Chapter 3

[151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268]

151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268

[153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only]

153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only

[161, I. THE DEATH OF THE VIRGIN. 1639. B. 99]

161, I. THE DEATH OF THE VIRGIN. 1639. B. 99

[167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated]

167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated

[168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk]

168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk

[172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40]

172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40

[175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359]

175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359

[176, II. VIEW OF AMSTERDAM. (1640.) B. 210]

176, II. VIEW OF AMSTERDAM. (1640.) B. 210

[179. THE WINDMILL. 1641. B. 233]

179. THE WINDMILL. 1641. B. 233

[184. THE SPANISH GIPSY. (1641.) B. 120]

184. THE SPANISH GIPSY. (1641.) B. 120

[198, I. THE RAISING OF LAZARUS. 1642. B. 72]

198, I. THE RAISING OF LAZARUS. 1642. B. 72

[205. THE THREE TREES. (1643.) B. 212]

205. THE THREE TREES. (1643.) B. 212

[209, I. SIX’S BRIDGE. 1645. B. 208]

209, I. SIX’S BRIDGE. 1645. B. 208

[215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84]

215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84

[216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58]

216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58

[228, II. JAN SIX. 1647. B. 285]

228, II. JAN SIX. 1647. B. 285

[229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.]

229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.

[231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate]

231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate

[232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103]

232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103

[234, I. JEWS IN SYNAGOGUE. 1648. B. 126]

234, I. JEWS IN SYNAGOGUE. 1648. B. 126

[236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1649.) B. 74. First state, before adding shading on the neck of the ass, _r._ Only nine impressions of this state are known, two being in the British Museum]

236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1649.) B. 74. First state, before adding shading on the neck of the ass, _r._ Only nine impressions of this state are known, two being in the British Museum

[239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236]

239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236

[242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213]

242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213

[244, III. LANDSCAPE WITH TREES, FARM BUILDINGS AND A TOWER. (1650.) B. 223. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject]

244, III. LANDSCAPE WITH TREES, FARM BUILDINGS AND A TOWER. (1650.) B. 223. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject

[249. THE GOLDWEIGHER’S FIELD. 1651. B. 234]

249. THE GOLDWEIGHER’S FIELD. 1651. B. 234

[251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272]

251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272

[252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42]

252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42

[254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113]

254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113

[256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67]

256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67

[257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65]

257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65

[261. TITUS VAN RYN, REMBRANDT’S SON. (1656.) B. 11]

261. TITUS VAN RYN, REMBRANDT’S SON. (1656.) B. 11

[264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221]

264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221

[267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104]

267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104

[270, I. THE THREE CROSSES. 1653. B. 78. First state]

270, I. THE THREE CROSSES. 1653. B. 78. First state

[270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, _l._, almost entirely effaced; a new group added _l._ of the central cross,]

270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, _l._, almost entirely effaced; a new group added _l._ of the central cross,

[271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state]

271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state

[271, V. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure]

271, V. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure

[275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63]

275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63

[279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.]

279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.

[281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states]

281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states

[282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87]

282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87

[286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29]

286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29

[287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274]

287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274

[288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275]

288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275

[289, I. ARNOLD THOLINX. (1656.) B. 284. This first state, before the addition of further lines of shading on the breast, is only known in two impressions (British Museum, and Baron Edmond de Rothschild, Paris)]

289, I. ARNOLD THOLINX. (1656.) B. 284. This first state, before the addition of further lines of shading on the breast, is only known in two impressions (British Museum, and Baron Edmond de Rothschild, Paris)

[290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background]

290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background

[303, I. THE WOMAN WITH THE ARROW. 1661. B. 202]

303, I. THE WOMAN WITH THE ARROW. 1661. B. 202

PRINTED AT THE BALLANTYNE PRESS LONDON