as  The  Storm,  and  long  ascribed  to  Rembrandt.1 

Yet  Seghers  was  one  of  the  most  prolific  artists  of  his  day.  No 
less  than  thirty-six  of  his  pictures,  some  among  them  of  considerable 
importance,  appear  in  the  inventory  of  Johannes  de  Renialme's  effects, 
dated  1644.  Both  in  his  pictures  and  engravings  Seghers  foreshadows 


J.    AN'TONIDKS    VAX    DEK    I, INDEX. 

About  1653  (B.  264). 


1  Its  restitution  to  Seghers  was  due  to  Dr.  Bode.     An  engraving  of  this  landscape, 
bearing  Seghers'  name,  has  lately  come  to  light,  confirming  Dr.  Bode's  pronouncement. 


HERCULES    SEG HERS 


45 


those  panoramic  expanses  of  plains  and  waters,  of  alternate  bands  of 
light  and  shadow,  the  picturesque  aspects  of  which  were  afterwards 
more  fully  developed  by  Vermeer  of  Haarlem,  and  Philips  de  Koninck. 
As  an  engraver  Seghers  was  an  experimentalist,  eager  to  improve  and 
extend  the  resources  of  his  art.  He  attempted,  not  without  a  certain 
measure  of  success,  to  invent  a  process  for  printing  in  colours  on  pre- 
pared paper  or  stuffs,  and  exasperated  his  wife  by  requisitioning  the 
scanty  household  linen  for  his  experiments,  the  variety  of  which  is  at- 
tested by  the  rich  collection  of  examples  in  the.  Ryksmuseum.  They 


A     I.ANDSCAI'K. 

Pell  drawing,   heightened  with   sepia  (Heseltille  Collection). 


consist  for  the  most  part  of  views  in  the  Tyrol,  the  skies  slightly  tinted, 
the  brown  tones  of  the  rocks  relieved  by  the  greenish-blues  of  the 
backgrounds.  Absorbed  in  such  researches,  the  poor  artist  sank  deeper 
and  deeper  into  difficulties,  and  finally  sought  solace  for  his  misfortunes 
in  drink.  He  is  said  to  have  been  killed  by  a  fall  from  the  top  of  a 
staircase.  Rembrandt  was  naturally  attracted  by  efforts  so  interesting 
and  suggestive.  He  professed  the  warmest  admiration  for  Seghers' 
talents,  and  we  know  from  his  inventory  that  he  owned  six  of  his 
pictures,  one  a  very  important  example.  He  also  possessed  Seghers' 
plate,  of  Tobias  and  the  Angel,  which  it  occurred  to  him  to  improve  by 
certain  modifications.  He  accordingly  replaced  the  original  group 


46  REMBRANDT 

by  a  Flight  into  Egypt  (B.  56) — the  Virgin  with  the  Infant  Jesus  in 
her  arms,  seated  on  an  ass  led  by  St.  Joseph.  Dissatisfied  with  the 
result,  however,  he  threw  it  aside  without  signature.1 

Rembrandt's  relations  with  these  landscape-painters,  and  his 
admiration  for  their  works,  attest  his  deep  love  of  nature.  As  yet 
uncertain  of  his  own  course,  his  allegiance  was  divided  between 
the  devotees  of  Italian  convention  and  the  more  purely  Dutch  artists. 
Sincere  and  exact  as  he  always  showed  himself  in  his  studies  from 
nature,  he  continued  to  draw  occasionally  upon  his  imagination,  and 
to  group  the  picturesque  elements  of  his  works  in  a  somewhat 
arbitrary  fashion.  A  small  night-piece  dated  1647,  formerly  in 
Sir  Henry  Hoare's  collection,  and  lately  purchased  for  the  Dublin 
Gallery,  is  remarkable  for  its  transparent  shadows,  and  mysterious 
serenity  of  sentiment.  The  subject  is  The  Holy  Family  resting  in 
Egypt.-  The  fugitives,  surrounded  by  animals,  are  seated  near  a  fire, 
the  light  of  which  is  reflected  in  a  quiet  pool  in  the  foreground.  The 
picture  is  little  more  than  a  sketch,  founded  on  a  composition  of 
Elsheimer's,  to  which  the  master  has  added  a  breadth  and  poetry  all  his 
own.  In  77/6'  Ruin,  a  landscape  in  the  Cassel  Museum,  painted  about 
1650,  Rembrandt  returns  to  the  complex  and  somewhat  incoherent 
composition  of  his  early  landscapes.  The  various  details — the 
windmill,  carefully  sheltered  from  the  wind,  and  planted  on  the  bank 
of  a  running  stream,  the  boat  with  flags,  the  swan,  the  little  horseman 
in  a  red  cloak,  and  a  huge  turban,  the  unmistakably  Italian  mountains, 
and  the  purely  Dutch  cottages,  the  foaming  cascades,  and  the  temple 
of  Tivoli,  rising  from  a  precipitous  rock — all  are  familiar  to  us,  not 
only  in  Rembrandt's  own  works,  but  in  those  of  the  Italianisers  from 
whom  he  borrowed.  These  details  he  gleaned  from  many  an 
engraving  and  drawing,  blending  them  into  fantastic  unity  in  one 
picture.  His  own  originality  found  scope  only  in  the  masterly 
treatment  of  general  effect,  in  the  instinctive  subordination  of  values 
to  the  main  harmony,  and  in  the  powerful,  but  delicately  adjusted 
contrasts  between  the  high  tones  of  the  sky,  and  the  strong  tints  of  the 

1  Seghers'  plate  itself  was  only  a  copy,  with  very  slight  modifications,  of  an  engraving 
executed  in  1613  by  Count  Goudt,  the  friend  of  Elsheimer. 

2  //  wmld  seem  to  be  rather  a  Bivouac  of  Shepherds. — F.  IV. 


LANDSCAPES    PAINTED    BY    REMBRANDT  47 

landscape.  In  the  Landscape  with  Swans,  which  belongs  to  Madame 
Lacroix,  a  work  of  about  the  same  period,  the  composition,  though 
superficially  simpler,  is  no  less  complex.  A  group  of  lofty  trees,  the 
outline  of  which  we  recognise  in  many  other  drawings  by  Rembrandt  ; 
a  bridge,  towards  which  a  carriage  full  of  people  advances  ;  in  the 
foreground,  a  dark  pool  on  which  arc  two  swans,  and  a  small  boat ; 
under  some  trees  to  the  right  a  flaming  forge  and  a  blacksmith  at 
work  ;  in  the  background,  a  confused  mass  of  slopes,  towers,  windmills, 
aqueducts,  a  village,  etc.— make  up  a  somewhat  bewildering  sum  of 
details.  It  must  be  allowed  however  that  there  are  no  incongruous 
elements  in  the  scene,  the  effect  of  daylight  is  skilfully  rendered,  and 
the  golden  tones  of  the  background  melt  into  pleasant  harmony  with 
the  pale  blues  of  the  luminous  sky.  The  canvas  is  not  in  absolutely 
first-rate  condition,  but  is  on  the  whole  fairly  well  preserved,  and 
the  general  effect  is  brilliant  and  animated.  The  latest  of  these 
painted  landscapes,  the  Windmill,  formerly  in  the  Orleans  collection, 
and  now  at  Bowood,  is  the  masterpiece  of  the  whole  series.  It  may 
possibly  be  a  composition,  but  this  it  would  be  difficult  to  determine 
from  the  arrangement,  and  the  general  effect,  which  is  still  more 
homogeneous  than  that  of  the  Landscape  with  Swans,  has  all  the 
appearance  of  a  direct  inspiration  from  nature.  A  windmill  surrounded 
by  a  few  cottages  rises  from  a  hillock  above  a  watercourse.  The 
lower  part  only  is  illuminated.  The  outline  is  relieved  against  a  wild 
and  stormy  sky.  The  sun  has  sunk  below  the  horizon,  but  his  last 
rays  gild  the  broad  wings  of  the  mill ;  below,  the  water,  the  banks  and 
the  distant  landscape  melt  into  the  gathering  shadows  ;  a  silence,  as 
of  advancing  night,  broods  upon  the  scene.  The  spectator  seems  to 
hear  the  beat  of  water  against  some  boat  at  anchor,  and  the  furtive 
flight  of  an  unseen  bird  in  the  thicket.  A  solemn  calm  descends 
upon  the  earth.  Here  the  details  are  better  chosen  and  less 
complicated  ;  and  instead  of  distracting  the  attention,  they  enhance 
the  melancholy  poetry  of  the  landscape.  Rembrandt's  studies  were 
bearing  fruit.  He  dared  to  be  simple,  to  reject  those  complexities 
and  artifices  which  had  no  part  in  nature,  and  to  rely  on  realities 
for  his  effects.  At  no  period  of  his  career  do  his  drawings  and 
etchings  furnish  stronger  proofs  of  his  constant  and  sincere 


48 


REMBRANDT 


communion  with  nature.  As  was  his  invariable  habit,  he  turned 
his  attention  to  the  things  and  events  he  saw  around  him.  On 
the  /th  of  July,  1652,  the  Town-hall  of  Amsterdam  was  partially 
destroyed  by  fire.  On  the  gth  of  the  same  month  he  made  a  drawing 
of  the  ruins  (Heseltine  collection),  a  most  minute  and  careful  study, 
as  we  find  by  comparing  it  with  a  picture  by  T.  Beerstraten,  in  the 


JAN      ASS  K.I.  V  N. 


1648   (li.    277). 

Ryksmuseum,  painted  from  a  similar  point  of  view.  In  his  occasional 
wanderings  outside  the  city  the  most  humble  spots  attracted  him. 
In  the  presence  of  nature,  no  matter  in  how  lowly  a  guise,  he  seemed 
to  disregard  the  promptings  of  his  own  exuberant  imagination,  and 
copied  the  scene  before  him  with  the  most  scrupulous  fidelity.  He 


STUDIES    OF   LANDSCAPE 


49 


accepted  the  austere  monotony  of  her  lines  ;  and  drew  from  her 
very  poverty  the  means  of  expression.  The  simplest  motives  sufficed 
to  charm  him ;  the  corner  of  a  meadow,  a  country  road  winding 
along  the  plain,  a  crazy  shed,  a  rustic  cabin  shaded  by  some  stunted 
tree.  He,  the  painter  of  the  poor,  the  wretched,  the  forsaken,  now 
shows  us  the  places  where  they  live  and  suffer.  He  paints  the 
land  of  the  tici;gars,  in  all  its  desolation,  the  land  they  had  twice 


RUINS   OF    Till-:    AMSTliKDA.M    TOWN    HALL. 

Pen  drawing,   heightened  with  wanh  (Hescltine  Collection). 


redeemed,  once  from  the  fury  of  the  sea,  once  from  the  more  cruel 
frenzy  of  the  Spaniard.  The  love  of  the  patriot  for  this  territory 
was  intense  in  proportion  to  the  price  he  had  paid  for  it.  To 
Rembrandt,  every  aspect  of  his  native  country  was  beautiful.  He 
never  went  beyond  it,  and  his  wanderings  even  within  its  limits 
were  sufficiently  circumscribed.  His  travels  were  confined  to  the 
quiet  suburbs  of  Amsterdam — Sloten,  Laren,  Loenen,  and  the  Castle 
of  Kronenburg — to  the  mills  of  Zaandam,  to  the  coast  hamlets, 
Naarden,  Diemen,  and  Muiderberg,  where  Sylvius'  son  was  minister  ; 

VOL.   II.  E 


5o  REMBRANDT 

to  Jan  Six's  house  at  Elsbroeck,  to  the  Receiver  Uytenbogaerd's  home 
at  Goeland,  and  to  the  various  asylums  offered  him  in  his  adversity 
by  a  few  staunch  friends.     The  priceless  series  of  drawings  purchased 
by  an  ancestor  of  the    present    Duke    of    Devonshire    from   the    son 
of    Rembrandt's    pupil,     Govert     Flinck,    to     whom     they     originally 
belonged,     were    probably    executed     during    one    of    his    temporary 
sojourns  among  trees  and  fields.      Rejoicing  in  the  momentary  respite 
from  cares  and  creditors,  the  great  painter  sought  solace  from  Nature, 
the  friend   who  had   never   forsaken   him.     The   various  drawings  of 
this  series — several  of  which  we  reproduce  in  facsimile — were  no  doubt 
originally    the    leaves    of    a    sketch-book.      They    were    probably    all 
produced  at  the  same  period,  and  certainly  in  the  same  place.      Every 
aspect  of  the  scenery — which  we  believe  to    be  that  of  some  district 
close  to  Amsterdam — is  carefully  recorded  by  the   master.      He  notes 
the    flat   coast,    the  wide  watery  expanses,  the  level  horizons  against 
which  every  inequality  shows  out  in  strong  relief,   the  groups  of  trees 
clustering    about    scattered    dwellings,    the    passing    boats,   their    sails 
swelling    to    the    breeze,  the    cottages  nestling    one    against    another, 
as  if  to  offer  a  braver  front  to  the  winds  that  sweep  the  plain,  a  village 
spreading  along  the  banks  of  a  stream,  a  fisherman's  hut,  with  nets 
drying    in  the   sun.      The    most    casual    incident    becomes   a  picture, 
so  firm  and  precise  is  the  outline  of  each  object,  so  exact  and  truthful 
the  modelling.      In  most  of  these  drawings,  the  outline  is  lightly  traced 
with    a  pen  ;    the  work   is    then    heightened    with    washes    of    Indian 
ink  or  bistre,    by  means  of  which  the   diversity  of  local   values    and 
planes  is  suggested  with  extraordinary  delicacy  and  firmness.     Very 
often    the  master    returns    to    the    same    spot,    and    following    up    his 
practice    in    the    treatment    of    the    human    model,    hovers    about    a 
landscape,    seeking    its    most    picturesque    aspect.      He    sketches    it 
from    a   distance   of  some    few    paces,  endeavouring    by  such  careful 
examination  to  solve  the  problems  of  form  and  effect,  and  to  discover, 
under  the  infinite  variety  of  nature,  the  complex  laws  which  regulate 
her  superficial  aspects,  and  determine  the  unity  of  a  landscape. 

Among  the  Chatsworth  drawings  we  find  numerous  examples 
of  such  reiterated  studies  from  a  single  motive,  made  during  a 
summer  visit  to  the  country.  We  might  multiply  instances  ;  but 


I 


s 


ETCHINGS    OF    LANDSCAPE  51 

the  comparison  of  those  we  have  selected  for  reproduction,  such  as 
the  clump  of  high  trees  by  the  waterside,  and  the  Gothic  gateway 
at  the  entrance  of  a  town,  will  convince  our  readers  of  Rembrandt's 
predilection  for  methods  to  which  we  have  already  several  times 
referred.  By  means  of  this  uncompromising  fidelity  the  master 
gave  an  interest  to  the  most  ordinary  motives,  an  interest  often 
extrinsic,  born  of  the  art  with  which  he  seized  upon  the  essential 
features  of  a  scene,  and  the  science  and  ingenuity  with  which  he 
expressed  them. 

His  etchings  of  this  period  have  the  same  sincerity  of  conception, 
the  same  firmness  of  treatment,  that  mark  these  drawings.  An 
exception  should  perhaps  be  made  in  the  case  of  the  Landscape  with 
a  Canal  and  Sivans  (B.  235),  dated  1650,  and  The  Sportsman  (B.  211), 
a  plate  executed  probably  some  years  later.  In  these,  there  is  an 
evident  blending  of  fact  and  fancy.  The  mountains  in  the  distance 
are  ill  adapted  to  the  foregrounds,  and  bear  a  strong  likeness  to 
those  of  the  Ruin,  which  was  painted  at  about  the  same  date.  The 
other  etched  landscapes  of  this  period  are  remarkable  for  their  perfect 
cohesion  and  homogeneity,  and,  like  the  drawings,  were  evidently 
studied  in  the  open,  face  to  face  with  nature.  We  must  be  content 
to  enumerate  some  of  the  most  picturesque  among  them,  as  the 
Village  with  a  Square  Tower  (B.  218)  the  Arched  Landscape  zvith 
a  Flock  of  Sheep  (B.  224),  the  Canal  (B.  221)  with  its  fringe  of  leafless 
trees,  their  forms  most  firmly  and  truthfully  rendered,  the  Peasant 
carrying  Milk-pails  (B.  213)  with  the  crazy  hovels  by  the  waterside, 
the  Village  near  the  High-road  (B.  217),  the  Arched  Landscape 
with  an  Obelisk  (B.  227),  which  takes  its  name  from  a  monument 
the  master  has  also  introduced  in  one  of  his  drawings,  a  landmark 
some  two  miles  from  Amsterdam,  with  an  inscription  indicating  its 
distance  from  the  city.  Two  of  the  plates  executed  at  this  period 
claim  special  mention,  their  truth  of  conception  and  extreme  sobriety 
of  workmanship  giving  them  a  place  apart.  These  are  the  Landscape 
with  a  ruined  Tower  (B.  223),'  the  spirited  effect  of  which  is  obtained 
by  the  simplest  means,  and  the  Goldweighers  Field  of  1651  (B.  234) 

1   Called  more  properly  by  Monsieur  Charles  Blanc,  "  Pay  sage  a  la  Tour" — there  being 
indeed  little  indication  of  "  ruin"  in  the  first  state,  with  the  dome. — F.   W. 

E    2 


52 


REMBRANDT 


a  print  no  less  free  and  facile  in  treatment,  and  perhaps  even  more 
effective.  Within  the  narrow  limits  of  this  plate,  the  master  suggests, 
with  incomparable  knowledge  and  precision,  the  various  planes  of  a 


T  O  IJ  I  T       U  I.  1  N  D. 

1651   (D.  42). 


wide  champaign,  the  plantations  of  a  great  estate,  a  mansion  surrounded 
by  a  wood,  with  its  outbuildings  and  dependencies,  the  adjacent 
villages  and,  beyond,  the  broad  line  of  ocean,  stretching  away  to 


Interior  oj  a   Church. 

Pen   ruiil    Wavh. 

I  AI.M'  I;  I  1NA.) 


Printed  by  Draeger  &  Lesieur,  Paris 


STUDIES    OF   ANIMALS 


53 


the  horizon.  With  a  few  careless  strokes  of  the  point,  he  defines 
the  site,  and  the  salient  features  of  his  landscape.  He  then  elaborates 
its  details,  bringing  out  the  characteristic  growth  of  the  various  trees, 
and  finally  gives  colour  and  completeness  to  the  whole  by  a  few 
emphatic  touches,  applied  with  unerring  science.  Even  in  these 
swift  and  summary  renderings  of  nature,  improvisations  rather  than 
studies,  we  are  struck  by  the  intimate  harmony  between  the  method 
of  expression  and  the  desired  effect.  A  mind  so  entirely  absorbed 
in  art  and  its  various  developments  was  naturally  attracted  to 
experimental  processes.  Evidences  of  such  attraction  are  to  be 
found  in  a  plate  of  several  sketches  (B.  364),  where  Rembrandt 
seems  to  have  tried  the 
effect  of  a  broad  point 
to  produce  rich,  intense 
blacks,  in  contrast  to  the 
white  tone  of  the  paper. 
The  authenticity  of  this 
plate  has  been  questioned. 
We  believe,  it,  however, 
to  be  the  work  of  the 
master.  The  impression 
in  the  British  Museum 

has  strong  presumptive  evidence  in  its  favour,  for  it  originally  formed 
part  of  Houbraken's  collection.  But  we  rely  more  confidently  on  its 
analogies  with  plates  such  as  the  Village  near  the  High-road  (B.  217) 
and  the  Landscape  with  a  Vista,  dated  1652  (B.  222),  in  which  the 
treatment  of  masses  of  foliage  is  almost  identical.  An  etching  dated 
1650,  the  Shell  (B.  159),  is  yet  another  instance  of  Rembrandt's 
scrupulous  observation,  and  fidelity  to  Nature.  It  is  interesting  to 
find  the  great  artist,  in  the  full  maturity  of  his  genius,  giving  himself 
up  to  the  minute  and  careful  reproduction  of  a  sea-shell,  which  doubt- 
less was  one  of  the  many  curiosities  of  his  home. 

The  most  ordinary  objects  arrest  his  attention,  and  help  him  to 
further  knowledge.  His  passion  for  self-improvement  persisted 
throughout  his  life,  and  evinces  itself  at  this  period  of  his  career  in 
numerous  studies  of  animals.  The  Good  Samaritan  and  the  Pacifi- 
cation of  Holland  attest  great  advance  in  the  treatment  of  horses. 


VILLAGE    WITH    A   SQL'AKE   TOWER. 

1650  (li.  218). 


54 


REMBRANDT 


Turenne's  charger  is  certainly  an  awkwardly  constructed  beast,  but 
Dr.  Bode  mentions  an  admirably  painted  horse  of  smaller  size  in  the 
equestrian  portrait  of  a  Hungarian  magnate,  executed  about  1654,  and 
now  in  Galicia.1 

In  the  pictures,  drawings  and  etchings  of  this  period  we  find 
cattle,  asses,  &c.,  more  correctly  drawn  than  in  earlier  works,  and 
it  was  about  this  time  that  Rembrandt  made  his  first  studies  of 
lions.  We  have  noted  his  grotesque  treatment  of  the  lions  in  his 
S/.  Jerome,  and  the  Lion  Ihints.  A  travelling  menagerie  passing 
through  Amsterdam  probably  gave  him  opportunities  of  observing 
their  structure  and  attitudes.  He  threw  himself  with  great  ardour 
into  the  study,  and  produced  some  twenty  drawings.2  He  seems 
to  have  had  some  difficulty  in  seizing  their  characteristics,  for 
several  of  the  drawings  are  insignificant,  and  fail  to  suggest  the 
dignity  of  leonine  movement  and  expression.  There  are  others, 
however,  in  which  the  types  and  forms  are  most  admirably  rendered, 
as,  for  instance,  M.  Bonnat's  studies  of  two  crouching  lions,  formerly 
in  the  Russell  collection  in  England,  where  they  were  the  admiration 
of  Landseer  ;  the  lion  with  eyes  voluptuously  closed,  gnawing  at  a 
bone  between  his  paws  ;  the  study  in  the  British  Museum,  of  a  lion 
emaciated  by  long  captivity,  whose  mournful  air  and  resigned 
dignity  of  bearing  agree  so  perfectly  with  the  Latin  inscription 
written  below  the  sketch  : 

Jam  piger  et  longo  jacet  exarmatus  ab  aevo ; 
Magna  tamen  fades  et  non  adeunda  senectus. 

1  he  two  studies  of  lionesses,  one  eating,  the  other  sleeping,  also  in 
the  British  Museum,  are  no  less  remarkable. 

The  large  curiosity,  the  love  of  nature  and  of  life  so  character- 
istic of  Rembrandt,  were  important  factors  in  his  art-teaching  at 
this  period.  We  have  shown  that  he  had  lost  ground  considerably 
in  popular  favour,  but  he  retained  his  prestige  as  the  greatest  of 
contemporary  masters  among  the  artists  of  his  day,  and  a  large  number 
of  pupils  continued  to  frequent  his  studio.  It  seems  to  have  been 

Studien,  p.  499.     Dr.  Bode  saw  this  portrait  in  Vienna,  whither  it  had  been  sent  by 
its  owner  for  restoration. 

'-  There  are  examples  in  the  public  collections  at  Berlin,  Dresden,  Frankfort,  Munich, 
in  the  Albertina,  the  Louvre,  the  British  Museum,  the  Teyler  Museum,  and  in  the 
collections  of  Messrs.  Heseltine,  Bonnat,  Dutuit,  &c. 


REMBRANDT'S    PUPILS 


55 


acknowledged  that  instruction  at  once  so  thorough  and  so  lofty  was 
unattainable  elsewhere.  Both  as  painter  and  engraver,  Rembrandt's 
reputation  was  incontestable,  and  he  had  proved  his  capacity  in  every 
genre  he  had  attempted.  He  was  further  justly  reputed  a  kind  and 
generous  master,  careful  of  the  comfort  and  liberty  of  his  pupils. 
Scholars  were  attracted  to  his  studio  from  all  quarters,  not  only  of 
Holland,  but  of  neighbouring  countries.  We  are  dealing  with  the  life 
of  Rembrandt,  and  not  with  that  of  his  followers.  We  must  therefore 
be  content  with  a  brief  mention  of  the  most  important,  in  which  we 
shall  dwell  more  particularly  on  those  aspects  of  their  history  which 
throw  light  on  that  of  the  master.  Germany  sent  him  several  scholars, 
among  them  Michiel  Willemans,  the  engraver  Ulric  Mayr  of  Augsburg, 
and  Franz  Wulfhagen  of  Bremen.  The  Saxon,  Christophel  Paudiss,  born 
about  1618,  had  preceded  them  to  Amsterdam.  His  pictures  suffer  from 
a  certain  want  of  vigour  in  the  tonality  ;  but  Rembrandt's  influence  over 
him  persisted,  and  is  apparent  in  his  treatment  of  chiaroscuro.  His 
powers  may  be  very  fully  estimated  by  the  numerous  examples  of  his 
works  in  the  Belvedere,  where  he  is  represented  by  religious  subjects, 
portraits,  and  rustic  scenes.  The  Contract  attributed  to  him  in  the 
Dresden  Museum  (No.  1994  in  the  Catalogue)  is  really  by  Aert  de 
Gelder,  and  to  this  we  shall  return  presently.  Juriaen  Ovens,  who  was 
born  at  Tcenningen  in  Holstein  in  1623,  and  was  living  at  Amsterdam 
so  late  as  1662,  was  also  a  pupil  of  Rembrandt's.  He  was  distinguished 
as  a  clever  portraitist,  and  very  expeditious  workman,  and  must  have 
enjoyed  a  considerable  reputation,  for  he  numbered  persons  of  import- 
ance, such  as  the  Seven  Regents  of  the  Municipal  Almshonse,  among 
his  sitters  (1650).  His  manner  in  works  of  this  class  approaches  that 
of  Van  der  Heist,  and  even  that  of  Van  Dyck  ;  but  a  large  picture  in 
the  Nantes  Museum,  dated  1651,  Tobias  making  ready  to  return  to  his 
Father,  shows  plainly,  both  in  composition  and  effect,  that  Rembrandt's 
teaching  never  lost  its  hold  upon  him.  The  Dane,  Bernard  Keilh  or 
Keilham,  born  at  Helsingborg  in  1625,  remained  eight  years  with 
Rembrandt.  He  left  Amsterdam  in  1656  for  Italy,  where  he  died  in 
1687.  His  works  are  very  rare.  A  picture  by  him  in  his  native 
country,  a  Sculptor,  showing  his  statues  to  a  friend  by  lamp-light,  was 
evidently  conceived  under  the  master's  influence.  But  in  two  later 
and  more  important  works,  formerly  in  Mayence  Cathedral,  and  now 


56  REMBRANDT 

in  the  church  of  Loerzweiler  (in  Hesse),  the  skilful  and  highly  conven- 
tional manner  has  close  affinities  with  that  of  the  later  Bolognese 
school,  so  much  admired  in  Italy  at  the  period.  Keilh,  however,  has 
a  title  to  our  respect  in  his  faithful  attachment  to  his  master,  and  we  are 
indebted  to  him  for  various  interesting  details  of  Rembrandt's  character 
and  habits,  which  he  communicated  to  Balclinucci,  who  incorporated 
them  in  a  study  we  have  already  quoted  more  than  once. 


sr^  W*. 

r^^^.f^y 

•J  *  '''  J^t-t^-  -rZZQ  *     •"»     *£• 


I&L^ f&$&iii^s^L      t  5sF%asl:s  Nr^T 


^m^n^^m 
^apB^it^  HM 


A    KOAD    THROUGH    A    WOOD. 

Pen  drawing  (Duke  of  Devonshire). 


As  was  natural,  however,  the  Dutch  contingent  was  the  most 
important  and  numerous  among  Rembrandt's  scholars.  Covert  Flinck 
and  Ferdinand  Bol,  it  is  true,  renounced  his  manner  for  a  brighter 
and  more  popular  style,  impelled  either  by  calculation  or  natural 
inclination.  Official  honours  and  commissions  were  diverted  to 
their  studios ;  but,  nevertheless,  Rembrandt  continued  the  head  of 
a  national  school.  Many  of  the  young  men  who  gathered  round 
him  are  known  only  by  documents  in  which  their  names  are  mentioned, 
their  works  having  entirely  disappeared.  At  a  meeting  of  experts, 
convened  September  16,  1653,  by  Abraham  de  Cooge,  an  art-dealer 
at  Amsterdam,  to  determine  the  authorship  of  a  reputed  work  of 


.Cl 


the  mos 


he; 


'*>• 


REMBRANDT'S    PUPILS 


57 


Paul  Brill,1  various  artists  and  connoisseurs  of  Amsterdam,  Hendrick 
van  Uylenborch,  Marten  Kretzer,  Lodewyk  van  Ludick,  B. 
Breembergh,  B.  Van  der  Heist,  Philips  cle  Koninck  and  Willem 
Kalff  being  associated  with  him  as  witnesses,  Rembrandt  attested 
the  authenticity  of  the  picture  by  his  signature,  supported  by  that  of 
two  of  his  pupils  :  Jan  van  Glabbeck  and  Jacobus  Levecq.2  We  have 
not  been  able  to  discover  any  work  by  the  former  ;  but  Mr.  George 
Salting  owns  a  male  portrait,  painted  by  Levecq  in  1665,  an  example 
in  which  the  considerable  talent  of  the  artist  shows  stronger  affinities 
with  Van  Dyck  than  with  Rembrandt.  None  of  the  works  of  another 
pupil,  Heymann  Dullaert, 
can  now  be  traced.  His 
name  occurs  jointly  with 
that  of  a  fellow-student, 
Johan  Hindrichsen,  as 
witness  to  a  deed,  dated 
March  28,  1653,  empower- 
ing one  Frans  de  Coster 
to  collect  certain  sums  of 


I.ANDSCAl'!-:    WITH    AN    OI1F1-ISK. 


About   1650  (11.  227). 


money  due  to  Rembrandt. 
Dullaert,    we    learn    from 

Houbraken,  painted  interiors  with  figures ;  he  was  further  a 
poet,  a  good  musician,  and  an  agreeable  singer.  Aclriaen  Verdoel, 
probably  a  pupil  of  Leonard  Bramer,  is  said  by  Houbraken  to 
have  also  received  instruction  from  Rembrandt.  Like  Dullaert, 
he  was  a  poet,  and,  indeed,  laureate  of  the  Chamber  of  Rhetoric 
at  Flushing.  We  may  further  mention  Cornelis  Drost,  whose 
Magdalene  at  the  Feet  of  Christ  in  the  Cassel  Museum  is  very 
Rembrandtesque  in  sentiment,  and  two  other  pupils  or  imitators 
of  the  master  at  this  period,  Jacob  van  Dorst,  whose  male  portrait, 
in  the  Dresden  Gallery  is  redeemed  from  vulgarity  by  its  soft 
golden  tone,  and  G.  Horst,  the  author  of  a  Continence  of  Scipio. 
Hendrick  Heerschop,  born  in  1620  or  1621,  studied  for  a  while 

1  Oud-Holland,  Kumtkritick  der  XVII.  Eeuw,  by  A.  Bredius. 

2  Like  many  of  Rembrandt's  pupils,  Levecq  was  a  native  of  Dordrecht.     Mr.  G.  Veth 
has  published  a  series  of  interesting  articles  dealing  with   him  and  his  compatriots  in 
Oud-Holland.     Levecq,  as  is  well  known,  became  Houbraken's  master. 


58  REMBRANDT 

under    Claesz    Heda,    and    entered    Rembrandt's   studio    about     1644. 
He  engraved,    in    imitation    of    the    master's    manner,    a    St.  Jerome 
and    a    Susanna    at    the  Bath,    by    no    means    remarkable    for    their 
distinction.      In     the    Amsterdam    Museum   there   is  Erichthonius    by 
him,    a    somewhat  vulgar  composition,   and    in  the   Cassel   Gallery  a 
Card-Player,  a  soldier  with  an  ugly  girl,  treated  in  the  manner  of  Dirck 
Hals.      C.  Renesse  also  received  some   lessons  from   Rembrandt  about 
1649,  and  we  find  that  he   made   use   of  the  master's   studies   of  lions 
for    two    of   his   drawings,   a   St.  Jerome  dated    1652,    in   the  Teyler 
Museum,  and  a  Daniel  in  the  Lions    Den  in   the   Boymans   Museum. 
An  inscription  by  his  own  hand  on  the  back   of  the   second   drawing 
informs  us  that  he  had  "shown  it  to  Rembrandt,  October  i,  1649,  the 
second   time   he   went  to   him."      Renesse    delighted   in   such    studies 
ot   animal   life.      He    introduced    them    in   various  carefully   executed 
engravings,  as  lor  instance  the  Joseph  sold  by  Jiis  Brethren,  in  which 
he  has  drawn  a  group  of  camels,   and   the   Child  devoured  by  a  Bear, 
a    plate    dated    1653.       Vosmaer  mentions   a   Family  Groiip  by   him 
in  the  Czernin  collection  at  Vienna,  as  remarkable  for  the  truth  of  its 
chiaroscuro.       An    Old    Woman    reading,    attributed    to     him,    which 
appeared  at  the  exhibition  of  works  by  the  Old  Masters  at   the   Hague 
in  1890,  attracted  much  attention,  partly  by  reason  of  the  strange  type 
of  the  sitter,  but  more  especially  in  virtue  of  its  brilliant  colour  and  force 
of  expression.      We  must  add  that  the  ascription  to  Renesse  was  purely 
conjectural.      To  a  recent  discovery  made  by   Dr.    Bredius  among  the 
archives   we  owe  our  knowledge  of  the  fact  that  Esaias  Boursse,  the 
rival    of    Pieter   de    Hooch,    was    also   one   of  Rembrandt's  disciples. 
Born  at   Amsterdam  about   1630,  Boursse  practised  in  his  native  city 
from    1656    to    1672,    and   like   his  fellow-student   Jan    Victors,    made 
several   voyages  to    India,    in    the    East    India    Company's    service. 
Pictures  by  him,  in  which  a  perfect  knowledge  of  effect  gives  the  utmost 
value  to  strong,  yet  delicate  colour,  are  to  be  found  in  the  Suermondt 
Gallery  at  Aix-la-Chapelle,  the  Wallace  collection  at  Hertford  House, 
the  Berlin  Museum,  and  the  Ryksmuseum. 

There  remain  two  of  Rembrandt's  pupils  who  claim  a  place 
apart.  The  one,  Nicolas  Maes,  worked  under  the  master  from 
1650  to  1653.  The  works  he  produced  after  quitting  Rembrandt's 
studio  bear  eloquent  witness  to  the  excellence  of  the  teaching  he 


<0 

•£     I     i 


NICOLAS    MAES  AND   CAREL  FABRITIUS  59 

had  received.  These  works  are  mainly  portraits,  very  character- 
istically treated,  or  familiar  subjects  :  a  servant  asleep  over  her 
work,  or  engaged  in  some  household  duty,  or  spying  upon  her 
employers  ;  or,  more  often  still,  old  women  at  a  spinning-wheel,  or 
at  a  meal,  or  praying.  But  the  painter's  genius  gives  a  wonderful 
elevation  to  these  simple  themes,  many  of  which  are  treated  with 
a  curious  modernism.  His  colour  is  generally  deep  and  vigorous  ; 
rich  reds  and  intense  blacks  are  very  happily  blended  with  delicate 
iron-gray  tones,  while  a  piquant  note  is  added  to  the  harmony 
by  the  introduction  of  some  homely  utensil  such  as  a  stone  jar 
with  a  blue  pattern,  or  a  red  earthen  bowl.  The  handling,  at  once 
broad  and  supple,  is  full  of  the  most  masterly  decision.  The  finest 
examples  are  to  be  found  in  Holland,  and  in  English  collections, 
(the  National  Gallery,  Buckingham  Palace,  Lord  Ashburton's,  etc.). 
The  contrast  between  these  beautiful  works  and  the  portraits  painted 
by  Maes  towards  the  close  of  his  career  is  so  startling,  that  certain 
critics,  unable  to  accept  the  theory  of  a  change  of  style  so  radical, 
have  suggested  the  existence  of  another  painter  of  the  same  name. 
There  are,  however,  documents  which  dispose  of  this  supposition. 
Maes  had  already  a  considerable  vogue  as  a  portrait-painter  when, 
on  the  occasion  of  a  visit  to  Antwerp,  he  was  fascinated  by  the 
works  of  Rubens  and  Van  Dyck.  He  forthwith  abandoned  his 
early  manner  in  favour  of  a  lighter  and  gayer  system  of  colouring, 
a  looser  and  more  fluent  touch,  and  a  meretricious  grace  and  elegance 
that  delighted  his  wealthy  patrons.  A  male  portrait  in  the  Brussels 
Museum  (No.  333  in  the  Catalogue)  seems  to  have  been  painted 
in  the  period  of  transition  from  his  early  to  his  later  manner.  We 
note  a  premonitory  jarring  of  the  harmonies,  purplish  tones  side  by 
side  with  somewhat  crude  vermilions.  The  drawing  is  less  firm, 
the  handling  tamer  and  less  characteristic,  and  there  are  traces 
of  that  triviality  which  becomes  so  marked  in  later  works. 

The  other  pupil,  Carel  Fabritius,  had  his  life  been  spared  to 
fulfil  the  promise  of  his  youth,  might  have  won  a  place  in  the  first 
rank  of  Dutch  painters.  Born  in  1624,  he  was  killed  in  the 
flower  of  his  age  by  the  explosion  of  the  powder-magazine  at 
Delft,  on  October  12,  1654,  while  engaged  on  a  portrait  of 
the  sacristan,  Simon  Decker.  His  evil  fortune  pursued  him  even 


60  REMBRANDT 

beyond  the  grave,  and  his  masterpiece,  the  fine  portrait-group  of 
the  Van  der  Vin  family,  perished  in  the  fire  at  the  Boymans 
Museum  in  Rotterdam.  The  rare  examples  of  his  art  now 
extant  show  how  greatly  he  had  profited  by  Rembrandt's  teach- 
ing. The  study  of  a  head  in  the  Rotterdam  Museum  is  a  work 
not  easily  forgotten.  Its  impressiveness  is  due  in  some  measure 
to  the  peculiarity  of  the  type,  with  its  piercing  eyes  and  long 
black  hair,  but  still  more  to  the  energetic  character  of  the  treat- 
ment. Madame  Lacroix's  pretty  study  of  a  goldfinch  chained  to 
a  feeding-trough,  with  its  sunlit  background,  is  a  little,  gem  of 
light  and  brilliance,  and  a  work  of  a  very  different  order,  the 
Sentinel  in  the  Schwerin  Museum,  also  dated  1654  (the  year  of 
the  painter's  death),  attests  the  versatility  and  originality  of  his 
genius.  Bernhard  Fabritius,  probably  Carel's  brother,  if  not 
actually  Rembrandt's  pupil,  was  greatly  influenced  by  the  master, 
as  is  evident  from  his  essays  in  chiaroscuro,  and  the  harmonious 
blending  of  tones  in  his  best  works,  such,  for  instance,  as  his 
St.  Peter  in  the  House  of  Cornelius,  in  the  Brunswick  Gallery  (dated 
1653),  arRl  tne  so-called  Baptism  of  St.  John  (1666)  in  the 
Habich  collection  at  Cassel.1 

As  a  teacher  it  was  Rembrandt's  constant  endeavour  to  make 
his  instruction  so  catholic  as  to  fit  his  pupils  to  deal  with  every 
variety  of  subject.  We  know  that  Ferdinand  Bol  and  Covert 
Flinck  had  been  trained  to  study  the  backgrounds  of  their 
compositions  from  nature.  Gerbrandt  van  den  Eeckhout,  whose 
relations  with  the  master  were  more  lasting,  continued  through- 
out his  career  to  produce  those  spirited  sketches  of  landscape, 
tinted  with  water-colour,  now  so  much  coveted  by  collectors. 
Philips  de  Koninck,  immediately  after  his  emancipation  from 
Rembrandt's  studio  in  1646,  began  to  produce  the  panoramic 
views,  in  which  he  approaches  the  master's  manner  so  closely 
that  his  works  have  been  occasionally  ascribed  to  Rembrandt. 
Treating  the  same  motives  as  Vermeer  of  Haarlem,  but  ani- 
mating the  wide  tracts  of  country  he  loved  to  render  with  richer 
and  warmer  tones,  he  excelled  in  rendering  the  mobile  shadows 
of  vast  gray  clouds  sailing  across  the  plain,  and  far  horizons 
1  The  greater  part  of  this  collection  has  lately  been  acquired  by  the  National  Gallery. 


PHILIPS    DE    KONINCK 


61 


marked  by  the  broad  belt  of  the  distant  sea.  His  masterpiece, 
The  Storm,  formerly  in  the  possession  of  the  Comte  de  Vence, 
and  now  in  Lord  Lindsay's  collection,  long  passed  for  the  work  of 
Rembrandt,  and  was  engraved  as  such.  The  motives  are  those  De 
Koninck  habitually  treated  :  watercourses  of  varying  heights,  dividing 
an  expanse  of  sparse  yellowish  vegetation  into  parallel  strips.  But  the 
artist  surpasses  himself  in  this  fine  work,  and  a  most  impressive  and 


A    WOMAN    IN    BED,    ASLKKP. 

Pen  drawing    (Heseltine  Collection). 


poetic  effect  is  won  by  opposing  the  warm,  bright   tints  of  the  sunlit 
sand-dunes  to  the  gray  background  of  rolling  clouds. 

Landscape  had  now  been  admitted  by  Rembrandt  to  a  place  so 
important  in  his  ceuvre  that  it  naturally  became  a  favourite  branch  of 
study  with  many  of  his  later  pupils.  Pure  landscape-painters  gradually 
arose  in  his  school.  But  none  attained  the  mastery  of  Philips  de 
Koninck,  and  most  of  those  who  are  mentioned  as  his  disciples  or  imi- 
tators are  now  forgotten.  We  find  small  trace  of  Rembrandt's  influence 
in  the  works  of  Leupenius,  who  is  known  to  us  only  in  drawings,  notably 
a  Viezu  of  the  Amstel,  in  the  Fodor  Museum,  and  a  few  insignificant 
etchings.  Neither  is  it  very  apparent  in  the  case  of  Jacob  Esselens, 
whom  Vosmaer  mentions  as  one  of  the  master's  scholars,  and  who  is 


62  REMBRANDT 

represented  by  a  landscape  in  the  style  of  Poelemburgh  in  the 
Brunswick  Museum,  and  in  the  Copenhagen  and  Rotterdam 
Museums  by  northern  landscapes,  with  huntsmen  and  animals, 
executed  with  a  light  and  facile  touch,  which  also  distinguishes 
his  sketches.  Rembrandt's  teaching  is  more  evident  in  the  case 
of  Farnerius,  who  frequented  his  studio  from  about  1640  to  1645. 
There  is  an  admirable  pen-drawing,  tinted  with  water-colour,  by 
him  in  the  Teyler  Museum,  in  which  the  chiaroscuro  is  very  deli- 
cately treated.  Lambert  Boomer's  indebtedness  to  the  master  is 
still  more  obvious.  Thanks  to  the  liberality  of  Dr.  Bredius,  the 
Ryksmuseum  has  lately  (1890)  become  possessed  of  a  picture 
by  him,  singularly  modern  in  treatment.  It  represents  a  woman 
washing  clothes  at  a  fountain,  from  which  a  man  is  drawing  water. 
Beside  them  is  a  group  of  large  trees,  the  vigorous  colour  of 
which  is  effectively  relieved  against  a  luminous  white  sky. 

The  marine-painter,  Jan  van  de  Cappelle,  if  not  Rembrandt's  pupil, 
was  at  least  his  friend  and  admirer.  A  native  of  Amsterdam,  Van 
de  Cappelle's  name  first  appears  among  the  list  of  citizens  on 
July  29,  1653.  The  date  of  his  birth  is  not  known.  His  devotion 
to  his  art,  the  distinction  of  his  style,  the  researches  into  the 
mysteries  of  chiaroscuro,  to  which  his  pictures  and  the  two 
Winter  Scenes  he  etched  bear  witness,  no  doubt  appealed  strongly 
to  Rembrandt's  sympathies.  This  master,  the  greatest  of  the 
Dutch  sea-painters,  is  only  to  be  properly  appreciated  in  England, 
which  boasts  many  fine  examples  of  his  work,  in  the  National 
Gallery,  and  the  great  private  collections.  He  has  all  Willem  van 
de  Velde's  knowledge  with  greater  variety.  His  execution  is 
broader  and  less  dry  than  that  of  his  rival,  his  colour  equally  deli- 
cate, but  richer,  his  illumination  more  justly  diffused.  Unlike  the 
generality  of  his  brethren,  Van  de  Cappelle  was  a  man  of  means. 
His  fortune,  however,  was  derived,  not  from  his  art,  but  from  some 
dye-works  inherited  from  his  father,  which  he,  in  his  turn,  bequeathed 
to  his  children.  He  died  January  ist,  1680,  leaving,  according  to 
the  inventory  of  his  effects  lately  discovered  by  Dr.  Bredius, 
money  to  the  value  of  30,000  florins,  a  very  considerable  sum  in 
those  days,  a  superb  collection  of  two  hundred  pictures,  and  some 
thousands  of  drawings,  among  them  five  hundred  by  Rembrandt, 


SAMUEL   VAN    HOOGSTRAATEN  63 

which  are  classified  according  to  their  subjects  as  "  landscapes,  historical 
subjects,  and  '  studies  of  womanhood  and  childhood.' '  One  hundred 
come  under  the  latter  category.  Among  the  pictures  are  several  by 
Frans  Hals  and  by  Rembrandt,  both  of  whom  painted  Van  de  Cappelle's 
portrait.  Of  Rembrandt's  portrait  all  trace  has  been  lost.  It  may 
possibly  be  a  picture  in  Lord  Carlisle's  collection  at  Castle  Howard, 
described  by  Dr.  Bode l  as  the  portrait  of  a  friend  or  pupil  of  Rem- 
brandt, painted  about  1648,  the  date  of  the  portraits  of  Berchem  and 
Asselyn.  The  model  is  a  young  artist  in  a  dark  dress  and  high  hat, 
holding  an  album  of  studies  in  his  hand. 

We  may  close  the  list  of  those  among  Rembrandt's  scholars  we  have 
selected  for  mention  with  the  name  of  Samuel  van  Hoogstraaten.  Born 
at  Dordrecht  August  2nd,  1627,  Hoogstraaten  learnt  the  rudiments  of 
his  art  from  his  father,  and  entered  Rembrandt's  studio  at  Amsterdam  in 
1640,  remaining  under  his  guidance  till  1650.  He  then  travelled,  visiting 
Vienna,  Rome,  and  London.  Returning  to  the  Hague  in  1668,  he  finally 
settled  in  his  native  town,  where  he  was  appointed  Director  of  the  Mint. 
The  eager  curiosity  of  his  temperament  manifested  itself  no  less  in  his 
studies  than  in  his  wandering  life.  He  essayed  every  branch  of  his 
art,  portraits,  landscape,  genre,  sea-pieces,  architectural  subjects,  and 
still  life.  He  was  further  a  man  of  liberal  and  cultivated  mind,  given 
to  reasoning  and  philosophising  over  his  art.  It  is  from  this  side  that 
his  personality  has  a  special  interest  for  us.  In  the  work  he  wrote  for 
the  instruction  of  his  numerous  pupils  in  after  life,  the  Introduction  to 
Painting?  it  is  possible  to  recognise  his  master's  ideas  in  many  of 
the  theories  he  formulates.  During  his  novitiate  Hoogstraaten  seems 
to  have  been  in  the  habit  of  plying  Rembrandt  with  inquiries  on  every 
possible  subject,  which  the  master  received  with  the  utmost  patience 
and  kindness.  On  one  occasion,  however,  when  he  had  shown  himself 
somewhat  more  insistent  than  usual,  he  was  thus  admonished  :  "  Make 
it  your  endeavour  to  turn  the  knowledge  you  already  possess  to  good 
account  ;  the  unknown  things  that  torment  you  will  reveal  themselves 
in  due  season."  We  have  another  echo  from  Rembrandt's  studio 
when  Hoogstraaten  praises  a  certain  painter  for  "a  style,  which  results 
from  his  faculty  of  selecting  and  co-ordinating  the  most  harmonious 

1  Bode,  Studien,  p.  498. 

2  Inleyding  tot  de  hooge  School  der  Schilder  Konst.     1678. 


64 


REMBRANDT 


elements  of  a  given  theme."  Again  we  seem  to  hear  Rembrandt's 
own  words  in  Hoogstraaten's  advice  to  his  brother,  who  proposed  to 
visit  Rome;  "You  will  find  in  your  own  country  so  many  beauties 
that  your  life  will  be  too  short  for  their  comprehension  and  expression. 
Italy,  with  all  her  loveliness,  will  be  useless  to  you  if  you  are  unable  to 
render  the  nature  around  you."  Though  he  soon  abandoned  his 
master's  manner,  Hoogstraaten  never  ceased  to  venerate  his  genius. 
He  extols  Rembrandt's  mastery  of  "that  science  of  reflections,  which 
was  his  true  element."  From  Rembrandt  he  learnt  to  value  those 
essays  in  chiaroscuro  and  studies  in  expression  on  which  he  afterwards 
laid  such  stress  in  his  own  teaching.  To  impress  upon  his  pupils  the 
importance  of  such  studies,  he  arranged  a  theatre  for  them  in  the 
house  he  occupied  at  Dordrecht,  formerly  a  brewery  known  as  the 
Orange-tree,  and  would  make  a  certain  number  act,  while  the  others 
observed  their  action  and  play  of  feature,  sometimes  taking  the  players 
through  their  parts  again  and  again,  until  they  hit  upon  the  simplest 
and  most  expressive  gestures.  These  exercises  he  diversified 
by  experiments  with  a  game  of  Chinese  shadows,  by  means  of  which 
he  demonstrated  the  infinite  variety  of  effects  produced  by  changing 
the  position  of  the  source  of  light.  In  such  teaching  and  experiments 
he  merely  reduced  to  practice  the  precepts  he  had  heard  from 
Rembrandt ;  while  in  his  liberal  treatment  of  his  pupils  he  was 
again  guided  by  the  example  of  that  generous  master,  who,  as 
Baldinucci  tells  us  on  the  excellent  authority  of  Keilh,  "  was  to  be 
admired  not  less  for  his  noble  devotion  to  his  art,  than  for  a  kindness 
of  heart  verging  on  extravagance." 


-  * 


STLUV   OF    A    I1KAK. 

Pen-drawing,  heightened  with  wash  (Lord  Drownlow). 


THE   C.OLDWEICHER  S    KIELU. 

165-  (B.  234). 


CHAPTER  III 

REMBRANDT'S  HOME — TITUS   AND   HIS  NURSE— HENDRICKJE   STOFFELS — PICTURES 

PAINTED  FROM  HER THE  PORTRAIT  IN  THE  SALON  CARRE  AND  THE  '  BATHSHKBA ' 

OF  THE  I.ACAZE  COLLECTION  —  STUDIES  FROM  NATURE — THE  'GIRL  WITH  A  BROOM,' 
AND  THE  PORTRAITS  OF  OLD  MEN  IN  THE  HERMITAGE  AND  THE  DRESDEN 
GALLERY — 'JOSEPH,  ACCUSED  I!V  THE  WIFE  OF  I'OTIPHAR  '—  ETCHINGS  FROM  1654 
TO  1655 — REMBRANDT'S  HOUSE  AND  HIS  COLLECTIONS. 


TO  one  of  Rembrandt's 
affectionate  and  home- 
loving  temperament,  the 
bitterness  of  his  bereavement 
must  have  been  greatly  enhanced 
by  the  anxieties  inseparable  from 
the  management  of  a  house  and 
the  bringing  up  of  a  little  child. 
Absorbed  in  his  art,  and  ignorant 
of  the  details  of  every-day  life, 
he  was  incapable  of  directing 
his  household,  and  was  entirely 
at  the  mercy  of  those  about  him. 
Titus'  nurse,  Geertje  Dircx,  the 

widow  of  a  trumpeter  named  Abraham  Claesz,  soon  acquired  an 
ascendency  in  the  establishment,  justified  in  some  measure  by 
her  devotion  to  her  charge.  At  the  time  of  Titus'  birth,  Saskia 
was  already  suffering  from  the  illness  of  which  she  died  within  the 

VOL.  II.  F 


OLD  MAN   WITH   A   LARGE   BEARD. 


About  1631  (B.  312). 


66  REMBRANDT 

year.  It  is  not  surprising  therefore,  that  the  child  was  far  from 
robust,  and  needed  constant  watchfulness.  There  are  traces  of  languor 
and  ill-health  in  two  portraits  of  him  painted  by  his  father  about 
this  period.  As  Claussin,  and  after  him  Messrs.  Charles  Blanc  and 
Middleton-Wake  have  suggested,  Titus  was  no  doubt  the  model 
for  a  little  plate  (B.  n),  which,  judging  by  its  style  and  treatment, 
was  probably  executed  about  1652.  This  date  agrees  with  the 
age  of  the  supposed  sitter.  We  also  recognise  his  delicate  features, 
ingenuous  expression,  and  luxuriant  hair  in  a  portrait  belonging  to 
M.  R.  Kami  painted  some  three  years  later,  when  he  was  about 
fourteen.  It  is  signed,  and  dated  1655.  The  master,  following  his 
usual  custom  in  the  treatment  of  members  of  his  own  household,  paints 
him  in  a  fancy  costume.  He  wears  a  black  velvet  cap  with  a  white 
feather,  pearl  earrings,  a  reddish  brown  doublet  over  a  gathered 
chemisette,  and  a  greenish  cloak  trimmed  with  fur.  In  this  picturesque 
array,  he  looks  like  some  northern  prince,  a  youthful  Hamlet,  gentle 
and  dreamy.  The  master  has  lingered  lovingly  over  the  work, 
especially  the  modelling  of  the  head,  bringing  out  the  charming 
expression  of  the  young  face,  which  has  much  of  Saskia's  sweetness, 
and  proclaims  the  loving,  sensitive  character  of  the  model.  We 
shall  find  that  throughout  his  relations  with  his  father,  which  were 
more  than  once  somewhat  difficult  and  delicate,  Titus  proved  himself 
an  affectionate  and  dutiful  son.  His  weakness  of  constitution  no  doubt 
debarred  him  from  an  active  life,  for  he  seems  to  have  had  no 
settled  occupation.  In  1655,  he  had  made  some  essays  in  painting, 
for  the  inventory  of  the  following  year  records  three  studies  by 
Rembrandt's  son  :  "a  Head  of  the  Virgin,  a  Book,  and  Three 
Puppies  from  Nature."  His  vocation  was  probably  not  very  pro- 
nounced, as  the  documents  to  which  we  owe  our  knowledge  of 
him  make  no  mention  of  further  efforts. 

The  unceasing  care  and  attention  necessary  to  Titus  throughout 
his  ailing  childhood  were  cheerfully  accorded  by  his  nurse,  whose 
affection  for  him  was  in  proportion  to  the  helplessness  of  his 
orphaned  condition.  Geertje  Dircx  became  so  fondly  attached  to 
him,  that  she  made  him  her  heir  in  a  will  dated  January  24 
1648,  bequeathing  to  him  all  her  property  with  the  exception 


Portrait  of  Titus  van  Ryn 


(M.   R.   KANN'S  roi_]-i 


TITUS'    NURSE  67 

of  a  certain  portion  which  legally  reverted  to  her  mother.  She 
made  it  a  condition,  however,  that  Titus  should  hand  over  the  sum 
of  100  florins  to  the  daughter  of  a  certain  Pieter  Beetz  de  Hoorn, 
together  with  her  portrait.  Was  this  portrait  by  Rembrandt  ?  We 
know  not.  But  an  ancient  inscription  on  the  charming  drawing  in 
the  Teyler  Museum  identifies  the  model  with  Titus'  nurse.  It  may 
be  that  Geertje's  affection  was  not  wholly  disinterested,  and  that  some 
hope  of  replacing  Saskia  underlay  her  devotion.  Be  this  as  it  may, 
her  fidelity  was  not  of  long  duration.  Less  than  two  years  after 
the  execution  of  her  will,  she  announced  her  intention  of  quitting 
Rembrandt's  service.  She  proceeded  to  make  a  variety  of  claims 
against  him,  angrily  proclaimed  her  desire  to  revoke  the  will,  and 
summoned  her  master  to  answer  her  charges  in  a  court  of  law. 
On  October  i,  1649,  Rembrandt,  supported  by  two  witnesses, 
formally  certified  the  terms  of  his  agreement  with  her  before  a 
notary.  But  when  some  few  days  after,  on  October  14,  Geertje  was 
required  to  sign  a  deed  confirming  her  bequest,  she  passionately 
refused,  and  poured  out  a  torrent  of  abuse,  her  main  grievance 
being  the  insufficiency  of  the  annuity  settled  upon  her.1  In  the 
following  year,  Geertje's  health  and  reason  alike  broke  down,  and 
it  became  necessary  to  place  her  in  an  asylum  at  Gouda.  At  the 
request  of  her  family,  Rembrandt  agreed  to  advance  money  for  the 
journey,  and  the  necessary  fees.  But  when  he  found  himself  in 
difficulties  in  1656,  he  made  an  attempt  to  recover  the  debt,  and 
brought  an  action  against  certain  of  his  old  servant's  relatives,  one 
of  whom,  Pieter  Dircx,  was  arrested.  Dircx  subsequently  sued  for 
damages  "  in  respect  of  the  insult  and  abuse  to  which  he  had  been 
subjected  throughout  the  affair." 

One  of  the  two  witnesses  cited  by  Rembrandt  in  support  of  his 
statement  of  October  i,  1649,  was  a  young  fellow-servant  of  Geertje's, 
named  Hendrickje  Stoffels.  This  girl,  who  was  twenty-three  years 
old  at  the  time,  was  destined  to  play  an  important  part  in  the  career 
of  her  master,  with  whom  she  remained  till  her  death.  Forgotten 
to  some  extent  by  his  contemporaries,  he  was  no  longer  overwhelmed 
with  commissions,  and  in  his  unaccustomed  leisure  he  had  eagerly 

1    Oud-Holland,  iii.  p.  95-98,  and  viii.  p.  175. 

F    2 


REMBRANDT 


reverted  to  the  purely  artistic  experiments  in  which  he  delighted. 
The  period  of  his  career  we  are  now  considering  is  marked  by 
increasing  ardour  in  his  studies  from  Nature,  a  depth  of  sincerity 
in  his  renderings  of  her  various  aspects,  and  a  concentrated  fire  and 
force  in  his  interpretations  of  her  phenomena.  These  studies  were 
not  confined  to  landscape  and  animals.  He  drew  instruction  from  the 
most  commonplace  objects,  such,  for  instance,  as  the  Sea-shell  of 
his  wonderful  etching,  or  the  Bullocks  Carcase  of  his  superb  study 
in  the  Louvre.  But,  as  may  be  readily  supposed,  the  human 

form  had  a  higher  interest  and  attrac- 
tion for  him.  With  the  exception 
of  Cornelis  van  Haarlem  and  a  few 
of  the  early  Italianisers,  we  believe 
no  Dutch  artist  to  have  approached 
Rembrandt  in  the  number  and  con- 
tinuity of  his  life-studies.  His  usual 
models,  as  we  have  seen,  were  young 
lads  from  among  the  poorer  population 
of  the  quays  and  port  of  Amsterdam, 
who  were  readily  induced  to  sit  by 
the  offer  of  trifling  moneys.  But 
female  models  were  difficult  to  procure. 
In  Rembrandt's  age  and  country, 
painters  could  rarely  overcome  the 

scruples  of  their  modesty.  Those  they  prevailed  upon  to  pose  for 
them  were  not,  as  a  rule,  remarkable  for  grace  or  beauty.  Some 
among  Rembrandt's  female  models  are  hideously  repulsive.  He 
reproduced  their  ugliness  with  the  most  elaborate  fidelity,  modifying 
none  of  the  disfigurements  arising  from  age,  maternity,  or  social 
condition.  Absolutely  uncompromising  in  this  respect,  his  one  idea 
was  the  truthful  delineation  of  the  model.  Some  of  these  women 
are  horrible  to  behold,  as  for  instance,  the  model  for  a  study 
in  the  Heseltine  collection,  a  masterly  and  over-faithful  rendering 
of  a  degraded  wretch,  whose  brazen  leer  and  bestial  laugh  are  re- 
produced with  the  same  terrible  exactitude  that  insists  on  every  fold 
and  wrinkle  of  the  misshapen  body.  Hendrickje's  presence  under  his 


About   1652   (11.  TI). 


Portrait  of  Hcndrukje  Slo/cls  (about  1652). 


Printed  by  Eudes  &  Chassepot.  Paris   'France  . 


HENDRICKJE   STOFFEI.S 


69 


roof  gave  him  a  model   more  worthy  of   his  brush,  of   which,   faithful 
to  his  life-long  habit,  he  eagerly  availed  himself. 

In  several  works  of  this  period  we  recognise  a  feminine  model 
whose  apparent  age  agrees  with  I  Icndrickje's.  The  first  and  best 
example  of  these  is  the  beautiful  portrait  in  the  Salon  Carre 
of  the  Louvre,  probably  painted  about  1652.  This  fine  work  is  well 
known  to  all  students  of 
Rembrandt,  and  its  iden- 
tification with  Hendrickje 
gives  it  additional  inter- 
est. The  young  woman 
is  dressed  in  one  of  those 


\YJ 


elegant  fancy  costumes 
the  master  loved  to  paint. 
She  wears  a  bracelet,  ear- 
rings, and  a  brooch  of 
costly  pearls,  very  richly 
mounted.  The  face  is  by 
no  means  strictly  beauti- 
ful. The  features  are 
irregular,  the  nose  too 
broad.  But  there  is  a 
charm  of  youth  and  fresh- 
ness in  the  brilliant  com- 
plexion, rosy  mouth,  and 
dark  eyes,  the  animation 
and  tenderness  of  the 
expression,  and  the  open 

forehead,  with  its  waving  masses  of  bright  hair.  The  technical 
qualities  of  the  work  are  of  the  very  highest  order,  worthy  of 
Rembrandt's  powers  at  the  supreme  period  of  his  development,  and 
even  he  has  never  shown  greater  mastery  than  in  the  powerful 
harmony  of  the  tawny  fur  and  rich  dress,  by  which  the  glowing 
flesh-tints  are  relieved. 

Hendrickje  is  again  easily  recognisable  in  another  picture  in  the 
Louvre,  the  Bathsheba  of  the  Lacaze  collection,  painted  in  1654.     The 


TITl'S     Nt'KSE. 


Pen  drawing,  heightened  with  wa>h  (Teyler  Museum). 


70  REM  BRAN  in- 

seated  figure  is  life-size,  and  the  young  woman  appears  to  have  just 
come  out  of  the  bath.  She  holds  David's  missive  in  her  hand,  re- 
volving its  contents  in  her  mind.  An  old  woman,  no  doubt  the  bearer 
of  the  letter,  is  engaged  in  the  prosaic  task  of  paring  her  nails.  We 
are  prepared  to  admit  that  Bathsheba's  legs,  and  the  lower  part  of 
her  body  generally,  are  vulgar  and  ill-proportioned.  The  bust  and 
throat,  on  the  other  hand,  are  exquisitely  modelled.  The  light  falls 
full  upon  them,  bringing  out  the  purity  of  the  contours,  and  the 
luminous  delicacy  of  the  flesh-tints,  which,  as  Dr.  Bode  justly  remarks, 
would  bear  comparison  with  the  best  work  of  Giorgione,  Titian, 
and  Correggio,  the  supreme  painters  of  feminine  nudity.  Not  one  of 
the  three,  we  may  further  venture  to  assert,  could  have  given 
Bathsheba's  face  the  expression  so  finely  imagined  by  Rembrandt. 
Flattered,  though  as  yet  undecided,  Uriah's  wife  has  evidently  no 
intention  of  repulsing  her  unlawful  suitor.  She  allows  her  thoughts 
to  wander  at  will,  and  her  preoccupied  air  and  troubled  look  betray 
her  vacillation.  We  recognise  Henclrickje  once  more  in  a  bold  and 
brilliant  study,  painted  a  year  or  two  later,  about  1658 — 1660,  which 
was  at  the  Winter  Exhibition  at  Burlington  House  in  1883.  She 
is  represented  lying  on  a  bed,  one  shoulder  uncovered,  the  left  hand, 
which  is  foreshortened,  stretched  out  to  draw  a  crimson  curtain.1 

The  finest  of  the  whole  series,  however,  is  the  study  of  Hendrickje 
in  the  National  Gallery,  the  so-called  Woman  Bathing.  It  bears  the 
same  date  as  the  Bathsheba  (1654)  and  is  undoubtedly  a  masterpiece 
among  Rembrandt's  less  important  works.  The  young  woman,  whose 
only  garment  is  a  chemise,  stands  almost  facing  the  spectator,  in  a 
deep  pool.  Her  attitude  suggests  a  sensation  of  pleasure  and  refresh- 
ment, tempered  by  an  involuntary  shrinking  of  her  body  at  the  first 
contact  of  the  cold  water.  The  light  from  above  glances  on  her 
breast  and  forehead,  and  on  the  luxuriant  disorder  of  her  bright 
hair ;  the  lower  part  of  her  face  and  her  legs  are  in  deep  transparent 
shadow.  The  brown  tones  of  the  soil,  the  landscape  background, 
and  the  water,  the  purple  and  gold  of  the  draperies — among  the 

1  This  r.tudy,  which  is  rather  less  than  life-size,  was  then  in  Mr.  H.  St.  John  Mildmay's 
collection.     It  was  afterwards  bought  by  Mr.  Wertheimer,  the  well-known  dealer. 

2  //  is  now  in  the  Scottish  National  Gallery.     See  the  illustration  on  p.  73  —F.   W. 


Bathsheba  (1654). 

(LOUVRE.) 


PICTURES    PAINTED    FROM    HENDRICKJE  71 

stuffs  on  the  bank  we  note  the  heavy  golden  brocade  which  figures  in 
the  Bathsheba — make  up  a  marvellous  setting  alike  for  the  brilliantly 
illuminated  contours  and  the  more  subdued  carnations  of  the  model. 
The  truth  of  the  impression,  the  breadth  of  the  careful,  but  masterly 
execution,  the  variety  of  the  handling,  proclaim  the  matured  power 
of  the  artist,  and  combine  to  glorify  the  hardy  grace  and  youthful 
radiance  of  his  creation. 

When  Rembrandt  painted  these  various  studies,  he  had  secured 
the  complaisant  model  for  his  life-long  companion.  Hendrickje  had 
been  his  mistress  for  some  time  past.  Careless  of  public  opinion, 
he  took  little  pains  to  conceal  the  situation,  which  soon  created 
considerable  scandal.  On  July  23,  1654 — the  year  of  the  Bathsheba 
and  the  Bathing  Woman — Hendrickje  was  summoned  before  the 
elders  of  her  church — this  interference  with  the  private  affairs  of 
the  faithful  is  very  characteristic  of  religious  sentiment  in  Holland 
at  the  period — severely  admonished,  and  forbidden  to  receive  the 
sacrament.  Even  had  she  been  disposed  to  deny  her  fault,  con- 
cealment was  no  longer  possible,  for  in  the  autumn  of  the  same 
year  she  gave  birth  to  a  daughter.  This  child  was  acknowledged 
by  Rembrandt,  and  baptised  on  October  30  in  the  Oude  Kerk, 
receiving  his  mother's  name,  Cornelia,  already  twice  bestowed  on 
children  by  Saskia  who  had  died  in  infancy.  The  liaison,  however, 
dated  from  some  three  years  earlier,  for  Hendrickje's  first  child 
died  at  its  birth,  and  was  buried  August  15,  1652,  in  the  Zuider 
Kerk.  Hendrickje  was  the  woman  spoken  of  by  Houbraken  as 
"a  peasant  of  Ransdorp,"  Rembrandt's  "wife."  A  recently  dis- 
covered document  states  that  she  was  a  native  of  a  village  of 
this  name,  on  the  borders  of  Westphalia.  On  August  31,  1661, 
Hendrickje  gave  a  power  of  attorney  to  her  brother-in-law,  an 
inhabitant  of  Breevoort,  a  commune  adjoining  Ransdorp,  authorising 
him  to  receive  all  moneys  that  might  become  due  to  her  in  her  native 
district.  The  young  woman  seems  to  have  been  quite  uneducated, 
for  her  signature  in  this  deed,  as  in  all  others  where  it  appears, 
consists  of  a  cross.  There  is  no  foundation  whatever  for  the 
tradition  of  her  legal  marriage  with  Rembrandt,  though  such  an 
union  was  not  at  all  an  unlikely  one  for  a  man  of  her  master's 


72 


REMBRANDT 


temperament.  Rembrandt,  though  fully  alive  to  the  charms  of  a 
well-bred  society,  and  counting  many  persons  of  distinction  among 
his  friends,  was  not  averse  to  the  companionship  of  his  inferiors. 
It  would  have  been  no  great  sacrifice  to  him  to  "give  his  name  'to 
a  woman  who  filled  the  place  of  a  wife  in  his  household,  and  who, 
by  her  fidelity  to  himself,  and  admirable  conduct  towards  Titus, 


REMBRANDT  S    HEAD    AND    OTHER    SKETCHES. 

1631  and  1650  (?)  (B.  370). 


proved  herself  deserving  of  affection.  It  may  be  that  Hendrickje 
had  refrained  from  pressing  the  point,  and,  confident  of  her  master's 
love,  and  of  his  dependence  on  her  care,  had  frankly  accepted 
her  position.  Such  acquiescence  in  the  situation  might  further 
be  explained  by  her  knowledge  of  those  financial  difficulties  with 
which  Rembrandt  had  long  been  struggling,  which  were  gradually 
approaching  their  climax. 


Portrait  of  Hendrickje  Stoffels  (about  1658 --  -1660). 

(SCOTTISH  NATIONAL  GAI.LF.KV.) 


Woman  Bat  king  (1654). 

(NATIONAL  GALLKRV.) 


d  by  Eudeft  ft.  Chagsepot   Pens  (France) 


'THE    GIRI.    WITH    A    BROOM"    IN    THE    HERMITAGE 


75 


Several  pictures  of  this  period  were  probably  studies  from 
members  of  the  painter's  household.  Two  of  these  were  painted 
at  an  interval  of  some  three  or  four  years,  perhaps  in  1652  and  1656 
respectively,  from  a  little  peasant  girl,  whom  Hendrickje  may 
have  employed  to  help  her  in  the  household  work.  She  is 
scarcely  more  than  a  child  in  the  Girl  with  a  Broom,  in  the 
Hermitage,  in  which  she  faces  the  spectator,  dressed  in  the  usual 
costume  of  a  Dutch 
servant,  a  square-cut 
bodice  with  braces,  over 
a  white  chemisette  with 
full  sleeves.  Her  facial 
type  is  a  vulgar  one, 
round  and  full,  with  a 
turned-up  nose,  thick  lips, 
a  quantity  of  fair  hair, 
and  a  prominent  fore- 
head. She  leans  over  a 
rough  fence,  and  gazes 
straight  before  her,  with 
widely  opened  eyes.  Be- 
side her  are  a  pail  and 
basket,  and  in  her  coarse 
little  red  hands  she  grasps 
a  broom,  the  emblem  of 
her  calling.  This  imple- 
ment she  clasps  to  her 
breast,  as  if  to  suggest 

its  importance  in  her  scheme  of  life.  The  master  seems  to  have 
been  moved  to  typify  and  extol  the  housewifely  instincts  of  his 
countrywomen  in  this  bold,  vigorous,  and  rapidly  painted  study. 
His  little  model  reappears  in  a  picture  in  the  Stockholm  Museum 
(No.  584  in  the  Catalogue).  It  is  apparently  dated  1651,  but  the 
figures,  especially  the  last  of  the  four,  are  almost  illegible,  and 
we  believe  it  to  have  been  painted  some  two  or  three  years 
later.  The  costume  and  attitude  are  almost  the  same  as  in  the 


CIIKIST    WITH    TMK    DISCII'LKS    AT    KMMACS. 
,654   (B.   87). 


76  REMBRANDT 

St.  Petersburg  example.  But  the  child  has  grown,  and,  though 
the  features  are  little  altered,  the  face  and  the  hands  are  longer 
and  more  refined.  Leaning  in  a  musing  attitude  on  a  window- 
sill,  she  indulges  in  some  youthful  day-dream.  Rembrandt,  no 
doubt  to  give  her  pleasure,  seems  to  have  adorned  her  simple 
dress  with  some  trinkets  from  his  own  stores.  She  wears  a  pearl 
necklace  ;  her  red  frock  is  bordered  with  gold  embroidery,  and  her 
hair  is  drawn  stiffly  off  her  forehead  and  confined  in  a  smart  cap. 
The  execution  is  more  careful  and  finished  in  this  study,  but  it  has 
all  the  vigour  and  freshness  of  the  earlier  portrait.  The  strong 
shadows  are  relieved  by  warm  reflections,  very  boldly  and  brilliantly 
applied.  The  face,  though  calm,  is  full  of  vitality.  The  skin  is 
firm  and  supple,  showing  the  blue  veins  here  and  there.  Youth, 
health,  and  the  glow  of  expanding  life  seem  to  breathe  from  the 
sturdy  little  body. 

Very  different  is  the  motive  in  three  female  studies  in  the 
Hermitage  (Nos.  804,  805,  and  806).  Old  age,  decrepitude  and 
decline  here  inspire  the  master's  brush.  All  three  pictures  were 
painted  in  1654,  and  represent  the  same  person,  in  almost  the  same 
attitude,  the  difference  lying  in  the  costume  and  proportion.  The 
one  is  a  bust  portrait,  the  second  a  three-quarters,  the  third  nearly 
a  whole  length.  No.  805,  which  we  reproduce,  seems  to  us  the 
most  expressive.  The  venerable  model  is  posed  in  a  large  arm- 
chair, her  bony,  wrinkled  hands  crossed  upon  her  lap.  She  wears  a 
black  hood,  and  a  brown  cape  over  a  reddish  dress  with  a  full 
white  fichu.  In  her  wrinkled  features  we  note  the  traces  of  former 
beauty,  and  her  face  is  full  of  a  touching  sadness.  The  drooping 
attitude,  the  indefinable  expression  of  the  weary  eyes,  suggest  the 
lassitude  born  of  manifold  sorrows.  She  seems  to  be  dreaming 
of  all  those  who  have  gone  before  her.  She  has  nothing  to  hope 
for  in  this  life,  and  the  very  poignancy  of  her  regrets  helps  her  to 
fix  her  thoughts  on  that  which  is  to  come.  A  portrait  of  the  same 
old  woman  in  Count  Moltke's  collection  at  Copenhagen  is  perhaps 
even  finer  in  quality,  and  is  in  such  first-rate  condition  that  its  beauties 
may  be  fully  appreciated.  The  sitter  is  rather  older,  and  looks  feebler 
than  in  the  earlier  studies.  Her  wrinkled  flesh  has  become  loose 


Girl  with  a  Broom  (about  1654). 

(HERMITAGE.) 


•im 


STUDIES    OF   OLD    PEOPLE  77 

and  flaccid  ;  her  hands  are  wrapped  in  a  sort  of  sling.  But  there 
is  still  a  lingering  fire  in  the  eyes,  and  the  face  bears  that  impress 
of  unswerving  rectitude  which  gives  majesty  to  the  humblest  old 
age.  A  fifth  portrait  of  this  old  woman  passed  into  the  Epinal 
Museum,  with  the  rest  of  the  Salm  collection.  In  this  she  is  repre- 
sented with  a  rosary  in  her  hand,  wearing  a  hood  of  cloth  of  gold, 
the  ends  of  which  fall  upon  her  shoulders,  and  a  chemisette,  opening 
over  a  vest  of  cloth  of  gold.  The  somewhat  coarse  and  violent 
execution,  and  the  amber  tone  of  the  colour,  confirm  the  date  1661 
on  this  portrait,  still  a  powerful  and  striking  work,  in  spite  of  its 
deterioration.  The  number  of  these  studies  extant  convince  us  that 
the  model  who  so  often  sat  for  Rembrandt,  and  whose  costume  he 
modified  according  to  his  fancy,  was  a  person  belonging  to  his 
own  immediate  circle.  We  can  offer  no  evidence  as  to  her  identity, 
but  it  is  not  improbable  that  she  may  have  been  Hendrickje's  mother, 
or  some  old  relative,  whom  the  master,  with  his  customary  generosity, 
had  received  into  his  house. 

In  these  candid  studies,  Rembrandt  expresses  with  equal  eloquence 
alike  the  bloom  and  vigour  of  life  and  its  ultimate  quiescence.  His 
sincerity  was  absolute  in  all  his  commerce  with  nature ;  his  first 
desire  was  to  learn,  and  to  add  to  his  resources.  But  even  when  he 
seems  to  be  copying  with  the  most  scrupulous  minuteness,  he  informs 
his  theme  with  his  own  commanding  individuality.  Face  to  face  with 
the  myriad  aspects  of  nature,  he  recognised  the  limitations  of  his  art 
in  their  reproduction,  and  sensible  that  he  could  not  render  all,  he 
selected  those  which  seemed  to  him  the  most  impressive,  those  which 
agreed  most  fully  with  that  "  certain  idea  "  spoken  of  by  Raphael,  which 
every  true  artist  carries  within  him.  His  own  intelligent  conception  of 
his  art,  his  sympathy  with  his  models,  and  the  versatility  of  his  intellect, 
give  a  supreme  interest  to  those  varied  and  deeply  expressive  studies. 
the  freedom  and  spontaneity  of  which  allowed  full  scope  to  his  originality. 
Graceful  and  exquisite  as  are  many  of  his  youthful  feminine  figures, 
he  is  perhaps  most  individual  and  moving  in  those  portraits  of  old 
women,  in  which  by  the  accidents  of  form  and  feature  he  so  admirably 
suggests  the  moral  life.  It  is  as  a  painter  of  character  that  he  shows 
himself  supreme,  bringing  out  the  personality  of  his  sitters  in  their 


REMBRANDT 


gestures,  their  attitudes,  in   the   peculiarities  of  bearing  and  expression 
stamped  on  them  by  temperament  and  habit. 

In  addition  to  these  independent  studies,  the  Hermitage  Museum, 
which  is  specially  rich  in  Rembrandt's  works  of  this  period,  owns  a 
portrait  of  an  old  lady  (No.  823  in  the  Catalogue)  evidently  painted  on 
commission,  to  judge  by  the  careful  execution  and  formal  costume. 

The  model  is  seated  in 
an  arm-chair  and  wears 
a  reddish  head-dress  over 
a  close  white  cap,  which 
conceals  all  but  the  roots 
of  her  brown  hair.  A 
little  square  collar  and  a 
brown  fur-trimmed  mantle 
complete  her  costume. 
The  iron-gray  of  her 
bodice,  and  the  reds  of 
her  sleeves  and  cap  make 
up  a  harmony  of  exquisite 
distinction,  which  Nicho- 
las Maes,  inspired  by  his 
master's  example,  has  in- 
troduced in  several  of  his 
pictures.  A  pair  of  por- 
traits in  the  Stockholm 


IN  THK  C;AKI,KN  OF  OI.IVFS. 


About  1657  (R  75). 


Museum  (Nos.  581  and 
582),  signed,  and  dated 
1655,  represent  an  aged 

couple,  grown  gray  together.  The  picture  of  the  wife,  who  wears  a 
turban  and  a  loose  brown  gown,  trimmed  with  fur,  is  a  broad  and  sober 
piece  of  work,  subdued  in  colour,  but  distinguished  by  a  gentle  refine- 
ment of  handling  in  admirable  harmony  with  the  serene  personality  of 
the  sitter.  The  portrait  of  the  husband,  a  gray-bearded  man  in  a  brown 
dress  and  black  hat,  is  no  less  remarkable  in  treatment  ;  though 
unfortunately  in  very  poor  condition.  Some  of  the  studies  of  old  men, 
almost  as  numerous  as  those  of  old  women,  compare  not  unfavourably 


Portrait  of  an   Old  Woman 

(HKKMITAGK.) 


• 


-,n'ed  by   Eudes  S.  Chasscpot,  Pans  (Trance) 


STUDIES    OF   OLD    PEOPLE 


79 


with  these.      We  may  instance  two  little  panels  in  the  Cassel    Museum, 
painted  about  1655,  one  (No.  225)  the  bust  portrait  of  a  gray-haired 
man    in    profile,    dressed    in    a    brown  robe  ;  the  other,    a  study    of  a 
somewhat  younger  man,    painted    full-face,    a   fur  cap  on    his  head  ; J 
Sir  Francis  Cook's  study  of  an  old  man  seated,  and  leaning  on  a  stick  ; 
and  a  later  sketch  in  Mr. 
Humphry  Ward's  posses- 
sion, painted  about  1658, 
a  man    in   a  red  cap  and 
robe    of    golden    brown, 
whose     vigorous      head, 
with    its    somewhat    dis- 
trustful     expression,      is 
modelled  with  great  effect 
in  a  rich  impasto.     Seve- 
ral   other    studies,    more 
important  both  in  dimen- 
sions and  quality,  remain 
to     be     noticed,    among 
them  an   old    man,    with 
strongly-marked  features, 
in   the    Hermitage    Mu- 
seum.       Painted     about 
1654 — 1656,  it  may  pro- 
bably   have    been    used 
by    the    master    for    the 
Jacob  blessing  the  Child- 
ren   of  Joseph,     of    the 
latter  year.    The  Hermi- 
tage possesses  yet  another  study  of  an  old  man  in  a  black  dress  and 
cap,  and   brown    robe,    dated    1654,    remarkable    for   the    transparent 
quality    of  its    subdued    tones.      The    head    of    an    old    man    in    the 
Schwerin    Museum    (No.    855    in    the    Catalogue)  is  now  restored  to 
Rembrandt  on  Dr.  Bode's  authority.      It  was  long  ascribed  to  Ribera. 
The  finest  of  the  whole  series,  the   Old  Man  in  the    Dresden  Gallery 

1  Of  this  there  is  a  replica,  or  perhaps  a  copy,  in  the  Louvre,  rather  inferior  in  quality. 


STL'DY   OF    A   YOl'TH    (TITl'S?) 

Pen  drawing  (Stockholm   Print  Room). 


8o  REMBRANDT 

(No.  1567  in  the  Catalogue),  is  signed  and  dated  1654.  The  majestic 
bearing  and  dignified  features  of  the  model  must  have  delighted  the 
master  ;  the  study  is  singularly  powerful  and  vital.  The  head,  with 
its  broad-brimmed  cap,  enframed  in  its  long  white  hair  and  beard,  is 
modelled  in  a  full,  fat  impasto,  handled  with  consummate  knowledge 
and  decision.  The  sitter  was  very  probably  a  chance  model,  picked 
up  in  the  streets  of  Amsterdam  ;  but  in  his  rich  crimson  dress  and 
heavy  mantle  he  is  a  most  commanding  figure,  his  proud  bearing, 
confident  gaze,  powerful  frame,  and  deeply  furrowed  skin,  suggesting 
a  parallel  with  some  rugged  oak,  towering  above  its  forest  brethren. 
The  Man  in  Armour  in  the  Cassel  Museum  (No.  223  in  the 
Catalogue),  though  lacking  the  breadth  and  grandeur  of  the  Dresden 
example,  has  all  the  vigour  characteristic  of  this  period.  The  forged 
inscription  of  Rembrandt's  name,  and  the  date  1655,  was  probably 
added  to  supplement  an  illegible  signature,  traces  of  which  are  still 
decipherable.  The  work  is  undoubtedly  by  the  master,  and  the 
execution  confirms  its  ascription  to  this  period.  Under  Mr.  Mauser's 
skilful  restoration,  it  has  regained  its  original  brilliance,  and  the 
manly  head,  with  its  noble  and  regular  features,  and  abundant  brown 
hair,  is  a  haunting  and  impressive  creation. 

The  advantages  of  such  studies  arc  amply  demonstrated  in  the 
pictures  of  this  period.  In  the  Tribute  Money  of  1655,  a  little  panel 
with  a  number  of  figures,  formerly  in  the  Wynn  Ellis  collection,  and 
now  belonging  to  Mr.  Beaumont,  we  note  an  increasing  richness  and 
animation  in  the  colour.  This  is  still  more  evident  in  two  works  of 
greater  importance  painted  in  1655,'  both  representing  the  episode  of 
Joseph  accused  by  tlie  Wife  of  Potip/iar,  with  slight  variations  in 
detail.  That  in  the  Berlin  Museum  is  not  only  more  dramatic  in 
composition  than  its  companion  in  the  Hermitage,  but  more  brilliant 
in  colour,  and  in  better  condition.  The  Potiphar  of  the  Berlin  picture 
seems  to  accept  his  wife's  statements  with  a  certain  reserve.  He  gazes 
earnestly  at  Joseph,  as  if  seeking  confirmation  or  disproval  of  the 
charge  in  the  face  of  the  accused.  The  figure  of  Joseph  is  full  of 

'  Dr.  Bode  believes  that  the  Hermitage  example  was  painted  in  1654,  and  dated  that 
year,  but  that  Rembrandt  modified  it  considerably  the  following  year,  and  altered  the 
date  to  1655.  Mr.  Somoff,  the  Director  of  the  Hermitage  Museum  agrees  with  me, 
however,  that  1655  was  the  original  date. 


"JOSEPH    ACCUSED    BY    POTIPHAR'S    WIFE"  81 

expression  ;  beside  himself,  he  casts  his  eyes  upwards,  as  if  attesting  his 
innocence  before  Heaven,  while  in  the  Hermitage  example  he  listens, 
with  downcast  eyes  and  impassible  face,  to  the  denunciations  of  his 
supposed  treachery.  Expressive  as  are  the  faces  and  attitudes,  the 
supreme  beauty  of  the  work  lies  in  the  wonderful  richness  and 
harmony  of  the  colour.  Rembrandt  himself  had  never  equalled  its 
magnificence.  Even  in  the  Susanna,  also  at  Berlin,  the  variety  and 
splendour  of  his  palette  are  scarcely  so  fully  exhibited.  To  avoid  the 
gaudiness  and  incoherence  of  multiplied  tints,  he  has  with  exquisite 
art  confined  the  general  tonality  to  the  play  of  two  complementary 
colours,  opposing  the  various  reds  of  the  picture  to  skilfully  distri- 
buted greens.  The  simplicity  of  the  general  effect  is  thus  preserved, 
and  the  eye  of  the  spectator  feasts  undisturbed  on  the  sumptuous 
harmony,  in  which  Rembrandt  seems  to  have  epitomised  all  the 
splendours  of  Eastern  life. 

Now,  as  always,  the  master  loved  to  vary  one  form  of  work  by 
recourse  to  another.  Idleness  was  impossible  to  him,  and  a  change  of 
occupation  the  only  relaxation  his  ceaseless  activity  demanded.  In 
addition  to  the  many  pictures  already  described,  he  executed  a  con- 
siderable number  of  etchings  in  1654  and  1655.  These,  in  general, 
are  marked  by  the  same  breadth  and  simplicity  that  distinguish  the 
paintings.  Like  many  of  the  preceding  period,  some  among  them  are 
sketched  rapidly  on  the  plate,  without  a  preliminary  study.  But  the 
careless -spontaneity  of  such  a  method  tended  to  preserve  the  fire  and 
freedom  of  the  inspiration.  Nearly  all  these  plates  deal  with  subjects 
from  the  New  Testament.  Rembrandt  seems  to  have  applied  himself 
at  this  stage  in  his  career  to  a  closer  study  of  the  life  of  Jesus,  realising 
more  fully  than  he  had  hitherto  done  the  character  of  the  Saviour,  as 
he  followed  the  Divine  Figure  throughout  the  cycle  of  His  earthly 
pilgrimage,  and  embodied  its  more  striking  episodes.  With  deep 
emotion  he  traces  His  course  from  birth,  through  death,  to  resurrection. 
Thus,  following  on  the  Nativity  (B.  45),  already  described,  which 
should  probably  be  referred  to  this  period,  we  have  the  Circumcision 
of  1654  (B.  47),  the  singular  plate  in  which  the  ceremony  is  represented 
as  taking  place  in  a  stable ; l  the  Presentation  (B.  50),  a  most 

1  This  plate  is  signed  and  dated  twice  over,  Rembrandt f.  1654. 
VOL.   II.  G 


82 


REMBRANDT 


picturesque  rendering  of  the  theme,  executed  with  great  spirit  and 
firmness,  probably  in  1654,  the  year  of  the  Flight  into  Egypt;  the 
Holy  Family  crossing  a  Rill  (B.  55),  and  of  the  Holy  Family  (B.  63),  in 
which  the  Virgin  is  sleeping,  her  head  resting  on  that  of  the  Child  in 
her  lap.  These  were  succeeded  by  the  Jesus  disputing  with  tlie  Doctors 
in  the  Temple  (B.  64),  a  subject  of  which  there  are  numerous  ver- 
sions among  Rembrandt's 
drawings  and  etchings ; 
the  Jesus  found  by  his 
Parents  in  their  Journey 
to  Jerusalem  (B.  60),  to 
adopt  Wilson's  reading  of 
the  subject,  which  Bartsch 
erroneously  describes  as 
The  Return  from  Egypt, 
a  title  obviously  at  vari- 

J 

ance  with  the  apparent 
age  of  the  Holy  Child  ; 
the  Christ  in  the  Garden 
of  Olives  (B.  75),  with 
the  fainting  Saviour  sup 
ported  by  an  angel,  the 
sleeping  apostles  behind 
Him,  and,  barely  visible 
in  the  dim  moonlight, 
Judas  advancing  with  the 

guards  to  seize  his  Master — an  admirable  composition,  of  which 
Rembrandt  made  several  studies,  though  we  do  not  find  that  he  ever 
used  them  for  a  picture  ;  and,  finally,  the  Disciples  at  Emm'aus  (B.  87), 
already  mentioned,  and  the  Descent  from  the  Cross  (B.  83),  a  torch- 
light scene  remarkable  for  the  frankness  of  its  treatment  and  effects. 

In     1655    Rembrandt,    who    had    kept     up     his    friendship    with 

Menasseh   ben    Israel,    etched   four    little    illustrations   for    a    work    in 

Spanish  by  the  Rabbi,  entitled  :   La  Piedra  gloriosa  o  de  la  estatua  de 

N  abuchadnesar?     By    a    variety    of    subtle    arguments    and    shadowy 

1  This  book  was  published  at  Amsterdam,  and  dated  5415  (1655  of  our  era). 


Tin-:  vor.Ni;   SKKVANT. 
About  1654  (Stockholm  Museum). 


Man  Reading, 

Pen  and  Sepia. 
(LOUVRE.) 


Printed  by  Draeger  &  Lesieur,  Pans 


ETCHINGS    OF   THIS    PERIOD  83 

analogies  Menasseh  seeks  to  demonstrate  in  this  work  that  Nebuchad- 
nezzar's dream  was  a  prophecy  of  the  Messiah's  advent,  further 
confirmed  by  the  vision  of  Daniel — that  the  stone  which  shattered  the 
statue  of  the  Assyrian  monarch,  the  stone  which  served  Jacob  for  a 
pillow,  and  the  stone  with  which  David  slew  Goliath  were  all  types 
of  the  same  event.  Such  subjects  were  ill-suited  to  the  genius 
of  Rembrandt,  who,  conscious  perhaps  of  his  inaptitude  for  their 
treatment,  had  little  taste  for  allegories.  He  did  his  best,  however, 
to  satisfy  his  friend.  The  first  states  of  the  plate  were  in  his  dark 
manner,  but  these  he  worked  over  and  lightened  considerably  for 
the  later  impressions,  endeavouring  to  follow  Menasseh's  text  as 
closely  as  possible,  and  bring  out  its  full  significance.  In  spite  of  his 
efforts,  however,  the  result  was  sufficiently  fantastic  and  incom- 
prehensible. The  plates  were  apparently  not  to  the  publisher's 
taste,  for  shortly  after  Menasseh's  death  he  caused  fresh  ones  to 
be  executed,  considerably  modifying  the  composition  of  Rembrandt's 
illustrations,  which  were  not  much  improved  in  the  process.  They 
appeared  only  in  the  earlier  copies  of  the  book. 

We  are  unable  to  concur  with  Mr.  Middleton-Wake  in  his 
classification  of  the  sketch  of  St.  Peter  (B.  95),  which  he  includes 
among  the  etchings  of  1655.  Judging  by  the  execution,  we  agree  with 
Mr.  von  Seidlitz  that  it  belongs  to  a  much  earlier  period,  probably 
about  1630.  Its  analogies  with  such  youthful  works  as  the  FligJit  into 
Egypt  (B.  54),  the  Old  Man  Studying  (B.  149),  the  Tobit  Blind 
(B.  153),  and  the  Beggar  standing  (B.  162)  are  very  striking.  The 
slight  but  attractive  little  plate,  The  Sport  of  Kolef  or  Golf  (¥>.  125),  is, 
however,  a  work  of  1654.  One  of  the  players  is  in  the  act  of  striking 
the  ball ;  two  others  are  talking  together,  while  a  fourth  personage, 
apparently  lost  in  thought,  reclines  on  a  bench  in  the  foreground. 
The  Abraham 's  Sacrifice  (B.  35)  of  the  following  year  is  equally  firm 
in  execution,  while  the  large  Ecce  Homo  (B.  76)  of  the  same  date, 
though  not  less  summary  in  treatment,  is  even  more  masterly.  The 
figures,  with  the  exception  perhaps  of  some  which  are  introduced 
merely  as  a  relief  to  the  shadows  of  the  architectural  background,  are 

etched    with    a    firm,    nervous    stroke,    and    are    full    of    vitality    and 

c  2 


84  REMBRANDT 

expression.  The  subdued  energy  of  the  treatment  brings  out,  in  a 
very  pathetic  fashion,  the  diversity  of  sentiments  animating  the  crowd 
that  clamours  round  the  innocent  victim.  In  the  sixth  state  of  this 
plate,  however,  the  master,  apparently  dissatisfied  with  his  composition, 
modified  it  very  considerably.  Anxious,  no  doubt,  to  concentrate 
attention  more  fully  on  the  principal  actor,  he  erased  the  figures  of  the 
foreground,  substituting  for  them  an  arcade  in  the  projecting  base  of 
the  portico  on  which  Jesus  stands  between  Pilate  and  his  attendants, 
exposed  to  the  insults  of  the  mob  below. 

After  this  long  enumeration  of  works  executed  in  1654  and  1655, 
it  is  hardly  necessary  to  point  out  that  these  years  were  among  the 
busiest  and  most  fruitful  of  the  master's  career.  Rembrandt  was 
happy  ;  his  house  was  once  more  a  home.  An  amenable  com- 
panion was  always  by  his  side.  She  directed  his  household,  brought 
up  his  children,  and  upon  occasion  sat  for  his  pictures.  His  sedentary 
habits  took  firmer  hold  upon  him  than  ever,  and  he  rarely  went 
beyond  the  home  he  had  arranged  to  suit  his  own  tastes,  and  in 
which,  as  we  have  said  more  than  once,  he  had  accumulated  an  infinite 
variety  of  objects  he  considered  helpful  in  his  art.  The  moment  seems 
a  favourable  one  for  us  to  enter  the  dwelling  ;  and  the  inventory  of  July 
25  and  26,  1656,  which  furnishes  us  with  an  exact  list  of  its  contents, 
throws  considerable  light  on  the  master's  life  and  habits.  The  house 
in  the  Breestraat  where  Rembrandt  had  lived  since  May,  1639, 
was  pleasantly  situated,  within  an  easy  distance  both  of  the  harbour 
and  the  outlying  country,  in  the  heart  of  the  Jewish  quarter.  It 
is  still  in  existence,  and,  save  for  a  slight  alteration  necessitated 
by  its  division  into  two  separate  houses,  the  exterior  remains 
unchanged.  It  is  a  building  of  the  Dutch-Italian  Renaissance,  faced 
with  alternate  courses  of  brick  and  freestone,  and  ornamented  with 
small  sculptured  heads.  The  fa9ade  is  crowned  with  a  pediment,  on  the 
tympanum  of  which  is  carved  a  wreath  and  scrolls.  The  ground  floor 
is  raised  above  the  street  by  the  height  of  some  five  or  six  steps. 
Above  it  are  a  first  and  second  storey  surmounted  by  attics.  It 
was  therefore  a  fairly  spacious  dwelling.  At  the  entrance  was  a 
vestibule  leading  into  an  ante-room,  on  either  side  of  which  was  a 


REMBRANDT'S    HOUSE  85 

large  room.  Rembrandt  probably  slept  in  one  of  these,  and  worked 
there  in  the  evenings,  preparing  his  plates,  or  printing  his  etchings, 
for  among  the  articles  of  furniture  noted  in  the  inventory  are  tables, 
presses  of  oak  and  foreign  woods,  a  copper  boiler,  and  screens. 
Another  ante-room  on  the  first  floor  gave  access  to  the  saloon,  or 
Museum  (Kunstcaemer),  in  which  the  most  valuable  articles  of  the 
collections  were  exhibited.  The  studios  were  probably  on  the  second 
floor,  where  the  light  was  best,  and  were  doubtless  so  arranged  as 
to  get  the  full  benefit  of  the  sun,  and  facilitate  those  experiments  in 
illumination  affected  by  the  master.  One  of  these  studios,  that 
used  by  Rembrandt  himself,  communicated  with  a  small  lumber-room, 
where  he  kept  his  furs  ;  the  other,  of  the  same  dimensions,  was 
reserved  for  his  pupils,  and  divided  into  five  compartments.  In  all 
probability,  one  of  these  compartments,  the  largest  of  the  five,  was 
also  occupied  by  Rembrandt  himself  ;  it  contained,  in  addition  to 
the  trophies  of  foreign  curiosities,  weapons,  and  musical  instruments 
with  which  all  five  were  decorated,  plaster  casts  of  statues,  models 
of  arms  and  legs,  and  a  quantity  of  antique  fabrics,  of  various  colours 
and  textures.  Lastly,  we  come  to  a  small  office,  and  a  little  kitchen, 
furnished  with  a  scanty  supply  of  pots  and  crockery.  Plain  living 
was  the  rule  in  Rembrandt's  household,  and  all  his  biographers  are 
agreed  as  to  the  frugality  of  his  habits.  Of  table  and  body  linen, 
the  pride  of  the  Dutch  housewife,  he  seems  to  have  possessed  but  a  very 
meagre  store.  The  entries  under  this  head  in  the  inventory  are 
of  the  briefest.  Nor  was  the  library  more  abundantly  furnished.  It 
consisted  of  some  twenty  volumes,  among  them  some  specimens  of 
calligraphy,  probably  the  gift  of  Coppenol,  Jan  Six's  Mcdca,  two 
German  books,  one  of  military  subjects,  the  other  Josephus'  History  of 
thejeu-s,  with  illustrations  by  Tobias  Slimmer,1  and  the  master's  "  old 
Bible,"  the  book  of  which  he  never  wearied. 

The  various    rooms    were    sparingly   furnished    with    old    Spanish 
chairs,    upholstered    in    leather    or    velvet,    mirrors    in    ebony  frames, 

1  Not  by  Tobias  Timmcrman,  as  Scheltemaand  Vosmaer  have  stated.  The  book  was 
a  folio  volume,  published  at  Frankfort  in  1580  by  S.  Feyerabcndt  :  Opera  Josephi  I'iri : 
de  A ntitjti itatibits  Juda'ids  Hbri  XX. 


86  REMBRANDT 

tables  with  rich  covers  ;  we  read  also  of  an  old  chest,  the  little 
carved  bed  of  gilded  wood  already  mentioned,  a  marble  cooler,  etc. 
Ranged  along  the  walls  were  cabinets  containing  Indian  boxes,  of 
sandalwood  or  bamboo,  vases,  cups,  china,  fanciful  costumes,  stuffed 
animals,1  minerals,  shells,  fish,  sea-weed,  and  jewels  of  rare  workman- 
ship or  fine  quality.  A  quantity  of  armour,  of  various  periods  and 
countries,  further  attested  the  catholic  tastes  of  the  master,  in  whose 
household  artistic  treasures  took  the  place  of  domestic  luxuries.  In 
such  matters  Rembrandt  seems  to  have  been  entirely  free  from 
prepossessions.  He  gleaned  indifferently  among  various  styles  and 
epochs,  requiring  only  artistic  merit  of  some  sort  in  his  acquisitions. 
Among  his  sculptures  we  find  both  original  works,  and  casts  from 
the  antique,  a  Laocoon,  a  Socrates,  a  Homer,  an  Aristotle,  some 
sixteen  busts  of  Roman  emperors,  naked  children,  models  of  heads, 
and  of  a  negro  from  life,  a  mask  of  Prince  Maurice  taken  after  his 
death,  an  iron  shield  with  figures  by  "  Ouentin  the  Smith,"  Diana  s 
Bath,  and  a  basin  with  nude  figures  in  plaster  by  the  sculptor 
Adam  van  Vianen.  His  taste  in  pictures  was  no  less  eclectic. 
Among  his  examples  of  the  Italian  masters,  then  so  greatly  admired 
in  Amsterdam,  were  two  of  which  he  was  joint  purchaser  with  the 
dealer  Pieter  de  la  Tombe :  The  Parable  of  tlie  Rich  Man  by 
Palma  Yecchio,  and  The  Samaritan  Woman  by  "  Zjorzjone " 
(Giorgionc);  a  study  of  a  head  by  Raphael,  a  Camp  by  Bassano, 
and  two  copies  after  Carraccio.  The  Flemish  and  Dutch  schools 
were  more  fully  represented.  I7irst  on  the  list  are  four  examples 
of  the  "primitives:"  a  head  by  Jan  van  Eyck,  and  three  pictures 
by  the  rare  master,  Aertgen  van  Leyden  :  The  Resurrection  of  a 
dead  Man,  St.  Peter  s  Boat,  and  Joseph.  Next  come  seven  pictures 
by  Brauwer,  and  a  portfolio  of  his  drawings ;  a  picture  by  Frans 
Hals,  and  two  small  studies  of  heads  by  Lucas  van  Valckenburg. 
We  have  already  mentioned  the  works  of  contemporary  landscape- 
painters,  for  which  Rembrandt  had  a  special  predilection  ;  to  these 
we  must  add  examples  of  his  master  Lastman,  of  Jan  Pynas,  another 

1  In  a  drawer  containing  a  number  of  fans  was  found  the  skin  of  a  bird  of  Paradise, 
from  which  Rembrandt  made  two  pen-drawings,  now  in  M.  Bonnat's  collection. 


Man  in  Armour  (1655). 

(GLASGOW  CORPORATION  GALLERY.) 


P.HS,  am 


Primed    by  Cha  rdon-Wtttmann  Parts   (F  -a nee 


REMBRANDT'S    COLLECTIONS 


Itahamscr,  and  of  his  friend  Lievcns,  who  was  represented  by  a 
Resurrection  of  Lazarus,  a  Hermit,  an  Abrahams  Sacrifice,  a 
Nativity,  all  favourite  subjects  with  Rembrandt,  and,  further,  by 
two  landscapes,  one  a  AFooiilight  Scene. 

But  the  engravings  were  the  most  important  items  of  Rembrandt's 
rich  and  varied  collection.  These  had  a  twofold  interest  for  him. 
They  gave  him  much  valuable  information  as  to  the  methods  of  his 
predecessors  in  an  art  of  which  he  was  himself  a  past  master,  and 
by  their  means  he  became  familiar  with  the  great  painters  of  foreign 
schools,  Michelangelo,  Raphael — he  frequently  gave  large  prices  for 
fine  impressions  of  Marc 
Antonio's  plates  Titian. 
of  whose  works  be  owned 
a  complete  set  of  prints, 
Holbein,  Cranach,  Ribera, 
the  Bolognesc  masters, 
Rubens,  Van  Dyck,  Jor- 
daens,  P.  Brueghel,  &c. 
The  masters  he  most 
highly  valued  were  the 
original  artists,  who  en- 
graved their  own  subjects, 
Man  teg  na,  Schongauer, 

Albrecht  Dtirer,  Callot,  and  his  compatriots  Lucas  van  Leyclen,  Heems- 
kerk,  A.  Bloemaert,  and  Goltzius.  He  was  never  weary  of  studying 
their  works,  making  drawings  of  those  he  most  admired,  such  as 
Mantegna's  well-known  Calumny  of  Apcllcs,  which  he  reproduced 
in  a  delicate  pen-drawing  ;  a  bust  of  Andrea  Doria,  "  Duke  of 
Genoa,"  which  he  framed  in  a  medallion  ;  and  the  prints  after 
Raphael's  Madonna  delta  Sedia  and  Portrait  of  Baldassare  Castiglionc. 
But  of  all  the  creations  of  the  Italian  Renaissance,  that  which  seems 
to  have  most  deeply  impressed  him  was  Leonardo's  masterpiece, 
the  Last  Supper.  Of  this  he  made  two  copies  ;  one  is  a  pen  draw- 
ing dated  1635,  in  the  Berlin  Print  Room  ;  the  other,  a  study  in 
red  chalk,  belonging  to  Prince  George  of  Saxony.  The  latter  is 


,654 


88  RKM BRANDT 

especially  interesting.  Rembrandt  first  sketched  in  the  subject  care- 
fully and  lightly,  working  it  over  afterwards  with  bold,  firm 
strokes  of  the  pencil.  His  intention  is  very  obvious.  By  means 
of  these  vigorously  loaded  touches,  he  admirably  suggests  the 
ingenious  methods  by  which  Leonardo  brought  the  various  figures 
of  his  composition  into  unity,  and  subordinated  them  to  the  principal 
personage,  the  Christ  in  the  centre,  revealing  the  geometrical  basis 
of  the  arrangement,  and  the  scientific  spirit  underlying  the  con- 
ceptions of  his  profoundly  philosophical  intellect.  Such  methods 
as  these  Rembrandt  eagerly  studied  and  assimilated. 

In  his  quest  for  instruction  Rembrandt  also  sought  to  familiarise 
himself  with  contemporary  knowledge  of  the  antique.  He  collected 
medals,  sculptures  and  casts,  and  filled  his  portfolios  with  drawings 
and  engravings  from  statues  and  classic  monuments.  He  was  no 
less  eager  for  information  touching  foreign  lands,  and  just  as  he 
studied  history,  not  in  books,  but  in  the  works  of  his  predecessors, 
so  we  find  him  journeying  into  far  countries  with  his  confreres. 
We  know  that  he  affected  the  works  of  the  Italianisers ;  he  also 
collected  views  of  Italy  by  various  masters,  and  views  of  the 
Tyrol  by  Roelandt  Savery.  He  studied  Oriental  buildings  and 
costumes  in  the  Scenes  from  Turkisli  Life  of  Pieter  Coucke  of 
Alost,  and  the  Turkish  Buildings  of  Melchior  Lorch  and  Hendrick 
van  Aelst.  Or  his  fancy,  dreaming  of  new  horizons  and  undis- 
covered territories,  took  a  wider  flight,  to  countries  as  yet  unvisited 
by  the  European  artist.  His  imagination  was  fired  by  tales  of 
the  Indies,  and  the  mysterious  coasts  visited  by  hardy  Dutch 
mariners.  Among  the  innumerable  curiosities  from  those  distant 
shores  in  his  possession,  were  Persian  and  Hindoo  miniatures. 
Fascinated  by  the  singularity,  the  mingled  barbarity  and  refine- 
ment of  Oriental  art,  he  made  careful  studies  from  many  of  his 
specimens.  The  Louvre,  the  British  Museum,  and  Messrs.  Bonnat, 
Heseltine  and  Salting  possess  copies  by  him  from  the  miniatures : 
a  rajah  in  a  helmet,  seated  on  a  throne,  surrounded  by  his  court  ; 
a  young  prince  on  horseback,  falcon  on  wrist,  &c.  These  reve- 
lations of  an  exotic  art  were  absolutely  novel  in  Rembrandt's 


REMBRANDT'S    COLLECTIONS  89 

days,  and  appealed  strongly  to  his  imagination.  We  may  imagine 
how  great  his  delight  would  have  been  could  he  have  seen  any 
of  those  Japanese  drawings  of  which  he  sometimes  shows,  as  it 
were,  a  curious  prescience  in  his  own  works.  His  landscape 
sketches,  indeed,  and  many  of  his  etchings,  are  marked  by  the  same 
exquisite  sense  of  form,  the  same  ingenious  distribution  of  masses, 
the  same  intelligent  and  unforeseen  interpretation  of  nature,  which 
have  fascinated  the  artists  of  our  own  day.  Here  again  Rembrandt 
figures  as  a  pioneer. 

We  must  not  omit  such  works  of  his  own  or  of  his  pupils  as 
were  found  among  his  effects.  These  were  chiefly  studies  from 
nature,  landscapes,  or  Vanitas  which  he  re-touched,  animals,  heads, 
life-studies  of  men  and  women,  two  studies  of  negroes,  a  Soldier 
m  a  Cuirass  (perhaps  the  one  in  the  Cassel  Gallery),  together  with 
a  few  pictures  and  sketches,  such  as  the  Pacification  of  Holland, 
an  Ecce  Homo  in  grisaille  (in  Lady  Eastlake's  possession),  another 
grisaille  now  lost,  The  Dedication  of  Solomons  Temple,  a  Virgin, 
a  Head  oj  Christ,  a  Lion-fig/it,  a  Courtesan  adorning  herself.  Of 
several  others,  a  Flagellation,  a  Resurrection,  a  Descent  from  the 
Cross,  there  were  two  and  even  three  versions,  perhaps  replicas, 
perhaps  copies,  or  compositions  by  pupils,  touched  up  by  the 
master.  Such  was  a  Good  Samaritan  among  the  number.  A  few, 
of  various  sizes,  were  unnamed.  Finally,  there  was  the  Diana 
or  Danae,  hidden  in  the  lumber-room,  identical,  no  doubt,  with  the 
nude  Saskia  of  the  Hermitage  collection. 

Among  the  engravings — apart  from  all  those  spoken  of  already- 
the  inventory  notes  several  portfolios,  with  complete  sets  of  Rem- 
brandt's own  etchings  ;  a  number  of  plates  by  his  friend  Lievens 
and  his  pupil  Ferdinand  Bol  ;  a  cupboard  containing  reproductions 
of  the  master's  pictures  by  J.  van  Vliet.  His  own  drawings  fill 
no  less  than  twenty  albums  and  portfolios.  They  were  all  care- 
fully classified  by  him,  and  arranged  in  categorical  order — life- 
studies,  studies  of  animals,  landscapes,  studies  from  antiques,  rough 
sketches  of  compositions  and  more  elaborate  sketches.  It  is  curious 
to  find  one  so  careless  of  his  own  interests  and  neglectful  of 


9° 


REMBRANDT 


ordinary   business    details,     so    laboriously    methodical    and    exact    in 
all    matters    that    concerned    his    art. 

Such  was  Rembrandt's  home  : — a  museum  of  rare  and  precious 
things  collected  by  the  master  in  no  spirit  of  ostentation,  but 
for  the  delight  and  profit  of  his  artistic  faculties.  We  can  hardly 
wonder  that  he  felt  little  inclination  to  wander  from  the  place 
where  his  tastes  and  his  affections  alike  centred.  But  the  day  was 
not  far  distant  when  he  was  to  be  driven  forth  from  this  haven,  and 
despoiled  of  nearly  all  that  made  up  the  happiness  of  his  life. 


T01IIT    AND    HIS    W1FK. 


'  T  -A 

r:J5=sisiip8S£ 


THK    CANAL. 

About   1652  (II.  221). 


CHAPTER    IV 


REMBRANDT'S     EXTRAVAGANCE     AND     WANT     OF     FORETHOUGHT — THE    'MATHE- 
MATICIAN'    IN     THE     CASSEI.     GAI.I.ERV 'l>R.     DEYMAX's     LESSON     IN     ANATOMY '- 

'JACOB      BLESSING        THE       CHILDREN        OF       JOSEPH1  —  THE        GRISAILLE       OF       'THE 

PREACHING    OK    ST.  JOHN* ETCHED    PORTRAITS:     '  J.     U'TMA1    AND    'OLD    HAAKINC,  ' 

REMBRANDT    A    HAN  KKTI'T  — -THF.    SALE    OF    HIS    HOl'SI,    AND    COLLECTIONS. 


A 


NATURAL  feeling  of  sympathy  and 
admiration  for  great  artists  often  leads 
us  to  lay  the  blame  of  what  we  take 

J 

to  be  their  undeserved  misfortunes  on  their 
contemporaries.  Rembrandt,  so  long  the  victim 
of  calumnies  detailed  by  inventive  biographers, 
now,  perhaps,  usurps  more  than  his  legitimate 
share  of  the  retrospective  pity  due  to  genius  in 
distress.  Many  other  artists,  including  some  of 
the  greatest  among  his  own  compatriots,  died 
neglected,  or  tended  by  charity  in  a  hospital. 

The  names  of  Frans  Hals,  of  Jacob  van  Ruysdael,  of  Van  Goyen, 
of  Aert  van  cler  Neer,  of  Hobbema,  of  Jan  Steen,  of  Pieter  de  Hooch, 
of  Vermeer  of  Delft,  all  figure  in  this  martyrology  of  the  Dutch  school, 
some  as  the  innocent  victims  of  destiny,  others  as  the  architects  of 
their  own  misfortunes. 

Rembrandt,  we  are  bound  to  admit,  belongs  to  the  latter  category, 


Bl'ST   OF    A    WOMAN. 

About   1631    (B.    358) 


92  REMBRANDT 

The  accumulated  embarrassments  which  finally  resulted  in  ruin 
were  due  to  himself  alone.  He  had  inherited  a  small  patrimony, 
which,  with  Saskia's  dowry  and  the  various  legacies  that  fell  to  him, 
should  have  secured  him  a  comfortable  income.  Almost  at  the 
outset  of  his  career,  he  became  the  fashionable  portrait-painter  of 
the  day,  and  earned  considerable  sums  of  money.  The  prices  he 
commanded,  though  not  extravagant,  were  among  the  highest  obtained 
by  any  artist  of  his  time.  l''or  portraits,  and  pictures  of  medium  size, 
his  usual  charge  was  live  hundred  florins;  for  the  Niglit-Watch  he 
received  sixteen  hundred  florins  ;  for  the  pictures  painted  for  Prince 
Frederick  Henry,  six  hundred  florins  each  for  the  the  first  five, 
and  twelve  hundred  each  (or  the  two  delivered  in  1646.  He 
had  further  the  fees  derived  from  his  numerous  pupils,  and  con- 
temporary evidence  shows  that  his  etchings  were  in  great  request, 
and  sold  for  fair  prices.  AH  these  circumstances  tended  to  make 
Rembrandt's  position  a  very  enviable:  one  as  compared  with  that  of 
other  artists  of  his  day.  With  some  small  share  of  that  method  and 
foresight  which  Rubens  displayed  throughout  his  career,  he  might, 
without  emulating  the  magnificence  of  his  Flemish  confrere,  or 
leaving  a  large  fortune  behind  him,  have  kept  a  roof  over  his  head, 
and  honourably  maintained  his  position  in  the  first  rank  of  Dutch 
artists.  Hut,  in  addition  to  the  general  embarrassments  in  which  his 
affairs  became  involved  between  1652  and  1655,  there  were  many 
purely  personal  causes  of  Rembrandt's  disaster.1  He  had  never 
learnt  to  economise,  (ienerous  and  impulsive,  he  was  incapable  of 
protecting  his  own  interests.  No  sooner  did  he  lay  hands  on  a  sum 
of  money  than  he  lavished  it  on  friends  or  relations,  or  on  some 
caprice  of  the  moment.  As  early  as  1631  he  lent  a  thousand 
florins  to  Hendrick  van  Uylenborch,  and  some  years  later,  he,  in 
conjunction  with  two  or  three  brother-artists,  made  a  further  advance 
of  a  considerable  sum,  for  which  Hendrick  gave  a  security  in  1640. 

Some  of  the  details  hearing  on  Rembrandt's  financial  position  are  given  in  Vosmaer's 
book  and  Scheltcma's  pamphlet ;  but  these  have  been  largely  supplemented  by  the 
discoveries  of  Messrs.  Bredius  and  lie  Roever,  published  in  On,/ Holland.  On  these 
researches  we  base  the  chronological  statement  which  summarises  the  essential  facts  of 
their  discoveries. 


REMBRANDT'S   EXTRAVAGANCE  93 

We  know  that  he  behaved  with  no  less  liberality  to  the  members 
of  his  own  family.  He  had  treated  them  with  great  generosity  in  the 
matter  of  the  division  of  his  parents'  property,  and  we  have  no  doubt 
that  he:  often  befriended  his  brothers  and  sisters,  notably  Adriaen, 
whose  management  of  the  mill  was  not  very  profitable,  and  Lysbeth, 
who  is  inscribed  on  the  Leyden  register  of  ratepayers  as  "  almost 
bankrupt,  and  in  very  reduced  circumstances."  The  "  kindness  of 
heart,  verging  on  extravagance,"  which  Baldinucci  ascribes  to  him, 
must  have  often  moved  him  to  help  distressed  friends  or  brother 
artists.  Though  extremely  frugal  in  his  living  and  personal  habits, 
he  paid  the  most  extravagant  prices  for  works  ol  art  and  decorative 
objects.  Nothing  was  too  costly  for  Saskia's  adornment,  and  on  the 
occasion  of  an  inquiry,  held  about  i65S  59  at  the  instance  of  his 
son's  trustee,  the  goldsmith  Jan  van  Loo  and  his  wile,  who  had  long 
been  on  terms  of  friendship  with  the  master,  deposed  on  oath  before 
a  notary  that  the  following  were  among  his  possessions  during  his 
wife's  lifetime  :  two  large  pear-shaped  pearls,  two  rows  of  fine  pearls, 
the  largest  forming  a  necklace,  the  others  bracelets  ;  a  large  diamond 
mounted  in  a  ring,  and  two  diamonds  set  as  earrings  ;  a  pair  of 
enamelled  bracelets,  the  cover  of  a  missal,  a  variety  ol  articles  in 
wrought  iron  and  copper;  two  large  pieces  of  ornamental  plate; 
a  silver  dish,  coffee-pot,  and  spoons,  &c.  On  the  same  occasion 
Philips  de  Konirick  deposed  to  having  bought  from  his  master  seven 
years  previously  a  rich  necklace  of  fine  pearls. 

Such  detailr,  give  some  idea  of  the  nature  of  Rembrandt's  collections. 
Two  art-dealers,  Loclewyck  van  Ludik  and  Adriaen  de  Wees,  who 
were  also  examined,  valued  the  various  objects  collected  between  1640 
and  1650,  exclusive  of  pictures,  at  11,000  florins  approximately.  Tor 
the  pictures  Rembrandt  no  doubt  paid  sums  far  in  excess  of  their 
value,  a  result  of  the  habit  already  referred  to,  of  out-bidding  com- 
petitors at  auctions  by  extravagant  advances,  on  the  pretext  of 
raising  his  art  in  the  public  estimation.  His  passion  for  such 
acquisitions  seems  to  have  been  entirely  beyond  his  control. 
If  he  had  no  funds  for  purchases,  he  borrowed.  When  he  got 
possession  of  a  sum  of  money,  he  spent  it,  not  in  satisfying  the  claims 


94 


REMBRANDT 


of  his  creditors,  but  in  fresh  purchases  ;  or,  contenting  himself  with 
trifling  payments  on  account,  he  plunged  deeper  into  debt,  heedless  of 
a  future  day  of  reckoning.  Under  conditions  such  as  these,  he 
fell  an  easy  prey  to  unscrupulous  money-lenders,  and  thus  with 

his  own  hands  he  dug 
the  pit,  in  which  he 
was  presently  to  be 
engulfed. 

The  purchase  of  his 
house  had  also  proved 
a  most  disastrous  trans- 
action for  the  artist. 
When  he  bought  it  in 
1639,  he  had  very  little 
of  the  purchase-money  in 
hand.  But  a  short  time 
afterwards,  he  managed 
to  pay  half  of  the  13,000 
florins  agreed  upon,  and 
engaged  to  discharge  the 
rest  of  the  debt  at 
stated  intervals.  Not 
only,  however,  did  he 
fail  to  fulfil  the  contract, 
but  from  1649  onwards 
he  paid  no  interest  what- 
ever on  the  debt,  and 
even  evaded  the  payment 
of  the  rates,  which  there- 
fore devolved  on  the  former  owner,  one  Christoffel  Thysz.  Thysz, 
who  had  long  treated  Rembrandt  with  forbearance,  became  impatient 
at  last,  and  on  February  i,  1653,  he  formally  demanded  payment 
of  the  sum  due  to  him,  amounting,  with  principal,  interest,  and 
moneys  advanced,  to  8,470  florins.  Rembrandt,  who  was  not  in  a 
position  to  satisfy  his  claims,  replied  by  a  refusal  to  settle  the 


I'KN    SKKTCH. 
(l!uyni:ins~  Museum,  Kotlt-Ttlain.) 


FINANCIAL   EMBARRASSMENTS 


95 


— I) 


account  until  the  title-deeds  of  the  property  had  been  handed 
over  to  him.  This  was  evidently  a  mere  subterfuge,  designed  to 
conceal  the  actual  state  of  his  exchequer.  Thysz,  patient  as  he 
was,  considered  that  thirteen  years  was  as  long  as  he  could 
reasonably  be  expected  to  wait  for  his  money.  He  therefore 
suggested  that  Rem- 
brandt should  either  dis- 
charge the  debt,  or  give 
up  the  house.  This  last 
alternative  was  not  at 
all  to  the  painter's  taste, 
and  he  seems  now  to 
have  made  some  effort 
to  appease  his  creditor, 
for  on  March  28  follow- 
ing he  gave  a  power  of 
attorney,  duly  attested 
by  his  two  pupils, 
Heyman  Dullaert  and 
Johan  Hindrichsen,  to 
one  Frans  de  Coster, 
empowering  him  to  col- 
lect all  moneys  due  to 
him.  The  total,  how- 
ever, seems  to  have 
been  insufficient,  or  per- 
haps Rembrandt  applied 
it  to  some  other  purpose. 

However  this  may  be,  it  appears  that  in  September,  1653, 
anxious  to  discharge  his  debt  to  Thysz,  he  borrowed  8,400  florins 
from  the  councillor  C.  Witsen,  and  the  merchant  Isaac  van  Herts- 
beek.  The  lenders  formally  protected  their  claims,  by  making  a 
declaration  of  the  loan  before  the  court  of  Echcvins,  Witsen  certifying 
his  share  as  4,180  florins,  on  January  29,  1653,  Van  Hertsbeek  his 
as  4,200  florins,  on  March  14  following.  But  Rembrandt,  with  his 


PILATE    DELLAKKS   TH1-.    I  NNOCKN'CK   OK 

(Stockholm  Print  Room). 


96  REMBRANDT 

usual  nonchalance  in  such  matters,  retained  a  portion  of  the  sum  thus 
raised.  He  was  probably  short  of  money  for  other  purposes,  and  an 
agreement  was  made  with  Thysz,  by  which  the  latter  received  part 
payment  of  his  debt,  with  a  mortgage  on  the  house  to  the  value  of 
1,170  in  discharge  of  the  balance.  Witsen  and  Van  Hertsbeek 
considered  themselves  to  have  established  a  primary  claim  on 
Rembrandt's  estate  by  the  steps  they  had  taken  for  their  security  ; 
but  their  position  in  the  matter  proved  to  be  less  clearly  defined  than 
they  had  supposed. 

Saskia,  as  we  know,  had  left  all  her  property  in  her  husband's 
hands,  and,  confident  of  his  rectitude,  had  even  specially  enjoined 
that  the  usual  formalities  should  be  dispensed  with,  and  that  no 
statement  or  inventory  of  the  common  property,  defining  Titus'  share, 
should  be  required  from  Rembrandt.  But  as  in  time  Rembrandt's 
embarrassments  became  notoriously  hopeless,  and  his  ruin  imminent, 
Saskia's  relatives,  who  had  refrained  from  interference  at  first  in 
deference  to  her  wishes,  felt  it  necessary  to  take  action  on  behalf  of 
Titus,  of  whose  interests  they  were  the  legal  guardians.  In  1647, 
accordingly,  they  demanded  that  some  statement  should  at  least  be 
made  as  to  the  value  of  Rembrandt's  property  in  1642,  the  date  of 
Saskia's  death.  This  Rembrandt  fixed  approximately  at  40,750  florins. 
A  sum  of  20,375  florins  was  therefore  claimed  for  Titus,  and  Rem- 
brandt, in  satisfaction  of  this  claim,  appeared  before  the  Chamber 
of  Orphans  on  May  17,  1656,  and  made  over  his  interest  in  the  house 
in  the  Breestraat  to  his  son. 

Rembrandt's  creditors  were  naturally  much  incensed  by  this 
act  of  somewhat  dubious  morality,  which  neutralised  all  the  pre- 
cautions they  had  taken  to  secure  their  property.  They  denounced 
the  transfer  as  a  fraudulent  infringement  of  their  rights.  We  shall 
find  later  that  the  affair  resulted  in  a  series  of  complicated  law- 
suits, which  were  only  concluded  after  innumerable  pleadings  and 
counter-pleadings  before  different  tribunals. 

Meanwhile,  in  1654,  a  curious  incident  took  place,  which  shows 
that  Rembrandt's  position  was  by  this  time  well  known,  and  that 
enterprising  speculators  were  beginning  to  mark  him  out  for 


PERIOD    OF   ACTIVE    PRODUCTION  97 

exploitation.  One  Dirck  van  Cattenburch,  a  shrewd  man  of 
business,  himself  a  collector  of  works  of  art,  proposed  to  Rembrandt 
that  he  should  give  up  the  house  he  was  unable  to  pay  for,  and  buy 
another.  The  plan  he  submitted  to  Rembrandt,  though  somewhat 
unusual,  was  of  a  nature  to  please  the  artist,  for  it  involved  no  outlay 
on  his  part  ;  on  the  contrary,  the  vendor  of  the  property  was  to 
make  him  an  advance.  The  nominal  price  was  to  be  4,000  florins. 
Rembrandt  was  to  receive  from  Cattenburch  1,000  florins,  on  the 
understanding  that  he  was  subsequently  to  pay  over  3,000  florins 
in  kind, — that  is  to  say,  in  pictures  and  etchings  of  equivalent 
value  ;  he  was  further  to  etch  a  portrait  of  Cattenburch's  brother 
Otto,  secretary  to  the  Count  of  Brederode  at  Vianen,  and  this 
portrait  it  was  stipulated  "  should  be  as  carefully  finished  as  that 
of  Jan  Six."  The  project  was  acted  upon  to  a  certain  extent. 
Rembrandt  received  the  1000  florins,  and  duly  delivered  a  certain 
number  of  pictures  and  etchings,  among  them  six  little  pictures  by 
Brauwer  and  Percellis.  The  works  were  valued  by  the  dealers 
Lodewyk  van  Ludik  and  Abraham  Fransz  at  a  sum  which, 
together  with  the  estimated  price  of  the  proposed  portrait,  400 
florins,  amounted  to  3,861  florins.  But  the  transaction  does  not 
appear  to  have  been  concluded,  for  no  portrait  of  Otto  van 
Cattenburch  figures  in  Rembrandt's  ivuvrc.  It  was  settled,  no 
doubt,  in  an  amicable  fashion,  for  there  is  no  entry  of  any  sum  paid 
or  received  in  this  connection  in  the  statement  of  Rembrandt's 
liabilities. 

Having  taken  such  precautions  as  he  could  to  safeguard  Titus' 
interests,  Rembrandt  made  some  efforts,  if  not  to  satisfy  his 
creditors,  at  least  to  temporarily  appease  them  by  payment  of 
occasional  sums  out  of  the  profits  arising  from  his  pictures.  The 
numerous  and  important  works  produced  by  him  in  the  year  1656, 
one  of  the  most  prolific  of  his  career,  attest  his  industry.  Now, 
as  always,  his  art  was  his  solace  amidst  the  troubles  and  anxieties 
that  beset  him.  Among  the  portraits  of  this  period,  we  shall  first 
call  attention  to  one  in  the  Hermitage,  of  a  young  woman,  seated, 
and  leaning  on  a  table  covered  with  a  red  cloth.  Some  apples,  and 

VOL.  II-  H 


REMBRANDT 


a  prayer-book  lie  beside  her.  Her  face  is  turned  nearly  full  to 
the  front.  She  holds  a  pink  in  her  right  hand,  and  wears  an 
under-dress  with  red  sleeves,  and  over  it  a  black  gown,  and  a 
large  white  collar,  fastened  with  a  gold  clasp.  She  has  regular 

features,  and  fresh, 
red  lips.  Her 
calm,  confident 
expression  and 
clear  complexion 
denote  health  and 
vigour.  The  sim- 
plicity of  the 
dress,  and  a  cer- 
tain coarseness  in 
the  large  hands, 
make  it  not  un- 
likely that  the 
sitter  was  some 
friend  of  Hend- 
rickje's.  The  mas- 
ter has  bestowed 
great  pains  on 
the  execution,  and 
evidently  took 
pleasure  in  the 
rendering  of  his 
worthy  model, 
placing  her  figure 

in  a  strong,  glowing  light,  which  emphasises  her  characteristic  air 
of  well-directed  energy. 

In  the  Copenhagen  Museum  there  are  two  portraits  of  this  period, 
forming  a  pair.  The  sitters  are  evidently  husband  and  wife.  Both 
are  painted  full  face,  and  are  very  richly  dressed.  The  female  portrait  is 
elated  1656.  The  husband,  a  young  man  with  long  fair  hair,  wears  a 
large  brown  cap  with  strings  of  pearls  for  ornament,  and  a  black  doublet, 


DR.     ARNOLD    THOL1NX. 


1656    (M.    Edouard'Andrt). 


PORTRAITS    OF   THIS    PERIOD 


99 


striped  with  gold,  fastened  with  a  clasp  across  his  red  vest.  The 
painting  is  somewhat  tame,  and  the  expression  lacks  character,  but 
these  defects  may  be  due  in  some  measure  to  the  poor  condition  of  the 


1>K.    ARNOLD   THOLINX. 


About  1655  (B.  284). 


picture.  The  wife's  portrait  has  more  distinction.  She  rests  one  hand 
on  the  back  of  a  red  chair,  and,  like  the  young  woman  of  the 
Hermitage,  holds  in  the  other  a  pink.  Over  her  full  yellow  skirt  she 
wears  a  black  velvet  jacket  bordered  with  fur  ;  an  elaborate  head-dress, 
earrings  of  gold  and  silver,  and  a  star-shaped  brooch  fastening  her 

II    2 


ioo  REMBRANDT 

collar  to  her  chemisette,  complete  the  costume.  The  small,  timid 
eyes,  the  high  forehead,  the  straight  nose  and  ingenuous  expression, 
make  up  a  very  characteristic  individuality,  and  Rembrandt,  who  was 
ready  to  modify  his  manner  at  need,  has  been  careful  to  avoid  strong 
contrasts  and  deep  shadows,  as  inconsistent  with  the  delicate  charm  of 
his  model. 

The  Portrait  of  a  Mathematician  in  the  Cassel  Gallery,  a  collection 
unusually  rich  in  Rembrandt's  works,  has  lately  been  restored  by  Mr. 
Hauser  with  complete  success.  Its  recovered  freshness  and  brilliance 
come  as  a  revelation  upon  those  who,  like  myself,  were  familiar  with  it 
some  years  ago.  The  master's  signature  has  unfortunately  disappeared 
in  the  process,  but  the  work  now  sufficiently  proclaims  its  own 
authenticity.  The  date,  1656,  is  intact,  and  is  fully  borne  out  by  the 
execution. 

In  no  instance,  we  think,  has  the  master  achieved  a  more  sincere 
and  forcible  expression  of  intellectual  life.  The  old  man  sits  at  a  table 
strewn  with  papers,  his  pen  in  one  hand,  a  square  in  the  other.  He 
wears  a  reddish  gown  bordered  with  tawny  fur.  His  beard,  and  the 
soft  hair  that  crowns  the  refined,  intelligent  head,  are  quite  white.  The 
simple  attitude,  the  calm  reflective  mien,  the  wrinkled  nervous  hand, 
even  the  half-consumed  taper  on  the  table,  all  suggest  the  student, 
whose  life  has  been  dedicated  to  research  and  lofty  speculation.  As  if 
himself  amazed  at  an  unexpected  revelation,  he  ceases  writing,  and  sits 
absorbed  in  meditation.  His  deep-set  eyes  are  in  shadow,  and  seem 
to  be  following  his  thoughts  through  infinite  space  ;  the  light  falls  full 
on  his  upturned  forehead,  the  broad  expanse  of  which  seems  to  quiver 
under  the  passing  breath  of  a  vast  idea.  The  restrained  force  of  the 
handling,  and  the  extraordinary  delicacy  of  the  chiaroscuro  combine 
most  eloquently  to  express  the  sudden  illumination  of  a  human  mind 
by  a  great  truth,  and  the  silent  ecstasy  of  its  endeavours  to  fix  and 
formulate  the  revelation.1 

We  pass  on  to  a  very  different  conception  in  the  robust  type  of 
masculine  vigour  so  admirably  depicted  in  the  famous  portrait  of  Dr. 

1  This  fine  and  deeply  interesting  picture  Dr.  Bode  is  inclined  to  attribute  to  Nicolaes 
Maes,     If  really  by  him,  it  is  one  of  his  greatest  works, 


"DR.    DEYMAN'S    ANATOMY    LESSON"  101 

Arnold  Tholinx,  formerly  in  the  Van  Brienen  collection,  and  now  one 
ot  M.  Edouard  Andre's  many  artistic  treasures.  The  courtesy  of  its 
present  owners  enables  us  to  reproduce  this  masterpiece,  in  which 
Rembrandt's  powers  are  seen  at  their  greatest.  Tholinx  is  represented 
nearly  full-face,  wearing  a  broad-brimmed  black  hat,  and  a  very  simple 
black  costume.  The  strong  contours  of  his  manly  head,  his  fresh 
complexion  and  energetic  features  arc  defined  by  deep,  but  very 
transparent  shadows.  The  brilliant  carnations  stand  out  in  frank  relief 
against  the  white  collar  and  gray  background  ;  the  mobile  lips  are 
parted  as  if  to  speak.  In  spite  of  the  mature  age  indicated  by  the 
grizzled  beard  and  moustache,  the  blood  Hows  warmly  under  the 
supple  skin  ;  the  eyes  have  the  keen,  penetrating  gaze  of  the  skilled 
physician.  The  broad  execution  is  full  of  fire  ;  the  grand  manner  of 
the  Syndics  is  foreshadowed  in  its  vigour  and  decision.  The  master 
was  already  familiar  with  his  model.  The  fine  etched  portrait, 
in  which  the  doctor  is  seated  at  a  table,  an  open  book  before  him, 
a  retort  and  phials  at  his  side,  was  probably  executed  the  year 
before.  Rembrandt  had  always  affected  the  society  of  doctors.  He 
had  not  long  before  produced  the  portraits  of  Ephraim  Bonus  and 
Van  der  Linden  ;  and  Tulp,  as  we  know,  had  materially  contributed 
to  his  early  successes  by  the  commission  for  the  Anatomy  Lesson. 
Rembrandt  was  able  to  talk  of  this  former  patron  with  Tholinx, 
who,  as  inspector  of  the  medical  college,  had  revised  Tulp's 
Pha rmacentical  Fo rm iila ry. 

It  was  probably  through  Tholinx's  introduction  that  Rembrandt 
became  acquainted  with  his  successor,  Johannes  Deyman,  who,  in 
his  turn,  commissioned  Rembrandt  to  paint,  for  the  Surgeons'  Hall, 
a  picture  which  was  very  much  damaged  and  partially  destroyed 
by  a  fire  in  1/23.  Setting  this  disaster  aside,  however,  the  work  must 
have  greatly  deteriorated  in  the  present  century,  for  Reynolds,  who 
saw  it  in  1781,  after  describing  the  corpse  as  "so  much  foreshortened 
that  the  hands  and  feet  almost  touch  each  other,"  remarks  that  "  there  is 
something  sublime  in  the  character  of  the  head,  which  reminds  one 
of  Michael  Angelo.  The  whole  is  finely  painted,  the  colouring 
much  like  Titian."  For  these  doubtful  analogies  Reynolds  might 


I02  REMBRANDT 

more  justly  have  substituted  a  comparison  of  the  foreshortened 
corpse  with  Mantegna's  Dead  Christ}  from  a  print  or  drawing  of 
which  Rembrandt  undoubtedly  borrowed.  Of  the  execution  it  is  im- 
possible to  form  an  opinion  in  the  present  condition  of  the  picture. 
Some  idea  of  its  primitive  richness  may  be  gathered  from 


DK.  j.  DEYMAN'S  LESSON   IN  ANATOMY. 
1656  (Ryksmuseum,   Amsterdam). 


the  treatment  of  the  linen  drapery,  and  the  faces  of  the  operator^ 
and  the  corpse.  The  composition  seems  to  have  been  painted  on 
a  canvas  already  used  for  some  other  subject.  Traces  of  the  original 
work  are  visible  here  and  there,  notably  a  Cupid's  head,  which,  by 
a  grim  irony  of  chance,  peers  through  the  shadows  beside  the  gaping 
abdomen,  the  open  skull  and  decomposing  flesh  of  the  corpse,  details 
which  Rembrandt,  more  happily  inspired,  spared  us  in  his  earlier 

1  In  the  Brera  at  Milan. 


DR.    DEYMAN'S    AN  ATOM  V    LESSON" 


Amtomy  Lesson.      Further   details  no   less   repulsive  are    indicated  in 
a  sketch    for   the  picture  by  Rembrandt   in  the  Six  collection,  and  in  a 


THE    DESCENT    FROM    THE   CROSS'.    A    NIGHT-HECE. 
1654  (B.  83). 


drawing  of  the  composition  in  its  entirety  made  by  Dilhoff  in  1760. 
DilhofFs  drawing,  which  belonged  to  Vosmaer,  shows  Deyman,  his 
hat  on  his  head,  demonstrating  to  nine  students.  His  assistant,  Dr. 


io4  REMBRANDT 

(iysbert  Kalkoen,  holds  in  his  hand  the  brain-pan  of  the  subject,  no 
doubt  a  criminal,  delivered  to  the  operators  after  his  execution.  In 
spite  of  the  ruined  state  of  the  picture,  we  cannot  but  commend  the 
public  spirit  of  certain  amateurs,  who,  in  conjunction  with  the  city  of 
Amsterdam,  purchased  the  fragment  now  in  the  Ryksmuseum  from  an 
English  owner,  and  restored  it  to  their  native  land,  the  authenticity  of 
the  work  having  been  previously  attested  by  Messrs.  Bode  and  Richter.1 
Another  important  picture  in  the  Cassel  (iallery,  the  Jacob 
blessing  the  Sons  of  Joseph,  which  is  no  less  indebted  to  Mr.  Hauser 
than  the  Mathematician,  claims  mention  as  one  of  Rembrandt's 
most  accomplished  works.  Conscious  of  his  approaching  end,  the 
patriarch  has  summoned  to  his  bedside  the  children  of  his  best- 
loved  son,  and  blesses  them,  laying  his  right  hand  on  the  head  of 
Ephraim,  the  younger  of  the  two.  Joseph,  displeased  at  the  error, 
"  holds  up  his  father's  hand,  to  remove  it  from  Ephraim's  head 
unto  Manasseh's  head."  His  wife  looks  on  in  silence.  Such,  in 
its  simplicity,  is  the  composition,  of  which  Rembrandt  had  made 
several  preliminary  studies.  The  conception  is  one  of  the  utmost 
nobility  and  pathos.  The  five  figures,  closely  united  as  they  are  by 
a  common  interest,  have  each  a  marked  individuality.  The  old  man2 
seems  to  be  struggling  with  the  weakness  of  approaching  death, 
to  carry  out  this  last  duty.  Every  detail  tends  to  move  our  admira- 
tion afresh — the  dim  gaze  of  the  patriarch,  and  the  uncertain  gesture 
of  his  failing  hands,  as  he  seeks  the  head  of  the  child  ;  the  fine 
countenance  of  Joseph,  in  which  a  sense  of  justice  contends  with 
filial  reverence  ;  the  secret  satisfaction  of  the  mother  at  the  exaltation 
of  her  favourite  child  ;  the  innocent  simplicity  in  the  fair,  rosy  face 
of  Ephraim  ;  the  touch  of  resentment  in  the  bold,  alert  expression  of 
his  dark-haired  elder  brother ;  the  delicate  gradations  of  vitality  ;  above 
all,  the  harmonious  unity  of  the  action.  The  simplicity  of  costume, 
attitude,  and  arrangement  harmonises  with  the  noble  conception  of 
patriarchal  life.  Here  Rembrandt  relies  solely  on  the  expression 

'  The  purchase,  which  was  made  in  1883  for  1,400  florins,  was  due  to  the  initiative 
of  Dr.  J.  Six. 

2  We  have  already  remarked  that  the  same  model  figures  in  a  picture  in  the  Hermitage 
(No.  818  in  the  Catalogue). 


PICTURES   OF    THIS    PERIOD  105 

ot  human  sentiment  to  give  grandeur  to  the  sacred  theme,  renouncing 
all  the  factitious  dignity  ot  picturesque  accessories,  fantastic  archi- 
tecture, and  gorgeous  costume,  with  which  he  not  unfrequently 
marred  the  solemnity  of  his  Scriptural  scenes.  A  further  novelty 
in  the  master's  manner  is  the  softness  of  the  harmony  in  the  Cassel 
picture,  with  its  clear,  suave  intonations,  its  pale  grays  and  subdued 
yellows,  relieved  here  and  there  by  some  russet  or  purely  red  tint. 
The  light,  like  the  colour,  is  limpid,  diffused,  and  chastened,  and 
the  effect  is  won  without  strong  contrasts  of  any  kind.  The  less 
important  details  are  lost  in  a  golden  penumbra,  and  are  very 
slightly  indicated  :  the  execution,  at  once  broad  and  reticent,  vigourous 
and  discreet,  is  marvellously  attuned  to  the  solemn  calm  and  silence 
of  approaching  death.  Of  the  handling  indeed,  the  spectator  takes 
little  note,  so  entirely  is  it  subordinated  to  the  sentiment  of  the 
scene,  spiritualised,  as  it  were,  by  a  poet  who,  in  the  midst  of  over- 
whelming anxieties,  preserves  a  perfect  serenity  in  his  art,  and  reveals 
himself  as  he  is,  tender,  affectionate,  and  pathetic.  With  a  genius 
that  commands  the  reverence  of  the  greatest  artists,  Rembrandt 
combines  a  naive  familiarity  that  appeals  to  the  most  uninstructed. 
There  is  no  straining  after  eloquence  in  his  utterances  ;  for  deep  in 
his  own  heart  springs  the  fountain  of  that  magnetic  emotion  which 
finds  an  echo  in  every  breast. 

The  Denial  of  St.  Peter,  in  the  Hermitage,  a  picture  of  nearly 
the  same  dimensions,  with  life-size  figures  in  three-quarters  length, 
was  painted  at  about  the  same  period,  probably  in  the  same  year 
(1656).  The  scene,  in  accordance  with  the  Gospel  narrative,  is  repre- 
sented as  taking  place  in  the  middle  of  the  night.  The  darkness 
is  relieved  only  by  the  flaming  torch  in  the  hand  of  a  maid-servant, 
the  light  of  which  falls  full  on  the  figure  of  the  apostle,  wrapped  in  a 
loose  woollen  robe  of  a  yellowish  tint.  He  returns  the  questioning 
look  of  the  maid  with  a  steady  gaze,  emphasising  his  denial  by  an 
expressive  gesture.  A  soldier  sits  on  the  edge  of  a  wall,  before 
the  two  central  figures,  his  helmet  and  part  of  his  armour  in  his 
hand  ;  another  soldier  stands  listening  to  the  altercation  ;  several 
barely  distinguishable  figures  beyond  are  illuminated  only  by  the 
fitful  gleams  from  a  fire  burning  in  the  background.  The  softly 


106  REMBRANDT 

diffused    light   of   the  Jacob  blessing  the    Children   of  Joseph    is   here 
replaced   by  the  concentrated  glow  of  the  torch   on  the  face  of  St. 
Peter,  and  on  the  red  bodice  of  the  servant,  a  finely  modelled  figure 
in  a  tasteful  costume.      The  broad  execution  brings  out  the  picturesque 
elements  of  the   conception,   and    the   brown   and   golden    tones    that 
predominate   are  happily  relieved  by  the   vivid   scarlet  of  the  bodice, 
the  one  brilliant  touch  of  colour  in   the  picture.      A  similar   harmony 
of  yellowish  tones  prevails  in  another  important  work,   which  we  take 
to  have  been  painted    at  about  the   same   period,    the  Pilate  washing 
his  Hands,    recently   bought  by    M.    Sedelmeyer   from    Lord    Mount- 
Temple.     Rembrandt  had  already  treated  the  episode  in  two  drawings, 
differing  but  slightly  one  from  another,  which  are  now  in  the  Vienna 
and  Stockholm  collections  respectively.      In  these  he  strives  to  bring 
out    the   emotional    aspects  of  the  theme,    while     in    the   picture     he 
confines   himself  almost   wholly     to    the     picturesque   elements.     The 
figure  of  Christ  does   not   appear  in  the  composition,   and   the   effect 
of  the  armed  men,  whose  heads  are  ranged  one  above  another  against 
the  sky  to  the  right,   is  somewhat  grotesque.      Pilate  himself,  pleased 
to    be    delivered    from     responsibility    in    the    matter    of    "the    just 
person "    before    him,    washes    his    hands    with    an    air    of    manifest 
satisfaction.     A  dark-haired   child    in  a  green  dress  with   red  sleeves 
stands    before    him,     and     pours     water     over     his    hands     into     the 
silver    basin    on    his    knees.      A    gray-bearded     man    beside     Pilate, 
probably    one    of    his    advisers,    seems    to    commend    his    prudence. 
1  he    pictorial    motive    here  is  the  harmony  of  the  iron-gray   archi- 
tectural   background    with    the    brilliant    yellows    of    this    old    man's 
robe,  and  the  golden  tones  of  Pilate's  mantle,  which,  with  its  glitter- 
ing embroidery  of  precious  stones,  produces  an  effect  of  extraordinary 
brilliance. 

A  work  of  very  different  character  again  attests  the  master's 
versatility.  This  is  the  fine  grisaille  of  1656.  The  Preaching 
of  John  the  Baptist,  once  the  property  of  Jan  Six.  It  was 
bought  by  Cardinal  Fesch  for  ,£1,600  (40,000  francs),  and  now 
belongs  to  Lord  Dudley.1  Rembrandt  probably  painted  it  as  a 

1  It  w.is  bought  for  thi  Berlin  Museum  at  the  sale  of  the  Dudley  Collection  at  Christie's 
in  1892.—^.   W. 


- 

a 


"THE    PREACHING    OF    JOHN    THE   BAPTIST"  107 

study  for  a  proposed    etching,  which   he    designed  for  a    pendant    to 


JAN    LU  TM  A. 

1656   (B.  276). 


the   Hundred  Guilder   Piece.       For    his    Ecce   Homo    plate    (B.    76), 
already    mentioned,    he    had    made    a    similar   study    in    grisaille    the 


,08  REMBRANDT 

year  before,  which  was  one  of  the  items  in  his  inventory,  and 
passed  to  England  in  1 734,  at  the  sale  of  the  W.  Six  collection.1 
The  composition,  carried  out  in  what  is  practically  a  monochrome 
of  golden  brown,  is  really  a  carefully  finished  picture,  and  it  is  not 
surprising  that  Rembrandt,  who  disliked  the  drudgery  of  reproduc- 
tion, and  who  at  the  time  had  no  pupil  to  whom  he  could  entrust 
the  execution  of  so  delicate  a  piece  of  work,  abandoned  the  idea  of 
the  etching.  Norblin's  print  gives  a  very  poor  idea  of  the  original, 
accentuatino-  as  it  does  all  those  eccentricities  of  detail,  which 

o 

are  lost  in    the    magic   of   the    general    effect   in   the  Dudley    picture. 
The:   eager,   ascetic   figure   of  the  prophet   dominates   the   scene   from 
a  piece  of  rising  ground.      The  light  falls  full  upon  him  as,   his  hand 
on   his   breast,   he  harangues  the  crowd   around   him,    a   multitude   of 
all  ages,  temperaments,  and  conditions,  animated  by  the  most  widely 
varied   emotions.      The   infinity   of  episode   is   further   complicated  by 
the    diversity    of   costumes,    the    picturesque    luxuriance  of  the   land- 
scape,   the    swarming    masses    of    humanity,    the    .rich    luxuriance    of 
animal    life.       From    a    cave    over-grown    with    creepers,    a    flight  of 
steps  leads  to  a  fantastic  building  on  the    left.     At  the  entrance   is 
an  obelisk  surmounted  by  a  bust ;  a  river  dashes   in  a  foaming  torrent 
through   the  arches  of  a  bridge,   and   beyond  rise  mountains  studded 
with  forests,    villages,  and    castles.       Scattered    throughout    the    land- 
scape  are  horses  taking   their    rest,    ruminating    cows,   fighting   dogs, 
the  camels  of  an  approaching  caravan.      Warriors  with   halberds  and 
lances,    standing,    sitting,    or    crouching     on    the    ground,    dignified 
figures     in     flowing     robes,      citizens,      peasants,      beggars,      children 
wrangling    or   playing    together,  women  rebuking  or  caressing  them, 
listeners,   attentive    and    indifferent,    hesitating  and    convinced,    argu- 
mentative,   or    rapt    in    silent   ecstasy — a    nation,    a   world,    gathers 
round  the  orator.      Yet,  nothwithstanding   the  multiplicity  of  detail, 
the  teeming  composition  is  simple  in  effect,  so  rhythmical  is  the  flow 
of  the  lines,   so  skilful   the  distribution  of  the  masses,  so  harmonious 
the  grouping    of   the    figures.       The   balance   and    unity   of  the   con- 

1  We  do  not  know  where  it  is  to   be  found   at  present,  but  in  Smith's   Catalogue. 
Raisonne  (No.  88)  it  figures  as  the  property  of  Mr.  Jeremiah  Harman. 


PORTRAIT   OF   JAN    l.UTMA  109 

ception  prevail  ;  and  the  eye  is  riveted  at  once  on  the  inspired 
figure  of  the  preacher  as,  with  burning  words  and  impassioned 
gesture,  he  delivers  to  the  simple  souls  around  him  the  divine  mes- 
sage of  salvation. 

Very  inferior  to  this  wonderful  composition  is  the  only  Scriptural 
etching  of  1656,  Abraham  entertaining  the  Angels  (B.  29),  a  plate, 
which  though  not  wanting  in  a  certain  picturesqueness  of  arrange- 
ment, is  chiefly  remarkable  for  the  somewhat  vulgar  singularity  of 
the  types  and  costumes.  Several  of  the  etched  portraits  of  this 
period,  however,  must  be  ranked  among  the  finest  of  Rembrandt's 
works.  The  least  happy,  perhaps,  is  the  portrait  of  his  friend, 
Abraham  Fransz,  the  art-dealer,  (B.  273),  whose  affection  for  him 
was  unswerving,  and  who  gave  him  many  substantial  evidences  of 
his  attachment.  Faithful  to  his  habit  of  representing  his  sitters 
engaged  in  their  characteristic  pursuits,  the  master  has  seated  Fransz 
at  a  window,  a  print,  which  he  examines  with  great  attention, 
in  his  hand.  On  the  table  before  him  are  several  other  prints, 
and  a  small  Chinese  figure  ;  a  triptych,  with  the  Crucifixion  in  the 
central  panel,  hangs  on  the  wall,  a  picture  on  either  side  of  it.  The 
opacity  of  the  shadows,  and  a  certain  roughness  in  the  execution 
give  an  effect  of  exaggeration  to  the  chiaroscuro,  though  the 
composition  itself  is  irreproachable.1  In  the  Portrait  of  Jan  Lntma 
(B.  276),  dated  1656,  it  would  be  difficult,  on  the  other  hand,  to 
find  a  fault.  He,  too,  was  probably  one  of  the  master's  friends,  or, 
at  any  rate,  a  man  in  whose  society  Rembrandt  took  pleasure.  A 
native  of  Groningen,  Lutma,  who  was  seventy-two  years  old  at 
the  date  of  his  portrait,  had  a  great  reputation  at  Amsterdam 
as  a  sculptor  and  goldsmith.  His  dishes,  vases,  and  goblets,  of  a 
very  original  style,  somewhat  heavy,  but  broad  and  rich  in  effect, 
were  much  in  request  among  amateurs,  and  were  often  offered  as 

1  The  plate  of  '  Abraham  Fransz '  passed  through  what  u<as  even  an  unusua!  number 
of  'states' — in  itself,  I  think,  some  evidence  that  though  it  lias  its  interest  for  as,  tlie 
print  never,  wholly  satisfied  the  master.  The  modifications  cannot  all  have  been  made  to 

repair  the  ravages  of  use,  and,  if  the  first  conception  ;ms  not  perfect,  the   afterthoughts 

were  not  all  of  them  happy.     F.   II', 


no  REMBRANDT 

prizes  in  the  competitions  between  the  military  guilds.  They  figured 
on  many  patrician  sideboards,  and  in  many  of  the  corporation  treasuries, 
and  several  specimens  are  still  preserved  in  the  Chamber  of  Antiquities 
at  Amsterdam.  Lutma  was  himself  a  lover  of  the  arts  ;  he  collected 
engravings,  and  had  commissioned  Jacob  Backer  to  paint  the  por- 
traits of  himself  and  his  wife  some  years  before.1  His  son,  Jacob 
Lutma,  born  at  Amsterdam  in  1609,  was  an  artist.  He  composed 
a  series  of  ornamental  designs  for  goldsmiths,  sculptors,  and  stone- 
carvers,  and  was  himself  a  chaser  and  engraver  of  considerable 
talent.  The  four  plates  he  executed  from  busts  of  himself,  Vondel, 
Hooft  ("alter  Tad/us"),  and  his  father,  by  the  latter,  are  remark- 
able for  their  boldness  of  drawing,  and  originality  of  treatment. 
The  year  that  Rembrandt  etched  his  portrait  of  the  elder  Lutma, 
the  son  also  produced  a  plate  from  the  same  model,  in  which  he 
seems  to  have  profited  by  some  advice  from  the  master,  for  the  execu- 
tion is  freer  and  richer  than  in  his  other  works,  and  the  two  prints, 
though  very  unequal  in  merit,  have  a  certain  analogy.  Rembrandt 
must  naturally  have  been  attracted  to  a  household  where  so  many 
of  his  own  tastes  obtained.  In  Lutma's  portrait  he  once  more 
characterises  his  sitter  by  accessories  denoting  his  habits  and 
occupation.  On  the  table  beside  him  are  a  silver  dish,  a  box  of 
gravers,  and  a  hammer.  The  famous  goldsmith,  who  wears  a  black 
skull-cap,  and  flowing  gown,  holds  in  his  right  hand  a  metal  figure, 
probably  his  own  work.  In  his  keen  eyes,  intelligent  features,  and 
complacent  smile,  Rembrandt  suggests,  with  no  less  truth  than  charm, 
the  concentrated  experience  of  a  long  life  devoted  to  a  much  loved 
art,  and  the  legitimate  satisfaction  of  a  man  whose  wealth  had  been 
won  by  honourable  toil. 

Rembrandt's  relations  with  the  Lutmas  belong,  strictly  speaking, 
to  his  more  prosperous  days.  But  two  other  portraits  of  this  period 
are  closely  associated  with  the  difficulties  and  trials  of  his  later  career. 
The  Portrait  of  Yonng  Haaring  (B.  275),  though  dark  and  somewhat 
loaded  in  treatment,  is  marked  by  the  same  hastiness  of  execution 
1  These  two  portraits  are  now  in  Count  Inniszech's  collection  in  Paris. 


PORTRAITS    OF   THE    HAARINGS 


as  the  Portrait  of  Abraham  Fransz ;  but  that  of  Old  Haaring 
(B.  274)  is  unquestionably  one  of  the  finest  of  Rembrandt's  creations. 
Its  depth  and  richness  of  tone,  its  truth  of  expression,  its  decision 
and  flexibility  of  handling,  are  unsurpassed  in  the  whole  of  the 
master's  ceuvre.  The  venerable  face,  with  its  crown  of  white  hair, 
is  full  of  a  benign  serenity.  Haaring  was  an  official  of  the  Bankruptcy 
Court,  and  Rembrandt, 
whether  in  recognition 
of  past  services,  or  in 
hope  of  future  favours, 
was  evidently  anxious 
to  please  the  person- 
age with  whom  his 
growing  difficulties  had 
brought  him  into  contact. 
If  we  may  accept  the 
title  by  which  it  is  com- 
monly known,  a  picture 
in  the  Cassel  Gallery, 
the  so-called  Portrait  of 
Frans  Brnyningh  (No. 
221)  is  another  memorial 
of  Rembrandt's  ruin,  for 
Bruyningh  was  secretary 
to  the  Bankruptcy  Court. 
But  as  Dr.  Eisenmann 

has  pointed  out,  there  is  really  very  little  evidence  for  this  comparatively 
modern  appellation.  He  adduces  the  date  on  the  portrait,  which  he 
takes  to  be  1652,  in  support  of  his  contention.  The  last  figure  is  not 
very  legible.  But  after  careful  examination,  we  came  to  the  conclu- 
sion already  arrived  at  by  Dr.  Bode,  that  the  figures  are  1658,  a 
date  which  is  fully  borne  out  by  the  execution.  The  work,  in  any 
case,  is  highly  interesting.  Both  pose  and  costume  are  extremely 
simple.  The  light  falls  full  on  the  very  attractive  head  of  the  model ; 


PORTRAIT  OF  FKANS  BRfYXlNr.H. 

1658  (Cassel  Museum)- 


ii2  REMBRANDT 

the  rest  of  the  figure  is  bathed  in  a  warm,  transparent  shadow. 
There  is  a  haunting  charm  in  this  frank  face  with  its  setting  of  rich 
brown  hair,  its  smiling  lips  and  eyes,  its  expression  of  cordial  sweetness 
and  sincerity.  Never  did  Rembrandt  show  a  more  perfect  compre- 
hension of  artistic  sacrifice ;  never  did  he  display  greater  mastery 
in  the  rendering  of  forms  at  once  definite  and  mysterious,  in  the 
treatment  of  chiaroscuro,  or  in  the  suggestion  of  a  fascinating 
personality. 

Despite  his  courageous  and  determined  industry,  Rem- 
brandt's ruin  was  inevitable.  His  desperate  attempts  to  raise 
money,  and  to  collect  the  sums  due  to  him  were  all  un- 
availing. His  resources  were  totally  insufficient  to  meet  his 
accumulated  debts.  The  evil  clay  was  no  longer  to  be  staved 
off;  and  his  creditors,  incensed  at  the  measures  he  had  adopted  to 
protect  the  interests  of  Titus,  at  last  proceeded  against  him. 
Rembrandt  was  accordingly  declared  bankrupt,  and  on  July  25 
and  26,  1656,  an  inventory  was  made  by  order  of  the  Bank- 
ruptcy Court  of  "all  the  pictures,  furniture  and  household  goods 
of  the  debtor,  Rembrandt  van  Ryn,  inhabiting  the  Breestraat, 
near  St.  Anthony's  Lock."  The  sale,  however,  was  delayed 
awhile  to  give  time  for  preliminary  formalities  necessitated  by 
Rembrandt's  circumstances,  and  it  seems  probable  that  he 
remained  in  his  house.  But  under  such  conditions  he  must 
have  had  little  time  at  his  disposal.  The  business  details  he 
had  always  shunned  were  now  forced  upon  him.  He  was  in 
the  grip  of  the  law,  closely  beset  by  his  creditors,  and  full  of 
anxieties  as  to  the  future  of  his  son.  On  May  17,  1656,  the 
guardianship  of  Titus  had  been  transferred  to  a  certain  Jan 
Verbout.  Titus,  however,  continued  to  show  the  warmest 
affection  for  his  father.  The  will  he  executed  on  October 
20,  1657,  and  to  which  he  made  an  addition  necessitated  by 
some  irregularity  of  form  on  November  22  following,  gives  con- 
vincing proof  of  his  attachment,  not  only  to  Rembrandt,  but  to 
Hendrickje  and  her  daughter  Cornelia.  Recognising  his  father's 


TITUS'    WILL  1I3 

incapacity  for  the  management  of  his  own  affairs,  and  the  dis- 
abilities to  which  the  claims  of  his  creditors  subjected  him  as  a 
legatee,  Titus  bequeathes  all  his  property  to  Hcndrickje  and  to  his 
half-sister  Cornelia,  on  condition  that  Rembrandt  shall  enjoy  the 
income  arising  therefrom  during  his  life.  If,  however,  his  father 
should  prefer  to  take  his  legitimate  share  of  the  heritage,  it  is 
directed  that  this  be  paid  over  to  him  from  the  estate,  and  that  the 
residue  be  allowed  to  accumulate  for  Cornelia,  and  become  her  property 
either  on  her  majority  or  her  marriage.  It  is  further  provided 
that  none  of  the  income  shall  be  used  by  Rembrandt  to  pay 
off  debts  contracted  before  the  date  of  the  will,  and  that,  at 
his  death,  it  shall  revert  to  Hendrickje  and  her  daughter  Cornelia. 
At  Cornelia's  death  her  rights  shall  be  transferred  to  her  children, 
tailing  which  the  capital  shall  be  equally  divided  between  friends 
of  the  testator's  father  and  mother,  Hendrickje  still  retaining  a  life 
interest  in  the  property. 

Harassed  by  his  creditors,  and  forced  to  occupy  himself  with 
matters  for  which  he  had  no  aptitude,  Rembrandt  was  no  longer 
able  to  seek  distraction  from  his  sorrows  in  his  work,  and  this 
deprivation  must  have  greatly  enhanced  the  bitterness  of  his  mis- 
fortunes. The  year  1657  is  one  of  the  least  productive  of  his 
career.  We  note  but  one  etching,  a  6V.  Francis  Praying  (B.  107), 
treated  in  a  somewhat  summary  manner.  It  represents  the 
saint  kneeling  before  a  crucifix  at  the  entrance  of  a  picturesque 
grotto  in  deep  shadow.  The  only  Scriptural  subject  is  the 
Adoration  of  the  Magi,  at  Buckingham  Palace,  an  upright  com- 
position, the  small  dimensions  and  numerous  figures  in  which 
would  seem  to  indicate  a  return  to  an  earlier  manner,  but  for  the 
breadth  of  the  handling  and  the  richness  of  the  harmony,  in  which 
reds  and  yellows  predominate.  The  faces  are  full  of  life  and  expres- 
sion, notably  that  of  the  old  man  kneeling  beside  the  Virgin,  who 
reverently  lays  his  offering  at  the  feet  of  the  Holy  Child.  The  re- 
maining pictures  of  this  year  are  all  studies  made  by  the  master 
from  himself  or  those  about  him.  Dr.  Bode  mentions  a  fine  portrait 

VOL.   II.  I 


1 14 


REMBRANDT 


of  a  vouno-   man   seated   in   an  arm-chair,   belonging  to   the    Duke   of 

y  o 

Rutland,  signed,  and  dated  1657.  The  Rabbi  of  the  National 
Gallery  is  a  vigorous  study  of  an  old  man  in  a  fur  cloak,  with  a  black 
cap,  which  throws  a  strong  shadow  on  his  forehead.  A  ray  of 
strongly  concentrated  light  strikes  on  the  nose  and  the  right  cheek  of  a 
thin  pale  face,  with  brown  beard  and  moustaches.  The  Portrait  of  an 

Old  Man  in  a  meditative 
Attitude,  in  the  Duke  of 
Devonshire's  collection  at 
Chiswick,  is  equally  broad 
in  treatment,  and  the  ex- 
pression of  the  head  is 
even  more  remarkable. 
We  may  further  mention 
three  small  studies  of 
heads,  one  in  Mr.  Alfred 
Buckley's  collection,  the 
other  two  owned  by  M. 
Leon  Bonnat  and  M. 
Rodolphe  Kann.  Both 
the  latter  are  painted  from 
the  same  model,  a  so- 
called  Rabbi  in  a  brown 
cap,  with  a  spreading 
beard.  The  light  falls  on 
the  wrinkled  forehead  and 
strongly  marked  brows, 

beneath  which  gleam  a  pair  of  singularly  piercing  eyes.  The  effect 
in  these  sketches  is  frank  and  life-life  ;  and  the  rich  impasto  of  the 
high  lights  is  very  dexterously  opposed  to  the  deep,  golden  shadows 
of  the  surrounding  surfaces. 

In  the  Portrait  of  a  Youtk  in  Lady  Wallace's  collection,  we 
recognise  Titus,  older  by  some  two  or  three  years  than  in  M. 
Rodolphe  Kann's  fine  picture.  He  is  painted  almost  full  face, 


AUJttLMNC    VAN    DEN    VOORCEVEL    VAN    HET    IlL'RGtR  Wf.ESHUIS   IN    DE    K.ALVERSTRAAT, 

LATER  DE  KEIZF.RSKROON',  OIISTREEKS  1560  nEnotwu. 

(l-ai-similt  ttntr  tttktiuuif   :#ii    I?:>J 

TIIK    '  IMI'KKIAI,    CROWN''    AT    AMSTKKUAM. 

Facsimile  of  a  drawing  of  1725. 


REMBRANDT'S    STUDIES    FROM    HIMSELF 


"5 


simply  dressed  in  a  brown  cloak,  and  a  red  cap,  from  beneath  which 
his  hair  falls  in  curling  locks  about  his  neck.  There  is  a  slight 
down  on  his  upper  lip,  but  his  face  shows  the  same  traces  of  ill- 
health,  and  is  marked  by  the  same  sweetness  of  expression.  In 
the  isolation  of  his  life  at  this  period,  Rembrandt  naturally  made 
frequent  studies  from  himself.  We  recognise  his  features  in  several 
portraits,  some  dated,  some  ascribed  to  this  period  on  internal 
evidences.  One  of  these  is  in  the  Bridgwatcr  Gallery,  another  in 


LANDSCAPE    STl'DV. 

Pen  drawing  (British  Museum). 


the  Cassel  Museum.  The  latter  bears  a  date,  which  Dr.  Eisen- 
mann  deciphers  1654.  The  execution,  however,  and  the  apparent 
age  of  the  sitter,  seem  to  us  sufficient  evidence  that  it  was  painted 
at  a  later  period.  A  third  of  these  studies  belongs  to  Lord 
Ilchester,  and  is  dated  1658.  It  appeared  at  the  Winter  Exhibi- 
tion of  1889,  where  it  attracted  universal  admiration,  being,  in  fact, 
as  Dr.  Bredius  observed,1  the  gem  of  the  collection.  It  is  a  three- 

1    Old  Masters  in  the  Royal  Academy,  1889  :  extract  from  the  Nederlandsche  Spectator, 
1889,  No.  17. 

I    2 


ii6  REMBRANDT 

quarters  length  of  the  master.  He  wears  a  fanciful  costume,  and 
holds  a  stick  in  his  hand.  The  painting  is  wonderfully  luminous 
in  effect,  and  in  perfect  condition.  The  flesh  tints  are  clear 
and  brilliant,  the  hands  broadly  and  firmly  modelled.  The 
melancholy  eyes  meet  those  of  the  spectator  with  an  expres- 
sion of  deep  dejection.  Another  portrait  of  the  master,  exhibited 
at  the  Royal  Academy  by  Lord  Ashburton  in  1890,  is  closely 
allied  to  the  last  in  treatment  and  expression,  and  was  probably 
painted  in  the  same  year.  The  hair  is  grizzled,  but  the  features, 
though  somewhat  heavier,  are  manly  and  vigorous,  and  the  eyes 
have  lost  none  of  their  keenness.  The  master  wears  a  black  cap, 
and  a  tunic  of  yellowish  brown,  opening  over  a  red  vest  with 
sleeves,  probably  his  working  dress,  for  it  reappears  in  the  Cassel 
picture,  and  in  a  portrait  in  the  Dresden  Gallery,  signed,  and 
dated  1657,  which,  though  it  has  deteriorated  to  a  certain  extent, 
and  is  somewhat  black  in  the  shadows,  seems  to  us  the  most 
pathetic  of  the  series.  The  days  of  fanciful  costumes,  military 
trappings,  and  lofty  bearing  are  past.  Under  the  stress  of  years 
and  misfortune,  the  master's  sedentary  habits  have  grown  upon 
him,  and  his  dress  has  become  severely  simple,  even  negligent, 
according  to  Baldinucci,  who  relates  that  it  was  his  practice,  when 
painting,  to  wipe  his  brushes  on  his  clothes.  He  is  represented  with 
a  pen  in  his  right  hand,  an  ink-bottle  and  album  in  his  left,  engaged 
upon  a  drawing.  In  happier  days  he  had  been  able  to  shake  off  his 
troubles,  and  forget  himself  in  his  work  ;  but  now  the  sadness  of 
his  face  has  become  habitual,  and  the  wrinkles  are  many,  and 
strongly  marked. 

He  had  abundant  cause  for  melancholy.  Towards  the  close  of 
1657,  the  commissioners  of  the  Bankruptcy  Court  had  instructed 
Thomas  Jacobsz  Haaring  to  sell  his  goods.  He  was  therefore  forced 
at  last  to  quit  the  home  he  had  created,  and  to  which  he  was  bound 
by  so  many  tender  memories.  On  December  4,  he  removed  to  the 
Imperial  Crown,  an  inn,  kept  by  one  B.  Schuurman,  in  the 
Kalverstraat.  As  we  may  judge  from  the  facsimile  of  an  old  drawing 


REMBRANDT   DECLARED   A    BANKRUPT  117 

we  borrow  from  Oud-Holland?  this  inn  was  a  remarkable  building  in 
the  Dutch  Renaissance  style,  which  had  been  the  municipal 
orphanage  till  1578,  since  when  it  had  become  a  much-frequented 
hostelry.  Its  name  was  derived  from  the  crown  carved  over  the  main 
entrance,  and  repeated  above  the  shields  on  either  side  of  the 
facade.  Public  sales  were  commonly  held  at  this  inn  in  Rembrandt's 
time,  and  the  custom  seems  to  have  continued  into  the  next  century, 
for  in  our  reproduction,  the  original  of  which  dates  from  1/25,  two 
persons  in  the  foreground  appear  to  be  reading  a  notice  of  some 
such  proceeding.  Judging  from  the  accounts  of  his  daily  expenses 
at  the  Imperial  Crown,  which  average  from  three  to  four  florins  a  day, 
it  seems  probable  that  Rembrandt  was  alone  at  the  inn,  and  that 
Hendrickje  and  Titus  were  bestowed  elsewhere.'2  On  December  25, 
a  portion  of  Rembrandt's  collections  was  sold  at  the  inn  ;  but  the 
moment  seems  to  have  been  an  unfavourable  one  for  some  reason  ; 
and  though  the  sale  extended  over  six  days,  the  more  important 
items,  including  the  greater  part  of  the  prints  and  drawings,  were 
reserved  till  September,  1658,  when  a  fresh  sale  took  place  at  the 
same  spot.  The  whole  of  the  rare  and  beautiful  things  collected, 
as  the  catalogue  puts  it,  "  with  great  discrimination  by  Rembrandt 
van  Ryn,"  realised  the  ludicrously  inadequate  sum  of  5,000  florins. 
The  house  in  the  Breestraat  had  already  been  disposed  of  on 
February  i,  1658,  by  authority  of  the  tfc/ici'ins,  at  the  instance  of 
the  commissioner  Henricus  Torquinius,  for  13,600  florins,  which 
price  was  to  include  "the  two  stoves,  and  the  partitions  in  the 
garret,  which  Rembrandt  had  used  that  his  pupils  might  be  sepa- 
rated." But  the  purchaser,  a  certain  Pieter  Wiebrantsz,  mason, 
was  apparently  unable  to  carry  out  his  contract,  for  the  transaction 
was  not  completed.  Another  bidder,  who  offered  12,000  florins, 
was  also  unable  to  give  the  necessary  securities,  and  a  bargain 
was  finally  concluded  with  one  Lieven  Simonsz,  a  shoemaker. 

1  Oud-Holland,  vi.  p.  48. 

1  These  accounts,  which  figure  among  the  papers  relating  to  the  bankruptcy,  were 
published  by  Scheltema  and  Vosmaer. 


uS 


REMBRANDT 


whose   offer   of   11,218    florins    was    accepted  on    the  security  of  two 
other  citizens. 

We  shall  deal  later  on  with  the  litigation  connected  with  the 
proceeds  of  these  successive  sales.  Meanwhile,  Rembrandt's  ruin 
was  complete.  At  the  age  of  fifty-five  he  found  himself  homeless 
and  penniless,  stripped  of  all  that  had  made  life  pleasant  to  him,  com- 
pelled to  leave  his  refuge  in  the  inn  without  even  paying  the  expenses 
of  that  melancholy  sojourn,  during  which  all  the  treasures  he  had 
collected  "  with  great  discrimination  "  were  divided  among  strangers 
before  his  eyes. 


KNTKANCE   TO   A    TOWN. 
Pen  drawing   (Duku  of  Devonshire). 


PEN    DHAWINt;    OF    A    LANDSCAl'K. 

(Duke  of  Devonshire's  Collection.) 


CHAPTER  V. 

REMBRANDT'S     DIFFICULTIES    WITH     HIS     CREDITORS — HIS     LONELY     LIFE — THE 
'CHRIST'    IN     COUNT     ORLOFF-DAVIDOFF'S    COLLECTION — 'DAVID    AND     SAUL'— 

PORTRAITS  OF  THIS  PERIOII  (1658- I  660)  — THE  '  BURGOMASTER  SIX* 'COPPENOL1- 

ETCHINC.S  OF  HENDRICKJE PORTRAITS    OF  TITUS  AND  OF  REMBRANDT  HIMSELF  — 

THE  PARTNERSHIP  BETWEEN'  TITUS  AND   HENDRICKJE. 


T 


HK  unsettled  life  to  which  he 
was  condemned  for  awhile 
after  the  loss  of  his  home 
must  have  been  no  small  trial  to  one 
of  Rembrandt's  peace-loving  tem- 
perament. He  was  now  obliged  to 
look  for  a  lodging  sufficiently  spacious 
to  serve  as  a  studio,  among  the  out- 
lying districts  where  the  rents  were 
within  his  means.  His  art  was  more 
than  ever  necessary  to  him,  both  as 
a  diversion  and  a  means  of  liveli- 
hood. But  he  felt  strangely  out  of 

his  element  in  the  various  temporary  dwelling-places  with  which  he 
was  forced  to  content  himself,  after  the  home  which  he  had  arranged 
to  suit  his  own  tastes  and  convenience.  He  had  not  only  lost  his 
engravings,  his  precious  stuffs,  his  jewels,  and  all  the  accessories  he 


PEN    SKETCH,    WITH    WASH. 

(British  Museum.) 


120  REMBRANDT 

had  hitherto  considered  essential  to  his  art  ;  but  now,  when  advanc- 
ing age  was  beginning  to  tell  upon  his  sight,  he  was  forced  to 
accept  such  conditions  of  illumination  as  his  improvised  studios 
afforded.  Neither  had  he  come  to  the  end  of  his  business  anxieties. 
His  own  affairs  were  indeed  past  mending.  But  it  was  his  duty 
to  give  such  help  as  he  could  to  Titus'  representative  in  his  en- 
deavours to  make  good  the  claims  of  the  latter  to  a  share  in  the 
profits  arising  from  the  sales.  To  save  further  explanations  on  this 
head,  we  may  here  give  a  brief  account  of  the  complications  which 
arose  from  the  settlement  of  the  accounts. 

On  January  30,  1658,  the  commissioners  in  bankruptcy  authorised 
the  municipal  secretary  to  pay  C.  Witsen  the  4,180  florins  owing 
to  him,  and  in  spite  of  the  determined  opposition  of  Louis  Crayers, 
who  had  succeeded  Jan  Verbout  as  Titus'  guardian,  the  other  chief 
creditor,  Isaac  van  Hertsbeek,  was  also  repaid  his  share  of  the  loan 
(4,200  florins)  on  May  10  following.  A  settlement  was  also  effected 
with  several  of  the  other  creditors,  notably  with  the  heir  of  Christoffel 
Thysz,  the  former  proprietor  of  the  house  in  the  Breestraat,  who  re- 
ceived the  equivalent  of  his  mortgage  on  the  property.  But  Crayers, 
a  better  man  of  business  than  his  predecessor,  carried  on  a  vigorous 
campaign  in  defence  of  his  ward's  interests.  His  contention  was, 
that  though  Rembrandt  had  made  no  formal  acknowledgment  of  his 
son's  claims  after  Saskia's  death,  these  claims  could  not  be  set  aside, 
and  were,  in  fact,  safeguarded  by  Titus'  rights  as  a  minor.  Crayers 
further  sought  to  establish  by  various  evidences  that  Rembrandt's 
assessment  of  his  personalty  at  40,750  florins  at  the  time  of  his  wife's 
death  was  by  no  means  exaggerated,  and  that  Titus'  heritage 
consequently  amounted  to  20,375  florins,  the  half  of  this  total. 
Rembrandt's  creditors,  on  the  other  hand,  left  no  stone  unturned  to 
prove  that  he  had  greatly  overstated  the  actual  value  of  his  property. 
Crayers  retorted  by  calling  witnesses  to  support  his  estimate.  The 
result  was  a  long  inquiry,  in  the  course  of  which,  as  was  mentioned 
in  the  last  chapter,  Van  Loo  the  goldsmith  and  his  wife,  Philips  de 
Koninck,  and  several  art-dealers  were  heard  in  evidence:.  Other 
witnesses  were  also  produced  by  Crayers  and  Rembrandt.  Jan 


REMBRANDT'S    DIFFICULTIES    WITH    HIS    CREDITORS  121 

Pietersz,  clothier,  and  Nicolaes  van  Cruysbergen,  provost  to  the 
municipality,  who  both  figure  in  the  Night  W'atch,  were  responsible 
for  the  information  we  have  already  noted  as  to  the  price  of  that 
work.  A  collector  named  Adriaen  Banck  had  paid  Rembrandt  500 
florins  in  1647,  for  a  Susanna  at  the  Bath.  Saskia's  cousin,  Henclrick 
van  Uylenborch,  gave  evidence  as  to  having  acted  as  arbitrator  be- 
tween Rembrandt  and  Andries  de  Graeff  in  the  matter  of  a  portrait 
for  which  the  latter  claimed  and  received  500  florins.  Abraham 
Wilmerdonx,  Director  of  the  East  India  Company,  deposed  to 
having  paid  Rembrandt  500  florins  for  a  portrait  of  himself  and  his 
wife,  with  a  further  sum  of  60  florins  for  the  canvas  and  frame. 
Finally,  one  of  the  dealers  who  had  been  called  upon  to  value  the 
master's  collections,  proved  having  sold  him  a  picture  by  Rubens 
of  Hero  and  Lcander,  which  he  kept  some  years,  for  530  florins. 
On  such  evidences  of  Rembrandt's  earnings,  and  of  the  valuables 
among  his  possessions,  Grayer  founded  his  contention  that  his  estimate 
of  Rembrandt's  property  in  1647  was  a  f;i'r  ;ill(-l  reasonable  one,  and 
that  Titus'  claim  of  20,375  florins  against  the  estate  must  be  allowed 
priority  over  those  of  all  subsequent  creditors.  A  series  of  tedious 
and  complicated  actions  before  various  tribunals  followed.  Witsen, 
who  seems  to  have  taken  better  precautions  than  his  colleague,  or 
whose  position  as  a  municipal  councillor  perhaps  gave  him  a  secret 
advantage,  retained  the  sum  paid  over  to  him,  but  Van  Hertsbeek, 
by  a  judgment  given  May  5,  1660,  was  compelled  to  disgorge  his 
4,200  florins,  and  hand  them  over  to  Crayers.  His  successive  appeals 
to  the  Provincial  Court  and  the  Grand  Council  were  dismissed,  both 
courts  confirming  the  previous  judgment,  which  accordingly  came  into 
force  June  20,  1665.  When  all  the  costs  of  this  litigation  were  paid, 
Titus'  inheritance  amounted  to  a  sum  of  6,952  florins,  which  he  duly- 
received  on  November  5,  1665. 

The  possibilities  of  such  a  fortune  were  not  extensive,  and 
pending  its  acquisition,  the  pinch  of  poverty  must  have  been 
severely  felt  by  the  master  and  his  belongings.  A  few  etchings 
saved  out  of  the  wreck  were  no  doubt  sold  by  way  of  sup- 
plementing such  sums  as  Rembrandt  could  earn  by  painting. 


122 


REMBRANDT 


But  the  moment  was  not  a  favourable  one  for  the  sale  of  pictures, 
more  especially  Rembrandt's  pictures.  A  taste  for  the  arts  had 
indeed  become  much  more  widespread  in  Amsterdam,  but  painters 
had  multiplied  as  the  demand  for  their  works  increased.  At  the 
close  of  a  festival  held  October  20,  1653,  at  the  Doelen  of  Saint 
George,  in  honour  of  their  patron,  the  members  of  the  Guild  of 


ST.  I'ETER   DELIVERED    FKOM    PRISON. 

Pen  drawing  heightened  wilh  wash  (Albertina). 


Saint  Luke,  which  had  hitherto  admitted  tapestry-workers,  glass- 
makers,  and  persons  of  various  allied  crafts,  pronounced  in  favour  of 
an  entire  reconstruction  of  the  Guild,  and  a  restriction  of  membership 
to  painters,  sculptors,  and  amateurs  of  the  arts.  The  inauguration  of 
the  new  body  thus  constituted  took  place  a  year  later,  on  October 
21,  I654.1  Foremost  among  the  promoters  of  the  new  association 

1  Vosmaer,  p.  325. 


HIS    LOVE   OF    RETIREMENT 


123 


were  Martin  Kretzer,  Asselyn's  brother-in-law,  N.  Helt-Stockade, 
and  B.  van  der  Heist ;  but  we  search  the  list  of  members  in  vain 
for  the  name  of  Rembrandt.  It  was  not  alone  his  love  of  solitude 


ST.    JliKUMK. 

About  1652  (II.  104). 


or  his  somewhat  unsociable  temper  that  kept  him  aloot  ;  the  very 
character  of  his  genius  tended  to  isolate  him  from  his  brother-artists. 
The  representatives  of  that  great  generation  which  had  founded  the 


T24  REMBRANDT 

Dutch    school   were    beginning    to   dwindle.        In    Amsterdam,    Rem- 
brandt and  his  pupils  were  the  sole  adherents  of  the  earlier  tradition. 
Lasttnann,  Elias,  and  Jacob  Backer  were  dead  ;    Thomas  de  Keyser, 
Rembrandt's  forerunner  and  sometime  rival,   now  confined  himself  to 
pictures   of  small    dimensions  ;    and  those  among  Rembrandt's  pupils 
who    had    taken    his    place    in    the    public    favour,     Ferdinand    Bol, 
Covert    Flinck,   and    Nicolaes    Maes,   had    completely   abandoned   his 
manner,    seduced    by    the    more    popular    style    of  Van    der     Heist, 
then    in    the   heyday  of  his   reputation.       Painters    who   had   formerly 
imitated     Rembrandt,     recognising    the    reaction,    gradually    detached 
themselves  from  him.      Houbraken  tells  us  that  J.  de  Baen,  on  leaving 
Backer's    studio    in    1651,    had    hesitated     for    a    time    as     to    which 
manner   he   should   adopt,   that   of   Rembrandt  or  of  Van    Dyck,   and 
had    finally   decided   on    the   latter,    as    "more   durable."       Landscape 
painters,    such   as   Jacob   van    Ruysdael   and    Adriaen    van   de   Velde, 
and    masters    of  genre    such     as    Pieter    de    Hooch,    still    maintained 
the   glory   and   originality   of  the   school.       But    the    honours    of   the 
day    were    not    for    them.       These    were    reserved    for    a    style,   the 
essentials   of  which    were   clarity,    minute   finish,   a    smooth,    polished 
fusion   of  tints.       The   insipid  prettinesses  and   affected   grace   of  the 
academic   school   were    exalted    by    the    devotees    of    classic    correct- 
ness, far   above   Rembrandt's   noble   simplicity,  and   robust    virility  of 
execution.       To   them   his    compositions    were    too    familiar,    his    sin- 
cerity  too   uncompromising,    his  colour  too  intense.      Thus  he  found 
himself    at    last    entirely    deserted.        But     he     cared     little    for    the 
suffrages   of  the   crowd.       Even  when   most  successful   he  had  never 
abated   one  jot   of  his   independence,  and   it  was  not   to  be  expected 
that  he  should  make  concessions  to   fashion  now,   when   his    powers 
had   reached  their   richest  maturity.       He   set   his  face  more  steadily 
than   ever  towards   the  goal   he  had   marked    out   for    himself.      The 
artist   was  now  no   longer  a  collector,   and  thus  his  very  ruin  tended 
to  confirm  him  in  the  simplicity  to  which  he  had   inclined  more  and 
more  throughout  his  career.      Within    the   bare    walls    of   his    make- 
shift studios,   seeking  solace  in  work   and   meditation,  he  lived  for  his 
art  more  absolutely  than   before  ;   and   some   of  his  creations   of  this 


HIS   TYPE   OF    CHRIST  125 

period  have  a  poetry  and  depth  of  expression    such    as  he   had    never 
hitherto  achieved. 

Notwithstanding  his  manifold  vexations  and  anxieties,  he  had  set 
up  his  easel  with  unabated  courage,  though  in  many  of  his  com- 
positions of  this  period  we  catch  the  echo  of  his  melancholy.  The 
personality  of  the  Saviour  had  always  strongly  attracted  him  ;  but 
now  his  own  sorrows  seem  to  have  given  him  a  peculiar  insight  into 
the  Christly  Life.  He  returns  again  and  again  to  the  Divine  Figure, 
striving  in  each  fresh  essay  after  a  more  complete  suggestion  of  the 
ideal  type  he  had  conceived.  Some  years  before  he  had  sought  to 
express  this  sublime  embodiment  of  spotlessness  and  compassion  in 
the  beautiful  study  of  a  head,  now  in  M.  Rodolphe  Kann's  collection. 
But  in  the  larger  study  painted  about  1658-1660,  the  conception  is 
nobler  and  more  impressive.  We  refer  to  the  fine  picture  exhibited 
at  Vienna  in  1873,  and  now  in  Count  Orloff  Davidoff's  collection  at 
St.  Petersburg.  The  face  is  turned  full  to  the  spectator  ;  the  figure, 
a  half-length,  is  very  simply  posed,  the  arms  partly  crossed,  the  left 
hand  resting  on  the  right  arm.  The  dress  is  a  reddish  tunic,  open  at 
the  throat,  and  a  dark  mantle,  drawn  round  the  shoulders.  A  mass  of 
bright  brown  hair,  divided  in  the  middle,  falls  on  either  side  of  the 
pure  and  delicately-featured  face.  The  dark  beard  and  moustache 
accentuate  the  pallor  ot  the  complexion  ;  the  large  clear  eyes  look  out 
from  the  canvas,  with  an  expression  of  mingled  sweetness  and 
authority.  The  broad  handling,  which  has  a  somewhat  confused 
appearance  on  close  examination,  is  singularly  powerful  from  a  little 
distance,  and  amply  justifies  the  master's  methods  by  its  perfection  of 
modelling,  and  consummate  knowledge  of  effect.  The  supernatural 
beauty  and  serenity  of  this  type  re-appears  in  another  picture  of  1661, 
the  Ecce  Homo  in  the  Aschaffenburg  Museum,  where  the  Saviour  is 
represented  full-face,  draped  in  a  white  robe  open  at  the  breast, 
on  which  the  light  is  concentrated,  the  head  being  in  deep,  transparent 
shadow. 

Of  subjects  which  appealed  strongly  to  his  imagination  Rembrandt 
never  wearied.  He  returned  to  them  time  after  time,  approaching 
them  from  various  points  of  view,  bent  on  solving  their  innermost 


126 


REMBRANDT 


RKMKRANDT    IN    HIS    WORK  INC    DRESS. 

Pen  drawing  (Headline  Collection). 


mysteries.  At  this  period,  when  his  emotions  were  so  deeply  stirred 
by  the  vision  of  a  compassionate  Saviour,  he  felt  a  kindred  attraction 
for  those  mystic  souls  who  sought,  in  solitude  and  prayer,  a  closer 
communion  with  the  Christ  to  whom  he  felt  himself  drawn  by  his  own 
sorrows.  Inspired  by  some  sympathetic  impulse  strangely  opposed  to 

the  practical  Protestant 
spirit  of  those  among 
whom  he  dwelt,  he  had 
already,  in  an  etching  of 
1657,  shown  us  Saint 
Francis,  prostrate  in  holy 
ecstasy  at  the  foot  of  the 
Cross.  The  same  train 
of  thought  seems  to  have 
been  at  work  in  his  choice 
of  a  monastic  habit  for  his 
models  in  three  studies 
painted  in  1660.  Count 
Sergius  Strogonoff's  ex- 
ample, a  somewhat  hastily 
executed  work,  represents 
a  melancholy-looking 
Yoimg  Monk,  his  cowl 
drawn  over  his  head  ; 
Lord  Wemyss'  Monk,  at 
Gosford  Park,  is  a  man 
of  about  forty,  with  a  fair 
beard.  The  face  is  en- 
tirely in  shadow,  but  a 

brilliant  light  falls  on  his  hand  and  on  the  book  he  reads.  This  is  a 
clear  and  luminous  picture,  in  excellent  condition.  The  Capuchin,  in 
the  National  Gallery,  has  unfortunately  suffered  somewhat  from  time. 
The  devout  gravity  of  the  face  is  finely  expressed,  but  the  dark 
and  somewhat  dirty  flesh-tones  have  caused  doubts  as  to  the 
authenticity  of  the  work,  which  is,  however,  sufficiently  evident. 


RELIGIOUS    COMPOSITIONS 


127 


Attractive  as  Rembrandt  seems  to  have  found  these  subjects, 
his  mind  was  not  wholly  engrossed  by  them  ;  several  pictures  of  a 
very  different  character,  inspired  by  Biblical  themes,  belong  to  the 


FIGURE   OF    CHRIST. 

About  1658—1660  (Count  Orloff-Davidoff). 


year  1659.  Two  of  these  in  the  Berlin  Museum  :  Moses  breaking  the 
Tables  of  the  Law,  and  Jacob  wrestling  with  the  Angel,  are  violent 
compositions,  harsh  and  somewhat  coarse  in  handling,  the  unpleasant 


128  REMBRANDT 

effect  of  which  is  no  doubt  due  in  some  measure  to  their  deteriora- 
tion. The  Moses  in  particular  is  very  hastily  treated,  and  the 
conception  of  the  Lawgiver  as  a  choleric  person,  brandishing  the 
tables  of  stone  above  his  head  in  a  sudden  access  of  fury,  is  vulgar 
and  prosaic.  In  the  second  picture,  however,  there  are  touches  of 
a  happier  inspiration,  notably  in  the  contrast  of  Jacob's  desperate 
endeavours  with  the  severe  calm  of  the  Angel,  who  refrains  from 
bringing  his  adversary  to  the  ground,  content  to  make  him  feel  his 
helplessness.  The  David  playing  the  Harp  before  Saul,  formerly 
in  Baron  Oppenheim's  collection  at  Frankfort,  and  recently  in  the 
possession  of  M.  Bourgeois  of  Paris,  we  take  to  have  been  painted 
about  1660.  It  is  an  important  composition  of  two  life-size  figures, 
for  which  Rembrandt  made  a  pen  and  ink  study,  now  belonging  to 
M.  Bonnat.  David,  a  red-haired  youth  in  a  scarlet  tunic,  stands  at 
the  foot  ot  the  throne,  and  endeavours  to  soothe  the  frenzied  king 
with  the  strains  of  his  harp.  Saul  wears  a  high  turban  surmounted 
by  a  crown,  and  a  purple  mantle  over  a  tunic  richly  embroidered 
with  gold  and  precious  stones.  His  face  is  fixed  in  an  expression 
ot  the  deepest  melancholy,  and  he  wipes  the  tears  that  spring  to 
his  eyes  on  the  drapery  beside  him  ;  the  tumult  of  his  mind 
betrays  itself  in  his  wild  looks,  and  the  furious  gesture  with  which 
he  grips  the  spear  in  his  hand  proclaims  the  danger  incurred  by 
the  young  musician.  He,  however,  absorbed  in  the  play  of  his 
own  skilful  fingers,  and  unconscious  of  peril,  gives  himself  up  to 
the  delight  of  improvisation.  The  contrast  between  the  two  figures, 
each  engrossed  in  his  distinct  emotion,  is  stirringly  rendered  ;  the 
richness  of  the  execution,  and  the  powerful  harmony  of  the  red  and 
golden  tones  partake  of  that  breadth  and  splendour  which  characterised 
Rembrandt's  last  pictures. 

The  year  1658  was  marked  by  one  of  Rembrandt's  rare  essays 
in  the  treatment  of  mythological  subjects  :  Jupiter  and  Mercury 
received  by  Philemon  and  Baucis.  The  theme  was  one  which  had 
already  attracted  the  master :  a  somewhat  confused  sketch  in  the 
Berlin  Museum  represents  the  old  couple  preparing  for  the  enter- 
tainment of  their  guests.  But  the  composition  of  the  small  picture, 


STUDIES    AND    PORTRAITS  129 

recently  bought  by  Mr.  C.  J.  Yerkes  of  Chicago  from  M.  Sedelmeyer, 
is  infinitely  more  picturesque  and  sympathetic.  Jupiter,  seated  face 
to  face  with  Mercury,  expresses  to  his  hosts  his  satisfaction  at  the 
welcome  accorded  to  him  and  his  companion.  The  husband  and 
wife,  approaching  their  guests  to  offer  them  a  white  goose,  suddenly 
become  aware  of  their  divinity,  and  fall  terror-stricken  at  their  feet. 
A  taper,  the  flame  of  which  is  concealed  by  Mercury,  lights  the 
humble  cottage,  dimly  revealing  its  boarded  partitions,  the  mats 
hanging  from  the  beams,  and  on  the  left  a  few  logs  blazing  on  the 
hearth.  The  light  is  concentrated  on  the  King  of  Olympus,  a 
personage  of  somewhat  fantastic  aspect  in  a  blue  tunic  with  gold  em- 
broideries, and  on  the  venerable  features  of  the  aged  pair,  who  worship 
with  folded  hands.  Their  attitude  of  fervent  adoration  involuntarily 
suggests  the  Disciples  at  Emmans,  which  Rembrandt  certainly  had 
in  his  mind  when  treating  this  mythological  theme. 

1  ogether  with  these  compositions,  the  master,  happy  to  be  once 
more  at  work,  painted  a  considerable  number  of  portraits  and  studies 
from  models  about  him.  Some  neighbour  probably  figures  in  M.  L. 
Goldschmidt's  study  of  1656 — 58  known  as  Rcmbrandf s  Cook.  She 
stands  by  a  window,  her  rubicund  face  turned  almost  full  to  the 
spectator,  a  knife  in  her  hand,  with  which  she  seems  to  be  meditating 
an  onslaught  on  some  fowl  outside.  Her  brown  hair  is  drawn  under 
a  white  cap,  over  which  she  wears  a  red  hood  :  her  brown  skirt  has 
a  red  bodice  and  sleeves,  partially  covered  by  a  thick  white  ker- 
chief. The  strongly  illumined  head  is  very  frankly  modelled,  and  the 
brilliant  carnations  of  the  vulgar,  but  healthy  and  vigorous  face,  stand 
out  in  strong  relief  from  the  brown  background.  The  study  of  a 
young  girl,  painted  no  doubt  at  about  the  same  period,  which  we  saw 
in  M.  Sedelmeyer's  possession,  whence  it  has  now  passed  into  that  of 
Mr.  Robert  Hoe  of  New  York,  is  no  less  remarkable.  The  model  is 
a  girl  of  about  sixteen  or  seventeen,  with  a  brilliant  complexion,  deep 
and  piercing  eyes,  and  an  air  of  strong  individuality.  Rembrandt  has 
painted  her  in  one  of  those  animated  attitudes  he  loved  to  render,  one 
hand  on  her  breast,  the  other  outstretched,  and  very  skilfully  fore- 
shortened. The  dress  makes  up  a  harmony  of  varying  reds  with 

VOL.  II.  K 


I30 


REMBRANDT 


yellowish  grays,  and  the  vigour  of  the  drawing  is  accentuated  by  the 
vivacity  of  the  effect.  But  the  transitions  are  so  carefully  managed  that 
the  contrast  between  the  brilliant  lights  and  intense  shadows  is  not 
excessive.  Here  we  recognise  Rembrandt's  methods  as  described  by 
the  worthy  De  Piles.  "  It  was  his  custom  to  place  his  models  directly 

beneath  a  strongly  con- 
centrated light.  By  this 
means  the  shadows  were 
made  very  intense,  while 
the  surfaces  which  caught 
the  light  were  brought 
more  closely  together,  the 
general  effect  gaining 
greatly  in  solidity  and 
tangibility." 

Among  the  studies  of 
this  period,  we  find 
several  of  those  heads 
of  old  people  for  which 
Rembrandt  showed  so 
strong  a  predilection.  We 
may  draw  attention  to 
the  Old  Lady  in  the 
Duke  of  Buccleuch's  col- 
lection, painted  in  1660. 
She  wears  a  white  fichu 
and  a  brown  hood,  and 
seems  to  be  entirely  ab- 
sorbed in  the  book  before 

her.  Another  Old  Woman,  painted  in  1658,  is  still  more  remarkable. 
But  that  her  wrinkles  are  deeper  and  more  numerous,  and  her  cheeks 
hollower — and  this  may  perhaps  be  accounted  for  by  the  interval  of 
time  which  separates  this  from  the  earlier  studies — we  might  identify 
her  with  the  model  for  the  portraits  of  1654  in  the  Hermitage  and  in 
1  Abrege  de  la  Vie  des  Peintres,  1715,  p.  411. 


DAVID  ON*    HIS   KNKKS 


1652  (B.  41). 


"AN    OLD    WOMAN    CUTTING    HER    NAILS"  131 

Count  Moltke's  collection  at  Copenhagen,  of  which  we  have  already 
spoken.     The  portrait  in  question   is  the  magnificent  study  of  an  old 


AN   OLD  WOMAN  CUTTING   HER   NAILS. 
1658  (Kann  Collection). 


woman,    engaged  in  the  prosaic   task    of   cutting   her  nails,    recently 
bought  by  M.  Rodolphe  Kann  in  Russia.1  She  is  seated  scissors  in  hand 

1  This    picture  was  in  the  Ingham-Foster  collection  towards  the  close  of  the  last 
century.     It  was  engraved  by  J.  G.  Haid  for  the  Boydell  collection,  and  was  catalogued 

K    2 


,32  REMBRANDT 

in  an  armchair,  almost  facing  the  spectator,  dressed  in  a  yellow  gown 
with  a  brown  bodice,  and  a  hood  of  gray  and  pale  yellow,  which  throws 
a  strong  shadow  over  her  face.  She  seems  to  have  suffered  deeply 
and  her  worn  features,  and  loose,  wrinkled  skin  proclaim  her  failing 
strength.  Notwithstanding  the  vulgarity  of  her  features,  and  the 
excessive  homeliness  of  her  occupation,  the  effect  she  produces  is 
grave  and  dignified.  In  this  example,  the  execution,  though  free,  is 
masterly  to  a  degree,  and  in  certain  passages,  such  as  the  modelling  of 
the  face  and  hands,  and  the  rendering  of  the  furs  and  the  bodice, 
extremely  delicate.  Criticism  is  disarmed  before  the  manifold  beauties 
of  this  fine  work,  one  of  the  most  vigorous  and  brilliant  in  Rembrandt's 
a'livrc,  as  regards  its  resonant  intonations — the  reds,  yellows  and  iron- 
grays  affected  by  the  master  at  this  period — the  power  and  exquisite 
refinement  of  its  harmony,  its  expressive  quality,  and  imposing  effect. 
Among  the  studies  from  masculine  models  of  this  period,  we  must 
be  content  with  a  brief  mention  of  the  St.  Paul  in  Lord  Wimborne's 
collection  at  Canford  Manor,  painted  about  1658 — 1660,  a  seated 
figure,  girt  with  a  sword,  posed  in  a  pensive  attitude  by  a  table  ; 
and  the  Portrait  of  a  Merchant,  reading  near  a  window,  painted  in 
1659,  a  work  in  Lord  Feversham's  possession  at  Duncombe  Park, 
described  to  me  by  Dr.  Bode.  The  Old  Man  in  the  National 
Gallery,  wrapped  in  a  fur-trimmed  robe,  and  wearing  on  his  head  a 
reddish  cap,  is  dated  1659.  This  picture,  which  is  painted  in  a 
rich,  fat  impasto,  very  skilfully  worked  up,  has  unfortunately  darkened 
a  good  deal,  but  the  thin  face,  with  its  melancholy  expression,  and  the 
deep-set  eyes  that  look  out  with  a  piercing  brilliance  from  under  the 
shaggy  eyebrows,  make  a  strong  impression  on  the  spectator.  Another 
study  of  the  same  period,  in  the  Pitti  Palace,  an  Old  Man  seated,  is 
painted  with  the  same  mastery  of  chiaroscuro,  but  the  colour  is  warmer, 
and  the  general  effect  very  luminous.  With  these  we  may  class  a 
small  Study  of  a  Head  in  M.  Rodolphe  Kami's  collection,  represent- 
ing a  man  with  long  red  hair,  features  of  a  proud  and  aristocratic  type, 

by  Smith,  who  had  never  seen  the  original,  from  this  engraving.  It  was  brought  to  Russia 
by  M.  Bibikoff,  and  was  for  some  time  at  Moscow,  in  the  possession  of  M,  Massaloff,  the 
father  of  the  well-known  engraver. 


PORTRAIT    OF    THE    BURGOMASTER    SIX  133 

and  a  very  penetrating  expression  ;  and  two  Portraits  of  YoutJis,  more 
in  the  nature  of  brilliant  sketches — the  first,  in  which  the  sitter  wears  a 
gray  dress,  and  a  black  hat  with  a  red  plume,  belonging  to  Lord 
Spencer  at  Althorp,  and  erroneously  supposed  to  represent  William  III.; 
the  other  a  Young  Man  Singing,  in  the  Belvedere,  a  broadly  treated 
and  luminous  study  of  a  model  who  wears  a  cap,  from  beneath 
which  his  bright  brown  hair  waves  luxuriantly  about  his  face.  A 
picture  formerly  in  the  Crabbe  collection,  sold  in  Paris,  June  12,  1890, 
is  a  more  important  work.1  It  is  the  life-size  portrait  of  a  man,  rather 
more  than  three-quarters  length,  turned  almost  full  face  to  the  spectator. 
He  wears  a  broad-brimmed  hat,  and  a  loose  furred  robe  over  a  red 
doublet  embroidered  in  gold.  A  pouch  is  fastened  by  a  leather  strap 
across  his  breast,  on  which  hangs  a  small  gold  instrument,  apparently  a 
whistle,  an  ornament  which  occurs  in  several  portraits  of  this  period. 
It  was,  no  doubt,  a  symbol  of  authority,  and,  as  such,  may  account 
for  the  title,  The  Admiral,  bestowed  on  the  personage  of  this 
portrait.  His  features  have  no  great  distinction,  but  the  head  is  full 
of  vitality,  and  the  thin  face,  in  its  setting  of  long  reddish  hair, 
bespeaks  the  man  of  action.  The  high  lights  are  accentuated  by 
strong  shadows ;  the  colouring,  which  seems  somewhat  excessive 
at  close  quarters,  resolves  itself,  when  viewed  from  a  distance,  into  a 
glowing  harmony  of  the  utmost  richness. 

The  studies  of  friends  or  relatives,  however,  have  a  deeper  interest 
for  us  than  these  portraits  of  unknown  models.  Among  Rembrandt's 
sitters  of  this  period  we  find  the  Burgomaster  Six,  whose  friendship 
with  Rembrandt  remained  unbroken.  From  a  document  recently 
discovered  by  Messrs.  Bredius  and  De  Roever2  we  learn  that  in  1653 
Six  made  him  an  advance,  for  which  L.  van  Ludik  was  surety.  The 
debt  was  subsequently  transferred  to  one  G.  Ornia,  who,  after 
Rembrandt's  bankruptcy,  came  upon  Ludik  for  payment.  In 
October,  1652,  Six  further  concluded  a  bargain  with  Rembrandt,  by 
virtue  of  which  he  became  the  possessor  of  a  portrait  of  Saskia,  in 
exchange  for  which  he  returned  to  the  master  two  other  of  his  works — 

1  It  sold  for  £4  260,  and  now  belongs  to  Mr.  Schaus  of  New  York. 

2  Oi'd-Holland,  viii.  p.  181. 


134 


REMBRANDT 


a  Simeon  and  the  grisaille,  The  Preaching  of  John  the  Baptist — on 
condition  that  Rembrandt  should  have  the  option  of  reclaiming  them, 
up  to  a  certain  date.  This  agreement  was,  however,  set  aside 
by  a  decision  of  the  commissioners  in  bankruptcy  in  1658.  It  is 
evident  that  frequent  intercourse  had  been  kept  up  between  Six 
and  Rembrandt,  and  it  was  perhaps  after  some  business  interview 
with  the  Burgomaster  that  the  artist  set  to  work  on  his  portrait, 
which,  as  we  learn  from  a  journal  belonging  to  the  Six  family,  was 
painted  in  1654.  So  perfect  is  its  condition  that  it  might  have 

been  finished  yesterday. 
Standing  with  his  head 
a  little  bent,  in  a  won- 
derfully life-like  attitude, 
Six  draws  on  his  gloves, 
as  if  about  to  go  out. 
He  wears  a  black  hat, 
and  a  gray  doublet,  over 
which  is  thrown  a  red 
cloak  trimmed  with  gold 
lace.  The  face,  which  is 
modelled  in  planes  of 
great  breadth,  is  sur- 
rounded by  waving 
masses  of  fair  hair,  and 

stands  out  from  a  dark  background.  The  handling,  in  spite  of 
its  facility,  is  marvellously  decisive.  There  are  no  subtleties  of 
treatment,  but  emphasis  is  given  by  touches  of  unerring  precision  ; 
the  chord  of  colour,  simple,  yet  supremely  harmonious,  is  made 
up  of  subdued  reds  touched  with  gold,  and  neutral  grays.  In  this 
work  (painted  probably  in  a  few  hours)  every  stroke  told,  every 
sweep  of  the  brush  was  final  ;  the  artist  obviously  conceived 
and  accomplished  with  equal  rapidity  and  perfection.  As  Fro- 
mentin  happily  remarks  :  "  We  note  the  geniality  of  a  mind  that 
finds  relaxation  in  a  pleasurable  task,  the  assurance  of  a  prac- 
tised hand  amusing  itself  with  the  tools  of  its  craft,  and  above  all,  a 


CHRIST    AND    THE   SAMARITAN'    WOMAN. 

Pen  drawing,  heightened  with  wash  (Stockholm  Print  Room). 


PORTRAIT    OF    COPPENOL 


135 


fashion  of  interpreting  life  only  possible  to  a  thinker,  accustomed 
to  be  busied  with  high  problems."  Such  qualities  have  drawn 
generation  after  generation  of  amateurs  to  the  hospitable  house  in 
the  Heerengracht  at  Amsterdam,  the  doors  of  which  are  open  to  all 
lovers  of  art.  There,  in  his  old  home,  still  the  home  of  his 
descendants,  Six  looks  down  from  the  wall,  side  by  side  with  his 
mother,  the  Anna  Wymer  painted  by  the  master  in  1641.  A  com- 
parison of  these  two  works  will  give  students  of  Rembrandt  some  idea 
of  the  progress  he  had  made  in  the  twenty  years  that  divide  them. 

Lord     Ashburton's 
little    portrait   of  Cop- 
penol,     painted     about 
1658,  is  as  remarkable 
for      elaboration      and 
finish  as  is  that  of  Six 
for  breadth  and  facility. 
Its    exact  date   is    not 
known,   but    Mr.    Mid- 
dleton-Wake,  rightly  as 
we   think,   assigns    the 
etching,  which  was  ex- 
ecuted   from   this   por- 
trait    to     1658.       The 
plate   is    an    exact    re- 
production   of  the    picture,    save    that    the    composition    is  reversed.2 
The  old    writing-master    is   represented    sitting  at  a  table,  his  cloak 
on    his    shoulders.      The    sleeves    of    a    red    waistcoat    show    below 
those    of    his    doublet  ;    he    wears    a    flat    white    collar,    and,    on    his 
head,    a    black    skull-cap.       His    hair    has    become    scanty  and,  like 
his    moustache,    is    gray  ;  but    the    freshness  of  his   complexion,  and 
the     vivacity     of     his     expression,     denote     a     healthy    and    robust 
temperament.      He    holds   a    sheet  of  paper   in   his  hands,  and  looks 

1  Les  Maltres  ifAutrefois,  p.  371. 

2  Rembrandt  was  even  careful  to  pose  Coppenol  with  his  pen  in  his  left  hand,  in 
order  that  it  might  appear  in  the  right  in  the  print  reversed  from  the  copper. 


CHRIST    AND    THE    SAMARITAN    WOMAN'. 
l65S   (1).    70). 


I36  REMBRANDT 

out  towards  the  spectator  with  an  air  of  triumph,  as  if  challenging 
admiration  for  the  wonders  his  skilful  pen  is  to  trace.  The 
combination  of  breadth  with  closeness  of  execution  is  unique. 
While  the  full  and  luminous  tones  are  worthy  of  Rembrandt  at  his 
best,  the  modelling  rivals  that  of  Holbein  in  scrupulous  and  learned 
precision.  The  old  painter  seems  to  be  hurling  a  defiance  at  all 
the  devotees  of  minute  finish  with  whom  his  detractors  were  fond 
of  comparing  him  to  his  disadvantage.  He  accepts  the  contest  on 
their  own  ground,  as  if  to  confound  them  by  showing  that  with 
all  the  prodigies  of  elaboration  they  produced,  to  him  alone  be- 
longed the  secret  of  that  spirit  and  vigour  of  expression,  that 
breath  of  life  and  grandeur,  to  which  none  of  his  rivals  could  attain. 
The  etching  made  from  this  little  masterpiece  is  of  the  same 
dimensions  (B.  283),  and  is  no  less  finished  in  execution.  With 
his  picture  for  guide,  Rembrandt  was  able  to  work  leisurely  and 
methodically  at  his  plate.1  Thus,  though  the  tones  are  rich  and 
full,  the  print  has  all  the  transparence  and  delicacy  of  a  work 
which  has  been  carefully  prepared,  and  accomplished  with  patience 
and  precision.  Like  the  picture,  it  is  unique  in  its  way,  and  the 
elaborate  workmanship  attests  both  the  master's  desire  to  please  his 
triend,  and  his  own  uncliminished  energy. 

A  few  other  plates  of  this  period  are  of  a  very  different 
character,  and  are  for  the  most  part  rapid  and  summary  in  treatment. 
There  are  only  two  compositions,  both  of  the  year  1658,  after  which 
date  we  shall  find  no  other  etchings  of  this  class.  Jesus  and  the 
Samaritan  Woman  (B.  70)  was  a  subject  the  master  had  already 
attempted  more  than  once,  and  of  which  he  had  made  several 
drawings  (notably  that  in  the  Stockholm  Museum)  besides  the 
etching  of  1634  (B.  71).  The  later  print  is  more  in  the  nature 
of  a  sketch,  broad  and  frank  in  treatment,  and  somewhat  hasty. 
Turning  towards  Christ,  the  woman  rests  her  arms  on  a  bucket, 
which  stands  on  the  edge  of  the  well,  and  listens  respectfully  to 
the  words  of  the  Teacher,  seated  on  a  projecting  piece  of  wall 

1  Yes,  and  the  plate  with  all  its  perfection  has  something  of  the  air  of  an  accomplished 
translation.     The  sense  of  actual  spontaneity  is  the  charm  denied. — F.   IV. 


The  Large  Co/>pcnol,  about  1658.  (B.  283.) 
Fac-simile  of  the  Etching. 


STUDIES    FROM    THE    NUDE  137 

beside  her.  In  the  background  is  a  picturesque  landscape,  with 
the  outline  of  a  distant  town  beyond  ;  a  group  of  peasants  to  the 
left  observe  the  two  chief  actors,  and  converse  among  themselves. 
In  the  Allegorical  Piece,  also  dated  1658,  the  master's  intention 
is  somewhat  obscure,  and  both  as  regards  ensemble  and  detail  the 
work  is  peculiarly  fantastic.  In  the  foreground,  at  the  base  of  a  large 
pedestal,  on  the  upper  part  of  which  is  a  shield  with  a  ducal  coronet, 
lies  the  colossal  statue  which  once  crowned  the  structure.  In  its 
place,  a  stork,  the  national  emblem  of  Holland,  stands  on  his  nest 
in  a  luminous  glory,  while  a  little  winged  figure  hovers  in  the  air 
on  either  side,  blowing  a  trumpet.  A  crowd  of  spectators  below 
applaud  the  manifestation.  Mr.  Middleton-Wake  explains  the 
allegory  as  referring  to  Turenne's  victory  over  the  Spaniards  at 
the  Battle  of  Dunes,  in  1658.  His  interpretation  seems  to  us 
somewhat  over-subtle,  and  though  the  traditional  explanation  of  the 
piece,  as  representing  the  demolition  of  Alva's  statue  at  Antwerp  in 
1577,  is  not  absolutely  convincing,  it  is  at  least  more  plausible. 
The  plate  is  another  instance  of  Rembrandt's  incapacity  for  allegorical 
composition.  The  statue,  the  spectators,  and  the  winged  genii 
are  of  the  most  vulgar  types  :  and  the  clumsy  bird  on  the  top 
of  the  pedestal  is  much  more  like  a  goose  than  a  stork.  The 
hasty  execution  in  no  wise  redeems  the  faults  of  the  composition, 
on  which  the  master  evidently  bestowed  little  labour. 

Three  other  plates  dated  1658,  the  Woman  sitting  before  a 
Dutch  Stove  (B.  197),  the  Woman  preparing  to  dress  after  bathing 
(B.  199),  the  Woman  with  her  Feet  in  the  Water  (B.  200),  and 
perhaps  too  the  Naked  Woman  seen  from  behind  (La  Ni'gresse 
Couchde]  (B.  205),  are  merely  nude  female  studies,  bold  and  brilliant 
in  effect,  if  somewhat  coarse  in  execution.  They  are  all  from  the 
same  model,  probably  Henclrickje.  The  faces  are  so  slightly  in- 
dicated as  to  afford  little  clue ;  but  the  breast,  and  the  propor- 
tions of  the  body,  are  unmistakably  those  of  the  Bathsheba  in  the 
Louvre,  whose  attitude  differs  very  slightly  from  that  of  the  Woman 
sitting  before  a  Dutch  Stove.  We  recognise  Hendrickje  again  in 
the  Jnpiter  and  Antiope  (B.  203),  apparently  a  reminiscence  of 


'38 


REMBRANDT 


Correggio,  though  there  is  little  of  the  Italian  master's  beauty  of 
form  in  the  sleeping  figure,  which  an  old  satyr  contemplates  with 
the  air  of  a  connoisseur.  In  this  later  work,  Rembrandt  seems 
to  have  determined  to  justify  the  violent  attacks  of  his  academic 
critics,  whose  strictures  were  echoed  a  few  years  after  the  master's 
death  by  Andries  Pels,  a  mediocre  Dutch  writer,  in  his  Poem  on 

the  Theatre^  :   "  When  he 
attempted  to  paint  a  naked 
woman,"    he    remarks    of 
Rembrandt,     "  he    chose, 
not    the    Grecian    Venus, 
but     a     washerwoman    or 
farm-servant  ....    Such 
models   he    reproduced  in 
every  detail,  flabby  breasts, 
distorted  hands,  even  the 
ridges  formed  by  the  bodice 
round  the  waist,   and  the 
marks  of  the  garters  about 
the  legs."      If  Rembrandt 
more   than    once   justified 
this  criticism,   it  was   not, 
as    Pels   supposes,    "  from 
a      deliberately      adopted 
heresy  ....  arising    out 
of    his    inability    to    com- 
pete    with     Titian,     Van 
Dyck,      and       Michelan- 
gelo."     The    misconception    here    is    two-fold ;     Rembrandt    had    no 
deliberate  theory  in  the  matter.     In  this,  as  in  all  things  his  sincerity 
was  absolute.     Neither  can  it  be  truly  said   that   he    was  incapable  of 
rendering  beauty,  and  that  his  "  glaring  aberrations  "  were  the  result 
of  his  revolt  against  "  authority  and  tradition."     In  the  matter  of  studies 
from  nature,  Rembrandt  had  no  system  other  than  that  common  to  all 
1  Gebruik  en  Misbruik  des  Toneels,  1681,  p.  36. 


VOL'NG    WOMAN    ASLEKP. 


Pen  drawing  (Heseltine  Collection). 


Portrait  of  Rembrandt  (1660). 

(1,1,1  \ 


no 


rvs  "  were  the  result 
the  matter1  of  st 


STUDIES    FROM    HIMSELF 


'•'Xs  ^vAi'4-V 


great  masters.  His  observations  were  based  en  the  facts  before  him. 
As  his  patrons  fell  off,  he,  who  could  not  exist  without  work, 
made  use  of  the  only  models  available  for  those  exercises  he  loved 
and  diligently  pursued  until  his  death. 

Titus  was  Rembrandt's  model,   as  well    as    Hendrickje.       As    far 
as   it    is    possible   to   judge   through    the   deep   shadow   in  which    the 
contours  are  veiled,  he  it  was  who  sat  for  a  picture  in  the  Hermitage, 
painted  about    1660   (No.   825   in    the    Catalogue),    which,    in  general 
effect,  harmony,  and  style 
of    execution,    recalls    the 
beautiful  portrait  of  Bruy- 
ningh       in      the      Cassel 
Museum.       Dr.     Bredius 
further    recognises     Titus 
in    two    portraits    in     the 
Louvre  ;     one,    the     very 
expressive     study     of     a 
pale,    olive  -  complexioned 
young  man,  of  aristocratic 
appearance,    with    an    air 
of    dignified    melancholy  ; 
the  other  a  broad,  sketchy 
work,    in   the   Lacaze  col- 
lection,  remarkable  for  the 
vivid  frankness  of  the  high 
lights.      The  likeness  be- 
tween the  two,  however,  seems  to  us  very  slight,  and  the  sitter  in  both 
considerably  older  than  Titus  in    1667  or  1668,  the  approximate  date 
of  the  two  portraits. 

As  for  those  studies  of  himself  which  Rembrandt  had  laid  aside 
during  his  brief  period  of  popularity,  they  become  more  and  more 
numerous  with  advancing  age.  Two  almost  similar  portraits,  one 
in  the  Uffizi,  the  other  in  the  Belvedere,  were  painted  about  1658, 
and  represent  the  master  nearly  full  face,  in  his  working  dress : 
a  cap,  and  a  loose  brown  tunic,  held  to  the  figure  by  a  scarf,  into 


I'EN    SKETCH    HEIGHTESKD    WITH    SEl'IA. 


(Seymour-Haden  Collection.) 


I4o  REMBRANDT 

which  his  hands  are  thrust.  Two  other  portraits  of  Rembrandt, 
one  belonging  to  Lord  Ellesmere,  the  other  to  Lady  Wallace,  are 
marked  by  the  .same  expression  of  melancholy.  The  more  austere 
portrait  of  1660,  in  the  Louvre,  which  we  reproduce,  is  perhaps 
even  more  characteristic.  It  shows  the  master  at  his  work,  in  a 
loose  gown  of  cheap  material,  and  a  white  night-cap.  His  face  is 
unshaved,  his  hair  has  become  gray  and  scanty.  Standing  by  his 
easel,  palette  and  brushes  in  hand,  he  studies  his  model,  fixing  the 
forms  and  colours  before  him  on  his  memory.  In  that  keen, 
searching  gaze,  we  divine  the  artist,  accustomed  to  note  the  most 
fugitive  shades  of  expression  in  a  human  face,  and  the  infinite 
modifications  of  light.  He  has  accumulated  knowledge  and  ex- 
perience without  prejudice  to  his  perfect  sincerity.  Absorbed  in  the 
problem  before  him,  and  temporarily  oblivious  of  his  sufferings,  he 
finds  calm  and  refreshment  in  his  task.  Once  more  he  tastes  the 
delight  of  creation.  Shattered  by  adversity,  his  one  desire  is  for 
some  quiet  corner  in  which  at  least  he  may  work. 

His  art  was,  in  fact,  the  sole  direction  in  which  he  showed  him- 
self practical  and  clear-sighted,  and,  recognising  this,  those  who  loved 
him  conspired  together  to  mark  out  his  life  and  protect  it,  and  to 
prevent  the  imprudences  and  prodigalities  into  which  he  would  again 
have  drifted  if  left  to  himself.  They  had  also  found  it  necessary  to 
shelter  him  in  some  measure  from  the  importunities  of  his  creditors. 
On  December  15,  1660,  in  the  presence  of  a  notary  and  two  witnesses, 
Hendrickje  and  Titus  entered  into  an  agreement,  one  of  the  main 
objects  of  which  was  to  ensure  Rembrandt's  future  comfort,  and 
the  tranquillity  necessary  for  his  work.  As  all  Rembrandt's  own 
earnings  were  at  the  mercy  of  his  vigilant  creditors,  Hendrickje 
had  devised  a  plan  by  which  she  hoped  to  free  him  from  their 
power.  She  and  Titus  entered  into  partnership  as  dealers  in 
pictures,  engravings,  and  curiosities,  a  business  she  had  already 
started  some  two  years  before.  Each  partner  agreed  to  embark 
his  whole  fortune  in  the  venture,  and  each  was  to  be  part  pro- 
prietor of  the  stock-in-trade,  and  to  make  an  equal  division  of  profit 
and  loss,  But,  "as  it  was  indispensable  that  the  partners  should 


FAMILY   ARRANGEMENTS  141 

have  the  help  and  advice  of  a  third  person,  and  as  none  was  so 
capable  of  directing  them  as  Rembrandt,"  it  was  further  agreed 
that  he  should  live  with  them,  receiving  board  and  lodging  in 
return  for  his  services.  He  was  to  reserve  nothing  he  might 
possess  at  that  or  any  future  time,  and  was  further  to  bind  him- 
self never  to  make  any  claim  upon  the  profits  of  the  partnership. 
In  consideration  of  which,  Titus  agreed  to  allow  him  950  florins 
and  Hendrickje  800  florins,  which  sums  he  promised  to  return  as 
soon  as  he  should  earn  sufficient  by  his  own  work. 

In  this  combination,  which  placed  the  partners  on  a  footing  of 
absolute  equality,  Rembrandt  was  treated  as  the  child  he  had  shown 
himself  to  be  in  money-matters.  He  had  become  the  ward,  for 
whom  Titus  and  Hendrickje  undertook  to  administer  the  common 
property.  It  may  be  supposed  that  an  agreement  so  obviously 
aimed  at  the  interests  of  the  creditors  was  not  complaisantly 
accepted  by  them  ;  they  made,  in  fact,  repeated  claims  and 
demands.  It  seems  unlikely,  moreover,  that  the  business  can  have 
been  very  lucrative.  The  country  was  more  or  less  exhausted  by 
the  war  with  England  ;  the  truce  was  generally  believed  to  be 
but  temporary,  and  the  times  were  hardly  favourable  for  dealers 
in  luxuries.  As  Dr.  Bredius  has  shown  in  his  interesting  study- 
on  the  traffic  in  works  of  art  during  the  seventeenth  century,1  many 
of  the  great  art-dealers  of  this  period  ended  their  days  in  bankruptcy 
and  poverty.  But  it  is  very  probable  that  Titus  and  Hendrickje 
had  learnt  caution  from  former  disaster,  and  avoided  speculations 
involving  large  risks,  contenting  themselves  chiefly  with  the  sale 
of  Rembrandt's  own  works,  notably  his  etchings.  Although 
Rembrandt's  inventory  of  1656  was  a  fairly  circumstantial  one,  we 
find  no  mention  in  it  of  any  of  the  copper  plates  of  his  etchings. 
Some,  no  doubt,  had  been  sold  to  dealers  ;  but  it  is  not  improbable 
that  he  kept  a  good  many,  either  to  finish,  or  re-touch,  and  that 
these  were  not  included  in  the  sale  of  1658.  Amateurs  were 
beginning  to  appreciate  his  etchings  ;  famous  collections  of  them 
were  formed,  and  the  various  states  often  fetched  considerable  prices, 
1  Amsterdamsch  Jaerboekje,  voor  Geschiedenis  en  Letteren.  1891. 


142 


REMBRANDT 


which  were  determined,  perhaps,  rather  by  their  rarity,  than  by  their 
artistic  merit.  It  is  doubtless  to  this  traffic  that  Houbraken  refers, 
in  the  statement  that  Titus  was  in  the  habit  of  travelling  about 
carrying  his  father's  etchings  for  sale,  a  statement  the  author  makes 
the  text  for  a  further  denunciation  of  Rembrandt's  avarice.  We 
may  ask  with  Vosmaer  :  "  What  possible  disgrace  could  attach  to 
such  a  commerce  ? "  The  profits  of  these  sales  sufficed  for  the 
maintenance  of  the  little  family,  and  Rembrandt,  free  from  anxiety 
on  this  score,  was  once  more  able  to  devote  himself  entirely  to  his 
art.  His  powers  had  reached,  if  possible,  more  perfect  development 
by  means  of  the  numerous  disinterested  studies  of  the  last  two 
years,  and  he  was  about  to  signalise  the  close  of  his  career  by 
new  masterpieces. 


THE    HOLY    WOMEN    ON   CALVARV. 

Pen  drawing  (Stockholm  Print  Room). 


I'KN    DRAWING    OF    A    LANDSCAPE. 

(Duke    of    Devonshire's    Collection.) 


CHAPTER  VI 

REMBRANDT'S  RETIRED  AXD  LABORIOUS  LIFE   (1661)— 'SAINT   MATTHEW  AND  THK 
ANGEL' — 'VENUS    AND    CUPID' — 'THE    CONSPIRACY     OF     CLAUDIUS     CIVILIS'- 
PICTURES    OF    THE    CIVIC    C.UII.DS    IN    HOLLAND — THE    '  SYNDICS    OF    THE    CLOTH 
HALL' — THE  UNITY  OF   THE    LITTLE  FAMILY— STUDIES   AND    PORTRAITS  OF   THIS 

PERIOD. 


THE!  year  1661  is  one  of  the  most  prolific 
in  Rembrandt's  career.  It  was  marked 
by  the  production  of  one  supreme  work, 
and  of  several  which  are  important,  This 
fertility  bears  witness  to  the  energy  with 
which  he  had  returned  to  his  labours.  He 
established  himself  this  year  in  a  house  on  the 
Rozengracht,  where  he  remained  till  1664.  It 
was,  at  the  time,  a  comparatively  unfrequented 
quarter,  where  the  master,  no  doubt,  had  been 
able  to  find  a  suitable  domicile  at  a  reasonable 

cost.      Land    was    cheap   in    this    district,    and    immediately    opposite 
Rembrandt's  house,  David  Lingelbach  of  Frankfort,  father  of  the  well- 


SMALL     HEAD    OF    REMBRANDT 
STOOPING. 

About  1630  (B.  5). 


,44  REMBRANDT 

known  painter,  Johannes  Lingelbach,  had  laid  out  one  of  those  pleasure- 
gardens  then  popular  under  the  name  of  Labyrinths  (Doolhof]. 
Lingelbach  was  an  enterprising  and  industrious  person,  and  had 
already  started  a  New  Labyrinth,  known  as  The  Orange  Tree,  in  1636, 
on  the  Loiersgracht,  a  neighbouring  quay,  where  he  offered  greater 
attractions  than  any  of  his  predecessors  had  been  able  to  collect. 
Among  these  were  mechanical  set  pieces,  such  as  Orpheus  charming 
(he  Beasts,  surprise  fountains,  and  monumental  fountains,  such  as 
The  Samaritan  Woman  and  the  Sei'cn  Provinces,  natural  curiosities  of 
every  kind,  strange  animals,  alive  or  stuffed,  patriotic  groups, 
satirical  representations,  such  as  the  Procession  of  the  Ommcgang, 
grottoes,  flower-beds,  and  various  other  spectacles  for  the  attraction  of 
visitors,  who  brought  their  families  to  these  establishments  to  see  the 
sights,  enjoy  the  music,  and  partake  of  refreshments.1 

Lingelbach  opened  the  Labyrinth  on  the  Rozetlgracht  in  February, 
1648.  It  occupied  a  considerable  space,  and  had  involved  the  purchase 
oi  two  large  gardens,  and  several  adjoining  houses.  But  the  amuse- 
ments of  such  a  place  were  little  to  Rembrandt's  taste,  as  we  know, 
and  he  was  now  less  inclined  than  ever  for  such  distractions.  He 
had  no  money  to  spend  at  sales,  or  in  the  shops  of  art- dealers,  and 
when  he  made  up  his  mind  to  leave  his  studio,  he  generally  turned  his 
steps  towards  the  country,  which  was  easy  of  access  from  this  quarter 
of  the  town.  Here  he  found  a  variety  of  excursions,  along  the 
ramparts  and  canals,  and  in  outlying  suburbs,  clotted  here  and  there 
with  laundries  and  windmills.  His  sedentary  habits,  however,  were 
more  confirmed  than  ever,  and  he  rarely  left  the  shelter  of  his 
roof.  The  friends  who  were  willing  to  seek  him  out  in  the 
Rozengracht  were  few,  and  his  work  was  very  seldom  interrupted. 
But  he  had  no  lack  of  occupation. 

Among  the  pictures  he  painted  at  this  period,  the  first  in  order 
is  a  Circumcision  at  Althorp,  which  Smith  describes  in  his  Catalogue 

1  See  Mr.  N.  do  Roever's  interesting  article  in  Oud-Holland  (vi.  103-112)  on  the 
successive  Labyrinths  laid  out  at  Amsterdam.  These  pleasure-gardens  were  the  fore- 
runners of  the  magnificent  zoological  gardens  now  established  at  Amsterdam  and 
Antwerp. 


"VENUS    AND   CUPID"  ,45 

raisonnt  (No.  69)  as  "an  admirably  finished  study,  remarkably  brilliant 
and  effective  .  .  .  dated  1661,"  while  Dr.  Bode,  who  was  unable 
to  decipher  the  date,  declares  it  to  be  a  sketch-like  composition, 
painted  in  the  bright,  high  tones,  and  fluid  manner  afterwards  adopted 
by  Rembrandt's  pupil,  Aert  de  Gelcler.  The  ceremony  takes  place 
in  a  vast  building,  the  light  falling  full  on  the  seated  Virgin,  with  the 
Infant  Jesus  in  her  lap,  and  on  the  kneeling  High  Priest,  who  wears  a 
brilliant  yellow  mantle.  In  the  background,  as  in  the  etching  of  1654 
(B.  47),  a  group  of  spectators  lean  forward  to  watch  the  operation, 
and  some  cattle  in  stalls  are  distinguishable  beyond. 

The  Saint  Mattheiu  and  the  Angel  in  the  Louvre  dated  1661,  is  a 
more  elevated  composition.  The  apostle's  face,  it  is  true,  lacks  nobility. 
His  features  are  coarse,  his  dress  poor,  and  the  harmony  of  the 
brown  garment,  the  gray  cap,  and  the  rather  strong  flesh  tints,  is 
neither  rich  nor  distinguished.  The  handling  is  harsh  and  abrupt, 
even  coarse  at  times,  but  here  and  there  we  note  those  subtleties 
of  expression  peculiar  to  Rembrandt.  The  idea — that  of  divine 
inspiration  breathed  into  a  human  soul — seems  almost  impossible 
of  concrete  realisation,  and  wholly  beyond  the  resources  of  painting. 
Yet  Rembrandt  has  succeeded  in  rendering  it  with  unrivalled  clarity 
and  eloquence.  Seated  at  his  table,  the  old  man  becomes  conscious 
of  the  presence  of  the  divine  messenger,  who  visits  him  in  his 
retreat.  The  angel  draws  near,  laying  his  hand  gently  on  the 
apostle's  shoulder,  and  placing  his  lips  to  his  ear.  The  saint  presses 
his  withered  hand  to  his  breast,  as  if  in  the  rapture  of  divine  inspiration. 
He  seems  to  gaze  fixedly  into  space  at  things  unspeakable  that  rise 
before  him  ;  he  sees  the  events  he  will  presently  transcribe  at  the 
angel's  bidding. 

We  feel  some  diffidence  in  passing  from  this  picture  to  another 
canvas  in  the  Louvre,  the  Venus  and  Cupid  of  about  the  same  date, 
which  Dr.  Bode,  rightly  as  we  think,  conjectures  to  be  a  study  of 
Hendrickje  with  her  child,  the  little  Cornelia.  The  apparent  ages 
of  the  two  figures,  and  the  type  of  the  Venus  support  his  assump- 
tion. But  Hendrickje,  if  Hendrickje  it  be,  has  grown  stouter  ;  her 
contours  have  lost  their  youthful  grace,  and  the  peevish-looking  Cupid 

VOL.   II.  L 


146 


REMBRANDT 


by  her  side  has  no  more  of  distinction  than  his  mother.  But  for 
the  wings  set  awkwardly  on  his  shoulders,  it  would  be  hard  to  divine 
the  very  unfortunate  title  of  the  picture,  against  which  the  unmis- 
takably Dutch  character  of  the  forms,  types  and  accessories  seems 
to  enter  a  vigorous  protest.  Once  more  we  recognise  the  master's 
shortcomings  as  a  painter  of  mythological  subjects.  But  if  we  set 

aside  the  legend,  with 
which  the  characters  have 
evidently  no  connection, 
and  take  the  picture 
merely  as  a  conception 
of  maternal  love,  it  is 
full  of  tenderness  and 
charm  ;  we  forget  the 
incongruity  of  the  sup- 
posed theme,  in  admira- 
tion of  the  mother's  loving 
expression,  the  gentleness 
with  which  she  consoles 
the  child,  and  the  deep 
mutual  affection  of  the 
pair.  The  Young  Woman 
at  the  Window  in  the 
Berlin  Gallery  (No.  828 
b.),  must  have  been 


Yot-'NG  WOMAN*  AT  A  WINDOW. 


About  1665  (Berlin  Museum). 


painted  at  about  the 
same  period.  Dr.  Bode, 
it  is  true,  hesitates  to  ac- 
cept this  as  a  portrait  of  Hendrickje  such  as  Rembrandt  painted  her 
in  the  Portrait  of  the  Salon  Carrt.  But  the  resemblance  between 
the  Berlin  model  and  the  Venus  seems  to  us  very  striking,  and  their 
ages  appear  to  be  the  same.  The  Young  Woman  at  the  Windoiv 
is  perhaps,  if  anything,  a  trifle  younger.  Hendrickje  has  become 
stouter,  and  broader ;  the  double  chin  is  now  apparent,  but  she 
is  still  fresh  and  attractive.  Her  somewhat  fanciful  costume  is  very 


REMBRANDT    IN    RETIREMENT 


tasteful  ;  she  wears  a  red  mantle  trimmed  with  fur  over  a  white 
under-dress,  a  cap  striped  with  broad  bands  of  gold,  pearl  earrings 
and  bracelets,  and  a  gold  ring  hanging  by  a  black  ribbon  at  her 
breast.  But  the  easy  negligence  of  the  pose,  and  the  low  chemisette 
which  partly  reveals  the  neck  and  bosom,  seem  to  mark  the  sitter 
as  one  who  was  on  terms  01  close  intimacy  with  the  master. 
The  bold,  free  touch  gives  us  little  clue  as  to  the  date  of  execution. 


TMK    FAITHFIL    SERVANT. 

Pen  drawing  (HontKit  Collection). 


At  this  period  Rembrandt's  handling  varies  so  perpetually  that  it 
is  impossible  to  draw  anything  but  approximate  conclusions  from  the 
character  of  his  work,  which  in  one  picture  is  rough,  hasty  and 
impulsive,  in  another  sedate  and  careful,  according  to  his  changing 
mood. 

Neglected  as  he  now  was,  the  master  still  retained  a  few  constant 
friends.  Of  this  we  find  evidences  in  two  very  important  commissions 
of  this  period.  One  of  these  works,  or  rather  a  fragment  of  the 

L  2 


148 


REMBRANDT 


original,  is  in  the  Stockholm  Museum.  The  subject  long  exercised 
the  sagacity  of  critics,  and  has  recently  been  determined  by  the 
discovery  of  a  document  in  which  reference  is  made  to  it.  The  scene 
as  represented  in  the  mutilated  picture  is  certainly  somewhat  obscure. 
Round  a  table  lighted  by  a  blazing  torch  are  grouped  ten  life-size 
figures.  To  the  left,  facing  the  spectator,  sits  their  chieftain,  to  whom 
they  appear  to  be  swearing  obedience,  brandishing  aloft  their  swords 
and  drinking-cups.  The  leader,  who  wears  a  sort  of  high  tiara,  re- 
sponds by  holding  up  his  own  blade.  He  is  a  man  of  imposing 
appearance  and  grave  demeanour,  apparently  blind  of  one  eye. 
Both  he  and  his  companions  wear  rich  dresses,  which  ate,  however, 
not  sufficiently  distinctive  to  give  any  hint  as  to  the  episode  repre- 
sented. 

Who  are  these  warriors,  and  for  what  mysterious  purpose  are 
they  assembled  ?  Various  solutions  have  been  proposed  from  time 
to  time,  but  none  of  a  very  convincing  character.  Noting  that  the 
leader  is  represented  as  one-eyed,  some  writers  supposed  him  to 
be  John  Ziska.  But  we  know  how  rarely  Rembrandt  sought 
inspiration  in  modern  history,  and  it  was  difficult  to  believe  that 
he  could  have  chosen  a  theme  so  fantastic,  and  so  alien  to  the 
artistic  conceptions  of  himself  and  his  compatriots.  This  hypothesis 
was  accordingly  abandoned,  and  a  solution  was  sought  for  in  the 
Scriptures,  Rembrandt's  perennial  source  of  inspiration.  It  came 
to  be  very  generally  accepted  that  the  theme  was  taken  from  the 
Book  of  the  Maccabees,  and  that  the  artist  intended  to  represent 
either  Mattathias  and  his  sons  swearing  to  defend  their  faith 
against  the  persecutors,  or  the  meeting  of  Judas  Maccabseus  and 
his  brothers  before  their  encounter  with  the  troops  of  Antiochus. 
In  later  times,  Professor  K.  Madsen  suggested  The  Founding  of 
the  Kingdom  of  Sweden  by  Odin.1  The  wide  diversity  of  these 
opinions  shows  their  inconclusiveness.  On  a  personal  examination 
of  the  work,  though  I  could  arrive  at  no  solution  which  satisfied 
me  as  to  the  subject,  I  was  persuaded  that  the  canvas  had  been 
mutilated  much  after  the  same  fashion  as  the  Night  Watch,  though 
1  Studierjra  Swerig,  by  K.  Madsen.  i  vol.  8vo.  Copenhagen.  1892. 


"THE   CONSPIRACY   OF  CLAUDIUS    CIVILIS  "  149 

I  little  imagined  to  what  an  extent.  It  is  now  known  that  the  Stock- 
holm picture,  large  as  it  is — it  measures  rather  over  six  by  ten  feet — is 
only  a  fragment,  equal  in  surface  to  about  a  quarter  of  the  original. 
Our  facsimile  of  a  drawing  in  the  Munich  Print  Room  will  give  some 
idea  of  the  primitive  work  and  its  dimensions.  This  drawing,  to 
which  attention  has  already  been  drawn  in  the  Stockholm  Catalogue, 
though  it  gives  the  composition  in  its  entirety,  affords  no  clue  as 
to  the  subject.  It  was  reserved  for  Mr.  de  Roever  to  solve  the 
much  discussed  problem,  which  he  does  in  a  recent  number  of  the 
valuable  journal  of  which  he  is  joint-editor.1 

•  The  learned  archivist  had  been  struck  by  a  passage  in  a 
Description  of  Amsterdam,  published  by  Melchior  Fokkens  in  1662, 
in  which  mention  is  made  of  a  picture  in  one  of  the  angles  of  the  great 
gallery  in  the  Town  Hall,  now  the  Royal  Palace,  representing  The  Mid- 
night Banquet  of  Claudius  Civilis,  at  which  he  persuaded  the  Batauians 
to  throw  off  the  Roman  Yoke.  "  The  subject  of  this  picture,"  adds 
Fokkens,  "was  one  Rembrandt  had  treated."  We  know  further, 
from  a  document  already  referred  to  in  connection  with  the  advance 
made  by  Jan  Six  to  Rembrandt,  that  Lodewyk  van  Ludik, 
Rembrandt's  security,  received  from  the  artist,  in  August,  1662,  a 
deed,  by  which  it  was  agreed  that  the  half  of  Rembrandt's 
earnings  up  to  January  i,  1663,  should  be  devoted  to  paying  off 
the  loss  of  1082  florins  incurred  by  Lodewyk  through  this  transaction. 
It  further  provided  that  Van  Ludik  should  be  entitled  to  a 
quarter  of  the  price  paid  to  Rembrandt  "  for  a  picture  painted  for 
the  Town  Hall."  Thanks  to  M.  de  Roever's  collation  of  these 
statements,  and  to  the  evidence  afforded  by  the  Munich  drawing, 
it  is  now  possible  to  reconstruct  the  original  composition,  and  to 
determine  its  subject.  In  the  place  indicated  by  Fokkens  in  the 
great  gallery  of  the  Palace  is  still  to  be  seen  an  immense  picture 
hanging  very  high  up,  in  a  dark  corner,  which  might  perhaps  for 
a  moment  be  mistaken  for  the  work  of  Rembrandt.  But  the  test 

1  Een  Rembrandt  opt  Stadhuis  ;  Oud-Holland,  ix.  p.  296.  See  also  an  article  in  the 
Nederlandsche  Spectator,  April,  1892,  in  which  the  question  is  admirably  summed  up  by 
Mr.  Cornelis  Hofstede  de  Grote. 


1 5o  REMBRANDT 

of  the  electric  light  has  revealed  the  fact  that  this  mediocre  and 
coarsely  executed  picture  was  substituted  for  that  of  Rembrandt, 
as  indeed  Zesen  informs  us  in  his  Description  of  Amsterdam 
(1663).  No  doubt  Rembrandt,  bearing  in  mind  the  destination  of 
his  canvas,  had  also  treated  his  subject  in  a  free  and  decorative 
style,  the  effect  of  which  was  unpleasant  at  close  quarters.  As  it 
did  not  find  favour  with  the  magistrates,  it  seems  not  unlikely 


i:   CONSPIRACY    UK    CLAUDH'S    CIVILIS. 

66    (Stockholm  Museum). 


that  they  ventured  on  certain  strictures  which  Rembrandt  ignored, 
and  that  the  result  was  the  rejection  of  his  picture.  It  then  became 
a  question  how  to  dispose  of  this  huge  canvas,  some  sixty-five 
feet  square,  by  far  the  largest  ever  covered  by  the  master.  In  its 
original  dimensions  it  was  hopeless  to  offer  it  to  a  private  purchaser, 
and  this  consideration,  no  doubt,  led  to  the  paring  down  of  the 
canvas  to  the  central  group,  which,  after  various  vicissitudes,  has 
found  a  resting-place  in  the  Stockholm  Gallery.1 

1  Of  its  provenance  nothing  is  known  but  that,  in  1798,  it  was  bequeathed  to  the  Fine 
Arts  Academy  at  Stockholm  by  a  certain  Dame  Peill,  nee  Grill,  whose  husband,  like 
herself,  was  of  Dutch  origin.  It  was  removed  to  the  Museum  in  1864. 


"THE   CONSPIRACY   OF   CLAUDIUS    CIVILIS"  157 

As  we  learn  from  the  accounts  01  the  Amsterdam  Treasury, 
Flinck  was  the  person  originally  entrusted  with  the  decoration  of 
this  gallery  in  the  Town  Hall,  by  virtue  of  a  contract  approved  on 


STUDY    FOR    THE    CONSPIRACY   OV    CLAUDIl'S    CIVILIS. 

(Facsimile  of  a  drawing  in  the  Munich  Print  Room). 


November  28,  I659-1  The  choice  of  The  Conspiracy  of  Claudius 
Civilis  as  one  of  the  episodes  to  be  treated  is  readily  explained  by 
the  part  the  hero  had  played  in  the  Batavian  revolt,  and  by  the 

1  The  scheme  of  decoration  comprised  twelve  pictures  to  be  painted  in  six  years,  at 
1,000  florins  each.     See  AmsteFs  Oudheid,  II.  p.  143. 


,S2  REMBRANDT 

analogies  the  poets  of  the  day,  Vonclel  among  others,  had  drawn 
between  the  early  struggle  against  the  Roman  dominion,  and  that 
the  Princes  of  Orange  had  brought  to  a  triumphant  issue  against 
the  Spaniards.  But  Flinck's  labours  having  been  interrupted 
by  his  death  on  Feburary  22,  1660,  the  commission  for  the  picture 
of  Claudius  Civilis  was  passed  on  to  Rembrandt.  It  is  "not  unlikely 
that  the  influence  of  his  early  patron,  Dr.  Tulp,  who  held  the 
office  of  municipal  treasurer  from  1658  to  1659,  was  exercised  in  his 
behalf. 

The  earlier  designation  of  the  work  as  The  Conspiracy  of  John 
Ziska  was,  as  we  have  seen,  to  some  extent  justified  by  the  principal 
figure,  for  Ziska  was  blind  of  one  eye,  like  Civilis,  who,  according  to 
Tacitus,  gloried  in  a  defect  he  shared  with  Hannibal,  another  heroic 
enemy  of  Rome.  Rembrandt  adheres  very  closely  to  the  historian's 
text.  In  the  Munich  drawing  the  table  of  the  midnight  banquet  is 
raised  on  a  sort  of  dais  under  a  portico,  beyond  which  we  dimly  dis- 
cern the  branches  of  trees,  and  the  battlements  of  a  castle.  The 
principal  native  chiefs  and  nobles  who  have  rallied  round  Civilis  are 
grouped  about  the  table,  and  swear  with  him  to  throw  off  the  yoke 
of  their  oppressors.  The  broad  execution  of  the  Stockholm  picture, 
which  is  yet  sufficiently  careful  in  the  high  lights,  harmonises  with 
the  mysterious  nature  of  the  subject,  and  a  very  powerful  effect  is 
won  by  the  simplest  means.  We  recognise  the  hand  of  the  master, 
and  the  exquisite  delicacy  of  his  harmonies,  in  the  varied  play  of 
reds  and  yellows,  with  which  the  cunningly  distributed  blues  and 
greens  are  so  happily  contrasted.  The  portion  to  the  right  especially 
is  a  miracle  of  brilliance.  The  man  with  long  white  hair  in  a  cymar 
of  pale  golden  tissue,  and  the  four  figures  beside  him,  make  up  a 
colour  passage  of  inimitable  grace  and  distinction. 

We  may  find  some  solace  for  our  regrets  at  the  mutilations 
undergone  by  such  works  as  the  Night  Watch  and  the  Conspiracy 
oj  Claudius  Civilis,  in  the  perfect  preservation  of  another  canvas 
of  this  period.  Commissioned  by  the  Guild  of  Drapers,  or  Cloth- 
workers,  to  paint  a  portrait  group  of  their  Syndics  for  the  Hall  of 
the  Corporation,  Rembrandt  in  1661  delivered  to  them  the  great 


PICTURES    OF    THE    INDUSTRIAL   GUILD  ,53 

picture  which  formerly  hung  in  the  Chamber  of  the  Controllers  and 
Gaugers  of  Cloth,  at  the  Staalkof,  and  has  now  been  removed  to 
the  Ryksmuseum.  As  in  earlier  days  at  Florence,  the  wool  industry 
held  an  important  place  in  the  national  commerce  of  Holland,  and 
had  greatly  contributed  to  the  development  of  public  prosperity. 
At  Leyden,  where  the  Guild  was  a  large  and  important  company, 
we  know  that  the  Drapers  decorated  their  Hall  with  pictures  by 
Isaac  van  Swancnburch,  representing  the  various  processes  of 
cloth-making.  At  Amsterdam,  they  formed  a  no  less  conspicuous 
body,  and  an  admirable  work,  also  in  the  Ryksmuscum,  painted  by 
Aert  Petersen  in  1599,  has  immortalised  the  Six  Syndics  of  the 
Cloth  Hall  of  that  date.  On  this  brilliant  and  perfectly  preserved 
panel,  the  arrangement  of  the  six  figures  has,  it  is  true,  a  somewhat 
accidental  appearance,  and  evidently  cost  the  artist  little  trouble. 
But  the  frankly  modelled  heads  have  a  startling  energy  and 
individuality,  notably  that  of  the  central  figure,  a  middle-aged  man 
with  grizzled  hair,  and  a  face  of  remarkable  intelligence  and  decision. 
The  following  inscription  on  the  panel  sums  up  in  few  words  the 
duties  of  the  administration  :  "  Conform  to  your  vows  in  all  matters 
clearly  within  their  jurisdiction  ;  live  honestly ;  be  not  influenced 
in  your  judgments  by  favour,  hatred,  or  personal  interest."  Such 
a  programme  of  loyalty  and  strict  justice  was  the  foundation  of 
Dutch  commercial  greatness.  The  model  traders  of  Holland  com- 
bined with  their  perfect  integrity  a  spirit  of  enterprise  which  led 
them  to  seek  distant  markets  for  their  produce,  and  a  tenacity  which 
ensured  the  success  of  the  hazardous  expeditions  they  promoted. 
They  brought  the  qualities  they  had  acquired  in  the  exercise  of 
their  calling  to  bear  upon  their  management  of  public  business, 
and  it  was  not  unusual  for  the  most  prominent  among  them,  who 
had  proved  their  capacity  in  the  administration  of  their  various 
guilds,  to  be  elected  councillors  and  burgomasters  by  their  fellow- 
citizens,  or  to  undertake  the  management  of  those  charitable  institu- 
tions which  abounded  in  all  the  Dutch  towns.  As  was  the  custom 
among  the  military  guilds,  which  gradually  declined  as  the  civic  cor- 
porations increased  in  importance,  it  became  a  practice  among  the 


'54 


REMBRANDT 


latter  to  decorate  their  halls  with  the  portraits  of  their  dignitaries. 
Whatever  the  character  of  the  Company,  the  manner  of  representa- 
tion differed  little  in  these  portraits.  Save  in  the  case  of  the 
Anatomy  Lessons,  painted  for  the  guilds  of  Physicians  and  Surgeons, 
or  some  few  awkwardly  rendered  episodes  inspired  by  the  distribu- 
tion of  alms  to  the  aged  and  the  orphaned,  the  painters  of  these 

compositions  contented 
themselves  with  arrang- 
ing their  patrons  round 
a  table,  making  no  at- 
tempt to  characterise 
them  by  any  sort  of 
accessory.  The  balanc- 
ing of  accounts,  an 
operation  common  to  all 
the  Companies,  had  be- 
come a  favourite  motive 
in  such  groups.  The 
administrators  would  ap- 
pear seated  at  a  table, 
covered  with  a  cloth, 
busily  verifying  their  ac- 
counts, and  the  contents 
of  their  cash-boxes,  and 
explaining,  with  gestures 
more  or  less  expressive, 
that  all  was  in  order, 

and  that  they  had  faithfully  fulfilled  their  trust.  In  the  back- 
ground, standing  apart  with  uncovered  heads,  some  subordinates 
awaited  their  pleasure,  or  aided  them  in  their  task.  Such  was 
the  trite  theme,  which  was  adapted  to  each  of  the  societies  in 
turn,  and  to  which  all  the  painters  of  corporation  groups  con- 
formed with  more  or  less  exactitude.  The  only  modifications  of 
treatment  arose  from  the  varying  degrees  of  talent  in  the  ex- 
ecutants. But  in  all  we  find  that  same  spirit  of  conscientious 


WOMAN    AT   A   WINDOW. 

Pen  drawing  washed  with  Sepia  (Hestliine  Collection). 


PICTURES  OF     THE   CIVIC   GUILDS 


'55 


exactitude  and  absolute  sincerity  which  had  brought  wealth  to  their 
models,  and  was  the  first  foundation  of  Dutch  greatness  alike  in 
commerce  and  in  art. 

Such  a  spirit  had  already  manifested  itself  in  the  Regents  of  the 
Asylum  for  the  Aged,  by  Cornelis  van  de  Voort,  and  in  the  pictures 
of  Werner  van  Valckert,  an  artist  who  had  won  a  well-deserved 
reputation  by  his  studies  of  life  in  the  Municipal  Orphanage,  and  who 


THE    I'KINSENdKACHT    AND    THK    WKSTKKK  KKK. 

(Near    the    Rozengraclit,    Rembrandt's    later    home. 
(Drawing  by  Boudier    after  a  photograph.) 


painted  a  portrait-group  of  The  Four  Syndics,  of  the  Mercers  Guild, 
in  1622.  In  the  hands  of  Thomas  de  Keyser  and  Nicolaes  Elias  the 
genre  had  reached  its  full  development.  Proclaimed  their  painter  in 
ordinary  by  the  leading  citizens  of  Amsterdam,  Elias  was  commissioned 
in  1626  to  paint  the  Regents  of  the  Guild  of  Wine  Merchants,  and  in 
1628  produced  his  fine  work,  The  Regents  of  the  Spinhuis.  Santvoort 
in  his  turn — though  his  talents  lay  chiefly  in  the  direction  of  female 
portraiture — displayed  his  powers  very  creditably  in  his  Four  Regents  of 
the  Serge  Hall  of  1643,  a  serious  and  well-considered  work,  finely 


156  REMBRANDT 

modelled,  and  very  characteristically  treated.  But  to  Haarlem  belongs 
the  honour  of  having  produced  the  finest  corporation  picture  executed 
before  Rembrandt's  masterpiece.  Too  much  stress  has  perhaps  been 
laid  on  the  manifestation  of  his  influence  in  Frans  Hals'  Regents 
of  the  Hospital  of  St.  Elizabeth,  painted  in  1641.  The  Haarlem 
master  may,  we  think,  justly  la)-  claim  to  the  full  glory  of  his  achieve- 
ments. As  if  grateful  in  anticipation  for  the  succour  he  was  afterwards 
to  receive  from  his  models,  Hals  here  combines  with  the  magnificent 
technique  usual  in  his  works,  a  precision  and  dignity  to  which  he  had 
never  before  attained. 

At  this  period,  Dutch  art  had  reached  'its  apogee,  and  corpora- 
tion pictures  were  beginning  to  show  symptoms  of  decline.  The 
unquestionable  talent  of  Ferdinand  Bol,  one  of  Rembrandt's  best 
pupils,  had  not  preserved  him  from  a  certain  mannerism  in  his 
Regents,  of  the  Asylum  for  the  Aged,  dated  I65/.1  The  six  persons 
are  seated  in  the  usual  manner  round  a  table.  The  heads  are 
somewhat  round  and  soft  in  the  modelling,  and  have  little  of  the 
strong  individuality  that  impresses  us  in  the  works  of  Bol's  pre- 
decessors. The  composition  is  lacking  in  simplicity,  and  the  painter's 
anxiety  to  give  variety  to  the  attitudes  is  somewhat  distractingly 
obvious.  Each  figure  seems  to  claim  exclusive  attention,  and  this 
neglect  of  artistic  subordination  injures  the  unity  of  the  com- 
position, though  it  was  indeed  one  of  the  main  causes  of  Bol's  success, 
for  each  model  was  flattered  by  the  importance  of  his  own  figure  in 
the  group. 

Such  were  the  most  important  productions  in  this  genre,  when 
Rembrandt  was  commissioned  to  paint  his  group  of  Syndics.  It  is  not 
unlikely  that  Van  de  Cappelle  had  used  his  influence  on  the  master's 
behalf.  He  was  on  terms  of  friendship  with  Rembrandt  at  this  period, 
and  had  dealings  with  most  of  the  principal  Drapers,  in  connection  with 
his  dye-works.  It  is  therefore  possible  that  he  recommended  the 
master  to  their  patronage.  On  this  occasion  Rembrandt  made  no 
attempt  to  vary  traditional  treatment  by  picturesque  episode,  or  novel 
method  of  illumination,  as  in  the  case  of  the  Night  Watch.  As  Dr. 

1  He  was  afterwards  himself  a  Regent  of  the  institution. 


"THE    SYNDICS    OF    THE    CLOTH    HALL"  157 

Bredius  remarks :  "  He  recognised,  no  doubt,  that  such  experi- 
ments were  far  from  grateful  to  his  patrons,  or  it  may  be  that 
they  themselves  made  certain  stipulations  which  left  him  no  choice 
in  the  matter." '  Be  this  as  it  may,  Rembrandt  accepted  the 
convention  of  his  predecessors  in  all  its  simplicity.  The  five 
dignitaries  of  the  Corporation  are  ranged  round  the  inevitable 
table,  prosaically  occupied  in  the  verification  of  their  accounts 
They  are  all  dressed  in  black  costumes,  with  flat  white  collars, 
and  broad-brimmed  black  hats.  Behind  them,  and  somewhat  in 
the  shadow,  as  befits  his  office,  a  servant,  also  in  black,  awaits 
their  orders  with  uncovered  head.  The  table-cloth  is  of  a  rich 
scarlet  ;  a  wainscot  of  yellowish  brown  wood,  with  simple  mouldings, 
forms  the  background  for  the  heads.  No  accessories,  no  variation  in 
the  costumes  ;  an  equally  diffused  light,  falling  from  the  left  on  the 
faces,  which  are  those  of  men  of  mature  years,  some  verging  on  old 
age.  With  such  modest  materials  Rembrandt  produced  his  masterpiece. 
At  the  first  glance,  we  are  fascinated  by  the  extraordinary  reality 
of  the  scene,  by  the  commanding  presence  and  intense  vitality  of  the 
models.  They  are  simply  honest  citizens  discussing  the  details  of 
their  calling  ;  but  there  is  an  air  of  dignity  on  the  manly  faces  that 
compels  respect.  In  these  men,  to  whom  their  comrades  have  en- 
trusted the  direction  of  their  affairs,  we  recognise  the  marks  of  clean 
and  upright  living,  the  treasures  of  moral  and  physical  health  amassed 
by  a  robust  and  wholesome  race.  The  eyes  look  out  frankly  from 
the  canvas :  the  lips  seem  formed  for  the  utterance  of  wise  and 
sincere  words.  Such  is  the  work,  but,  contemplating  it,  the  student 
finds  it  difficult  to  analyse  the  secret  of  its  greatness,  so  artfully  is  its 
art  concealed.  Unfettered  by  the  limitations  imposed  on  him,  the 
master's  genius  finds  its  opportunity  in  the  arrangement  of  the 
figures,  and  their  spacing  on  the  canvas,  in  the  slight  inflection  of 
the  line  of  faces,  in  the  unstudied  variety  of  gesture  and  attitude, 
in  the  rhythm  and  balance  of  the  whole.  An  examination  of  the 
various  details  confirms  our  admiration.  We  note  the  solid  structure 
of  the  heads  and  figures,  the  absolute  truth  of  the  values,  the 
1  Les  Chefs-ctctuvre  du  Musee  d 'Amsterdam,  p.  26. 


iS8  REMBRANDT 

individual  and  expressive  quality  of  each  head,  and  their  unity 
one  with  another.  Passing  from  the  drawing  to  the  colour,  our 
enthusiasm  is  raised  by  the  harmony  of  intense  velvety  blacks  and 
warm  whites  with  brilliant  carnations,  which  seem  to  have  been 
kneaded,  as  it  were,  with  sunshine ;  by  the  shadows  which  bring 
the  forms  into  relief  by  an  unerring  perception  oi  their  surfaces  and 
textures ;  and,  finally,  by  the  general  harmony,  the  extraordinary 
vivacity  of  which  can  only  be  appreciated  by  comparing  it  with  the 
surrounding  canvases. 

The  execution  is  no  less  amazing  in  its  sustained  breadth  and 
sobriety.  As  Fromentin  justly  observes:  "The  vivid  quality  of 
the  light  is  so  illusory  that  it  is  difficult  to  conceive  of  it  as 
artificial."  "  So  perfect  is  the  balance  of  parts,"  he  acids,  "  that 
the  general  impression  would  be  that  of  sobriety  and  reticence, 
were  it  not  for  the  undercurrent  of  nerves,  of  flame,  of  impa- 
tience, we  divine  beneath  the  outwardly  calm  maturity  of  the 
master."  No  criticism  could  be  more  admirable,  save  for  the 
terms  "nerves"  and  "impatience,"  which  seem  to  me  to  be 
peculiarly  inappropriate.  I  appeal  to  all  students  of  this  great  work, 
in  which  there  is  not  the  slightest  trace  of  precipitation  or  negli- 
gence, in  which  the  "flame"  is  the  steady  fire  of  an  inspiration 
perfectly  under  control. 

That  phase  ot  Rembrandt's  development  in  which  he  had 
yielded  an  almost  slavish  obedience  to  Nature  had  long  passed  away  ; 
but  his  assurance  has  none  of  the  bravura  of  a  virtuoso  making  a 
display  of  his  proficiency.  His  is  the  strength  that  possesses  its 
soul  in  patience,  and  attains  its  end  without  haste  or  hesitation. 
Never  before  had  he  achieved  such  perfection ;  never  again  was 
he  to  repeat  the  triumph  of  that  supreme  moment  when  all  his 
natural  gifts  joined  forces  with  the  vast  experiences  of  a  life 
devoted  to  his  art,  in  such  a  crowning  manifestation  of  his 
genius.  Brilliant  and  poetical,  his  masterpiece  was  at  the  same 
time  absolutely  correct  and  unexceptionable.  Criticism,  which  still 
wrangles  over  the  Night  Watch,  is  unanimous  in  admiration  of 
the  Syndics.  In  it  the  colourist  and  the  draughtsman,  the  simple 


FAMILY   LIFE  IS9 

and   the    subtle,  the   realist  and   the    idealist,    alike   recognise  one  of 
the   masterpieces  of  painting. 

We   know  not  how  the  work  was  received.      But  the  absence  of 
any  evidence  to  the  contrary  seems  to  prove  that  it  made  no  great 
impression   on    Rembrandt's  contemporaries.     Its   virile  art  was  little 
suited   to  the  taste  of  the  clay  ;   an  enamelled  smoothness  of  surface, 
and    elaborate    minuteness   of    treatment    alone    found   favour.     The 
master's    broad    and    liberal    manner    must    have    seemed    a    direct 
challenge  to  his   contemporaries.     At   Rembrandt's  age,    and    in    the 
conditions  under  which  he  was  living-,  it  was  impossible  that  he  should 
long    sustain     the    high    level    of    excellence  he  had  reached   in    the 
Syndics.      Proud  and  independent  as  he  had  remained  in  his  poverty, 
he    cared   little   for    popular  judgment.      His    life    became    more    and 
more    retired.      In    the    district    where    he  was  now  established,  his 
patient  industry  and  the   decorum    of   his    household    had    gradually 
won   the   sympathy    of   those    about    him.     Hendrickje's    affectionate 
solicitude   for   Titus,   no  less  than    for   Cornelia,   gave   colour  to    the 
assumption    that     both     were    her    children  ;  she    herself    passed    for 
Rembrandt's    lawful    wife.      In   the    early  days    of    their    liaison,    that 
liaison  had  caused  scandal.      In  the  inventory  of  Clement  de  Jonghe's 
effects,    dated    February    11,    16/9,   the  etchings  in   his  possession    at 
the   time  of    his  death    were — as    has    been    said    before — catalogued 
under  the   titles  by    which   they  were  then  commonly  known.     One 
of  these  appears  as  No.  47,  Rembrandt's  Concubine.      It  was  probably 
one    of   those    studies  of  naked  women  already  described,    of  which 
the  master  produced  yet  another  example  in  1661,  the  Woman  with 
the  Arrow  (B.   202),  a  more  carefully  executed  plate  than  the  earlier 
essays.     The  preliminary  sketch,  a  pen  drawing  washed  with  sepia,  is 
in  the  British  Museum.      Hendrickje  was,  no  doubt,  again  his  model, 
for  the  type  is  certainly  the  same  as  that  in  the  etchings  of  1658.     But 
the  simple  and  regular  life  led  by  Rembrandt  and  his  mistress  disarmed 
suspicion   as   to   the   legitimacy   of  their  connexion,  and  a  document 
recently   discovered   by    Dr.   Bredius  offers  convincing   proof  that  in 
their  new  home  they  were  unquestioningly  accepted  as  man  and  wife. 
The  proces-verbal  of  an  inquiry   held   October    27,    1661,    into  some 


160  REMBRANDT 

disturbances  caused  by  a  drunken  man  in  the  neighbourhood,  mentions 
Hendrickje,  "lawful  wife  of  Rembrandt  the  painter,"1  as  one  of  the 
witnesses.  Unhappily,  her  health  began  to  fail  at  about  this  period. 
Some  weeks  before,  on  August  7,  1661,  believing  herself  to  be  in 
imminent  danger,  she  had  sent  for  a  notary,  though  the  day  was  a 
Sunday,  and  had  made  known  her  last  wishes.  Her  will  gives  final 
evidence  of  that  affection  and  harmony  which  had  united  the  family. 
Hendrickje  made  her  daughter  her  heiress  ;  but  in  the  event  of 
Cornelia's  death,  provided  that  her  inheritance  should  pass  to  her 
half-brother,  Titus.  Rembrandt  was  appointed  her  guardian,  and 
was  further  given  a  life-interest  in  the  property,  should  he  survive 
Cornelia.  The  document  above  reierred  to  shows  that  Hendrickje 
had  recovered,  to  some  extent,  by  October  27.  But  her  days  were 
then  numbered,  and  although  the  exact  date  of  her  death  is  unknown, 
it  probably  took  place  before  1664.  In  the  interval  of  her  com- 
panionship that  remained  to  him,  however,  Rembrandt  once  more 
enjoyed  a  certain  measure  of  peace  and  happiness  in  the  modest 
home  on  the  Rozengracht.  He  may  even  have  again  tasted  the 
joys  of  collecting  on  a  small  scale,  either  for  himself,  or  for  Titus 
and  Hendrickje,  for  he  seems  to  have  had  certain  drawings  by 
famous  masters  in  his  possession.  In  an  unpublished  letter,  written 
by  Constantine  Huygens  to  his  brother  Christian  in  1663,  he  begs 
him  to  study  some  drawings  by  Carraccio  in  Jabach's  possession, 
"so  as  to  be  able  to  determine  whether  the  one  belonging  to 
Rembrandt  at  Amsterdam  be  a  copy  ;  which,  however,  he  cannot 
believe,  on  account  of  the  boldness  of  the  touch."  Although  he 
lived  thus  in  solitude,  Rembrandt  was  not  absolutely  forgotten,  and 
a  few  friends  still  occasionally  sought  him  out  in  his  retreat.  A 
precious  album,  now  the  property  of  the  widowed  Madame  Knep- 
pelhout,  records  their  names.  The  collection  was  formed  by  one 
Jacob  Hey  block,  a  writer  and  professor  of  some  repute,  who  was 
for  a  time  a  teacher  of  Latin  at  Leyden,  and  finally  settled  at  Am- 

1  Huysvrouw  van  S.  Rembrant  •van  Reyn  fijnschilder :  as  on  al!  other  occasions,  she 
attests  the  statement  with  a  cross,  which  Titus  witnessed  and  confirmed. 
Communicated  by  Dr.  Bredius. 


THE    MASTER'S    INTIMATES    AT   THIS    PERIOD  161 

sterdam,  where  he  was  on  terms  of  friendship  with  most  of  his 
distinguished  contemporaries,  such  as  Vossius,  Heinsius,  Vondel, 
Voetius,  Cats,  Huygens,  &c.  Side  by  side  with  their  names 
in  this  album,  we  find  those  of  the  faithful  few  who  had  been 
constant  to  the  master  in  his  misfortunes.  First  among  them  are 
his  pupils,  Covert  Flinck  and  Cerbrandt  van  den  Keckhout,  the 
latter  represented  by  a  somewhat  mediocre  composition  of  Mercury 
and  Argus ;  then  his  fervid  admirer,  J.  van  de  Cappelle,  who  con- 
tributes a  pretty  drawing  of  golf-players,  dated  1654  ;  J.  de  Decker, 
an  adherent  of  Rembrandt  to  the  end  ;  and  the  worthy  Coppcnol, 
who  in  1658  transcribed  two  sets  of  verses  in  praise  of  calligraphy, 
in  his  most  finished  style.  In  1661  Rembrandt  takes  his  place 
bravely  in  this  distinguished  company,  with  a  sketch  of  Simeon, 
heightened  with  Chinese  white  and  bistre,  in  which  he  delicately 
expresses  the  emotion  of  the  old  man,  as  he  takes  in  his  arms  the 
Infant  Jesus,  whom  Mary  and  Joseph  contemplate  with  reverent 
tenderness. 

The  year  1661  is  among  the  most  productive  in  Rembrandt's 
career.  Together  with  the  various  works  we  have  enumerated,  as 
preceding  the  masterpiece  that  eclipsed  them  all,  he  painted  a  number 
of  studies  and  portraits.  Some  of  these  are  dated  ;  others  we  refer 
to  this  period  on  internal  evidences.  The  most  important  is  perhaps 
the  Praying  Pilgrim,  signed  and  elated  1661,  which  was  recently 
bought  by  M.  Sedelmeyer,  in  England,  and  has  since  passed  into 
the  Weber  Collection  at  Hamburg.  The  work  is  of  the  highest 
quality,  the  handling  broad,  nervous,  and  superbly  expressive.  The 
life-size  bust  is  in  profile.  The  pilgrim  wears  a  mantle  of  yellowish 
gray,  to  which  is  fastened  the  symbolic  scallop-shell  ;  his  staff  and 
hat  lie  beside  him.  Standing,  with  folded  hands,  he  prays  fervently. 
The  light  strikes  full  on  his  bony  hands  and  illumines  a  pallid 
face  with  angular  features,  a  small  pointed  beard,  and  luxuriant 
hair.  The  simple  harmony  of  the  picture  first  claims  our  attention, 
and  we  linger  to  admire  the  impressive  beauty  of  the  head,  the  fire 
and  fervour  of  the  expression,  and  the  unity  of  intention  in  face  and 
attitude.  We  may  next  refer  to  the  portrait  formerly  in  Lord  Lans- 

VOL.  II.  M 


162 


REMBRANDT 


downe's  collection,  which  was  bought  by  Lord  Iveagh  in  1889,  a 
sombre  work,  somewhat  indecisive  in  the  modelling,  notwithstanding 
its  intense  shadows.  It  represents  a  man  still  young,  in  a  black 
dress  and  hi^h  black  hat.  In  Lord  Wimborne's  portrait  at  Canford 

tT? 

Manor,  the  model,  whose  face  is  relieved  against  a  curtain  of  dull 
crimson,  is  a  man  of  some  forty  years  old,  seated  before  a  table 
with  a  red  cloth.  He  wears  a  pointed  hat,  which  casts  its 
shadow  over  part  of  his  face.  The  head  is  very  powerfully 
modelled,  and  the  brilliance  of  the  carnations  and  breadth  of  the 
treatment  may  compare  not  unworthily  with  like  qualities  in  the 

Syndics.  The  portrait 
of  a  man  of  about  the 
same  age  in  the  Her- 
mitage was  probably 
painted  in  the  same 
year.  His  refined  and 
somewhat  unhealthy 
face  is  framed  in  an 
abundant  setting  of  red- 
dish hair  and  beard. 
He  wears  a  brown  cap, 
a  yellowish  doublet,  and 
a  cloak  of  dull  violet. 
The  dark  background 
brings  out  the  firm  mo- 
delling of  the  visage,  with  its  somewhat  melancholy  expression,  and 
compressed  lips.  The  strong  individuality  of  the  sitter  is  sym- 
pathetically suggested.  On  close  examination,  the  brushing  seems 
somewhat  coarse,  and  the  colour  exaggerated.  But  this  excess  of 
emphasis  is  tempered  by  distance,  and  gives  a  singular  vigour  to 
the  effect. 

Another  male  portrait,  lent  by  Lord  Ashburton  to  the  Winter 
Exhibition  of  1890,  is  signed  and  elated  1661.  It  represents  a  man 
of  florid  complexion,  with  very  piercing  eyes  ;  he  wears  a  black  dress, 
and  a  broad-brimmed  black  hat,  which  throws  a  deep  shadow  on 


JACOBS    liLESSING. 
Pen  drawing    (Stockholm   Print  Room). 


A    Pilgrim  Praying  (1661) 

(WBBER   COLLECTION,    HAMBURG.) 


ited  hy  Eudes  ft  Chasscpot  fans  ^  I- ranee  ) 


PORTRAITS    OF   THIS    PERIOD 


163 


his  forehead.  We  need  not  concern  ourselves  with  the  French 
inscription  at  the  top  of  the  panel :  Portrait  of  Jansenitis,  the  father 
of  a  numerous  family,  who  died  in  1638,  aged  fifty-three  years. 
It  was  added  in  the  days  when  the  value  of  a  picture  was  supposed 
to  be  greatly  enhanced  by  an  attractive  title.  Jansenius,  judging 


.  "  '      "         '    '  ,,-'"* 


ELIJAH    IN    THE    DESEKT. 

Pen  drawing  (Berlin  Print  Room). 


by  his  acknowledged  portraits,  had  nothing  to  do  with  this,  which 
is  evidently  painted  from  life.  The  date  1661,  which  I  myself 
was  not  able  to  discover,1  seems  to  me  a  suspicious  one,  and 
hardly  agrees  with  the  character  of  the  execution.  The  elaborate 

1  No  doubt  on  account  of  the  glass,  a  protection  now  very  generally  adopted  for 
valuable  pictures  in  England.  Dr.  Bode's  catalogue,  and  the  catalogue  of  the  exhibition, 
both  give  the  date  1661. 

M    2 


1 64  REMBRANDT 

finish  of  this  work,  its  sedate  and  somewhat  fluid  handling,  its 
sparing  impasto,  are  so  many  evidences  to  us,  as  to  Dr.  Bredius,1 
of  earlier  origin.  It  has  more  the  appearance  of  a  work  of 
1645 — 1648.  The  best  and  most  important  picture  of  this  class 
produced  by  the  master  at  the  period  is  the  large  portrait  signed 
and  dated  1661,  belonging  to  Mr.  Bough  ton- Knight,  which,  on 
the  absurd  system  so  often  alluded  to,  is  called  Rembrandfs  Cook  ! 
Knowing  what  we  do  of  Rembrandt's  frugal  habits,  it  is  curious 
to  find  him  credited  with  the  possession  of  a  chef !  The  so-called 
cook  is  a  middle-aged  man  of  an  open,  pleasant  countenance,  with 
closely  cropped  hair.  He  faces  the  spectator,  wearing  a  greenish 
gray  dress,  opening  over  a  white  chemisette,  and  a  brown  cloak. 
Some  books  lie  by  his  side,  and  in  his  right  hand  he  holds  the 
small  knife  which  gave  rise  to  the  title  of  his  portrait.  What  the 
true  function  of  this  instrument  may  be,  we  are  no  more  able 
to  suggest  than  Dr.  Bode.  He  rests  his  chin  on  his  other  hand, 
and  seems  to  be  reflecting  deeply.  He  was  perhaps  some  savant, 
perhaps  one  of  those  doctors  whose  society  Rembrandt  affected, 
certainly  one  of  his  friends.  Whoever  he  may  have  been,  he  had 
every  reason  to  be  satisfied  with  his  portrait.  The  powerful  effect 
of  the  sober  intonations,  the  masterly  freedom  of  the  touch,  the 
brilliance  of  the  light  on  face  and  hands,  are  among  the  many 
admirable  qualities  of  this  work. 

Together  with  these  portraits  of  friends  or  patrons,  we  find 
several  of  those  studies  of  himself  by  which  the  master  has 
marked  the  successive  stages  of  his  laborious  career.  In  one 
of  these,  a  bust  portrait  in  Sir  John  Neeld's  collection  at  Grit- 
tleton  House,  a  work  somewhat  below  the  master's  level  in  ex- 
pressive quality,  and  over-black  in  the  shadows,  he  wears  a  brown 
costume  and  a  pale  violet  cap  striped  with  red.  Another,  which 
belongs  to  Lord  Kinnaird,  a  more  luminous  and  interesting  study, 
is  one  of  those  harmonies  in  brown  tones  relieved  by  reds  and 
yellows,  with  which  Rembrandt  loved  to  accentuate  the  brilliance 

'  Bredius  :  "  Old  Masters  in  the  Royal  Academy"  ;  Nederlandsche  Spectator.  1890. 
No.  13. 


ALLEGED    RESIDENCE    IN    ENGLAND  165 

of  his  carnations.  As  in  the  Louvre  picture,  his  head  is  swathed 
in  a  white  and  yellow  turban  ;  but  instead  of  palette  and  brushes,  he 
holds  a  book  in  his  hand,  and  looks  up  from  the  page  at  the  spectator. 
His  expression  is  calm.  The  bitterest  of  his  trials  were  past,  and 
though  his  position  was  still  a  precarious  one,  he  seems  to  have 
recovered  a  certain  measure  of  hope. 

In  spite  of  the  numerous  evidences  of  Rembrandt's  activity 
throughout  the  year  1661,  the  legend  of  his  sojourn  in  England 
at  this  period  has  been  revived  of  late,  on  the  evidence  of  a 
document  to  which  Dr.  Bredius  calls  my  attention.  In  the 
manuscript  of  Vertue's  diaries,  dated  1/13,  in  the  British  Museum1 
the  following  note  occurs  :  "  Rembrant  van  Rhine  was  in  England, 
livd  at  Hull  in  Yorkshire  about  sixteen  or  eighteen  months,  where 
he  painted  several  gentlemen  and  seafaring  men's  pictures.  One 
of  them  is  in  the  possession  of  Mr.  Dahl,  a  .sea-captain,  with  the 
gentleman's  name,  Rembrant's  name,  and  York,  and  the  year 
1 66 1.  Reported  by  old  Larroon  who  in  his  youth  knew  Rembrant 
at  York. — Christian."  We  may  ask  how  it  was  possible  that 
Laroon,  who  was  born  at  the  Hague  in  1653,  could  have  met 
Rembrandt  in  Yorkshire  in  1661.  Laroon  may  have  come  to  Eng- 
land at  an  early  age;  but  in  1661  he  was  only  eight  years  old. 
On  the  other  hand,  Rembrandt's  presence  in  Amsterdam  in  1661 
is  attested  by  many  important  works,  and  by  official  documents. 
It  was  the  year  in  which  he  settled  on  the  Rozengracht,  the  year 
in  which  Hendrickje  made  a  will  in  his  favour,  the  year  of  the 
report  already  quoted,  in  which  she  is  described  as  his  "  lawful  wife." 
Besides  the  evidence  of  the  drawing  in  J.  Heyblock's  album,  we  have 
that  of  such  important  pictures  as  the  Saint  Matthew  with  the  Angel 
in  the  Louvre,  Mr.  Weber's  Pilgrim,  the  masterpiece  of  the  Syndics, 

1  Add.  MSS.  21,111.  f.  8.  (1713). 

2  In  the  transcript  of  this  volume  (Add.  MSS.  23,068)   there  are  negatives  in  Vertue's 
writing  against  the  statements  as  to  the  name,  place,  and  date  in  the  last  sentence.     The 
'  Christian  '  who  appears  to  have  given  Vertue  this  information  was   Charles  Christian 
Reisen,  the  seal-engraver. — F.  W. 


i66 


REMBRANDT 


and  the  huge  Claudius  Civilis.  Is  it  credible  that  the  master  can 
further  have  found  time  for  a  visit  to  England  ?  Up  to  the  present 
date,  none  of  the  portraits  he  is  supposed  to  have  painted  at  Hull  have 
come  to  light.  Until  some  fresh  evidence  is  offered,  we  must  reject 
the  tradition. 


1'EN    SKKTCH    OK    A    LANDSCAFK. 

(Duke  of  Devonshire's  Collection.) 


SKKTCH    OF    A    LANDSCAPE,    HE1C  HTKNKD   WITH    SK1MA. 

(Duke  of  Devonshire '.s  Collection.) 


CHAPTER  VII 

THK  DEATH  OF  HENDRICKJE — THE  PROBABLE  FAILURE  OF  REMBRANDT'S  IIKALTI1 
AND  SIGHT— THE  '  LUCRETIA  '  AND  THE  'JEWISH  HKI  HE  '—  AERT  HE  GEIUKK  AND 
HIS  WORKS— THE  '  LE  PECQ  REMBRANDT' — PORTRAIT  OF  JEREMIAS  HE  DECKER  — 
THE  'FAMILY  GROUP'  IN  THE  BRUNSWICK  GALLERY— THE  'FLAGELLATION'  AT 
DARMSTADT— THE  'RETURN  OF  THE  PRODIGAL  SON'' — REMBRAN  DT'.S  LAST 
PORTRAITS— THE  TRIALS  OF  HIS  CLOSING  YEARS — HIS  DEATH. 


T 


H  E  term  of  tranquil  indus- 
try enjoyed  just  now  was 
not  of  long  duration. 
Sorrow  after  sorrow,  each  more 
cruel  than  the  last,  darkened  the 
last  years  of  Rembrandt's  life. 
It  seems  probable  that  he  lost 
Hendrickje  before  1664.  The 
death  of  that  faithful  friend  un- 
doubtedly preceded  his  own,  for 
after  the  year  1661  she  disap- 
pears from  the  master's  asuvre, 
and  no  mention  of  her  occurs  in 
any  of  the  documents  relating  to 

Rembrandt  or  his  children.     She  was  probably  buried  in  the  Wester 
Kerk ;  but  as  there  is  no  entry  of  such  burial  in  the  registers  of  this 


'   OLD  WOMAN    IN   A    BLACK   VEIL. 


.631  (15.  355). 


1 68  REMBRANDT 

church  from  1664  to  1670,  nor  in  any  of  the  other  registers  of  Am- 
sterdam churches  from  1661  to  1670,  it  may  be  that  the  sale  of 
Rembrandt's  family  vault  in  the  Oude  Kerk  on  October  27,  1662, 
coincided  with  Hendrickje's  death.  After  his  change  of  domicile, 
the  vault  was  useless  to  the  master,  and,  in  his  impoverished  state, 
he  was  forced  on  purchasing  another  to  give  it  up. 

By  the  death  of  Hendrickje,  Rembrandt  was  left  more  defenceless 
than  ever  against  the  anxieties  to  which  he  was  exposed.  His 
position  had  long  been  somewhat  of  an  anomaly,  complicated  as  it  was 
by  the  various  family  arrangements  to  which  he  had  been  a  party. 
Hendrickje's  will,  her  partnership  with  Titus,  the  prolonged  liquida- 
tion consequent  on  the  bankruptcy,  all  these  afforded  Rembrandt's 
creditors  pretexts  for  intervening  in  his  affairs,  of  which  they  were 
not  slow  to  avail  themselves,  hoping  on  each  occasion  to  recover  some 
part  of  their  property. 

Overwhelmed  at  last  by  this  concatenation  of  miseries,  the  old 
painter  seems  to  have  given  way  for  a  time  to  a  very  natural  depres- 
sion. His  health,  and  probably  his  sight,  were  beginning  to  fail.  If 
we  consider  his  age,  his  many  troubles,  the  sedentary  life  he  had  led, 
we  shall  not  be  surprised  to  find  that  a  constitution  naturally  robust  was 
greatly  impaired.  The  body  to  which  he  had  been  such  a  harsh  task- 
master at  last  began  to  resent  his  ill-usage.  The  portraits  of  himself 
he  painted  at  this  period  reveal  the  ravages  wrought  by  the  last  few 
years  on  his  person.  He  has  grown  fat  and  unwieldy;  an  unhealthy 
puffiness  of  flesh  has  become  apparent  in  his  cheeks  and  throat.  His 
features  are  contracted,  as  if  with  pain,  and  the  bandages  round  his 
head  under  his  red  cap  seem  to  suggest  continuous  sufferings  from 
head-ache.  The  sunken,  bloodshot  appearance  of  his  eyes,  and  the 
swollen  eyelids  further  indicate  a  gradual  weakening  of  his  sight. 

What  artist,  indeed,  had  ever  made  severer  demands  upon  his 
powers  of  vision  ?  Consider  the  strain  to  which  he  had  constantly 
subjected  them,  the  long  education  by  which  he  had  made  them  sub- 
servient to  his  will,  teaching  his  eyes  to  read  the  depths  of  the  pro- 
foundest  shadows,  to  seize  the  minutest  gradations  of  light,  to  express 
them  in  all  their  infinitude,  with  no  abatement  of  the  general  unity, 


MODIFICATIONS    IN    HIS    STYLE  169 

with  no  forgetfulness  of  the  final  effect.  Consider  the  long-sustained 
effort  of  an  undertaking  so  minute  and  laborious  as  the  Hundred 
Guilder  Piece.  Rembrandt  was  condemned  to  expiate  the  abuse  of 
his  powers  by  a  period  of  enforced  idleness.  So,  at  least,  we  interpret 
the  absence  of  any  work  by  him  from  1662  to  1664.  His  etchings, 
which  had  gradually  declined  in  number,  cease  entirely  from  1661 
onwards.  For  some  time  before  they  were  marked  by  an  increasing 
hastiness  and  loss  of  delicacy.  The  life-studies  and  landscapes  also 
come  to  an  abrupt  end,  together  with  those  etchings  and  landscapes 
in  which  he  had  taken  so  great  a  delight.  When  at  last  Rembrandt 
was  able  to  resume  his  painting,  his  style  had  undergone  a  marked 
change.  He  was  no  longer  able  to  attack  complex  subjects,  which 
necessitated  study  and  preparation.  He  now  confined  himself  in 
general  to  one  or  two  figures  of  large  size,  which  he  was  content 
to  sketch  broadly  on  his  canvas.  All  unnecessary  details  were  dis- 
pensed with  ;  he  limited  himself  to  the  essentials  of  expression,  on 
which  he  concentrated  all  his  powers.  In  time  his  harmonies  become 
less  intricate,  his  effects  less  subtle,  his  palette  less  varied  ;  but  he 
shows  an  increasing  predilection  for  depth  and  richness  in  the  few 
colours  to  which  he  restricts  himself.  The  violets  disappear,  and  their 
place  is  taken  by  vermilions,  blended  with  brilliant  yellows  and  tawny 
browns.  The  execution  shows  a  growing  breadth,  simplicity,  and 
decision.  When  the  work  prolongs  itself  unduly,  the  master's  nerves 
are  no  longer  under  perfect  control,  and  he  has  recourse  to  violence, 
where  before  he  was  content  that  patience  should  solve  the 
problem. 

As  Dr.  Bode  remarks,  the  productions  of  this  last  period  have 
many  analogies  with  his  youthful  works.  They  are  rather  studies 
than  portraits,  and  for  most  of  them  he  himself  and  his  intimates  were 
the  models.  Just  as  in  his  early  pictures  he  made  use  of  the  butt-end 
of  the  brush  to  draw  the  hair  and  beard  of  his  figures  in  the  moist 
paint,  so  now  he  has  recourse  to  the  palette-knife,  and  lays  on  bold 
masses  of  colour,  which  he  afterwards  works  up  into  luminous  relief 
with  an  eager,  feverish  touch.  And  yet,  as  Felibien  naively  remarks : 
"  The  broad  and  even  coarse  treatment  which  gives  to  some  of  these 


REMBRANDT 


works  the  appearance  of  hasty  sketches  on  close  examination,  is  amply 
justified  by  their  effect  at  a  certain  distance.  As  the  spectator  recedes 
the  vigorous  strokes  of  the  brush,  and  the  loaded  colour,  assume  their 
legitimate  functions,  melting  and  blending  into  the  desired  harmony."  l 
But  with  Rembrandt  we  have  always  to  reckon  with  the  un- 
expected. Side  by  side  with  these 
tempestuous  creations  we  find 
works  of  the  most  impeccable 
execution.  Occasionally  the  same 
canvas  shows  startling  inequali- 
ties. Some  passages  are  finished 
with  elaborate  care  ;  others  are 
barely  sketched.  In  one  place 
the  impasto  is  loaded  to  excess, 
in  others  the  ground  is  scarcely 
covered.  The  Death  of  Lucretia 
of  this  period  is  an  example  of  such 
anomalies  ;  its  remarkable  breadth 
and  freedom  is  tempered  by  a 
certain  reticence  in  parts.  The 
subject  was  one  that  pleased  the 
master,  and  he  appears  to  have 
already  treated  it,  for  in  the 
inventory  of  one  Abraham  de 

Wyss,  dated  March  i,  1658,  Dr.  Bredius  discovers  "a  large  picture 
of  Lticretia,  by  Rembrandt  van  Ryn."  The  Liicretia  of  1664  's 
signed  and  elated.  It  was  formerly  in  the  San  Donate  collec- 
tion, and  we  saw  it  not  long  since  in  Paris.  The  life-size  figure 
is  rather  more  than  three-quarters'  length.  Lucretia  holds  in  her 
right  hand  a  dagger,  its  point  towards  her  breast.  The  other  hand 
is  upraised  in  a  gesture  of  despair,  as  if  calling  Heaven  to  witness 

1  Entretien  sur  les  Vies  et  les  Ouvrages  des  pins  excellent*  Peintres.  5  vols.  1 21110. 
1725.  Vol.  III.  p.  458. 

All  this  is  hardly  exceptional :  hardly  even  peculiar.  At  least  we  recognise  its  counter- 
part in  the  prompt  and  potent  inspirations  of  the  old  age  of  Velasquez— of  the  old  age  of 
David  Cox, — F.  W. 


I'KN    SKETCH    HKKIHTF.NKD   WITH    SKI'IA. 
(Lord  Warwick's  Collection.) 


"THE    DEATH    OF    LUCRETIA  "  i7I 

that  death  is  the  victim's  only  refuge.  The  young  matron  wears  a 
: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 


I78 


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  fierce  :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 


I92  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 


I94  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 


,96  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 


2oo  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. 


208  -  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  O»ii>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.  T3R). 


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    JACU11.. 

(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 


235 


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. — 25jT6  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  3°J  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.— lojjj1  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  5,56  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. 


238 


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 
24j7ff  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 
22rV  inches. — In  the  early  collection.  (No.  416.) 

Bust  Portrait  of  a  young  Man,  life- 
size.  C. — 284  X  24TV  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  26r7(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.  L£on  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  9iyft  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  ,slV 
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. — I0j55  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. — 8ij9lT  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. — 
'3i75  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.— 7£x6J  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  32I  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  i6j9ff 
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  I4i9j  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— 68Tnff  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.— 37iJffX  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. — 63r70  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  26,7f  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. 
— 32S  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. — 26T7ff  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. — 24T7F  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  i7T5?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.  Wr. — 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. — 
37iJ5x273  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,(1ff  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] i1;  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.— 24T°,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  6TV  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. — 
23ni  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. — 
4°i  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.) 


246 


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 
241:>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  i8fff  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.— 27i9ff  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°&  *  3l%  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-j1T 
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. 


2S2 


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'fn  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\sg 
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 
613ff  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. — 
3i3«-  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.— 5fff  x  3y\  inches. 
—Sir  W.  Knighton's  Collection. 


CATALOGUE   OF   DRAWINGS 


255 


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.  —  5j3j  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:1ff  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 


2S6 


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  611()-  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 
71\  inches. — De  Vos  Collection. 

Christ  in  the  Garden  of  Olives,  with  the 
sleeping  disciples.  Pen  and  wash. — 
7T%  x  iij'j  inches. — Roupell  Collection. 

Moses  and  the  Burning  Bush. — 6J|  x  9jfla 
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  6fB 
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  6tV  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. 
— 7i5iT  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  X4H  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  6,5ff  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 


259 


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',Tx6,:;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. — 
4Tsff  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  3i''iv  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,!lff  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  ffi  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. 
— 6rV  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. — 8T%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  7T%  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. — 6j35  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  sfg  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%x3I(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,S0  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  2t~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. — 
3i7«"  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'lff  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  8e  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. — 5,75  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 jsrt-  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,ftlS  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. — 
5iffx7ii  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§ 
X7tV  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;.;x211j{  inches.— Van  der  Schafft, 
Habich  and  Posonyi  Collections. 

An  Oriental,  in  a  cap  and  a  large  cloak. 
Pen.— 4]s,yx2i;}  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  8jaff  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. — 717,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. — 7jsff  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  8T: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]IJft  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 ,7lT  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  9Tflff 
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. — 5T^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. 
~6i5ff  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. 
— 7fs  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 
9T5S  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.— 4-1s,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 


276  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  beat1  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    T£STAME.\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.225.) 

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. 

98.-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.  i3i.-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.  i65.-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.  i74.-W.'i7i.-  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.) 


284 


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. 

273.-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.) 


286 


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.87.) 
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.     ('*•  3°6-  -  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    \\'o»ian  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. 

36i.-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.  367.-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  1629—30.  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.\..—I3iedragloriosa  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,  1675—1683. 
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,  1718—1719. 

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.-^/,/^  aus  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  Muset1 
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' 
1889—1892. 

W.  VON  SEIDUTZ.— Rembrandt's  Radirungen 
published  in  the  Zeitschrift  fiir  bildende 
Kunst,  1892. 

PROFR.  KARL  MADSKN.— Studier  fra 
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  0   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,  3°o. 
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,i56,  '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    DOCTOR1; 
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 


PLEASE  DO  NOT  REMOVE 
CARDS  OR  SLIPS  FROM  THIS  POCKET 

UNIVERSITY  OF  TORONTO  LIBRARY